At present, urban dramas seem to have become the world of the so-called "big heroine dramas". A list of the recently aired " The Law of Love 28 ", "Our Year of Fighting", " Heart Rippling ", etc., all of which are based on urban young women, telling their workplace and emotional life. It should be a subject that is popular with the audience with women as the main body, but without exception, the audience score "failed". The online score of "Our Year of Fighting" is even only 3.9 points.
The reason for the reputation of "Waterloo" is complicated, and the audience criticized the most "firepower" in addition to the floating plot, there are also some male actors who play the roles for these "big heroines" - either performing stiff and dull performances, or exaggerating and "greasy" expressions. Some netizens asked "angrily": What is the meaning of the male protagonists of these dramas?
In the past, female characters were often set as "varnish" by the main creators in "hard core" dramas such as business wars and detectives, and therefore were criticized by the audience. When the market trend changes, the male characters in the "big heroine drama" not only cannot satisfy the audience's projection of the "ideal object", but sometimes even the most basic character performances have flaws. This phenomenon reflects not only the problem of performances of one or two male actors, but also reveals the arrogance and impetuousness of the creator blindly following the trend of "female theme craze", but is unwilling to truly listen to the audience's voice and carefully polish the script. The so-called "female inspirational" works mass-produced with frivolous attitude cannot see "real, inspirational and attractive women" or "responsible men".
The male star in the "Big Female Leader Drama" is either dull or greasy or exaggerated?
First of all, it is the fall of acting. In "Our Year of Fighting", Du Bingwen, played by Zhang Yujian, , is a returnee elite, but he has always performed absurdity. Although the script is weak, it is not difficult to shape the character setting with ability and humor. Especially in this kind of "big heroine drama", the male character who appears as a happy enemy can even be very pleasant if it is performed well. However, in the episode, Zhang Yujian almost kept his eyes hanging down and made extremely exaggerated faces from time to time. Especially in the elevator, after he confessed to the heroine he liked since childhood, "I will marry you when I become the vice president." He showed a strange "evil smile" behind him, and the audience complained that "the horror of a suspense film". At a time when urban dramas are gradually becoming more realistic and the character of "domineering president" has become obsolete, it seems that some people mistakenly regard greasy as elegance and mistakenly understand frivolity as elegance. It is no wonder that some viewers complained about Zhang Yujian as " Zhang Han 2.0", which is a performance that also made the audience feel uncomfortable in " Gentlemen of the East Eighth District ".
Some people's acting skills are so exaggerated that they are "derailed", while others are dull and stiff all the way. In "The Law of 28 of Love", although Yang Hua, played by Xu Kai , is a "home-invested otaku", "otaku" does not mean that there is no expression or anger on his face. In the development of the plot, the anger, helplessness, confusion, surprise and shame that should have been presented are often perfunctorily passed by him with a confused expression and empty eyes of "not waking up". In such a dull state, how can we become an ideal target in women's inspirational dramas?
Of course, the "big heroine" in these dramas, from Yang Mi , Chen Duling to Xu Lu , also tends to be too stereotyped and symbolic about the portrayal of working women. In recent years, it seems that they have been unable to break away from the "comfort zone" of the heroine of idol dramas and fall into a cycle of "everything that plays is the same". Compared to honing their acting skills, they seem to care more about whether their image and clothing are pleasing to the eye. In "Our Year of Fighting", Gu Qiao, played by Xu Lu, often appears in the office in delicate wavy curls, fashionable outfits covered with rhinestones and pointed stiletto boots. Although fashion elements are the standard for current dramas, it is difficult for the audience to convince her that she has spent much time improving her work ability.
Even if it focuses on female themes, male characters who play the role should not be perfunctory
In fact, looking back, these male actors have also had normal and natural performances.For example, what made Zhang Yujian really popular was "He Canyang", a young university teacher who played the role of "He Canyang" in the 2020 drama " Next Stop Is Happiness ". Although his performance is not flexible enough and fails to separate the two images of being a role model in the workplace and a lively younger brother in the family, it is still natural.
However, "becoming popular from the circle" is more of a "character bonus", which does not mean that the audience recognizes his acting skills. Last year, a movie called "Hot Blood Detective" "brings Zhang Yujian back to its original form", exposing many shortcomings, and thus declined until "Our Year of Fighting", and his performance level reached its bottom again.
Compared with the "passing work" that Zhang Yujian once had, Xu Kai was commented by netizens as "having been in a bunch of bad dramas, without any leaves touching the body." From " Eternal Love of Love " to " Li Ge Xing " to " You Smile is Beautiful ", the performance was almost "stagnant", but the complaints about the works at that time were more concentrated on the female lead who "carried ratings" and "gained reputation". He was able to repeatedly "invisible" amid public criticism.
lists the uneven performances of many young male actors in different dramas, which reflect not only the individual problems that need to be improved in acting skills, but also the weakness and emptiness of the so-called "female-themed" drama slogans that are bigger than content. In the so-called "big heroine", the main creator is at least willing to "delineate" the appearance online, career success and emotional world, and rely on the social stereotypes and reversals of older single women to complete the dramatic conflict of . When it comes to male roles, the so-called "high-quality male" that the heroine encounters only leaves keywords such as "academic master", "elite", and "golden". From the actor's performance to the character creation, they are even too lazy to get closer in this direction. Faced with this, even in the tender and sweet "sweet" stage, the audience can only express their dissatisfaction by saying "can't hold on" in the barrage.
Under the public's voice of whether the heroine in the "female drama" can be "beautiful alone", what the main creators of film and television should reflect on is not only the casting mistakes of the male actors, but also the root of the arrogance of their creative attitude and solemnly thinking about what is a valuable "female theme".
Author: Huang Qizhe
Editor: Xu Luming
Picture: Stills
