Why do domestic screenwriters always use clichéd "misunderstanding jokes"?
It is mentioned in drama theory that plot is the key to promoting the plot, and the plot is divided into external conflicts and internal emotional changes. Movies generally choose the latter, while TV dramas pay more attention to intense drama. conflict.
However, most domestic screenwriters are better at using clichéd "misunderstanding jokes" to create character conflicts, which will undoubtedly drive the audience who are open to God's perspective crazy, leading to a sense of character collapse, such as The currently popular "Liu Li".
To be honest, although the plots of the first 36 episodes of this drama have some routines, such as jealousy, misunderstandings, etc., the overall treatment is smooth and smooth. The plot serves the character. The latest 9 episodes are available on demand. It is suspected of being tortured for the sake of being tortured. Misunderstandings are dense and cliche. The audience has not yet come out of the last emotion, and another misunderstanding appears in the next second.
In the original novel of "Liu Li", the second Hairpin Conference is the most exciting part of the whole novel. Lize Palace has a head-on confrontation with Shaoyang Sect, Dianjing Valley, and Fuyu Island. Si Feng has to fight The demon appears in front of everyone, and the two designs directly lay out the contradictions between good and evil, love and deception.
The screenwriter of the drama version may have wanted a stronger dramatic conflict, so he added a plot about killing his mother. It was not enough to turn two misunderstandings into three; Xuanji made an appointment with Si Feng in Qingmu Town , as a result, she accidentally lost her hairpin, and Haochen happened to steal her Nine Heavens Mysterious Fire, and then Si Feng was trapped, and all the fingers pointed at Xuanji; before the fourth misunderstanding was over, the fifth misunderstanding came again, such as Xuanji He was forced to swear and was overheard by Si Feng. Si Feng accidentally broke into the secret realm. Later, he forced himself to identify the evil star in Mingxia Cave. Then the elder of the Shaoyang Sect passed away, and Si Feng took the blame again.
Obviously, the plot is full enough at this point, but the screenwriter still wants to impose more abuses, such as the Zhengzheng siege of Lize Palace, Haochen hurting the young bird without morality, and Si Feng and Xuanji confront each other? Just say, if the audience sees so many clichés and misunderstandings at once, won’t they get angry? On the barrage, some criticized the female protagonist, some criticized the male protagonist, and some ridiculed Chu Lei, Hao Chen, and Xiao Liuzi. The main reason was that the plot was too blunt, the misunderstandings were too forced, and the characters became tools to promote the plot. .
How to say it? Xianxia dramas are different from urban dramas. The conflict between good and evil is a constant drama point. How to handle it well using clichéd misunderstandings is particularly important. In "Fairy Sword One", Li Xiaoyao and Ling'er were also separated due to misunderstanding, but the misunderstanding here does not have a sense of separation. The plot continues to develop, and the misunderstanding is only part of the plot.
As for "Liu Li", the screenwriter arranged too many misunderstandings, and each misunderstanding was not high-level enough. The bugs were obvious, and it was not worth considering in detail, so everyone felt that the character design was broken and inconsistent. Continuously, let’s not talk about the male and female protagonists, let’s talk about how did Chu Lei become so pedantic? Haochen is closer to a state of madness? The screenwriter is so disregardful of the character's character, how will it end in the future?
Of course, in addition to the screenwriters of "Liu Li", other domestic screenwriters also like to use clichéd misunderstanding plots, such as "In the Name of Family", the first four episodes focus on the family line, and later the male protagonist loves the female protagonist. , the female supporting character loves the male protagonist, the female supporting character is best friends with the female protagonist, and then the female supporting character secretly kisses the male protagonist. Anyway, it’s a mess.
Speaking of which, Shui Qianmo, the screenwriter of "In the Name of Family", likes "misunderstanding jokes" very much. "The Next Stop Is Happiness", which was broadcast at the beginning of the year, is her masterpiece. The entire series The play started from the love and marriage of 30-year-old women and tried to explore the anxiety and uneasiness of women in this age group. As a result, the audience did not see the collision of values, but only saw one misunderstanding after another.
The same is true for "The Fourteenth Year of Chenghua". Tang Yu in the original novel is smart and virtuous, but in the TV series, she creates conflicts in the name of "I am doing this for your own good." No wonder the audience will say Has she been possessed?
To be precise, it is because the screenwriter only uses cliché misunderstandings to promote the plot, so he ignores the character of the characters; in addition, why there are fewer and fewer group dramas is because the supporting characters have become tools to promote the emotional development of the male and female protagonists. , are also the source of misunderstandings in the entire drama. Their characters tend to be superficial, unlikable and unspectacular.
Although the sweet drama "The Rumored Chen Qianqian" is obviously anti-conventional, there are also some cliché scenes in the back, such as Chen Qianqian making decisions without asking Han Shuo, and then the two have misunderstandings. In addition, the second female lead Chen Chuchu is like a tool, moving wherever conflicts are needed.
In "Crane Huating", "misunderstandings" are spread out, and every plot and misunderstanding are closely connected. Most of them do not fall into the clichés, and the screenwriter does not force the ending for the sake of happiness. What follows is a feeling of abuse for the sake of abuse.
And "Snow Pear Stewed with Rock Sugar", like "Crane Huating", also starts high and goes low. In the novel, there is no misunderstanding between the male and female protagonists and Meimei. The drama version must increase the drama between the female protagonist and the male lead. The plot is far-fetched, and the pure youthful love that preceded it is gone, leaving only "Oolong and conspiracy".
In fact, the most basic element of a good story is plot. What domestic screenwriters need to do most is to use plot to promote the development of the story, rather than a series of misunderstandings.
"Nirvana in Fire" can become a classic because the plots are interlocking and the supporting characters have their own thoughts. King Yu is vicious and somewhat pitiful. Emperor Liang uses imperial power to play with everyone. In the end, he The old tear shed was moving. The misunderstandings and quarrels between Mei Changsu and Jamel Xiao were just additives to the characters. There was a trust between them that had never disappeared.
The old drama "Wulin Gaiden" does not have a dazzling transformation path, nor a dramatic plot. It allows the audience to watch it again and again because the plot is exciting enough, and misunderstandings are never the main thread, even though life is full of things. Misunderstanding, sometimes the words do not convey the meaning, and sometimes the words do not mean it, but you must have your own opinions. If you are led by the misunderstanding, then where is the charm of the character?
Finally, don’t blame this audience for being so harsh. I can only say that everyone still has high expectations for domestic dramas.