Why are netizens more tolerant of old celebrities' personal morals? Just look at Ma Dehua, a six-year-old boy.

Why are netizens more tolerant of old celebrities’ personal morals? Just look at Ma Dehua, a six-year-old boy.

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The Westward Journey “Script Killing” of “Meng Tan Tan Tan An” set off a round of emotional search. Teacher Liu Xiaoling Tong’s high attention to details of appearance in the variety show has also attracted countless likes.

In the show, Zhang Xinyi, Na Ying, and others silently praised him for his veteran artist style, and his rigorous role in portraying him, and his understanding of art and skills has benefited other actors a lot.

A large number of netizens outside the show sighed with tears, because he let the audience see his childhood “superhero”, and because of the six-year-old boy’s love for Monkey King, “Journey to the West” and performance.

Of course, there are also some other sounds in the middle.

The “Six Schools” that caused ridicule by the entire Internet group by Liu Xiaoling Tong was mentioned again, but this time, the audience hoped to put aside the personal concept and treat the old artist as an actor.

Some people think that netizens are too tolerant of old artists. If young actors have personal morality disputes, even if resources do not decline, passers-by will still collapse, and old artists are rarely turned into “black history” on a large scale.

Except for the six-children who are suspected of categorizing the Westward Journey IP as their own “exclusive”, many well-known veterans of the public are not able to withstand deep picks in terms of personal morality.

Liu Xiaoqing, the top star of his parents’ generation, not only had a history of tax violations, but also had an extramarital affair with director Jiang Wen. He was placed on young actors and almost everyone shouted.

But Jiang Wen is still the most appealing gold director in the eyes of the people. His “Let the Bullets Fly” is the “eternal god” in the hearts of many netizens, just as Liu Xiaoqing is always a fairy actor in the world of Wu Zetian.

When he was young, Tang Guoqiang, the “cream niche” who was involved in emotional disputes about the suicide of his ex-wife, few viewers remember this “dark history”, and more people only remember Tang Guoqiang’s splendor in costume dramas.

I just flipped it over. It is the “dark history” that was put on young people to collapse in minutes. Why is it put on veteran actors, but the audience is more inclined to separate personal morality from the actor’s identity?

The two old actors, Liu Xiaolingtong and Ma Dehua, in “Meng Tan Tan Tan An” gave the best answer.

If you want the audience to completely separate the personal moral dispute from the artist’s identity, calling for tolerance and an objective view of the artist does not have any effect. The key is that the party must have good skills, strong skills, and stable craftsmanship.

Business ability is always the best weapon for artists to “whitewash”.

Every time a netizen is moved by a six-year-old boy, two elements are inseparable. One is that he has shaped the childhood “superhero” of Chinese audiences, and the other is that his Monkey King acting skills are unsurpassed so far.

The added childhood feelings of the works made Monkey King appear on the stage and the audience was excited. The tears of the post-90s Yang Zi’s eyes were not exaggerated at all. When the prelude sounded, the eyes of Seven Chapters began to sore.

The extreme excellence of the works and characters is enough to allow the audience to selectively forget the private controversies of the artists. The “dark history” or personal shortcomings of the younger generation of artists cannot let the audience relax, and it is often overwhelming because of insufficient business capabilities.

When Liu Xiaoling Tong was rigorously performing on the hot search, idol artist Ma Jiaqi’s failure to meet the college entrance examination cultural class has also become a hot topic among the people. In addition to artist fans, netizens basically complained about it.

Is it true that one generation is inferior to one generation, is there a bad ability to even fail to reach the 340-point line?

This score is indeed low enough to make most netizens speechless, but looking back at the college entrance examination results of previous actors, many of them have passed the exam with ease, but they are as good as Ma Jiaqi, and even occupy the mainstream.

Especially the “Measuring Girl” Dongyu Zhou. She used to step on the line with 285 points to enter Nortel and shocked the audience, but now when it comes to Zhou Dongyu, very few people will take her college entrance examination scores.

Quite simply, the results of the double-material film queen and the escort of many phenomenal word-of-mouth movies completely conceal her weakness. Now that Ma Jiaqi has been ridiculed by the group in the college entrance examination, it is also a scum business ability that has not been able to conquer the public.

Also caught in tax issues, Liu Xiaoqing has one more cheating hammer than Fan Bingbing, but the audience for Liu Xiaoqing’s comeback will only applaud. After all, she has the female emperor Wu Zetian, and Fan Bingbing only has Mary Su Wu Mei Niang.

