Did Take Home have a tragic ending? Why do domestic explosions always have a "perfect ending"?

The ratings of the three networks broke 1, the ratings of the six networks topped the list, the broadcast volume of Mango TV exceeded 4.5 billion, and the hot search of the whole platform exceeded 500 rounds. Only thirty minutes later, another domestic explosion "In the Name of Family" officially ended. But it is difficult for the audience to be satisfied with the happy ending of the series.

With the continuous development of the second half of the plot, the play is becoming more and more popular and controversial topics are increasing. The audience's sense of separation in watching the drama is getting more and more serious, and the warmth of real family drama has long been diluted by fierce topics.

Early in the morning, the audience began to worry collectively whether Chen Ting, who was already a "demon", would be "washed away". As a result, in the finale, the big boss of the whole drama, which was "crazy" from the first episode, was really washed away, occupying most of the time of the finale. From beginning to end, Li's father finally remarried for three minutes. Suspense is left directly to the audience. The protagonists have experienced a warm childhood, and finally have a happy ending.

However, taking it home is not an isolated case. Domestic explosions seem to collectively suffer from HE (Happy Ending) syndrome. No matter how many holes remain to be filled, let's have a happy ending first.

So there was "An Jia" and the derailed father who hated 52 episodes embraced each other to bury the hatchet; Gu Jia, who is only thirty, took her children to Chashan, and it seems that everything can start again. "Everything is OK" Su Mingyu resigned and went home because of a pile of problem sets, taking care of her father who has been a demon for dozens of episodes.

The finale seems to be a bridge. No matter how many grievances have not been settled before, the ending will be put down first and the grievances will be written off.

But think back carefully, there were many domestic dramas before 20 10, and there were really many BE (bad endings). From Zhao Linger's "Die" to Li Xiaoyao's "Die", and then the little dragon girl turned into a fountain in front of Brother Pig, the audience of that generation was simply abused by the tragic ending.

Judging from the results, the scores of these ancient classic dramas with cruel endings are generally around 8 points, but in recent years, the domestic explosions with "satisfactory" endings always seem to escape the big ending of declining word of mouth.

Why must the ending of our domestic explosions be "perfect"? And why is our domestic drama getting worse and worse?

This year's summer file, "Home" is really hot.

You excellent people have caused a wave of topics.

But as soon as the ending came out, the audience who caught up with it complained that they were caught off guard-after all, they made a mistake.

Chen Ting was rescued after committing suicide. Ling Xiao comforted her, "You feel wrong, and you can make up for it by living." Finally, she returned to Singapore with tangerine and finally let herself go.

Li's father married He Mei, which not only satisfied his wish for many years, but also finally realized his wish to write his name in Li Hukou book.

Li's father advised Ling's father to take a big photo and blurted it out directly. "When to get married in the future" seems to have decided the overall situation with the sword.

With the help of Zhuangbei, Sister Volcano decided to act again and go back to perform a play.

Everyone seems to have an explanation. But why do you think I should return it?

Because the knot laid by the story on the audience has not been uncovered. Just washed white in a hurry.

Let go of what once could not be put down; Once tangled, pulled the card; Once unforgivable, forgive.

Everything is in line with the explosion law of domestic urban drama: no matter how resentful it was before, the ending must be that everyone put down the butcher knife and become a Buddha.

Take Chen Ting as an example.

Out of selfish desire, from the beginning, he put the lid of his daughter's death on Ling Xiao's head, which directly caused Ling Xiao's lifelong psychological shadow. Later, she came back gloriously, but she was in a car accident again, leaving Ling Xiao to take care of her. Did she feel grateful and learn to be a good mother?

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Instead, she used her mother's identity to create heaven and earth, stirring up the zenith.

What does forgiveness depend on? Suicide.

I killed myself. What else do you hate? Forget it, just forgive.

But can it really be written off?

Ling Xiao has been unable to sleep for a long time. If Chen Ting commits suicide so irresponsibly, Ling Xiao will have no peace for the rest of his life. From another perspective, didn't Chen Ting threaten Ling Xiao with his own life? If she really dies, Ling Xiao must remember her for a lifetime. Li Jianjian will also feel that he has harmed Ling Xiao because of Chen Ting's death. Ling's father is also destined to bear a lifetime of guilt.

Isn't this move more vicious than what she did before?

However, if this role can have the courage and responsibility to bear the mistakes, I won't be as angry as I am now.

But now this ending, in my opinion, is a great irony. Please give up this maternal love as soon as possible.

Chen Ting's Tongshu Yang responded to Chen Ting's controversy, saying that she didn't understand Chen Ting's character at first. She believes that the root of Chen Ting's tragedy is the anxiety engraved in Chen Ting's family of origin.

Tongshu Yang's performance was really successful, and the role performance could not be promoted to an actor. But I still can't agree with this explanation, at least not as a reason for the role to do evil.

