Closed plot, but an open ending must be set. According to the open ending, there are no real bad guys in Anjia, just a bunch of unpleasant people in real life.
But the plot should be closed, that is, everything is viewed from the perspective of the protagonist (Fang, An), so the lens language we see is single. What the protagonists think is right, the camera joint hearing beautifies, and what the protagonists don't like, the camera will be severely degraded.
This kind of plot conflict and role presentation is simple duality. In fact, the audience has always followed the aesthetics of the director and screenwriter. They itch at the sight of bad people, and their noses and tears keep running when they see good people.
As a result, you provoked your emotions, but didn't make people feel Japanese, making everyone dissatisfied with the ending. To put it bluntly, it is just dissatisfaction with the director's handling of the screenwriter.
These so-called bad guys, selfish, greedy, self-interested, have no virgin feelings, just stand in the perspective of the protagonist. These people are too "not in line with aesthetics", but the "aesthetics" that the protagonists insist on is not the universal value of human society. If you are willing to put yourself in the shoes of these so-called "bad guys", the answer is completely different.
For example, Xu Wenchang hated Xu Youdao all his life. In his childhood memory, this is a big demon. He killed his mother and then took Xiaosan into his home, making him an "orphan".
But why did Xu Youdao say, "He doesn't understand and forgive me"? It seems that Xu Wenchang's hatred for him is actually misunderstood, but the audience can see from the previous 52 episodes that this is only love rat's defense.
If we think about it in reality, Xu Wenchang's childhood memory is completely closed and self-fixed. He only saw the mother who jumped off the building and the indifferent father. This is a memory video built entirely from a child's perspective.
Xu Wenchang never looked at the relationship between parents and the root of this tragedy from the perspective of "husband and wife". Perhaps from Xu Youdao's point of view, this story is another version, which is more complete than Xu Wenchang's children's vision.
The same is true of Pan Guiyu's Evil. In the memory of the room, Pan Guiyu abused and exploited himself, and hurt himself without restraint.
From the point of view of the room, we perceive that Pan Guiyu hates her, and she hates to take everything away from her and send her to eighteen levels of hell.
But when talking with Fang Jiadong, Pan Guiyu admitted that only the room in this house is reliable, and no one can get a penny except her. And she is the pillar of the whole family. She is like a general and a prime minister. The room is like brocade, fighting outside to expand the territory, while she arranges housework in the rear to maintain the rule of the whole family.
If we hadn't ransacked the house, the family would have collapsed. When Tian Junjia and several other children were junk snacks, she was the only one who went to be the villain and sat at the door like a visitor, making everyone embarrassed. All this is for the family.
From beginning to end, life in Pan Guiyu was hard and poor. If she really sucks blood for herself, she can live a master's life with the money given by the beautiful room in the plot.
She asked Fang Rujin for money to support the loser's family.
As for other villains, Zhai Xiaoyun is either Yan Xin or Lao Yan's daughter-in-law. If we deal with it from another angle, we may see more truth and helplessness, instead of this kind of goods that are all private goods. After the protagonist's aura covers everything, only the good and bad dualism can settle down in the world.