Where is my quail? What TV series is it?

Where is my quail? This sentence comes from the TV series "Oh! My emperor.

Luo Feifei, the protagonist in the play, mistook wild quail for big goose and made a lot of jokes. Luo Feifei is a water rebellious girl in 2 1 century. Because of an accident, I crossed the mysterious country-the zodiac.

Luo Feifei succeeded Ophiuchus in the Zodiac Kingdom, which brought a long-lost sense of humor to the ancient Zodiac, staged a series of satirical stories, and fell in love with the Zodiac emperor Beitangyi.

"oh! My Emperor is a costume love idol drama, which is jointly produced by Wow, Penguin Film and Gu Wu Yuanfeng Culture Media. Directed by Gao Bo, the play is divided into two seasons. The first season and the second season were broadcast on Tencent video on April 25th, 2065438 and May 23rd, 2065438 respectively.

Drama evaluation

1, positive evaluation

The play has an eye-catching configuration of handsome men and beautiful women, a unique style in which sweet salt overwhelms joy, complicated character relationships and unexpected plot development. The emotional entanglement between Bei Tang Yi, who is cold and warm-hearted, and Bei Tang Mo Ran and Luo Feifei, who are tender and affectionate, became the most discussed part in the audience.

The collision between foreign women and Sunshine Beitangtang, and the intersection of female general Chu and scholar are also unique. There are not only fighting scenes between Jin Ge and Ma Tie, but also lingering love between flowers and the moon. The story is rich in content, the development process is tortuous and sometimes the atmosphere is relaxed and compact, which gives the audience a good experience of watching the drama (China Online Review).

2. Negative evaluation

The drama belongs to the theme of overhead crossing, using the virtual "Zodiac Country" and applying the modern "Twelve Constellations" thought. It can be said that the play is more similar to the story of a "game world" in which modern people wear antique clothes and use modern people's thinking.

The drama draws lessons from costume drama, but it is not "ancient", and its historical background is completely vague, so it can't correspond to an ancient dynasty or a historical period. This greatly reduces the threshold of script creation and post-production.

However, it also completely abandons the historical truth. On the surface, the rapid development in the novel is a problem of creative skills, but in fact it is a problem of historical view, which embodies a nihilistic historical view (the Beijing News drama critic once commented).