This time, Bai Baihe has made a comeback again?

　　This time, Bai Baihe has made a comeback again?

◎Han Siqi

　　"Our Marriage" is over.

After the finale, one of the most discussed questions is: Has Bai Baihe made an effective comeback this time?

　　Strictly speaking, "Our Marriage" is not Bai Baihe's first comeback.

Stepping on the movie "Happy New Year", which was released on the tail of 2019, she played the role of a young white-collar worker who encountered a bottleneck in the workplace.

In 2020, there will be a female monologue "Hear Her Say". Eight women facing different female plights will each receive a topic. Among them, Bai Baihe's unit "The Dream of an Insomniac" focuses on "full-time housewives".

In 2021, there will also be a "Door Lock" that will play the "Focus on the Safety of Women Living Alone".

Some attempts have been made on large and small screens, and they have also slowly tied their own drama to the "women's independent awakening".

It's just that every time a new work is launched, it will still be marked with the promotional slogan "Bai Baihe's comeback work".

　　This time, "Our Marriage" is no exception. "Can 38-year-old Bai Baihe's 'comeback battle' start?" How popular is the new drama?

Is there support?

Once again become the focus of the conversation.

Bai Baihe and her character Shen Huixing in the play are both under the urgency of a midlife crisis: once they have won a good hand, can women still fight a beautiful turnaround after middle age?

　　Shen Huixing's setting is an ambitious stay-at-home mother returning to work.

Shen Huixing has received a higher education and is knowledgeable, insightful, and strategic. When she graduated, she was preparing to show off her skills and chose to be a full-time wife due to an unexpected pregnancy.

Graduation, job hunting, and giving birth to a baby are all major milestones in life where ordinary people "hold their heads" and rush forward, but she suddenly chose another direction to slow down.

This choice is not too expensive in contemporary China's "high-speed" narrative. The reason why Comet makes such a firm choice is that it wants to give children a complete and perfect childhood.

　　However, the problem is that she is not self-consistent when she turns back to be a full-time wife: the value of a housewife is in terms of self-realization, for Shen Huixing, who has been fed by higher education resources and has seen a wider world—in her value sequence Low and middle class.

The figurative dilemma of Shen Comet's life is that Comet does not actually enjoy the responsibilities and logic of a housewife: childbirth is one of the chips in his hand.

She also couldn't accept being a family member, and could only appear at a tea party attached to a business seminar.

Six years later, she decided that she hoped to get back what she had lost and put her derailed life back on track.

And so the story begins, she personally "advises" all women to return to the workplace.

　　In the domestic drama market, the imagination of middle-aged women is usually divided into three parts: good wives and mothers, ordinary independent female white-collar workers, and female bosses.

Bai Baihe is an important category under the second category: "ordinary Kochi women who never lack words in their mouths".

Ten years ago, Huang Xiaoxian, the "chick" character in "33 Days of Broken Love", became Bai Baihe. She is articulate and can't suffer any time or any disadvantage. She has a sharp tongue, is upright and stubborn, and is serious and lively. It is a business card that Bai Baihe has used in various stories.

The so-called "99 words in 15 seconds" was also "inherited" to Shen Comet this time as a skill.

　　Even the whole story of "Our Marriage" began in a debate contest between Bai Baihe and Tong Dawei when they were students. "Is it a waste for a Kochi woman to return to her family?" She held a positive position in the debate contest and made each other in her life. Debater's choice.

The whole play is also like a large-scale debate on the rights of men and women with clear opinions, arguments and control groups: one group of male protagonists outside the female protagonist, highly educated full-time mothers and husbands working in investment banks, two groups of female protagonists outside the male protagonist , a strong female mother, and a full-time father with a baby at home. The three groups are the same female lead, but the full-time wife pursues the creed of "taking her husband as the boss" in "work".

　　It is a pity that this time, "Our Marriage" has not been able to perfectly achieve Bai Baihe's perfect comeback.

