If there is a new season of "Strange Story", it will probably not be too worried about the debate of each issue.
After all, today's domestic drama screenwriters and program directors share a set of KPIs-
Every day, I rack my brains about how to make netizens stand in line.
#全职妈妈向老公伸手要钱需要不好意思吗 #
#沈慧星的辩论稿是傅首尔写的 #
Since 2020, the so-called first year of feminism, that year, "Sister Lang" and "Thirty Only" exploded.
More and more women's dramas, seems to be a good thing?
But after her sister watched several so-called "women's dramas" that have recently been arguing in the field of public opinion, she felt that something was wrong .
Not directly proportional to the growing number of women's dramas, online discussions seem to be becoming more and more narrow.
Why?
One of the "warm knowledge" discovered recently is —
Highly discussed dramas are not necessarily good.
Especially wary of those dramas that play "realism", "social topics" and "female group portraits".
This kind of highly discussed drama, with a shell of social observation, most of them are just very good at angering people.
They accurately understand where the anger of public opinion is, and then arch the fire with precision.
It's like the recent golden sentence class "Our Marriage".
In front of the Queen of Golden Sentences, there must always be a negative character full of slots, otherwise where will the Golden Sentences be exported?
Shen Yanxing's husband, a slippery man who has been pushed to his wife from buying a house, moving to decoration.
Compare work to a glass ball, and housework to a rubber ball — it doesn't matter if you can't catch it.
I also have to advertise myself - I have single-handedly led the whole family to achieve consumption upgrades, completely erasing my wife's dedication to the family.
Angry enough?
Another example is the "Heart Residence" that has recently been on the hot search every day.
Every day, there is a large number of viewers, who are angry in the hot search topic.
In the play, the daughter-in-law's family has money to kneel and lick, and the evil mother-in-law who changes her face when she falls in the family road, and who hates the poor and loves the rich.
The wife was bullied to stand on her own mother's unclear husband.
Independent women who were sucked by their brother's family to buy a house were forced to reply: Do I not have to buy a house?
Just ask are you angry?
I'm not afraid that you're angry enough, I'm afraid you're not angry enough.
In this type of drama, the most discussed is never the most discussed in this drama.
This is no longer a problem with one or two films.
Go back two years.
The first starting drama of the first year of women, the biggest problem of "Thirty Only" in 2020 is also here.
That year, the 30+ women's group portraits were not running all over the place as they are now, and the last hit was still stuck in "Ode to Joy".
"Thirty Only" writes in a realistic brushstroke that the Middle Class of the Shanghai School is just fresh and fresh, and it is in the limelight for a while.
Unfortunately, the drama that was supposed to depict the plight of women is still in the middle of a higher and higher degree of discussion.
The biggest failure that led to the bad end of this drama is the most discussed topic in the whole drama -
There are green tea forests.
During the broadcast of the drama, Lin You had the number of hot searches, large and small, from "how boys deal with Lin Youyou" to "Lin Youyou licked Xu Xianshan ice cream", or less, there were more than a dozen.
Even to this day, the drama has been broadcast for two years, and Lin Youyou has been pulled out from time to time to "whip the corpse".
Labeling green tea to women? Scolding her is a realistic version of Lin Youyou, absolutely vivid.
From the perspective of traffic, Lin Youyou is definitely a successful case.
She single-handedly lifted up most of the heat of the whole play.
However, from a feminist point of view, the shaping of the character of "Lin Youyou" is definitely a solid retrogression.
Because the popularity of this female character who can't stand scrutiny everywhere is of no help to women's topics.
On the contrary, her popularity is a kind of incitement to the atmosphere of female competition and the reinforcement of female stereotypes.
In the Internet era, the degree of discussion and popularity cannot be completely positively correlated with content.
Because the best accelerant of heat is vulgarity; the most discussive inducer is emotion.
The merchants of this era are best at packaging the evil customs and selling them.
Apparently, feminism has now become a piece of fat that they are eyeing.
Put the drama contradiction on the anger of the audience, and make incitement to emotions the only goal of creation.
The consequences of this type of female drama are obvious —
The discussion of women's issues has fallen into an embarrassing situation of "one small step forward, one big step back".
Looking back at "Thirty Only", you will find that discussing any issue on Gu Jia is far more meaningful than venting emotions in Lin Youyou, a tool villain with no realistic logic.
For example, the relationship between independent women and their families.
In the end, whether a full-time wife like Gu Jia, who is omnipotent and takes off with the whole family, can be called an independent woman.
Is it a woman who chooses to be a full-time wife, and she cannot be considered independent?
