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　 　 　 　Original title: "workplace metamorphosis" in modern spy war dramas

The foggy Qiu Chan, as a well-made spy war drama this year, has been greatly anticipated by the audience due to the pre-publicity’s rendering of suspense and the addition of many old drama bones. In fact, the beginning of the plot is desperate. The intense and exciting rhythm of the previous episodes really fits the artistic expression level of the spy war drama. However, with the end of the whole drama, most of the audience’s complaints about the straightforward and simple plot, the rigid emotional line of the heroine, and the unfocused modeling of the male protagonist constantly surfaced. The typological exploration of domestic spy war dramas still faces bottlenecks.

The "Death Game" in the Fierce Workplace Competition

Compared with the successful representative works of spy war dramas in previous years, such as plot against, lurk and pretender, Qiu Chan’s handling of "the struggle between the enemy and ourselves" does have obvious narrative confusion. On the whole, the plot still follows the strong plot narrative of the spy war story, full of danger and suspense, and weaves various tests for the protagonist. Compared with the portrayal of domestic heroes and the description of human nature, the workplace confrontation between Ye Chong and Miyamoto in the play is relatively more exciting.

In the fierce competition in the workplace, two young and energetic colleagues have different positions and beliefs. They use the superficial personal grievances and even the competition for the same position in the office as a seesaw, but in fact they have just completed the hiding of the hidden personnel. In the pursuit, catching the mole and suspecting his colleagues almost never stopped, from the office of the Military and Political Department to the scene of the arrest and interrogation, and even setting up sentry surveillance near the colleague’s residence. From the point of view of the workplace, the two are really devoted to their work. Dai Sato Zang, the Major General of the Military and Political Affairs Department of Xiangdao, is more like a leader who is embarrassed everywhere. The most repeated lines seem to be exhorting two subordinates to "I hope you will stop here". As a superior, while mediating the contradictions between subordinates, I hope they will be used for their own purposes; On the one hand, I hope that they will form a compelling relationship with each other and even deal with powerful subordinates. Here, the humanized contest between the enemy and ourselves, which is common in spy war dramas, has been clearly transformed into a workplace contest.

Generally speaking, in this seemingly infighting in the workplace, in fact, the righteous man will be portrayed as a superhero with superior wisdom and vigorous skills. In the play, Ye Chong did keep his disguise in every crisis, but it was always slower than Miyamoto’s, which led to the continuous failure of the joint, and comrades were constantly exposed and arrested, constantly sacrificed and transferred, and then entered the next cycle. In the play, the role of Xiaozhuang almost swept all the affairs of Ye Chong, and the point of fierce confrontation between the male and the female was also diluted. If it is intended for the suspense mechanism of plot narration, it can only be regarded as a strong spiritual stimulus of "death game", which is useless for shaping the protagonist.

In addition, in the spy war drama, it is also a common skill to sublimate the sense of tragedy in the form of the hero’s sacrifice in the face of potential crisis and the viciousness of hostile forces. Before the arrival of this established sad moment, the complicated story is not the standard to judge whether a play is good or not, otherwise it will fall into the formal game of suspense reasoning and hinder the expression of the theme.

Youth idols and the infinite land of "pan-spy war"

The high confidentiality of hidden front work makes underground workers more like a contradiction. Qiu Chan is the male actor Ye Chong — — Code-named "Qiu Chan", an underground worker, chose a youth idol. Allen’s face is chiseled, with all kinds of uniform suits, suits and white shirts, and he can play the piano. As a hidden and forbearing person, The Infiltrator invariably highlights the modern aesthetics of the characters, which seems to usurp the host’s role. Stereotyped facial stereotypes can’t match the development of characters’ personalities.

From Sparrow, which started with the appearance of "youth" spy war in 2016, to Qiu Chan, which is cold and lonely today and needs to be reborn, it is of certain significance for the younger generation to pay attention to and inspire their growth, and its influence and communication effect are also obvious to all. In the consumption context of youth idols, there are often designs that pretend to be lovers or couples, and Qiu Chan has not jumped out of this pattern, setting up scenes where female characters are jealous or have misunderstandings. In the past spy war dramas, this usually existed as an auxiliary line of family ethics narration. However, if emotional entanglements can’t really play a role in narration, they are just coquetry of female characters, which will lead the plot to a boundless land of "pan-spy war".

