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Dear drama followers, the long-awaited second season of "Sauvignon Blanc" has finally been launched on Tencent Video! This masterpiece, which was originally pinned on high hopes, was like a pebble thrown into a calm lake after its premiere, and it did not make too many waves, and it can even be said that the response was mediocre, which really made people's jaws drop!
When you think back to the first season, it was really beautiful. The light-hearted and funny comedy style is like a fresh wind, blowing away the tiredness and troubles of people's lives, so that everyone can find a moment of joy in the busy days. Coupled with the wonderful performances of Yang Zi and other big-name stars, countless dazzling lights have been added to this fantasy drama. At that time, "Sauvignon Blanc" was like the brightest star in the night sky, attracting the attention of countless audiences.
But now, the situation after the start of the second season is in stark contrast to the first season. The word-of-mouth and broadcast volume have shown an unsatisfactory trend, and even people are worried about whether it will "hit the street" in this fierce competition for dramas.
Let's take a closer look at what went wrong in this second season. The change in plot style and content is a big surprise. The original relaxed and cheerful rhythm is gone, replaced by a dull and sadistic plot. In the first few episodes, the oppressive atmosphere was simply breathless. People who love each other are ruthlessly tricked by fate, unable to embrace each other, and can only struggle painfully in the shackles of the world. This kind of plot setting may still be a little attractive for some viewers who like sadomasochism, but for most audiences, it is really difficult to accept. Everyone follows dramas to relax and have fun, not to block themselves.
Not only that, but the narrative of this second season is also chaotic. The plots in the plot drama are so childish that people can't help but laugh, as if the screenwriter completed the creation in a sleepwalking state. Those so-called power battles are like children playing at home, with no depth and logic at all. For those viewers with a high aesthetic level and the pursuit of plot plausibility, such a narrative is simply a kind of torture.
Let's talk about the character setting, which is also monotonous and uninteresting. The old-fashioned setting that the heroine is pursued by a group of male protagonists, although it can satisfy the girlish fantasies of some audiences, but the expressions and emotional expressions of the actors in the process of interpretation are too rigid and stereotyped. The bitter gourd face and the expression of deep hatred appear repeatedly, which not only does not add color to the plot, but makes the whole story seem more dull and boring.
Speaking of the performance of actors, Yang Zi's acting skills are quite stable, and she deserves to be a powerful actor. But in such a costume fantasy drama, perhaps due to the limitations of the plot and characters, she failed to fully show her full strength, which is really a pity. As for the other actors, most of them just perform according to the common routines of fantasy dramas, lacking innovation and breakthroughs, which makes people feel uninspired.
Some people insist that the play itself undoubtedly has a number of obvious flaws that cannot be ignored. The arrangement of the plot is simply full of loopholes and has no rationality at all. Those blunt turns and far-fetched developments make the audience often feel inexplicable and completely unable to immerse themselves in the process of watching.
The narrative is even more chaotic, with unintertwined threads and uncontrollable rhythms. Sometimes it's rushed, sometimes it's drowsy. The entire narrative framework seems to be a crumbling pavilion in a strong wind, lacking a solid foundation and clear coherence.
The monotony of the character setting is also a big failure. The cookie-cutter patterned setting has no novelty or depth. The figures are pale and flat, lacking a sense of three-dimensionality and layering. It seems that it is just a tool man who exists to drive the plot, rather than a flesh-and-blood and soulful individual.
It is these serious problems that have become the root cause of the audience's deep disappointment. In their opinion, if the play itself can be carefully polished, pay attention to details, reasonably construct the plot, optimize the narrative structure and enrich the connotation of the characters, it may be able to win the recognition and love of the audience.
Others hold a different view. They feel that audiences often have high expectations and unrealistic fantasies about sequels. In their hearts, they have already built a perfect ideal world, and they have extremely strict and demanding standards for the development of the plot and the shaping of characters.
If the work deviates slightly from the actual presentation and fails to fully meet the idealized expectations in their hearts, it will cause them to feel strongly dissatisfied. In their eyes, the audience seems to be a little too critical and does not give the play enough tolerance and understanding.
So, dear friends, which side are you on on this controversial topic? Is it the belief that the flaws of the play are the main cause of the audience's disappointment, or is it the belief that the audience's high expectations are the key to the problem? Come and join me in a fierce and exciting exchange of ideas!
Do you think that the play itself should take the main responsibility, or do you think that the audience needs to actively adjust their mentality and expectations? This is not a simple question that can be easily answered.
If we stand on the position that the play should be held responsible, then the reasons are strong and strong. A play, from conception, creation to final presentation to the audience, every link should be carefully planned and polished. The rationality and coherence of the plot, the clarity and excitement of the narrative, and whether the characters are full and three-dimensional, these are all key elements that the playwright needs to focus on. If the play has obvious mistakes and deficiencies in these areas, it is not surprising that the audience is disappointed and dissatisfied. The audience comes to appreciate the work with anticipation and enthusiasm, and they have the right to demand high-quality audiovisual enjoyment.
On the other hand, there are also those who will firmly believe that the audience needs to make appropriate adjustments to their mindset and expectations. When faced with a play, the audience often unconsciously carries preconceived ideas and excessive expectations. This excessive expectation can sometimes blind them to their ability to evaluate a work objectively, making them overly sensitive and critical of issues that are not serious. Audiences have different preferences and aesthetic standards, and it's hard to make a single work satisfying everyone. In this case, should the audience be more tolerant and understanding, and not be too demanding that each drama can fully conform to the ideal appearance in their hearts?
So, dear friends, come and join this lively discussion! Whether it's supporting the playwright that needs more effort and improvement, or you firmly believe that the audience should be more rational and inclusive, please be brave enough to express what you really think in your heart. Let our minds collide here with brilliant sparks and explore the answer to this question together.