In the age of the internet, the critical thinking of the audience has been improved like never before. With the rapid flow of information and the diversification of communication platforms, people's scrutiny of TV dramas has become more detailed and in-depth. In this context, the audience is no longer a passive recipient of information, but a participant who can actively identify problems and ask questions.
First of all, the Internet provides a broad stage for viewers to share their views and insights on TV dramas through social media, forums, blogs, and other channels. This kind of sharing includes not only the discussion of the plot, but also the analysis and criticism of the details of the play. The interaction and discussion between the audience allowed them to inspire each other and discover more problems that they had not noticed before.
Secondly, the critical thinking of the audience in the online age has been strengthened, which has to do with their access to information. On the Internet, viewers can easily search for background information about the TV series, actors, production team, etc., which helps them understand the work more comprehensively, so as to make more in-depth and targeted criticism. At the same time, viewers can also learn about the production process of the TV series by watching behind-the-scenes production videos, interviews, etc., which can also improve their critical thinking skills.
In today's society, as an important cultural product, the quality of TV dramas directly affects the audience's perception and evaluation. However, the irrationality of the lines and plot design of some TV dramas often causes widespread discussion and criticism from the audience. These irrationalities not only destroy the overall sense of the work, but also appear to be disrespectful to the audience's intelligence.
First of all, the absurdity of the line design of some TV dramas often makes the audience confused and dissatisfied. For example, the lines of some characters in costume dramas are too modern and incompatible with the ancient background, and this kind of time-space and time-lapse line design makes it difficult for the audience to immerse themselves in the plot. In addition, some lines are too blunt or sensational, lacking realism and naturalness, making the characters appear false and unable to resonate with the audience.
Secondly, the irrationality of the plot design is also the focus of criticism from the audience. In order to pursue dramatic effects, some TV series ignore the rationality and logic of the plot, resulting in far-fetched and even absurd plot development. For example, in some costume dramas, the dress of the characters is seriously inconsistent with the historical background, such as Sun Shangxiang's dress does not conform to the characteristics of the costumes of the Three Kingdoms period, this kind of disrespect for history not only misleads the audience, but also damages the credibility of the work.
Moreover, the unrealistic performance of some TV series in character creation often arouses the disgust of the audience. Taking anti-Japanese dramas as an example, the characters played by Wu Qilong often show extraordinary abilities in the face of the enemy, and this over-exaggerated performance not only does not conform to historical facts, but also ignores the cruelty of war. This kind of unrealistic character creation not only weakens the educational value of the work, but also makes the audience feel unacceptable.
In addition, the negligence of some TV dramas in the handling of details is also the object of criticism from the audience. For example, there are often obvious errors in the scene layout and the use of props in some plays, such as modern items appearing in ancient scenes, or the age of props does not match the background of the plot. These mistakes in detail not only destroy the realism of the work, but also reflect the unprofessionalism and lack of rigor of the production team.
However, the emergence of these irrationalities is not entirely attributable to the irresponsibility of the production team. To a certain extent, this is also the result of being market-oriented and driven by commercial interests. In order to cater to the tastes of some audiences, some production teams over-pursue drama and entertainment in the creative process, ignoring the artistry and ideology of the work. Although this kind of quick success may attract attention in the short term, in the long run, it damages the overall quality and reputation of the TV series.
In short, as a cultural product, the quality of TV dramas is directly related to the audience's perception and evaluation. In the creative process, the production team should fully consider the rationality of the plot, the authenticity of the lines, and the credibility of the characters, so as to avoid absurd and unrealistic designs. Only in this way can we win the recognition and love of the audience and enhance the artistic value and social influence of the work.
Costume dramas and anti-Japanese dramas, as important genres in TV dramas, should attract audiences with their rich historical background and profound cultural connotations. However, the absurd elements that appear in some works have greatly reduced the quality of these episodes, and even caused widespread criticism from the audience.