The revolutionary cause of spy war is not a child’s play. Female roles can be weak, but they must be honed and grown. The female images in Qiu Chan also lack the smart and capable side of women in traditional spy war dramas. In addition to Junko Qingquan’s excellent business ability, Jin Xiang was portrayed as a "gangster female leader", while He Ying, the female host, focused too much on the emotional relationship with the male host. The embarrassment of identity and emotional displacement make the audience only rely on the existing experience, and they are constantly frustrated in the heavy decryption of the plot. This gamification experience, which is not equal to the real feeling, further dispels the seriousness of spy war.

In addition, it is a skill for spy war dramas to create a sense of urgency in time and space to construct unique urban images and complete dramatic conflicts in a certain time and space structure. For example, the New World, with the main battlefield in Beiping, the Peace Hotel, with the closed space in Manchuria in the northeast, and the Kite, with a spy war narrative around the mountain city of Chongqing, etc. Qiu Chan also takes wartime Hong Kong as the main activity scope of the characters, and inserts some actions of Myanmar and Shanghai. From the blockade of virtual space to the breakthrough of external information transmission and exchange, the regulation of time and space provides an enchantment for this clever narrative. But it is a pity that the drama’s creation of Hong Kong’s urban features in a specific period is mediocre in regional characteristics and has not left a clear and profound impression on people.

Since 1958, when the film showed the outstanding underground workers of the Party dedicated themselves to the revolution, the image of hidden front workers in these years has been stereotyped as "dancers at the tip of a knife", and everything except faith and mission has been left behind by individuals. The TV series "Eighteen Years of Enemy Camp", which premiered in 1981, was recognized by the academic circles as a new beginning of domestic spy war drama because it showed the image of a Communist party member who went deep into the tiger’s den regardless of personal safety. It can be seen that the enduring foundation of domestic spy war dramas still lies in the performance of revolutionaries on the hidden front and their indomitable underground work. Qiu Chan’s expression of workplace squeeze in the hidden front, the borrowing of youth idol elements and the expression of special regions in special times are also an exploration of new types of elements in domestic spy war dramas to some extent. Although it is not satisfactory in handling, it is still instructive.(Author: Peng Liuying, Associate Research Fellow, Film Art Center of China Federation of Literary and Art Circles, Editor in Charge of Film Art)

The return of the fairy sister ignited the retro craze of Chinese drama.

Legend of the Sword and the Chivalrous Man is not only a fairy in Liu Yifei, but Zhao Linger’s mother, Empress Wu, was also the goddess of that year.

Sun Li, who has been in the cinema for many years, returned to the screen and performed a "Wife’s Choice".

There are spoilers in this article.

one

Sugar cube is not happy recently.

Mao Mao, Shiba Inu, who has been with him for many years, is lost. This puppy is an important family member to Fang Tang who has not given birth after ten years of marriage.

After posting the dog-seeking notice for several days, the sugar cube began to accept the reality.

Today is very important for her husband, Gao Jiawei. She must cooperate with her husband to attend the event, and there is no way to delay any longer.

Gao Jiawei is a self-made entrepreneur from the media. As an opinion leader on emotional topics, he often competes with another emotional expert Qi Miao to explain emotional issues from different perspectives of men and women.

Looking at the speech on her husband’s computer, I couldn’t help but quietly polish the itchy sugar cube.

In fact, after becoming a full-time wife, Fang Tang has been working as an amateur detective novel writer, thanks to her good writing style.

When Gao Jiawei recited his wife’s wonderful ideas on the stage, Fang Tang also dressed herself up and prepared to go to her birthday party, the most important occasion today.

It was supposed to be a couple’s world, but after Gao Jiawei founded the company, the sweet wife-pampering day was also added with more performance factors. After all, a good leader who cares for his family can better win people’s hearts.

Out of support for her husband’s work, Fang Tang has never been dissatisfied with this. She attends as a model wife every year and enjoys the "surprise" arranged by her husband.

But when Fang Tang saw Gao Jiawei coming out of the bathroom, the lipstick mark on her husband’s shirt collar caught her alarm.

Gaos thought for consternation explained that it may be a drunken woman at the door of the bathroom.

But how close does a stranger have to be to leave lipstick in such an ambiguous place?

