Reporter Wang Yan

　　Zheng Juan, who is tough as silk, Hao Dongmei, who is independent and generous, and Qu Xiuzhen, who loves young people delicately and sternly, who are the most admired female characters in "The World"?

If the discussion is still warm, the heroines and supporting actresses in popular dramas such as Shen Huixing, Dong Sijia, Li Xiaotian, Shen Mingbao, etc., are just like the hot discussion samples of a new batch of "contemporary women's illustrations".

　　If the audience's discussion of female characters in the past few years revolved around distinct female themes, such as "The First Half of My Life", "Thirty Only", etc., then in the past year, people's comments on "her story" and "her image" almost Infiltrated into all realistic themes, whether it is family narrative, epics of Chinese people's life, or types of dramas such as workplace and suspense, the shaping of female roles has become a prominent trend for audiences and netizens.

Even in the "Top Ten Impressive Characters in Domestic Dramas in 2021 in the Eyes of Young Audiences" announced not long ago, Li Shuihua stood out from the group portraits of the poverty alleviation theme "Shan Hai Qing" and was listed in the top ten.

Young audiences born in the 1995s love her traditional kind and tough temperament, and they are even more moved by her independent and progressive appearance in difficult times.

　　In the new era, how to write women's stories in domestic dramas, and where is the ideal state after Nora leaves?

At the scene of the Two Sessions, Wang Liping, a member of the National Committee of the Chinese People's Political Consultative Conference, interpreted the transition of female image shaping: "The ideal female image on the screen is quietly changing without change. What has not changed is our pursuit of truth, goodness and beauty, but what has changed is the change of Chinese women in the new era. Pay attention to the realization of inner needs and self-worth, and pay more attention to the life path chosen by yourself." In her opinion, a screenwriter's growth path is in sync with society and the times, and seeking answers from life and the people is a constant proposition for screenwriters.

　　The broadening of women's occupational boundaries reflects the boundless landscape of the times

　　"The Great Comet Shen" is what some netizens said about the heroine in "Our Marriage".

The attribute "terrific" covers too many meanings: she is a literate woman who grew up in an open and open environment in a big city, a full-time mother with a rock punk style, Wen Neng raises children and tells stories, Wu Neng moved to repair water and electricity After the six-year life of husband and son came to an end, she rushed into the financial circle not only to apply what she has learned to gain a firm foothold in the workplace, but also to win a place for idealism in the venture capital ecology that pays attention to the "law of the jungle".

　　Including the financial circle, the professional images of women in domestic dramas in the past year have covered many fields.

Moreover, many women in the workplace, saying goodbye to their "vase-like" roles in earlier years, have become more and more the backbone of a project, a company, and a career.

　　Previously, led by Chen Kaiyi, "Dressed Up" opened the profile of women's careers in the fashion magazine industry; "Perfect Companion" used two groups of families as a reference, and the career route of female lawyer Chen Shan's charge was regarded by many audiences as "the ideal of women". "Light"; when "Ideal City" was broadcast, Su Xiao's appearance made the domestic drama have the first female cost engineer in the construction industry. The unique life trajectory of a cadre and a "returning daughter"; "Female Psychologist" is as its name suggests, closely focusing on He Dun's career growth, bringing the social issues of psychological counselors and mental health to the public.

And in dramas such as "Xiao Min's Home", "Win and Lost", "I'm Good in Another Country", and "Love is Delicious", regardless of whether the female group portrait drama is positioned, the female doctors, female white-collar workers, female executives and other roles in these works are all Open up their own unique place in the workplace.

Even the traditionally male-dominated industries such as SWAT commandos and forensics have female characters who can rival their male counterparts in dramas such as "Special Warfare Action" and "Bone Language".

　　He has always been known as the "storyteller of the times". The development of female images in domestic dramas and the ever-expanding boundaries of women's occupations reflect the boundless landscape that belongs to the times.

With the deepening of reform and opening up and the refinement of social division of labor, the group of professional women in China is continuing to grow.

Their self-improvement needs for career ambition and ability are no less than men's.

From the perspective of women's gradually expanding occupational pedigree and women playing a more important role in social relations, domestic dramas in recent years have indeed listened to the footsteps of the times.

　　Only by not deliberately emphasizing the inner growth of gender can we lead the true fashion of the times

　　There is a scene in "The World" that has the meaning of "Easter Egg": "Six Little Gentlemen" last song to the secretary's house for New Year's greetings, and everyone has a lot of heated discussions in front of "Desire" played on TV.

The actor of Secretary Qu was the former "Liu Huifang" Zhang Kaili.

　　From the incarnation of truth, goodness and beauty that swept the country in the 1990s, to "Old Lady Qu", who is now popular among young audiences, the same actor has not only changed his age, appearance and other physical conditions for more than 30 years, but also in essence, there has also been a scene around women. Social aesthetic change.

If the hundreds of millions of viewers in the 1990s poured great sympathy and love for Liu Huifang's gentle, virtuous and unrepentant personality, then the upright and open-minded but eclectic Secretary Qu in "The World" who "can't be called 'old'" , is the appearance of the ideal female elders recognized by the audience in 2022.

What is intriguing is that her charismatic personality in the play is not based on the dramatic tension generated by the confrontation between the sexes and gender differences.

Coincidentally, in the "Rebel" with Lin Nansheng as the protagonist, Zhu Yizhen is also written shiningly. She is the eldest young lady who acts like a spoiled child in front of her father, and she is also righteous and brave, for the country, for the party, and her integrity is not inferior to men. Lady Rose, she sings about men and women equally, and her eyes shine as she recites "Leaves of Grass".

　　Let's look at the "2022 Women's Report on Screen" released by the Propaganda Department of the All-China Women's Federation on March 8. It shows that more than half of the interviewed young people born in the 1995s said that they would regard the image in the play as a role model in real life.

In the domestic dramas of the past year, the highlight moments of women respected by Generation Z did not come from deliberate gender disputes.

In "Shan Hai Qing", Li Shuihua cultivated mushrooms with sweat and a heart of learning; in "Ideal City", Su Xiao, an "ideal worker", implemented a clean cost table to the end; "Female Psychologist" "He Dun helps a young mother with postpartum depression return to a normal life... Every highlight points to the character's inner positive growth, rather than an external gender label.

　　They just enlighten today's creators - the narrative of women who can lead the fashion of the times, not the success of being gentle and humble, subordinate to others, but inclined to the pursuit of independent personality and diverse life choices; not based on a happy marriage and a successful career. Take it as a general benchmark for winners in life, but recognize that the process of struggle and struggle itself is a precious practice in life; instead of measuring life gains and losses by wealth growth, you can see the improvement of spiritual wealth, mental wealth, and even the ability to perceive happiness. is a precious harvest.

Last but not least, the predicaments and hesitations in their bodies are definitely not about winning the issue after the gender separation and opposition, but the creators restore the characters to "people", starting from the nature and inner growth of "people", depicting Out of character arc.

　　Re-examine some urban dramas that raise the flag of women with this standard, whether it calls for the contrasting hypothesis of "transpositional thinking" within the family, or depicts the hard-hearted turn of women in the workplace and the struggle between heaven and earth, and overemphasis on gender differences, The "pain point" of the double standard of gender often causes the word of mouth of the drama to be submerged in the same river: hot discussion and tearing at the same time.

　　Female characters who change with the aesthetics of the times should not only care about breaking through gender stereotypes, but also their unique wisdom and philosophy, self-esteem and introspection.

It's these ethos that make us talk about characters again with their names, their stories, and not necessarily their gender.