In the end, for married women, how to have a sense of independence?
Is there a discussion in the play?
No.
Secondly, what will really destroy the "Gu Jia"?
Is it really "Lin You have you"? Are they really gay people of the same sex who stare at their husbands like flies staring at fat meat?
No.
Looking at the whole play, you will find that the most essential tragedy of Gu Jia's character is that her cognition is limited.
She put a woman's self-actualization entirely on the family — getting her children into the best kindergartens, taking her husband's career to the next level, and letting the whole family tiptoe to achieve a higher class leap.
Home is her only belief, so once her husband betrays, she loses everything.
This is the real dilemma of public concern and the "Gu Jia" that the play should depict.
But does the play have a certain exploration of this point? Does the drama side carry out related marketing?
The answer is no.
"Thirty Only"'s understanding of Gu Jia's failure is still attributed to the most bloody and most female idea-
As long as you keep an eye on your husband, life will be happy.
The drama side's marketing for Gu Jia, the focus will always be ——
Dou Xiao San.
Isn't the one who should clean up the most, the one who can't control the lower body?
"Women bite each other" and "spoil concubines and destroy wives", this is what this female drama that portrays women's plight is passed on to us.
It's hard to imagine that this narrow perspective on women's fate comes from a 21st-century feminist drama.
What is even more difficult to imagine is that this emotion replaces the "successful experience" of thinking, which is widely recognized and adopted in today's women's dramas.
"Our Marriage" was meant to discuss the plight of full-time wives returning to the workforce.
But now the marketing and discussion for this drama has completely stayed at the level of whether it is the male scumbag or the female protagonist.
And this is caused by the discussion of the character quarrel instead of different positions.
It is caused by sacrificing the logic of reality to achieve a sense of plot coolness.
Is it cool to see Comet Shen? Cool.
But the jumping out of many of her golden sentences is completely out of touch with the situation.
Shen Yanxing went to look for a job after six years of taking her baby at home, but was repeatedly rejected, and here the play is to show the passivity of the full-time mother to return to the workplace.
When the interviewer asked her how to balance work and family as a mother, Shen Yanxing was refreshed and went back to the house.
If it is a father, do you also have to answer this question?
Of course, I believe that everyone who encounters discrimination in the workplace will have this kind of OS in their hearts.
But in the interview situation, so bluntly shy back, cool is cool, is it really reasonable?
By chatting and chatting with friends, you can jump out of a series of battle manifestos with a row and a complete structure.
Even if you are a highly educated, logical and articulate person, in daily life to talk like this, is not tired?
Seriously, if this role is not supported by Bai Baihe's acting skills, it will become more like a slogan.
Yes, Shen Yanxing is actually a slogan figure out of touch with reality.
She has always lived very soberly, even if she is immersed in various trivialities of life for six years, she still does not forget her original intention to pursue her dreams and complete her career ideals.
After six years of circling the stove, he had never been in the financial industry, accidentally blended into the industry's top summit, and could also silence the industry insiders.
She was never only angry, not confused.
Such a character, seemingly powerful, actually disregards the basic fragility of human nature and the logic of reality.
If a drama portrays a female character, it places her in a social vacuum, an environment that is not constrained by any character relationship or social environment.
No matter how feminist she is, how brave she fights.
For ordinary women, for thousands of women living in reality.
She has no realistic, universal reference value.
She can't bring real power to any woman.
I certainly look forward to more and more women's works coming out.
But I have to admit it-
Even the explosive female works that we think "opened the first year of women's care" were more or less to cater to the more attention paid by the society at that time to the situation of "middle women", and should be done from time to time.
To put it more directly, it is done for traffic and for business.
And when "isms" become "business", what happens?
There are more and more plays, and the discussions are becoming more and more perfunctory.
From "Thirty Only" to "Our Marriage".
The former will also have some details that try to be close to reality, and the latter, the per capita golden sentence king has become the biggest "highlight" of the whole drama.
What happened to this?
A vicious screening for traffic, adapting to the spread of short videos.
Once refined from the plot, refined the realistic topics, and now simply uses hot topics to piece together into a drama.
The "efficiency" of creating topics is higher, but the discussion it triggers will inevitably become more and more single and extreme.
Because the more hollow and floating correct it is, the more it can only attract its most direct clusters and enemies, the diodes.
This is not only useless to truly understand and think about women's issues, but also to cover up the more universal and real dilemma of women.
To put it bluntly, because the purpose of filming women's issues in the mainland is not so pure at the beginning, our excavation of women's themes has always been a rhythm of taking a small step and taking a big step back.