Moreover, because the number one boss is busy washing white, other audiences have no time to talk about issues of concern, such as whether Sister Volcano's play premiered successfully or not, and whether she stayed in Zhuangbei later. What happened to He's career?

At last, the screenwriter kindly gave dad Li a happy ending: after half a lifetime, he finally had love, affection and career.

But this ending is still very suspicious. Forced family fun gives people the feeling that it is not reliable. Why? The reason is still an obvious routine of domestic family drama:

1. Family topics that arouse values.

2. Upgrade contradictions and create topics. The story is fast-paced and complicated, which covers up many plot logic bugs.

3. Shape the villain into the best wonderful work.

Just like the first half of Everything is Fine, I tried my best to portray the three men in the Su family as the best among adults. The take-home style is that there are almost no normal adult women in the first half.

So many people watch and think, are there really people like Chen Ting and He Mei in life?

It is precisely because the best image in front is too deeply rooted in the hearts of the people that their transformation is hard to convince.

Of course, there are wonderful things in real life, but ordinary everyday things are more touching. Do you have to fly a chicken to jump a dog to explode?

However, the explosive strategy of Take Home is that the first half makes wonderful people work hard and brings out a series of social problems, but they don't intend to really answer them.

Because I worked too hard when I created the topic in the early stage, I actually overdrawn the rationality of the story reality. Finally, I didn't know how to make up for it, so I just made it up.

In the end, everything ended in a hurry.

The ultimate plot, wonderful characters and "happy ending" have thus become the classic three-piece set of domestic dramas.

Is this explosion strategy really effective? The success of "Take Home" once again proves that although the word-of-mouth fell sharply in the second half and the finale was also spit out, the number of hits on the platform was very good, and it was also able to get the broadcast volume of S-level projects. Facts have proved that most audiences have high requirements for the topicality and contradiction externalization of the drama. Whether the ending is perfect or not, the ratings are perfect.

However, not all the audience were satisfied with the ending. The audience will also see that the main creative ending is busy whitewashing and there is not enough room for other protagonists. But the audience seems to be getting used to it. Set well, start well, have many deviations, and have a bad ending, which seems to have become the established practice of China drama explosion. Why?

In recent years, the explosion finale of China's plays has become more and more popular: the finale forgives the "wicked".

From the mother in Fan's Ode to Joy, the mother in Su Mingyu's Everything is Fine, the mother in Fang's Anjia, and the mother in Home, the only one who walked out of the "evil mother" routine was woman 30, who collectively forgave, with different objects, but the result was forgiven.

As a result, the audience vomited blood every time they saw such a happy ending.

In Everything is Fine, Su Mingyu was killed by Su Mingcheng. As a result, she not only dropped the lawsuit, but also showed mercy to help Su Mingcheng after seeing that he was cornered. Finally, Su Mingcheng turned over a new leaf and went to Africa to pursue his career. Before leaving, he said goodbye to Mingyu, and a brother and sister laughed and forgot their enmity.

Su Daqiang, who worked all his life, found that he had signs of Alzheimer's disease, and then remembered that he was the father of three children.

But because Mingyu is rich, she has to bear the greatest responsibility for providing for the aged, even though she has been abused by this family.

Su Mingyu wanted to get rid of his family all his life, and finally gave up resolutely in his father's memory disorder, giving up his career and going home to support Su Daqiang with love.

What's all this for? Because the author wants him.

In Women's Thirty, love rat's Xu Huanshan made amazing efforts to achieve her own destruction, but after the divorce, Gu Jia began to sell her car and house to love rat to pay off her debts, pay the severance payment of employees and the compensation for the dead and injured workers.

Although the end of this TV series is still a smile, all the viewers are thinking: What did Gu Jia do wrong? Why did she end up like this?

Because the author wants him.

Not to say that the finale must be rehabilitated, but is there really enough reason to forgive by shaking hands with the past?

Sorry, it's too late. Let's have a happy ending first.

But the problem for the audience is. Every story is suitable for a happy ending? Is this to satisfy the audience or to send them away?

Last year, Ruby Law edited the wireless thriller "Jin Xiao Mansion", which was first exiled by TVB to broadcast on weekends, and then parachuted by high-level officials to broadcast on Mondays to Fridays with good ratings.

Broadcasting becomes the whole hot talk+explosion, and the audience chassis of TVB is still the teacher's milk. Do you want him for such an explosion?

But in the end, the man and the woman went back to the past and saved the woman. As a result, they worked hard to the end and died hand in hand. Even the audience knows that the final encounter comes from the comfort of the screenwriter, and the real ending must BE BE.

Why do Hong Kong dramas with declining mountains and rivers dare to give an incomplete ending, while China dramas must have a happy ending?

Probably because, at present, the safest selling point of China's plays has become: sweet and cool.

