Ailv hotel

Liang Zhengxian is very manly, and his attitude towards Wang Manni finally moved the role of Jiang Shuying. But the two have always maintained the basic norms of communication. Even when Liang Zhengxian tried to enter Wang Manni's cabin, he was cleverly refused. When Liang Zhengxian invited Wang Manni to go to Northern Europe to see the Aurora with her, Wang Manni was very sober and thought that they were not from the same world, so she had better go back to the world she sold.

Who knows, in the tenth episode, Liang Zhengxian came to Shanghai, found the store where Wang Manni worked, made a consumption, and then gave Wang Manni a room card. Wang Manni was moved. He asked the manager for an afternoon off and then ran to the hotel. The tenth episode ends in this passionate and eager running.

By the eleventh episode, Wang Manni and Liang Zhengxian were already in the hotel, "finished" and started chatting. Only from the perspective of the scale of TV series, no more than 30 diversity technologies are still within the broadcast scale. But even so, this scene has caused controversy among many viewers. Some people think it's too dirty, others think it's nothing. Of course, these disputes are aimed at the plot characters, not the plot scale.

Again, on the scale of the plot, this scene doesn't seem too much. In the choice of characters' behavior, there is indeed controversy, and every language has its own attitude. For example, the reason against Wang Manni is that two people have just met and are in different classes. Liang Zhengxian is too rich, and Wang Manni is a wandering prodigal son, so they are not suitable in essence. Under the premise of just knowing each other, it seems inappropriate to have such a relationship.

Criticism of this statement is that this relationship is only a manifestation of love, why should it rise to the state of marriage? Even if Wang Manni and Liang Zhengxian don't have a marriage relationship in the future, it's no exaggeration that they once had such a relationship. This is an adult's self-behavior choice, and there is no need to rise to the moral level. We can't use the old tradition to criticize the behavior of modern people, especially the way of love.

The old editor also wants to talk about the controversy over the behavior choice of the characters in this plot. First of all, such a drama arrangement, when we were young, TV dramas dared not and would not be created like this. When the old editors were young, TV plays were often conservative in presenting love. The biggest "measure" we can accept is holding hands and kissing. The latter is actually very large. Screenwriters should try not to appear at the level of TV series when creating. In cinema movies, it can be relaxed appropriately.

Of course, do you think you can make up for this scene at this age without anything but thirty? I can. I wonder if other old readers can. Similar things happen to pi and Xiao Huan, but between husband and wife. The scene in Thirty for Nothing is between lovers who have just met, or between men and women whose relationship has not yet been determined. This may be a place to challenge the audience.

Secondly, is this challenge positive? The creation of TV plays should be constantly improved and keep pace with the times. Some scenes don't exist in our time. From the perspective of "professionals", the first thing that old editors think of is whether these scenes that do not exist in our time have positive value for the development of this era. If there is, yes, if not, the screenwriter should be cautious and responsible.

In reality, such a dramatic relationship between men and women with uncertain relationships does exist. It's nothing more than thirty to move this objective existence to the screen. Is it a warm praise for this behavior? Or merciless flogging? Judging from the stories broadcast at present, the love between Wang Manni and Liang Zhengxian is still in the stage of killing each other, or it is an affectionate song. However, it is not excluded that in the follow-up plot, the two encounter a love crisis, and Wang Manni appears "Waterloo in Life". It is not excluded that the screenwriter has a negative attitude towards this kind of behavior.

To judge this scene objectively and fairly, we need to look at the direction of the love story between thirty-year-old Li and his wife. At present, the screenwriter is in the objective display level of zero concern and has no personal attitude towards the play. The old editors of this era are all conservative. Of course, I am willing to accept criticism from young people.