She came back, but the audience no longer bought it.

recently, there has been news on the Internet that Chu Qiao 2 is preparing to start filming. It is said that the leading team is the original team. As an inspirational female legendary costume drama, the Legend of Chu Qiao won the "King of Drama of the year 2017 Weibo TV influence ceremony" in the year it was broadcast. Chu Qiao, played by Zhao Liying, is a slave girl who is sent to a hunting ground for aristocratic entertainment and saved by Yanbei Shizi (Dou Xiao) and Yu Wenyue (Lin Gengxin). After witnessing the tragic deaths of her brothers and sisters one after another, she hated this era of treating life like rubbish, so she rose up to fight, carried the banner of change on her own, and encouraged to overthrow the slave regime and seek great harmony in the world. Chuqiao in the play is resolute and firm, wearing a valiant military uniform, just like Hua Mulan. However, the news that "Chu Qiao Chuan 2" started shooting did not cause too much splash. Why? Because in recent years, there are so many movies and TV dramas of the same type that there are as many as ten leading female dramas to be broadcast this year alone. As a result, a nest collapsed. The shape of the play, the flat set-up, the stereotyped routine, the pale awakening slogan. They are like fast consumer goods produced on the same assembly line, which have already numbed the audience. In addition to letting the heroine preach slogan-style female independent lines, another model to please the female market is-- Change the gender in the male lead play into women and follow the values of male chauvinism to shape the success of women. Recently, there is a hot topic: why movies and TV dramas are more and more ingratiating to women? Because female consumers began to be highly valued, began to be concerned by capital. But the need for capital to please does not mean that women are "standing up". Because money makes women stand up, it only shows that women have become a potential group of financiers. The capital of "Mei Jin" produces the so-called heroine drama in a flowing way, not out of attaching importance to women's rights and interests, and is suspected of eating the dividend of women's rights. Because they do not really understand the plight of women, the shaping of the "Big Lady" can only be superficial-- To show the character of the protagonist, by preaching lines; to convey female values, by piling up golden sentences. The TV series "who says I can't get married" has mediocre traffic and mediocre response from the broadcast, but it can be boasted out of the circle with only a line of "attitude". But Tian Lei, an elite woman who boasted that she was "fighting for her career and not getting married", voluntarily gave up her position as a first-class partner in a large company in order to work for her boyfriend. Some people sigh: domestic dramas are stepping into the era of convenient screenshots. In addition to chanting independent slogans, female workplace dramas have been filmed into fashion blockbusters, with wage earners wearing couture to work and going home to live in rented houses that are more luxurious than model houses. The dignity and professional ability of female leaders rely on smashing books, slapping tables, and talking hard. More and more movies and TV dramas rely on "comfortable" golden sentences to shape women's independent personalities, and the actors' appearance and costume are exquisite, but they are unable to dig deep into the characters and plots. Maybe at first glance, if you look at it for a long time, you will inevitably find something wrong. It turns out that they don't know anything about women, but they want to "please" women in order to get attention and popularity. The recognition of the "Big Lady" It still follows the value system of male chauvinism. Laura Mulvey put forward the concept of "male gaze": "the classic Hollywood movie is that men watch and women are seen." "Men are the subject of desire and the subject of action, while women are the object of desire, as well as the object of male action, male salvation and male giving." Now, this desire structure has been reversed. Capital directly applies the mode of "male gaze", turning them into "female gaze"-- The subject of desire and action is changed into a woman, and the man becomes the one who is saved and given. This makes the heroine more like a male drama that has only done "gender change", and the essential logic of the story is still "male gaze", which makes viewers feel uncomfortable that the protagonist is disguised as a woman. In "Beautiful Weiyang", the subjugated princess Li Weiyang encounters the destruction of the country and her family, and fights her wits with her enemies. Finally, she puts aside her hatred, assists Tuoba Jun to ascend to the throne, and continues to assist their son after Tuo Bajun's death, aiming to make the country prosperous and the people peaceful in the Wei Dynasty. All kinds of plot designs are always reminiscent of Zhang Wuji in Heaven Sword and Dragon Sabre or Mei Changsu in Nirvana in Fire. The same vengeance, family-country feud, but the people who pass the border have changed their gender, and there is no other change. Is this the so-called big heroine play? Some netizens even commented: "like the heroine who took the male lead script by mistake." This is actually a cultural "Mulan-style situation": If women want to get involved in social life and enter men's world, they must "disguise themselves as men" like Hua Mulan, act according to the behavior and norms of male society, and endure the pain of physical and mental division, space-time division and self-division. This inherits the patriarchal logic and allows women to look at women's gaze with male eyes, which is still locked up under the shackles of patriarchal examination. It is the opposite of what women really need, a subversive, tolerant and free female gaze who dares to face the patriarchal culture. In the Thousand Bones of