In the past few years, I have the impression that there are very few women's works that can jump out of this vicious circle and trigger a relatively healthy discussion atmosphere.
The previous year's "Skyscraper", last year's "Hello, Li Huanying" and "Love is Delicious".
Among them, "Skyscraper" and "Love Is Delicious" are the works of director Chen Zhengdao, and each one of them has slapped the mainstream domestic women's dramas on the market with a big slap -
"Skyscraper" and "Love Is Delicious" are completely the opposite of the "love to reason, do not tell stories" style of film and television dramas.
Especially "Skyscraper", from the story level, there is no new plot.
It is even a "hot collection drama", and the plot almost covers and alludes to all kinds of women's news and hot topics that have been hung on the hot search in recent years.
Slut-shaming, female tearing, sexism in the workplace, mind control in intimate relationships, sexual assault of minors, perfect victims of social cases...
Pile by piece in reality, the miasma of public opinion that can be triggered can be imagined.
However, the final presentation of "Skyscraper" makes the audience not care about taking sides and going to extremes, but instead leads to many understandings and empathetic voices about women's plight.
Because the reversals in the play are not only for fresh excitement, but to break the stereotypes of those deep-rooted women through reversals.
And the audience, with the progress of the case, has experienced a breakthrough in cognition and a round of reflection on social events.
Even see yourself in someone in the story, in a certain detail, in a certain perspective.
And this is the discussion and effect that a real women's drama should evoke.
Attached to the moving story, it evokes a true inner resonance of the viewer.
In fact, good feminist dramas can always broaden the boundaries of discussion on women's issues, rather than making their voices more and more narrow.
In "Skyscraper", even as a clue to guide the audience to discover the heroine's "ghost father", only a few episodes of the comic details appear.
The audience can also connect with reality and spontaneously give reflection and supplementation.
However, when most domestic women's dramas continue to stay in the stage of replacing logic with fragments today, such discussions are destined to be more and more squeezed until they disappear.
Sadly, this should be the core force that feminist narratives should bring to the audience the most.
Of course, bringing about a healthy discussion and broadening the boundaries of the discussion is far from the end of our call for feminist narratives.
I think of Dai Jinhua's words ————
The fate of women in our imaginations often has only two paths.
Or she will be dressed like a mulan, kill the enemy for meritorious service, please be knighted, and pretend to be a man to enter the order.
Or she will be disarmed and returned to her hometown, wearing my old dress, wearing my old clothes, and becoming someone's wife, just like the female of the Yangmen female general.
Otherwise, outside of these two paths, women can only be zero. It is chaotic, nameless, meaningless, nameless, identityless, inexplicable and dead.
This passage points directly to the biggest drawback of our current women's dramas -
Narrowness in the gender imagination of women.
Good feminist works are not just about avoiding falling into the trap of pandering to old narratives and obscuring real dilemmas.
It is also to explore the path of women outside the old narrative.
When Dai Jinhua talked about such works, he once quoted director Huang Shuqin's statement:
"I think of women's films as opening a window to the east or west where people are used to sitting in rooms facing south and north, and the windows are always facing south. This other window allows us to see a different landscape.
We provide answers to all the questions in the world, not just to gender, then the involvement of women means the exploration of new possibilities..."
And women's works such as "Skyscraper", "Hello, Li Huanying" and "Love is Delicious" may have many deficiencies.
But in her sister's view, the greater significance of these works is that—
A new perspective brought by an all-female creative team.
"Hello, Li Huanying" is a female director who looks at a mother from the perspective of a daughter, to present a mother's beauty and girlishness.
Shi Zhiyu, the Chinese director of "The Metamorphosis of Youth", presents a three-dimensional, cute, and fan-friendly star-chasing girl from the perspective of a girl.
Break some of the stereotypes from a female perspective and creatively convey unique experiences in women's lives that are not only gender-related.
When we can pass through women, we can see more female figures who have been banished from the mainstream narrative in the past.
We can also look through women to all sorts of people who were once accused of being others and banished from civilization.
See their creations, see their value.
This is the preciousness of the feminist works we want to see.
Of course, this seems a bit of a fantasy in our current stage and narrative.
In recent years, domestic women's dramas, it is not easy to take a small step forward, but it is much easier to go backwards.
But the more this is the case, the more vigilant we, as viewers, and often look back.
Be wary of our accidental step into the emotional market and look back at the stumbling of feminism along the way.
Because even if the real "female care" is obstructed and long, it is the direction we have to go forward.
She published