I don't know when the theory of suffering in popular culture and the theory of causality began. After getting used to watching many TV interviews where celebrities proudly recalled their past struggles, I unknowingly also deeply agreed with the truth that one must endure hardship to become successful, and subconsciously this became a kind of capital for gaining discourse power. When you face someone who has endured much hardship and come a long way, we can only remain silent in front of their suffering and experiences. Therefore, such a theory of suffering gradually became a form of discourse hegemony accepted by the masses, and its extended value judgments also influenced your thoughts. And all of this is often not baseless but rather flows naturally like a stream. Meanwhile, the perfect seasoning added to this discourse hegemony makes it unassailable. The birth of the theory of causality is like a carefully adjusted compass, always deviating slightly from the south direction but ultimately returning to its embrace, beautifully completed. So, the theory of suffering is a forceful discourse authority, while the theory of causality is like a gentle emotional flirtation. If these two are combined, it forms a very perfect and carefully crafted deception, one playing the red face and the other the white face. Thus, even the roles of the third party and ruffians can gain sympathy. However, the TV series "Snail House" appears very naive in trying to change the public's perception through these two aspects.
If we simply say that "Snail House" portrays the harsh survival status behind mortgage slaves, it does indeed reflect reality, especially those represented by Hai Ping, who are striving to buy houses in cities. Perhaps everyone has different reasons for the difficulty in buying a house, but the desire for a warm little nest in the dimly lit areas of big cities is equally strong. Especially the dramatic portrayal in the show of the two characters tightening their belts for a week, living mainly on pickled vegetables and steamed buns, has moved countless people to tears. But the subsequent loss of values is somewhat painful, not for the actors' stories in the drama, but for the main creators who lost their principles for ratings. Don't forget that Hai Ping's 60,000 yuan for buying a house was obtained from Song Siming, a wealthy middle-aged man, in exchange for sexual favors. Is this the author Lu Lu's implication that if you can't afford a house, you should resort to devious means? Later, Hai Ping's calmness after Hai Zao became Song Siming's professional second wife puzzles me. When a wealthy and powerful person uses money to turn your own sister into a second wife, then uses his connections to help her find ways to make money, can you openly acknowledge her new identity? Moreover, the focus of the entire drama seems not to be on the hard record of Hai Ping buying a house, but on the emotional entanglement between Song Siming and Hai Zao. Other things, like Hai Ping and Xiao Bei, are merely annotations to their story. Instead of emphasizing the story behind mortgage slaves, it might as well say that the story of professional second wives and high officials is more appealing.
Using the tone of cultural suffering to cover up evil intentions behind it is despicable, but loudly promoting the love between Hai Zao and Song Siming makes people angry. I once read an article online asking why women all love Song Siming. It mainly emphasizes that Song Siming is mature, steady, and rich, not only satisfying women's spiritual fantasies but also fulfilling their physiological shopping needs. He is another male idol killer after Gray Wolf. If such demands can make women feel at ease and discard ethics and morality, then what difference is there between them and noble dogs in rich men's homes? There is no much debate whether there is love between Song Siming and Hai Zao, just as there is no much debate whether there is love between Hai Zao and Xiao Bei. You can have many excuses and reasons to like or fall in love with someone. Liking without reason is also based on a feeling. If you can legitimize them in the name of love, then Ximen Qing in ancient times also deserves praise. Although he had intimate relationships with many women, the premise is that he liked them before doing so. Then Chen Guanxi shouldn't be condemned and questioned by the public either. Mutual consent, what's wrong with that? But don't forget the ethics and morals that constrain our behavior, which although cannot be seen or touched, exist in everyone's heart. But "Snail House" deliberately amplifies the emotional drama between Hai Zao and Song Siming, aiming to gain everyone's sympathy, pioneering the precedent of the emotional relationship between second wives and high officials. However, the author Lu Lu seems to have forgotten moral integrity. Believing this drama is quite realistic, especially Hai Zao's views on emotions, which many girls today agree with. After confirming that working hard is not as good as marrying well, shouldn't it also encourage women to align more with the Song Simings of the world? Besides, is Song Siming's affection towards Hai Zao love or possession? Or is it just a simple transaction of flesh for money? Why did he suddenly decide to return to his family at the end?
Too much reality can resonate, but after laying out the problems, using the identity of a second wife to resolve some real issues, is this the original intention of this TV drama? When we don't have the ability to change everything, there is no need to deliberately create smoke screens to confuse everyone, right?
We do not lack beauty, but we lack eyes to discover beauty; we do not lack TV dramas, but we lack TV dramas that care about human hearts. For the painstaking efforts of "Snail House," I still want to say, spare us. This is a work by Zou Zou, exclusively published on Sina Blog. Please credit if you reproduce.