When the artist is not enough, the skills are not strong, and the high reputation works are lacking, don’t expect the audience to separate their personal perceptions from the artist’s identity. If you only look at the artist’s identity, the younger generation is really not enough.

It’s a pity that too many young artists have failed to consolidate their business abilities, and they are all selfish. The actors are impetuous as soon as they become popular, and the idols are obsessed with polygamous love as soon as they debut. How can this make the public tolerate?

Artist’s ingenuity is always an undefeated “magic weapon” to impress the audience.

After many years of playing the classic role again, except for the louder gasps after the performance, the audience can hardly see the difference between his performance and his youthful performance. He is still light and vigorous, and still agile and vivid.

He grasps Monkey King’s posture and moves, and is easier than Huang Zitao, who is young and has martial arts skills. The sword is not old and handsome, but to achieve the effect of the sword is not old, he must have enough love for his role and work.

In other words, the ingenuity of the artist has always been maintained. Ingenuity is an indescribable concept, but an artist with ingenuity will always make the audience feel his silent dedication and love from his heart.

In “Meng Tan Tan Tan An”, in addition to the part of arranging the styling and serious communication of the characters, Liu Xiaoling Tong has always maintained the Monkey King’s style, taking himself as the Monkey King to participate in this program.

Even when the host introduces other actors, Liu Xiaolingtong’s subconscious movements are also Monkey King, not himself. What is love? He Jingye? This is.

No matter how perfect the personal morality is, the lack of business and ingenuity will make the audience helpless.

Because Monkey King was too popular, Ma Dehua, who played first, seemed to be less valued, but his performance did not paddle at all. At the age of 76, he played the nine-tooth nail rakes step by step.

In contrast, the young Yang Di’s movements are obviously much looser.

Objectively speaking, it is normal for Yang Di, who was born as a host, to perform like this for the first time, but the sad thing is that many young actors now perform in feature films and are often not much different from Yang Di.

This is also the key to the increasing charm of costume dramas, but when you look at the old artist Ma Dehua, you can see that there is no slackness. In the formal performance, he is a lively Zhu Bajie.

As a background board to watch other people communicate, he is a Zhu Bajie who loves to touch his stomach.

Even when the celebrities moved their positions, he walked in the manner of a pig.

When it comes to the younger generation, how many actors can be in the play regardless of the camera? In “I’m the Actor”, Li Randi stayed in the acting state while waiting, which already moved her mentor Wu Xiubo.

If you want the audience’s tolerance and respect, you must first give the audience enough reasons. If you are not good enough as an artist and have no ingenuity to present, then it is logical that private moral controversy becomes a personal label.

The audience’s “tolerance” to the personal virtues of old artists is not because they are old, but because they are real artists.

Moreover, the consumption feelings or thinking of old artists have caused controversy like the “six studies”. Seven words also want to say something to them. The consumption feelings are not worth advocating, and the curing of thinking is also very bad.

However, the rate of return of many established artists is really low compared to that of the new generation of actors.

Their works, acting skills, and love for the profession of actors are impeccable, but on the road to actors, they neither encountered the dividends of contemporary young artists enjoying their achievements, nor did they gain career shortcuts because of their works.

After Liu Xiaoling became popular with Monkey King, he has only played the protagonist of three TV dramas so far, one is the old book “Wu Chengen and Journey to the West”, and the other two are “1939. Enlai Return to Hometown” and “Tracking 309”.

After “Journey to the West”, Ms. Ma Dehua used soy sauce in small-cost movies. He has been in the business for more than 30 years. There are only six TV dramas in total, and they are all supporting roles.

It is hard to imagine that this is the treatment of the protagonist of the national classic big explosion drama. The reason is that it did not meet the era of the explosion of mainland film and television resources; and the other is that the special characters are too well played and ignored by the industry.

Take the six-year-old boy as an example. After Sun Wukong’s success, many directors mistakenly believed that he was only proficient in monkey opera and was not suitable for acting as a “human”. When preparing a project, he rarely thought of asking him to challenge a new role.

When “1939 Enlai Back to Hometown” was broadcast, there was a report that a certain director thought he played Zhou Enlai very well and wanted to know more about the actor. After discovering that he was Monkey King, he couldn’t believe it.

However, in the era of underdeveloped information, these praises will soon be overwhelmed. The top creators in the classic roles of Liu Xiaolingtong, Ma Dehua and others can only silently become the “green leaves” in the industry.

Now their age has entered the retirement period, what else can they mention without mentioning “Journey to the West”? Within a reasonable range, it is not too much for the old-fashioned actors to be selective and tolerated by the public for their obsession with classic roles.


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