■Our reporter Wang Yan
Marriage and love stories contain the society, family and interpersonal relationships of an era, and they have always attracted the attention of film and television works.
Recently, the three new dramas "Meeting Season", "Our Marriage" and "Two Conjectures of Marriage" were launched almost simultaneously.
They are of different types and temperaments, but the emotional entanglements in the play more or less reflect the changes in people's concepts of marriage and love, the workplace, and wealth in recent years.
When a person reaches middle age, his career is stable, but his emotional needs and the conflicts between the family are intertwined into a mess of life; after six or seven years of marriage, the child is just growing up, and the regained career status is about to separate family and personal ideals. The realm; first marriage and unmarried, big data calculation of the pair and the love at first sight, it seems that they are not the perfect marriage and love plan that the protagonists are pursuing - three different stages of marriage and love, three different levels of emotional anxiety.
If it is said that the light-colored films in "The World" were brought together in the first decade of the 21st century during the transformation of Chinese society, then several new dramas have inherited the "world of future generations" of marriages: the times are roaring forward, Urban men and women in atomized societies have faced or are facing inflection points of various ideas.
As a result, the inner order of people is also quietly rebuilt in the changing times.
The flow of the division of labor within marriage has become more and more obvious to leveraging social cognition
The combination of the young generation's hard work in a foreign land and the aging process has made the balance between the workplace and the family a more common life proposition.
Who is in charge of the outside and who is in charge? Does this multiple-choice question only judge the division of labor within a family?
"Our Marriage" attempts to use the situation of different genders to dismantle the "gender" division of labor that we turn a blind eye to in our daily life.
In "Our Marriage", Shen Huixing and her husband Sheng Jiangchuan have lived for six years as a male protagonist and a female protagonist.
In the meantime, the wife is a good player from babysitting to educating children, and she has also developed the ability to move, carry, fix, renovate and move, and is proficient in plumbing; her husband, an investment bank executive, is responsible for the open source of the family's economy and career. The future is very good, but in terms of children's education and housework, the shopkeeper is also a "one question and three ignorant" gentleman.
The dream in college was once ignited, and Shen Huixing decided to join the workplace.
The family of three has made waves, and the pick-up and company of children is an obvious time redistribution problem.
And when career opportunities for both husband and wife come at the same time, who should be accommodated and who should be sacrificed is the real pain point, which shakes the internal relationship of the family and also shakes the society's cognition.
As a reference group, "Our Marriage" also set up two couples of the same age.
Also from the financial circles, female executives Dong Sijia and her husband Li Yuwen can be called the "sex version" of Shen Huixing's family.
Full-time fathers not only have to face strange eyes from the outside world, but also feel depressed because their career demands are not valued by their wives, and the relationship between husband and wife has laid a minefield.
Another full-time mother, Jiang Jing, is completely passive in the relationship between husband and wife. With the mentality of "taking her husband as the boss", she has almost no ability to resist marital risks and life accidents.
As the three couples' "internal masters" successively made new plans for their personal futures, the family structure in which "the economic foundation determines the superstructure" has loosened, the "empty window period is embarrassing" and "sex discrimination" in the job market. The inertial cognition of the level is also on the edge.
For example, there is a scene in the play where Sheng Jiangchuan is greatly appreciated as the only father in the school parent-child sports meeting, but it seems that everyone ignores it, and there is no "natural" in the company of mother.
Another example is Li Yuwen, who is thinking about his own history and learning, and the motion to return to the workplace has just begun. His wife's price-performance ratio has poured cold water on her head. "If you make less money, you can only give up your dreams." The rude equal sign of , which has become another popular question in the play.
The story is lighter and more witty, and the audience that "Two Conjectures on Marriage" tries to talk to is younger.
In the Internet era, big data can use models to calculate objects that are suitable for various background conditions.
But in the life of speed dating, how to slow down love and family has become a life lesson for the younger generation of female white-collar workers Shen Mingbao and her husband Yang Zheng.