First of all, one of the absurd elements in costume dramas is the way the characters are dressed. Taking Sun Shangxiang as an example, as an important figure in the Three Kingdoms period, his dress should be in line with the clothing style of the time. However, in some costume dramas, Sun Shangxiang's costumes are full of modernity, which not only does not match the historical background, but also destroys the image of the character. This absurd design not only confuses the audience, but also makes the work lose its historical realism.
Secondly, the absurd elements in anti-Japanese dramas cannot be ignored. Some episodes do not hesitate to use high-tech weapons and supernatural abilities to portray characters in pursuit of dramatic effect. Although these elements can bring a momentary shock, they seriously contradict historical facts and make the plot seem unrealistic. For example, the advanced weapons and equipment that appeared in some anti-Japanese dramas were seriously inconsistent with the technical level of the time, and this absurd setting not only weakened the educational value of the work, but also made the audience feel unbelievable.
In addition, the appearance of modern objects in costume dramas is also a manifestation of absurd elements. In some costume dramas, we can even see the characters using modern communication tools such as mobile phones and computers, which not only makes the audience feel abrupt, but also destroys the immersion of the work. This absurd use of props reflects the production team's neglect of the historical context and irresponsibility for the quality of the work.
Moreover, the nonsensical lines in costume dramas are also a manifestation of absurd elements. Some episodes do not hesitate to use modern language and internet buzzwords in pursuit of humor, which not only embarrass the audience, but also weakens the credibility of the characters. This absurd line design reflects the production team's neglect of the artistry of the work and the disrespect for the audience's intelligence.
However, the appearance of these absurd elements is not entirely due to the ignorance or irresponsibility of the production team. To a certain extent, this is also the result of market demand and commercial interests. In order to cater to the tastes of some audiences, some production teams over-pursue drama and entertainment in the creative process, ignoring the artistry and ideology of the work. Although this kind of quick success may attract attention in the short term, in the long run, it damages the overall quality and reputation of the TV series.
In short, costume dramas and anti-Japanese dramas are important genres in TV dramas, and their creation should be based on the premise of respecting history and paying attention to artistry. In the creative process, the production team should fully consider the dress of the characters, the rationality of the plot, the use of props and the design of lines, so as to avoid absurd and unrealistic elements. Only in this way can the quality of the work be improved and win the recognition and love of the audience.
As a special type of TV drama, mystery dramas attract a large number of viewers with their gripping plots and rigorous logical reasoning. However, the logical errors in some mystery dramas seriously weaken the credibility of the plot and even make the audience question the quality of the work.
First of all, the logical errors in the reasoning drama are often reflected in the reasoning process of the characters. Taking "Detective Di Renjie" as an example, Yun Fang's reasoning process has obvious logical loopholes. In some cases, Yun Fang's reasoning seemed reasonable, but after careful analysis, it was found that her reasoning process lacked the necessary evidence to support it, and even contained contradictions. This logical negligence not only confuses the audience, but also makes the resolution of the case seem far-fetched.
Secondly, the behavioral logic of the characters in the reasoning drama is also a manifestation of logical errors. In some episodes, the character's behavior is grossly inconsistent with the situation and personality setting in which he or she finds himself. For example, in "Detective Di Renjie", the character played by Zhang Han often seems oversimplified and lacks in-depth thinking and analysis when facing a case. The irrationality of the character's behavior not only weakens the credibility of the character, but also affects the rationality of the plot.
Furthermore, the chain of evidence in the mystery drama is also an important aspect of logical error. In some episodes, the construction of the chain of evidence appears to be too simplistic, lacking the necessary logical reasoning and evidence support. For example, in the process of resolving some cases, the appearance of key evidence is too accidental, and there is a lack of reasonable explanation and reasoning process. The incompleteness of this chain of evidence not only makes the audience feel unbelievable, but also makes the resolution of the case seem too hasty.
In addition, the plot design in the mystery drama is also a manifestation of logical errors. In some episodes, in order to pursue dramatic effect, screenwriters often set up some overly bizarre plots, which can attract the audience's attention, but seriously violate the basic principles of logical reasoning. For example, in the resolution of some cases, the reasoning process of the characters relies too much on accidental events and lacks the necessary logical reasoning and evidence support. The irrationality of this plot design not only weakens the credibility of the plot, but also affects the artistry of the work.
