东北年代轻喜剧《老舅》日前迎来收官。热闹搞笑的日常落幕,家长里短的温情散去,但剧里那个一脸"不 靠谱"、一身"折腾劲儿"的"老舅"却在观众的记忆里扎了根。 从《都挺好》中被全网声讨的"妈宝男"苏明成,到《我是余欢水》里被生活碾压的余欢水,再到《对手》 中挣扎求生的李唐,郭京飞似乎总在扮演那些被命运推着走的"小人物"。这次在《老舅》里,他看似"放飞 自我",实则以一种更松弛、更本真的状态,诠释了一个普通人的坚韧与温暖。 记者 刘宗智 济南报道 折腾是一种精神 在剧集前半段,崔国明的"折腾"充满了东北特有的幽默感。在食堂被厂长刁难当众表演,他一脸正经地高 歌《铁窗泪》,用荒诞进行抗议。他能文能武,在台球桌上一杆清台,看一遍说明书就能修好家用电器,是外 甥二胖眼中"没他不会的招儿"的天才。但在职介所工作人员眼中,他却是个"什么都会等于什么都不 会"的典型。这种矛盾与反差,恰恰构成了角色的真实底色。 什么都不如开心重要 从苏明成到余欢水,再到崔国明,郭京飞塑造的这些小人物,都在生活的泥潭中挣扎,却从未放弃对尊严的坚 守。余欢水被妻子嫌弃、被同事欺辱,最终在绝境中寻回自我；崔国明屡败屡战,始终保持着"不跟命运掰 手腕, ...

Core Viewpoint - The article discusses the evolving aesthetic trend in the entertainment industry, particularly the "嬷化" phenomenon, where male actors are increasingly portrayed with delicate and fragile characteristics, challenging traditional masculinity [1][10]. Summary by Sections Stage 1: Economic Suitable Men - The early 2010s saw the dominance of the "economic suitable man" archetype, represented by actors like Tong Dawei, who portrayed stable, warm, and reliable characters [3][4]. - These characters reflected a societal shift towards valuing stability and emotional support in relationships, resonating with female audiences seeking reliable partners [5]. Stage 2: The "Wimp" Archetype - As societal pressures increased and women's self-awareness grew, the "economic suitable man" image became less relatable, leading to the emergence of the "wimp" archetype, exemplified by actors like Lei Jiayin and Guo Jingfei [6][7]. - These characters, often flawed and vulnerable, allowed female viewers to empathize with their struggles, reflecting a more complex understanding of masculinity [7]. Stage 3: The "Good Husband" Trend - The "wimp" archetype evolved into the "good husband" trend, represented by actors like Bai Ke, who embody a service-oriented, emotionally supportive male figure [8][9]. - This character type provides a sense of security and emotional stability, appealing to audiences in uncertain times [9]. Stage 4: The "嬷化" Trend - The "嬷化" trend marks a significant shift where male actors and their teams actively design and market a more delicate and feminine image, moving from passive acceptance to proactive engagement with audience expectations [10][16]. - This trend is characterized by a collaborative effort to redefine male aesthetics, allowing actors to gain empathy and increase their appeal in a competitive market [16]. Notable Examples - Actors like Cheng Yi and Luo Yunxi exemplify the "嬷化" aesthetic through their roles and public personas, emphasizing fragility and beauty in their portrayals [2][12]. - The trend is not limited to television but extends to idol groups and other entertainment forms, showcasing a broader cultural shift towards embracing softer male images [15].

Core Perspective - The article discusses the evolution of the social image of the elderly in China from 1900 to 2025, highlighting the transformation from traditional views to a more diverse and active perception of the elderly in contemporary society [1][34]. Phase Summaries Phase 1: Traditional and Turbulent "Respectable" and "Obsolete" (1900-1949) - The elderly were viewed through a dual lens: as "respectable" figures rooted in Confucian culture and as "obsolete" individuals amidst societal upheaval [2]. - Traditional family structures placed elderly men in positions of power, symbolizing authority and moral guidance [2]. - The collapse of traditional values led to the emergence of the "obsolete" image, where some elderly were criticized as outdated and irrelevant [5]. Phase 2: Collectivism and "Revolutionary Elders" (1949-1979) - Post-1949, the elderly's value shifted to their political identity and revolutionary contributions, with "old revolutionaries" gaining respect [9][10]. - Elderly women transitioned from traditional roles to "revolutionary mothers," reflecting the changing gender dynamics [10]. - The Cultural Revolution polarized elderly images, with some being revered and others vilified based on their political stance [14]. Phase 3: Transition and Reflection "Lost" and "Watchers" (1980-1999) - The reform era emphasized economic development, yet traditional family values persisted, with elderly often seen as family heads [16]. - Literature and film began to reflect on the historical experiences of the elderly, portraying them as witnesses to national history [17]. - The rise of market economy led to a decline in the traditional authority of the elderly, with many feeling marginalized and disconnected from societal changes [19]. Phase 4: Deep Aging and the Diverse Image of the Elderly (2000-2025) - By 2000, China officially entered an aging society, with projections indicating that by 2024, over 22% of the population will be aged 60 and above [21]. - The elderly's image has become increasingly negative, often framed as a societal burden due to issues like pension gaps and healthcare challenges [21][22]. - The concept of "silver economy" has emerged, recognizing the elderly as consumers rather than just dependents, leading to a rise in industries catering to their needs [24][26]. - Urban and rural elderly face different challenges, with urban seniors benefiting from social security while rural seniors often experience neglect [27]. - The emergence of "active elderly" and "new elderly" reflects a shift towards a more empowered and engaged image of the elderly, emphasizing lifelong learning and personal fulfillment [30][34]. Future Outlook - By 2050, the elderly population is expected to reach 500 million, necessitating a redefined image that emphasizes their contributions and diversity [34]. - The future elderly image should transition from "passive recipients" to "active contributors," recognizing their potential as valuable societal resources [34][35]. - Acknowledging the internal diversity of the elderly population is crucial, promoting a multifaceted representation that includes various lifestyles and contributions [35]. - Emphasizing lifelong learning and adaptation to technological advancements will be essential for integrating the elderly into modern society [36]. - A shift in focus from mere survival to a holistic approach that values the dignity and quality of life for the elderly is necessary for societal progress [36].