As a wife’s vigilance, sugar cube walked carefully every step. She smiled and walked to her husband’s preset stage, while carefully observing the red number of every lady present.

She knows that something must have happened, and a woman’s perception can’t be wrong.

In fact, Fang Tang had seen the luxury goods receipt in her husband’s pocket before. As a detective novel author, she had long been wary.

Did the husband cheat? Who is the third party?

Following the clues, Fang Tang became a detective of her marriage and began to deal with her husband in a seemingly peaceful pregnancy life.

2

Spy war, suspense and family ethics drama, a drama contains the above three popular elements, and Wife’s Choice may be the first one.

From the professional setting of Fang Tang, it can be seen that "Wife’s Choice" wants to fight hard. In the serial novel "Fatal Gentleness", she replies to the reader as an author, which is like a big V gesture.

Sugar cube found her husband reading the novel, but when asked about the work, the other party said that the author’s writing was not as good as sugar cube’s.

Obviously, the husband doesn’t know his wife’s pen name, and he doesn’t know her writing style well enough.

And husbands hide more secrets from their wives.

However, a good play needs a good rhythm. "Is the husband cheating" has become the biggest suspense at present, and the director has made the audience think that all the girls swept by the camera may be a third party.

Seeing Qi Miaobei’s luxury bag, Fang Tang confirmed several times where the other party bought it, because she suspected that it was her husband’s bill.

Seeing the lovely earphone left in her husband’s car, Fang Tang teased which young girl’s belongings it was, but her husband used jokes to avoid it.

Seeing the necklace of a young female subordinate, Fang Tang pretended to be enthusiastic and asked about the brand and added WeChat. After all, everyone was suspected.

His wife quietly investigated, and Gao Jiawei, as an emotional expert, also knows the appeasement policy and the push-pull relationship, candlelight dinner, surprise gifts, wedding anniversary plus pregnancy preparation, and even created a more loving husband and wife life than before.

However, the Smiths’ performance will eventually reveal the truth. When Sugar Cube finds out that she has been betrayed, it is the wife’s choice whether to destroy her husband’s name as an emotional expert or sacrifice herself to whitewash it, which is also the prelude to the next catch me if you can.

When betrayal and doubt begin, marriage has come to an end.

three

As an important work of Sun Li’s return to the small screen, Wife’s Choice has a good script design and is adapted from the novel of the same name by writer Wang Xiaoqiang.

The subtlety is that it knows how to analyze women’s psychology with the cloak of suspense, including the breakup of life.

There are full-time wives represented by sugar cubes, strong women in the workplace represented by Qi Miao, and women with love anxiety represented by heavy rain. Around the wall of marriage, women’s joys and sorrows are presented one by one, and everyone’s growth arc is also displayed.

What’s more, there are only 12 episodes of "Wife’s Choice". To complete the three things of husband and wife’s battle, truth and self-growth, the director needs a strong rhythm to control.

In the first half of the series, many suspenseful and necessary details are added, but whether we can take into account the detailed proportion of several lines still needs further observation.

The intrigue of the husband and wife from the details also has higher requirements for the actors. Just how to lie without changing color requires performing at all levels.

Sun Li removed the label of "Huang Lei’s wife", and fans wondered whether the real housewife who returned to the screen after 12 years had regressed.

It must be admitted that there is a certain age difference between the 44-year-old Sun Li and his wife in her early 30 s, but her relaxed and relaxed interpretation still makes people believe that she was not only lucky when she debuted.

Yuan Wenkang, the supporting husband, has played many roles in love rat before, but this time, the hypocritical liar is set up by everyone, and he is also good at it.

In addition, Zhang Yao, Wang Zhen, Ma Yinyin ("Hunting Crime Picture Book"), Zhao Da, Liu Yiwei and Wu Bi joined in, which also accumulated some interesting points for the team.

"Wife’s Choice" turned the middle-aged dog blood drama into a suspenseful twist, but there are inherent type barriers. Whether this unconventional transformation can be completed is far from being revealed.

It can only be said that Sun Li, who came back, and Wife’s Choice, who jumped out of the genre framework, are brave adventurers, testing the water for the whole industry, first to see if the spring of middle-aged actresses has recovered, and second to see if sincere creativity can be recognized, and the standard for testing everything is always in the hands of the audience.

The picture in this article comes from the Internet.

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