七十多岁的老头喊18岁少女"妈妈"。这是日前爆火的短剧《十八岁太奶奶驾到，重整家族荣耀》中的一 幕。短剧改编自小说《孝子贤孙都跪下，我是你们太奶奶》。剧中的出圈名场面还有，校霸喜欢上女主 并向她表白，女主非但没有害羞喜悦等表现，反而把玫瑰花束砸到地上，大怒道："叫你倒反天罡，叫 你忤逆不孝！" 从6月6日上线以来，该剧连续登顶多个短剧热力榜TOP1，更在爱奇艺拿下热播榜与飙升榜双冠王。饰 演"18岁太奶奶"的演员李柯以在72小时内涨粉40万，登顶WETRUE女演员榜，获封新"短剧一姐"。在本 剧爆火之前，该剧本在短剧界就已经十分热门，出了7个版本，包括《别惹太奶奶》《十八岁太奶整顿 家门》《孝子贤孙都跪下，我是你们太奶奶》《我是你们太奶奶，孝子贤孙都跪下》《重返十八岁，我 真是你太奶奶》《我在名门世家当祖宗》等。 一女配四男，这是F4之后的经典配置。但是在"十八岁太奶奶"的海报上，女主角身后的男人们是孝子贤 孙。 本剧的大致剧情是，1955年，容遇教授意外去世，一睁眼竟穿到了七十年后，一位十八岁同名同姓的高 中生少女身上。此时，她的儿子已成为了七十多岁的纪氏董事长，还有了几个帅气的重孙子。 剧中，容遇死前，作 ...

Core Viewpoint - The article discusses the emergence and characteristics of the "Big Matriarch" character in Chinese dramas, highlighting how this archetype contrasts with traditional female roles and resonates with contemporary audiences [1][3][12]. Group 1: Characteristics of the "Big Matriarch" - The "Big Matriarch" is portrayed as a strong, proactive female character who engages deeply in relationships and personal growth, often alongside male leads, thus forming a "dual strong" dynamic [1][4][8]. - This character type is prevalent in both historical and modern dramas, showcasing a range of roles from supportive wives to ambitious partners who actively contribute to their male counterparts' success [4][7][10]. - The narrative often includes elements of romantic love intertwined with professional aspirations, emphasizing the importance of relationships in the female experience [8][17]. Group 2: Audience Reception and Cultural Context - The "Big Matriarch" resonates with audiences by reflecting real-life complexities of relationships, offering a more relatable and practical approach compared to the idealized "Big Female Lead" [12][19]. - This character type addresses the anxieties of modern viewers, providing a sense of empowerment through the portrayal of women who navigate and manage their relationships effectively [12][21]. - The success of dramas featuring the "Big Matriarch" indicates a shift in audience preferences, moving away from traditional narratives that often depict women as passive or overly dependent on male characters [15][19]. Group 3: Narrative Techniques and Themes - Common narrative techniques in "Big Matriarch" dramas include "marriage first, love later" and character-driven plots that focus on relationship management and personal growth [10][21]. - The male leads in these dramas are often complex characters who exhibit both strength and vulnerability, allowing for a dynamic interplay that enhances the female lead's journey [15][24]. - The themes of romantic love and personal agency are central, with the "Big Matriarch" often depicted as a figure who transforms her circumstances through strategic relationship management [8][17].

女频微短剧火热当头的今天，女性角色的设计看似百花齐放，实则逃不过热情活力，冷艳高冷，青春无敌，英姿飒爽的固定模板。而在任何影视作品中， 角色与演员本该是互相成就的艺术关系，却在资本催熟的微短剧产业链中，异变为依靠浮夸演技和妆容去哗宠取宠，亦或是搔首弄姿的喧宾夺主。 泛滥的性暗示将人物本质内涵抹杀殆尽的同时，也让观众不得不吐槽"这股曾席卷男频的油腻风暴，终究是吹到了女频头上"。 今天让我们跟随DataEye一起撕开"女性觉醒"的幌子，揭露微短剧创作下的女性角色的好坏优劣。 一、TOP微短剧的女主，人设过于油腻跳脱？ 案例1 剧情开始女主便画着浓妆在酒吧里与男主勾搭交织，声色犬马和纸醉金迷全靠女主的搔首弄姿去体现，几步一回眸，回眸狂wink的行为，实在太刻意的在 凹风情万种娇美娘人设。勾搭男主的戏份宛如把自己视为廉价的装饰品，依附在男性身边。两人既没有惊艳一瞥，又没有眉目传情的循序渐进，整段对戏 没有情绪铺垫，除粉丝外，不太能让人有代入感。相较于女主眼里的风情万种，轻浮而不真实，或许酒吧里的服务员在推销啤酒时的眼神和感情，更有侵 略性和目的性一些。 肢体语言上，女主频繁出现滑肩的行为举止，意在表达自己秀色可餐。让 ...