　　Shen Comexing is not like Gu Jia in "Thirty Only", who can win the unanimous approval of the audience before he makes sense.

Female director Shao Yihui mentioned on Weibo about the experience of watching the show, "Many people who watch Douban and Danmu will find this role annoying, because she is direct, ruthless, rubbing sand, and not giving a good face. Equality requires power. The screenwriter omitted the plot to explain that she was taking care of her children at home for six years to do housework, which I think is very efficient and unnecessary, but this may make it difficult for some people to understand why she is angry and unbearable now."

　　The audience's non-payment is not only due to the blankness of the plot - the tedious and laborious plot of taking children to do housework, from the perspective of plot design, will become a "power bar" for her to be equal and power after her awakening. Enough, how decisive and radical her departure was is understood.

The bigger problem lies in the "topicalization" of this role. She is not a "little white" who is forced to return to the workplace by the dramatic changes in her life. She has the consciousness and ambition to return to the workplace when she is a full-time mother. But he allowed himself six years to be completely blank, without reasonable transition, arrangement and preparation.

　　At this time, the accusation made by the screenwriter through Bai Baihe's mouth sounds relieved, refreshing, and extremely correct, but after thinking about her logic, it is very suspicious: So, who will pay for you at this price?

　　"If between the two of us, there is one person who has to pay more for the family, it must be me."

　　"Between the two of us, if there is one person who can succeed, it must be you."

　　"In today's society, the requirements for women are getting higher and higher. I wish you had just given birth to a child, you had better be able to practice the waistcoat line, and at the same time be able to independently and skillfully take care of the child, you'd better complete self-improvement."

　　"Society has progressed, why haven't the rules changed? It's also because you, the vested interests, obstruct change."

　　There are a lot of golden sentences, which are very reasonable, but the character logic of the story is empty-to-empty, and there is a smell of pulling the audience's votes through opposition.

The characters in the play, represented by Shen Huixing, have also become tool people - tool people who place the "golden sentences" that the screenwriter dug up from the social media war of words.

　　The other two female characters in "Our Marriage" are similarly twisted.

The strong woman in the workplace played by Jiang Xin is also like her "hard-working and hard-working" image on the screen in the past. She is trembling and walking on thin ice, always tense and afraid of being replaced by others.

For such a female executive, helping to maintain stability and harmony in the rear of her life should be an important measure of her value to her life partner, but she does not recognize the value of her husband's full-time father from the bottom of her heart.

Indirectly and unconsciously, it once again sent a signal that housework is inferior.

　　Although Cao Xiwen was able to soberly put forward before, "Take her husband as the boss".

However, when the screenwriter needs to push the plot to the next climax, she also becomes a tool for the victim in the performance of the marriage - it must be completely lost, and the price is painful to make them have the determination to walk out of that door and realize the woman's personality Independence requires the support of financial independence, which is impossible without work.

As a result, her "sober in the world" character set immediately split into a middle-aged "silly white sweet".

　　The screenwriter's tear is because there are too many gimmicks, "Highly educated women give up their careers to be full-time mothers, housework is not respected, the absence of fathers in children's education, gender inequality in the workplace, and wage workers resist overtime and introspect. Culture..." Almost followed the hot search list to pick up topics.

However, the characters are very high and eye-catching, but they do not really understand the most real dilemmas, voices and choices of housewives.

　　After all, family interests don’t have so many benefits of overturning the table. The choices in marriage stories mirror the “modernization” of the times. When modern women no longer have to “physically nest into the man’s big family”, The new contradictions in the small family formed by the husband and wife: housework, childcare, labor, resource allocation, these realistic issues are new and real. Although Shuangwen and Jinju can "consume" these emotions, they cannot bear them. "Cries" that are not far from our reality.

When the creation can not be kidnapped by the topic, the drama of marriage and love can become the real antidote to life.