In recent years, the portrayal of negative characters in film and television works has gradually shifted from singularity, stereotyping, and instrumentalization to personalization, complexity, and dimensionality. However, some works lack standardization or focus, overly emphasizing the portrayal of the full image of negative characters, and even beautifying and idolizing them, resulting in the charm of negative characters surpassing that of positive characters. Some of them are devoted to their families, while others are ruthless towards their opponents. Some have gone through many hardships and chose to betray humanity, only to find a glimmer of hope for humanity after betrayal. Some of them use flashy and constantly innovative methods to commit crimes... The phenomenon of negative characters' "going out of the circle" is not uncommon, which makes the audience feel sorry, love, and even admire them. We have to be wary of the value distortion behind this cultural phenomenon. In the past, Chinese film and television dramas were based on the principle of "good and evil cannot coexist", and negative characters could only play the roles of "plot boosters" and "conflict makers". Most of them have sinister and evil personalities, ugly and sleazy appearances, and adhere to the "life philosophy" of "I oppose anyone who supports righteousness, and I obstruct anything the protagonist wants to do". They undertake the narrative responsibility of hindering the protagonist's pursuit of greater goals and ultimate happiness. But as the audience's tastes become more diverse and creative concepts continue to upgrade, the binary values of either black or white cannot meet people's viewing needs, and are replaced by diverse creative concepts. In some works, the negative characters are no longer mere black tools, but have independent storylines and even become the narrative leaders of a work. The creator renders a "colorful" gray between black and white, providing the audience with more space for personal emotional immersion. For example, the female antagonist in a popular TV drama, from makeup to clothing, is charming, sexy, and cool, which has sparked the so-called "sister-in-law fashion" trend; The antagonist in a suspense drama is unusually calm and rational during a confrontation with the police, leaving netizens amazed, "as if possessing superpowers that can see through the opponent's heart at a glance; In a certain era drama, a drug dealer had a romantic and affectionate relationship with his wife, and the female audience exclaimed, 'I also want a husband like this.'; In another police themed work, although the big brother repeatedly crosses the legal red line, he always acts to protect the interests of small vendors in the market, leaving an impression of "loyalty" and "responsibility". Creators excessively exaggerate the "charm", "sadness", and "difficulty" of negative characters, but ignore the sinful nature of their behavior. They unilaterally attribute their downfall to external factors such as poor environment, coercion from others, and unfair fate, and ignore the criticism of subjective psychology such as distorted moral concepts and weak legal awareness of the characters. The biggest danger in portraying negative characters as idols is the confusion of values. Film and television works are not only entertainment tools, but also important carriers of cultural dissemination. When negative characters are excessively glorified and evil behavior is rationalized, the values of the audience, especially young audiences, are easily misled. They may think that as long as they have charm, even if they violate the law or morals, they can be forgiven or even admired. This phenomenon of value distortion has already been reflected in reality. In the 1990s, gangster movies became popular, and some teenagers imitated the plot of movies, forming cliques and fighting, which led to a rapid increase in social security cases. At that time, some criminals stated in interviews that their path to crime was influenced by film and television works. Currently, some viewers are whitewashing negative characters on social media, imitating their words and actions, and viewing them as "role models". For example, four elementary school students replicated a promotional photo of a popular suspense drama's negative character, and the post was widely shared and commented on by netizens. Behind this blind worship is the blurring of the boundaries between good and evil, and the disregard for the bottom line of law and morality. Over time, society's values will face severe challenges. Of course, we are not asking creators to portray negative characters as unattractive 'tool people'. On the contrary, complex and three-dimensional negative characters are precisely one of the hallmarks of excellent works. The key issue is how creators can find a balance between entertainment and social responsibility. The work should clearly define the boundary between good and evil, emphasizing the theme of punishing evil and promoting good. Negative characters can be complex and individualistic, but their evil behavior should not be glorified or rationalized. Creators should guide the audience to view negative characters correctly through narrative and character development. For example, exposing the sinful nature of negative characters from the perspective of other characters; By designing the plot, make the antagonist pay the price for their actions. Only in this way can the creation have a greater warning significance. The charm of negative characters should not be a fig leaf for their sins. As an important carrier of cultural dissemination, film and television works should shoulder the responsibility of guiding correct values. We look forward to more complex and three-dimensional negative characters, but we also hope that these characters can stimulate the audience's thinking about good and evil, rather than the worship of evil. (New Society)