Flowers, Hua Qiangu has always used his master Baizi painting as a beacon of life, and he has to rely on the protection and care of Baizi painting along the way. It seems to be the "Big Lady", but the essence is still "Mary Sue"-the women in the play still need to rely on the enlightenment and guidance of male characters in order to be successful. And Luo Zijun in "the first half of my Life", which has been praised by countless media, she easily met the business celebrity he Han after her divorce and won his appreciation. With the support of he Han, it took Luo Zijun only one year to accomplish the work that others needed years of hard work to achieve. This series of film and television works, actively rub against the hot spot of "Big Lady", but carelessly perfunctory content, no matter the plot and setting can not directly hit the pain point of the female audience, it is difficult to resonate. We don't want to see women get something for nothing with the help of admirers and win easily in a dangerous struggle in the workplace, in shopping malls and on the battlefield. The big lady we want to see is on her own.Quantity, tenacity and wisdom to face the ups and downs of fate is to be able to rely on their own strength and men on an equal footing in the world. In the past, most women did not have the financial resources, and the patriarchal society taught them to treat their husbands and children at home, to behave themselves, and to block women's hearts with concepts such as "lack of talent is virtue" and "three obedience and four virtues", so that they become accessories to men. When women gradually achieve economic freedom, a new round of "material exploitation" begins again. There is a famous view on the Internet: idol is a great driving force to bring up fan economy. The capital who understands this has replaced the spokesmen of makeup brands with male stars one after another. On the one hand, it stimulates the consumer psychology of female fans, on the other hand, it creates a sense of contrast, thus attracting "passers-by". Women are naturally more sensitive. But this sensibility is easier to use. However, "male sex consumption" is not a sign that women have achieved "equality" and "victory". Those films and television works made to please women seem to cater to, but in fact they are "obscure versions" of material exploitation. Break the illusion of "repetition" The real "liberation" of women Not based on material victories and capital transactions At present, most of the leading female dramas on the market cater to women's fantasies and desires and weave a dream for women. The real "liberation" of women should not indulge in the dream of capital brewing, but return to reality and break today's unequal and repressive patriarchal structure. The Legend of Zhen Huan has been broadcast for 10 years, and it is still watched over and over again by netizens. Its classic point is that Shuang is only superficial. If you tear it apart, you will find that all the characters in the play are bound and carried forward by the feudal dynasty. Big heroine Zhen Huan, even though she has stood at the peak of her power, she is still unable to find the exit of her destiny and is called the winner. Today's female-themed movies and TV dramas seem to be only cool and sweet, but ignore the deeper things that the works should have. Only joy is the saddest part. The "big lady" in my mind is a generation of female entrepreneur Dong Mingzhu. At the age of 30, Dong Mingzhu's husband died of illness, and the heavy burden of children, the elderly and work suddenly weighed on her, making her understand that it was better to rely on others than to rely on herself. So she resigned from the system and started from scratch to take a chance to change the fate of her family. She started with no fixed salary in grass-roots sales, fainted with hunger, fell down with fractures, suffered a lot of hardship, and finally succeeded in starting a business, rewriting the fate of herself and her family. In the ci of Daming Palace, when the courtiers opposed Wu Hou's taking over the political power, Wu Hou said: "this article does not mention any of my merits and demerits, but only hates my mistakes as a woman, which shows that I have done a good job." Whether it is Dong Mingzhu in reality or Wu Zetian in Daming Palace ci, they are all hard-working and excellent, and we can feel their love and loyalty to their profession and life. They do not feel sorry for themselves because of their ill-fated fate, nor are they timid because of difficulties. They do not rely on men to develop, and they will not affect their lives and ideals because of the views of the outside world. They have a set of their own behavior and norms, always pursue the morality in their hearts, for which they will die. Their abilities are tested by action again and again; they stick to themselves in real conflicts again and again; and they perform their duties even at critical moments when they need to risk their lives. This is the "big lady" who really lives out of herself. As Dai Jinhua, a professor at Peking University, said: "I have been expecting that women will become a different place for our survival, our society, our civilization and our culture, that is, the so-called alternative, that is, an alternative choice. Only in this way can we have more diverse and diverse possibilities in a male-dominated civilization. " Today's leading female drama, in fact, in a sense, also symbolizes the liberation of women's minds and needs. We are glad to see that women can no longer suppress their desires, learn to release what they want calmly, and have a certain say in the economy. However, this is only the first step in a woman's awakening. Because equality and respect between the sexes are not based on material victories, nor on the exchange of capital. But from the heart, looking for a real non-utilitarian, no consumption purpose to look at and appreciate each other.

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