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‍A few days ago, I said:

I thinkMrs. Hua, played by Cheng Pei-pei, is the real heroine of "Flirting Scholar", and the biggest villain. Qiuxiang, played by Gong Li, is more like a plot inducement, attracting Tang Bohu to complete a series of adventures.

Just like in "Kung Fu", the mute girl's role is not as important as Qiuxiang: if that movie really had a heroine, it would be the landlady.

Sometimes, the heroine of a plot can also be the heroine's companion, such as Karen Mok in The God of Cookery.

But many times, the female companion of the protagonist is not necessarily the core of the play. For example, in "Justice, My Foot", Christy Chung and Ada Choi's role in the plot is not as good as that of Maggie Cheung's Qi Qinshi, and may even be worse than that of Yuen Qiu's Sangu...

It's not just Stephen Chow's movies that have this pattern.

For example, in the movie version of "New Dragon Inn", there seem to be two female protagonists, and in the end Zhou Huaian still loves Qiu Moyan, but in terms of the plot, the female protagonist is Maggie Cheung's Jin Xiangyu.

In ancient narrative works, the participation of female characters is uneven. In the Iliad, Briseis and Helen both play the role of provoking male disputes. Bariche believes that the female roles in the play reflect the desire of the common people for peace, but after all, the roles are not that big.

The ones that Chinese people are most familiar with are probably "Romance of the Three Kingdoms", "Journey to the West" and "Water Margin", none of which have female protagonists.

Modern worksempathy, when describing personal adventures, they like to use the love line as a clue. Chateaubriand and Mérimée both had "traveled to foreign countries, met foreign beauties, and got entangled in love stories". The old lady in "Dream of Red Mansions" also said that everyone loves to listen to the drama of talented men and beautiful women. It must be about how a scholar and a young lady get married. In the end, when they succeed, they usually have a double harvest of career and love - this love harvest is often the protagonist's female companion who becomes the heroine.

Various modern romantic love stories also like to be designed like this: the man catches up with the woman, everyone is happy; the woman catches up with the man, everyone is happy.

A story that suits the public's taste also has to feature a poor boy falling in love with a rich girl, which is an old-fashioned legend of a talented scholar and a beautiful woman; if the gender is changed, it is the genius wild girl who charms a nobleman, which is common in Japanese girls' comics - such as "Nodame Cantabile".

What is interesting is the criteria for success.

Like Balzac's "Eugenie Grandet", it is a tragicomedy. The heroine finally got the wealth that everyone dreams of, but lost her love. When Balzac wrote the ending statement, it was a bit desolate.

But looking back nearly two hundred years later, "the heroine took 20 million francs, kicked the unfaithful man away, and made him regret it for the rest of his life", isn't this a very satisfying story?

Just like the heroine does not necessarily have to be the hero’s wife, the heroine’s ending does not necessarily have to be determined by a happy love relationship.

This is also what I like about the ending of "Gone with the Wind". After losing Rhett, Scarlett was in pain for a while, but after the pain was over, she gritted her teeth and planned to return to Tara, "Tomorrow is another day", "There is nothing she can't get as long as she wants it."

This is much more advanced than those "winning the world but losing love" plots.

Extending from this:When the heroine of a story is tied to the hero's partner, it often means that the story is about the protagonist pursuing success in both career and love, but in the end it is often easy to be single-minded.

Often, when the heroine of a drama is not limited to being the hero's partner, the drama will have less sense of immersion in the love story, but it will be much richer.

(This is my advice to a friend who loves to watch "Monster No. 8" but complains that the heroine has too few scenes...)

For example, the most important female character in "The Disguiser" is not Hu Ge's confidante, but her sister Ming Jing.

For example, the heroine of "The Mansion Gate" is not Bai Laoqi's Huang Chun, Yang Jiuhong and Xiangxiu, but the second wife.

For example, in Dragon Ball, Goku’s partner is Chi-Chi, but if we have to name a heroine, it’s probably Bulma - conversely, if the plot describes Goku and Bulma, would it still be watchable?

For example, in Yu Yu Hakusho, Yusuke has his female companion, but the most powerful female character in the entire work is undoubtedly Genkai. Even Genkai's farewell left a deep impression on Toguro.

For example, in The Witcher 3, Geralt naturally has Yennefer and Triss, a pair he can try to hug left and right (as long as it doesn’t turn into a three-way tango), but the real heroine is Ciri, who is growing all the way.

For example, in Final Fantasy 7, Tifa is Cloud's companion, but the heroine who drives the plot forward is Aerith - of course, some people will say that Tifa is the hero and Cloud is the heroine, okay XD

Probably, once you get rid of this kind of thinking: "I put myself in the shoes of the protagonist, and I must make the heroine my wife/husband, and the ending of the story should be that we are together, and by the way, we achieve the success that everyone envies", you will naturally see the world as a whole and a different place.

Similarly, in real life, once you get rid of the love brain and the sexual brain, the world will look completely different.