Whether it is the shell of an e-sports, family or fantasy drama, the most effective explosions must be: Gao Tian and Gao Shuang, which are so easy to crack. Come and crack with me!

What tragic ending can there be? All the audience know that even if the protagonist is bullied at first, he will always beat the bad guys one by one, and he will be proud and beautiful.

When the audience's demand for sweetness prevailed, the creators of China's dramas and platforms also understood: real life is miserable enough, who wants to see a tragic ending? Give me everything about him.

Besides, even if I have the heart, how many top domestic dramas can support a sad ending?

The result is that no matter how bumpy and hard it is in the middle, the plot will eventually return to the routine of family harmony in domestic dramas.

Is there such a contradiction that can be easily resolved in real life, and is there such a villain who suddenly wakes up?

Of course not, because the forced finale is inhuman, but it conforms to the law of explosion.

Then don't care so much, what comes first.

Therefore, the tragic ending that really makes people feel excited is really that the audience has not seen you for a long time.

But once upon a time, domestic dramas not only dared to hurt the hearts of the audience, but also dared to hurt the hearts of the audience.

"Pig Eight Rings in Bright Spring" turns tears into a downpour.

Finally, in order to save the East China Sea, the little dragon girl left Bajie alone to enjoy the fireworks all over the sky and suddenly disappeared.

Is it necessary for the little dragon girl to come back to life to meet today's national drama creation?

The 1 and 3 endings of The Legend of the Sword and the Chivalrous Man abused a generation of audiences. The first finale, leaving Li Xiaoyao alone with her daughter, returned to Yuhang Town. The third finale, Jingtian's death day is coming, but it leaves the audience with a final smiling face.

Now, do you want them all to come back to life?

Other sad endings have changed a lot now. In Hidden, Yu Zecheng and Ping Cui experienced so many ups and downs, and finally Ping Cui and Yu Zecheng experienced the cruelest "where will you go". I can't take it anymore. Will Yu Zecheng have a perfect return?

Didn't Dicky Cheung and Nicholas Tse in Little Fish and Hua Wuque lose their lovers and die alone?

Not to mention the woman in Men Yang, the best in the world, the secret history of Xiaozhuang, the Be machine adapted from Haiyan's novel, never satisfied, Jade Guanyin, what can I do to save you, my love? ...

Isn't it necessary to change everything so that the audience can enjoy themselves?

But just like the pig in spring and the legend of the sword and the chivalrous man mentioned before, why are those endings unforgettable?

Isn't it because besides the little love of the protagonist, the role has a bigger and more important mission to complete?

Stories often end in tragedy, precisely because it is easy to have no perfect ending, and the tragic victory after giving everything is the more real ending of life.

Only from Nirvana in Fire to now, it seems that there is no explosion of a China drama that dares to give the audience such a sad ending.

Therefore, the lingering sense of fate desolation has long been strange.

But does tragedy have to be bitter? Does a sweet drama have to be sweet?

But tragedy is bitter, but sweet. And forced happy reunion, in addition to hard saccharin, what else?

The master of Chinese opera may argue that we shoot this way because the audience likes it.

Yes, in contemporary society, everyone seems to be facing endless economic and mental pressure. Anxiety and mourning have become high-frequency words in life. When China's plays go their own way, they are more and more afraid to let the audience see the depressing and sad ending. The forced whitewashing of "Home" and the forced self-improvement of "Woman 30" are all reflections of this psychology.

Clever producers and screenwriters skillfully created a series of explosion topics, such as moral kidnapping, false bonesetting between brothers and sisters, and family background, and used the anxiety and emotions of the audience to create explosions. Finally, they told the audience with a happy ending: Look, everything will be fine.

Who are you kidding?

After all, the happy ending is just a new explosion routine of China opera.

Occasionally, a work that dares to go against the trend like "Tiansheng Long Song" is difficult to become a phenomenal work.

The difficulty of the creator being kidnapped by the explosion is very obvious in the national drama.

The audience is not satisfied with the finale, and will question the main creation with various voices, but by the finale, the explosion has been obtained.

Next time, the master will still choose the previous explosion routine. Then what is produced is a more homogeneous and routine assembly line product.

But the truly touching tragic ending should not be blown away by the wind and rain with the explosion trend.

Although this is an era in which everyone pursues fast food and happiness, everyone's psychology of watching drama has been pulled to the "cool drama" mode by hot search and short videos. The feedback from the market objectively encourages those routines that are vulgar and have unreasonable endings but want to "explode".

However, a single aesthetic demand cannot bring the spring of domestic drama.

Only if someone dares to bite hard bones and go upstream, China opera will not be drowned in the taste of sugar residue with a perfect ending.

I don't want to call for the finale of Take Home, because I don't want to agree with the Chinese-style happy ending of "forced white washing and forced happiness", and even more because I don't want all the explosions of China dramas to force a happy ending for the audience in the future.

All happy endings are not the real him, but.