However, these logical errors are not entirely due to the ignorance or irresponsibility of the screenwriters. To a certain extent, this is also the result of market demand and commercial interests. In order to cater to the tastes of some audiences, some screenwriters pursue drama and entertainment excessively in the creative process, ignoring the logic and rationality of the work. Although this kind of quick success may attract attention in the short term, in the long run, it damages the overall quality and reputation of mystery dramas.
In short, as a special type of TV drama, the creation of mystery drama should be based on rigorous logical reasoning and reasonable plot design. In the creative process, the screenwriter should fully consider the character's reasoning process, behavioral logic, the construction of the evidence chain and the rationality of the plot to avoid logical errors. Only in this way can the quality of the work be improved and win the recognition and love of the audience.
Directors and screenwriters play a crucial role in the creation of film and television productions. They are not only the tellers of the story, but also the gatekeepers of the quality of the work. Therefore, directors and screenwriters should be more attentive when creating, avoid low-level mistakes, and respect history and logic in order to gain the recognition and praise of the audience.
First of all, directors and screenwriters need to be responsible for history. When creating costume dramas or historical dramas, they should delve into the relevant historical background to ensure that the characters, costumes, language and other elements in the drama are in line with historical facts. For example, when creating dramas about the Three Kingdoms period, directors and screenwriters should understand all aspects of the Three Kingdoms period, such as politics, economy, and culture, and avoid absurd elements that do not match the historical background. Only by respecting history can we create authentic and credible works that win the respect and recognition of the audience.
Second, directors and screenwriters need to be responsible for logic. In mystery dramas or suspense dramas, they should construct rigorous logical reasoning to ensure that the development of the plot is reasonable and coherent. For example, when creating a mystery drama, the director and screenwriter should design a reasonable chain of evidence to avoid logical loopholes. At the same time, the character's reasoning process should also be in line with his personality and intelligence level, and avoid oversimplifying or far-fetched reasoning. Only by respecting logic can we create engaging works that will win the love and praise of the audience.
Furthermore, the director and screenwriter need to be responsible for the characters. In the creative process, they should dig deep into the inner world of the characters and create a three-dimensional and realistic character image. For example, when creating a biographical drama, directors and screenwriters should understand the character's upbringing, personality traits, etc., and avoid shaping the character into a single, stereotypical image. At the same time, the character's behavior and language should also be in line with his personality and situation, and avoid unnatural or unreasonable performance. Only by respecting the characters can we create in-depth and infectious works that resonate and win the audience's sympathy and praise.
In addition, directors and screenwriters are also accountable to the audience. In the creative process, they should fully consider the aesthetic needs and values of the audience, and avoid creating vulgar and vulgar works. For example, when creating urban dramas, directors and screenwriters should pay attention to the living conditions and psychological needs of urban people, and avoid exaggerating material pursuits and superficial prosperity. At the same time, they should also convey positive values and outlook on life, and guide the audience to think about the meaning of life and social responsibility. Only by respecting the audience can we create in-depth and valuable works and win the respect and praise of the audience.
However, directors and screenwriters also face many challenges in the creative process. Driven by commercial interests and market demand, they may face creative pressure and creative dilemmas. In pursuit of ratings and box office, they may sacrifice the quality of their work and create some low-level, absurd works. This rush for quick success, while it may bring benefits in the short term, can damage their reputation and the quality of their work in the long run.
In short, directors and screenwriters should be more attentive in the creative process, respecting history, logic, characters, and audiences. They should have a professional attitude and rigorous spirit to create works that are true, reasonable, in-depth and valuable. Only in this way can we win the recognition and praise of the audience, and enhance the artistic value and social influence of the work. At the same time, they should also stick to the bottom line of art, not be swayed by commercial interests, and truly become creators and disseminators of art.