A sudden pregnancy, a sudden change in the original family, and a series of unplanned events will eventually teach young couples what is the true meaning of love and marriage with solid life test questions.
Times are changing, and so are the themes of marriage and family dramas.
From "Desire" more than 30 years ago to "The First Half of My Life", "Thirty Only" and "Perfect Companion" in recent years, the Chinese family relationships observed in TV dramas have changed from a paying protagonist with no regrets to a pursuit. The role-building of both personal values and family relationships.
Now "Our Marriage" has gone a step further. How to balance the family and the workplace is no longer just a dilemma for women, but reminds the audience whether our cognitive biases between genders exist at a broader level.
Similarly, "Two Conjectures on Marriage" also uses the new imagination of marriage to open up the thinking: in the era of double-speed, life is still worth running in and cherishing day after day.
Warm and not hot theatrical design, more able to reach empathy
In reality, marriage is often tied to "every family has a hard-to-read scripture".
In the past two years, burnout after the honeymoon period, struggle under work pressure, exhaustion during mid-life crisis, all these are often the core of dramatic contradictions in marriage emotional dramas.
In a similar life law, creators always hope to write new stories, so making a fuss about composite genres to enhance the dramatic concentration is regarded as a new way to tell stories.
"Two Conjectures on Marriage" uses an almost comic-style voice to talk about young people's marriage and love affairs, and also uses the encounter between fitness coaches and wealthy women to develop a sample of brother-in-law love. It's just exaggerated means and bridges, which make people feel Difficult to substitute.
While "Our Marriage" throws out the lines of "knowing you" in the field of workplace and family, the credibility of workplace competition plummets because of the superfluousness of the kidnapping case.
"Meeting Season" is simply an interweaving of emotion and revenge. More than ten episodes have passed, and deep love and thick hatred are on the verge of breaking out.
The play is adapted from Anai's novel of the same name. The story revolves around a grievance that spans two generations. It is called the domestic middle-aged version of "Romeo and Juliet" by the audience.
The heroine Ning You was once deeply in a cold and violent relationship between husband and wife. After breaking free, she remained cold and arrogant in her heart.
The male protagonist Jian Hongcheng returned from a runaway half his life and is already a big boss in the business world. He cut off a suffocating marriage early. His love for Ning You is more than that.
It's just that family affection and love are not compatible. How can people who once loved deeply live together through the wind and rain?
The suspense of emotion and revenge goes hand in hand, and the drama of grievance, love and hatred comes with a strong retro style of Hong Kong drama.
Synthesizing this retro style, there are entanglements of family feuds, emotional fetters of goodbye and lover, sister and brother blood relatives, and complicated business wars.
The audience will "go up" for this drama, because of its strong love and hatred.
But if there are only dramatic conflicts, the two polarities of word of mouth are inevitable.
From the current point of view, the strong conflict is the most charming but also the most difficult part of the script. How the hero and heroine use the healing of love to quell the monstrous hatred of several hysterical supporting characters determines the final quality of the play.
The true observation of the times, strong humanistic feelings, and sincere character responsibility, allow the audience to perceive the warmth of the world and the true meaning of life in the vivid video stories-this is the innate nature of Chinese TV dramas, and it is also the success of TV dramas. The key that is closest to life and people's hearts.
Marriage and love dramas are often written and new, and the changing background of the times is a reason. The traditional Chinese people's feelings for thousands of years are the real cultural magnetic field.
From "Children of Qiao's Family", "Perfect Companion" and "Xiao Min's Family" to the three new dramas at the moment, all of them have left different audience evaluations due to the conflict between warmth and boiling, and the indistinguishable boundaries between the taste of life and the fluff .
For TV series with family, marriage and emotion as the axis, too full of emotions may be the enemy of drama.
The strong emotions that are too staged need to be cooled down and approached to the appropriate temperature of life, so that everyone can see their own appearance in a knowing smile and gain insight into life.Keywords: