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the phoenix man was so determined to reach a higher level that he did not hesitate to give up his girlfriend who he had been in love with for many years. after a lot of hard planning, he hooked up with a fake rich and beautiful woman, while the girlfriend he gave up was the real daughter; jingpingpo was pinching her in a high-end gym, but she didn't expect to pinch her. the one who arrived was the ex-husband of my immediate boss. what was even more disturbing was that the boss and his ex-husband had a fake divorce. their class had not yet jumped, so i became the third party...

bundle"half mature men and womensubmit the love stories in "douban" to the douban group, and each one will probably become a hot post of the year with thousands of views.

"everyone has slight flaws", "pure love warriors watch with caution", "one more person watching the drama, one less innocent person"... judging from the early unconventional announcements, the film crew seems determined to win the game of urban love. a new world opens up on the road. currently halfway through the broadcast process, how has this proposition been completed?

01

the good news is that domestic urban dramas finally dare to make female characters "bad".

the three main female characters, he zhinan, sun hanhan, and han su, each have their own dark sides. the "moral pacesetter" formula does not work or play in this world.

first, he zhinan, who is set as a "common girl", can't let go of the gentleness and magnanimity of her first love boyfriend, and is obsessed with the ambiguous entanglement with crush. it seems like a dilemma, but in fact, she enjoys the feeling of confirming her specialness through love. the more people compete for her, the stronger this feeling becomes.

from gao peng to qu yipeng and then to xiao zhang, after the last two failed, he zhinan returned to gao peng. sun hanhan and han su both have their own careers, but she seems to just keep hanging around one man after another. this is also where this character has been criticized by many viewers.

but it needs to be pointed out that he zhinan's yearning for love is more based on his own desires: the desire to be loved and noticed, the desire to break free from the curse of "ordinary"... so when a relationship when he fails, he zhinan can always quickly withdraw after being sad and continue to look for the next partner who can satisfy his desires. this is what sets her apart from traditional idol drama heroines.

secondly, sun hanhan, who calls herself an "independent woman", passively fell into a love triangle after meeting barrister zhou bin at the gym, and acted as the less honorable "third party".

sun hanhan has strong work ability and is a motivated person, but this does not mean that she does not want to take shortcuts. a former colleague turned party a into her husband, and she escaped from the hardships of the workplace and turned into a carefree rich wife. sun hanhan also had a faint envy in his disdain for her.

it is precisely because she only has the appearance of an "independent woman" but no inside of an "independent woman" that she was trapped by the cunning zhou bin step by step. for example, when she learned that zhou bin had a family, she wanted to draw a clear line with him, but when she saw the high medical bill, she immediately changed her story to "save respect" for not wanting to pay for it.

little did she know that this approach could deceive herself but not zhou bin. the subtext of her concession to zhou bin was that there was still room for improvement in this relationship.

after the two got together, they learned that zhou bin was going to remarry. sun hanhan originally vowed that she could not accept being a third party, but when zhou bin clarified the interests from the perspective of practical interests, she hesitated. the reason for her hesitation was ultimately the same as zhou bin's reason for remarrying, that is, she knew that quitting the relationship at this time would be a "big loss."

this is a more real and poignant urban emotion: men and women, each with their own agenda.

han su, on the other hand, has the charm of a yi shu girl. she regards her career as the foundation for her livelihood and gives way to all aspects of love. when her boyfriend and her future were placed in front of her, she chose the latter without hesitation.

it is true that qu yipeng has low self-esteem and is sensitive, and it is also true that han su treats him as a burden.

but even an independent and sober person like han su will fall into a moral trap in front of a scumbag who has no psychological burden. even though qu yipeng had put the plan to pursue bai fumei on the agenda and implemented it, han su would still feel guilty and tormented by the affection he showed.

obviously han su knew best how utilitarian qu yipeng was, but he would still stand at the elevator entrance after the breakup, watching the elevator door open and close, wondering if he would make a final effort to stay.

three female characters, three views on emotions, they wander between sincerity and pretense, and also vacillate between old and new values. they are so-called "half-baked".

02

"half-mature man and woman" mentioned a concept during the promotion stage: "little bad guy". in the increasingly tightening atmosphere of public opinion, this drama chose to "loosen" the protagonist morally, which is worthy of praise in itself, but its shortcomings lie precisely in this -becoming "bad", but not enough.

"half-mature men and women" is adapted from liu cuihu's novel "there are no faithful men and women here", and the title of the book is the theme of the story. if the drama version is "all characters are slightly flawed", then the novel can be called "all characters are evil".

in the original work, he zhinan did not break up with gao peng when he and qu yipeng were together, and qu yipeng had other affairs before him. the drama version gives various reasons for he zhinan to "make up" for his pursuit of freshness: the alienation of long-distance relationships, gao peng's cold violence and the truth about the two people being together... the essence of it is the "betrayal" of the heroine. accumulate more moral capital.

in other words, the creators acquiesce that the female characters’ philandering requires moral capital.

but judging from the results, this approach not only does not allow the heroine to have "immunity" in the field of public opinion, but also goes against the "morality" emphasized by xuanfa.

sun hanhan's story line is similar. in the original work, when she and zhou bin were together, she clearly knew that the other party was not divorced. while she was seduced by zhou bin's luxury gifts, and at the same time she was coaxed by zhou bin's lies about "leaving her soon", by the time she realized what she was doing, she had become a "know-what" prostitute.

when sun hanhan wanted to end the relationship, zhou bin, who revealed his true colors, used this to threaten her and control her. this is the most realistic and terrifying part of the entire story line.

(↑original excerpt of "there are no faithful men and women here")

this kind of strategic "ambition" and "caution" after implementation give "half-mature man and woman" a contradictory look and feel of "both wanting and wanting".

on the contrary, qu yipeng, who does not have to bear the halo of the protagonist, can be "bad" with openness and peace of mind, and has become the most restored character in the whole drama.

he came from a poor family and made his way out of the mountains by studying hard. but when he came to a big city and realized that some gaps could never be made up by "solving questions", he only had one thought in his mind: he didn't want to work hard anymore. he decisively gave up han su, whom he truly loved, for he zhinan, and then quickly changed his goals after learning that he zhinan was not a rich girl. he focused on integrating knowledge with action and putting efficiency first.

in reality, there are also jokes about 30,000 male netizens courting zong fuli online. the mentality of "grabbing men" is far more common than what is shown in movies and tv series.

the gold-rimmed signboard “feminism” often becomes a shackles for creators, which proves that the road to feminism in current film and television creation is still difficult and difficult.

03

liu cuihu once wrote this sentence in the introduction of the original work "there are no faithful men and women here": "no one has the luck of true love casually. in the adult world, it is just a matter of temptation, selfishness, and trade-offs. so little by little sincere."

this sentence is also applicable to her other film and television work "apocalypse of pretending". under the pretense of the elite class, there is confusion and loss when the sense of self-worth is gradually swallowed up by the consumer society.

in "half-mature man and woman", the movie he zhinan and gao peng watched for the first time when they kissed was "love comes first", which forms a wonderful irony with the view of love in the play.

whether it is qu yipeng and sun hanhan who want to take a shortcut through sex, or he zhinan who is looking for excitement between new love and old love, the common sentiment permeating these choices is: true love is no longer supreme, and any conditional items have priority. they may be placed before true love at any time.

what is sharper than the main plot and better reflects the emotional confusion of contemporary young people is the small theater that runs through every episode——

"dating market": only if you have enough cards in your hand will you be qualified to play;

“have enough food and drink”: sometimes you think you are short of love, but in fact you are short of money;

"vibrant city": the first step to becoming a canary is to put down your books and thoughts.

behind each small theater is a realistic topic worth exploring, which more or less reflects the choices of the characters in the play.

just like the metaphor of "burning the barn" in "the pretender apocalypse", after this generation of young people have "disenchanted" true love, the question worth exploring becomes "which value should we pursue among the various values?" how do you make sure you don’t get lost in it?”

this is the most valuable aspect of the creation of new urban dramas represented by "pretend to be apocalypse" and "half-mature man and woman", and it is also the only way for urban love to break through.

correspondingly, this not only requires creators to dare to abandon the routines of idol dramas for young children, but also must maintain attention and keen observation of the lives of young people today, and inject intriguing adult thinking into the creation of dramas.

i hope that in the near future, the so-called "this is what adults should watch" will not just be a gimmick in publicity, but will truly produce more high-quality urban dramas that keep pace with the times and resonate emotionally with today's audiences. .