The industry drama "The End of the End" for the protection of the judicial industry of minors, produced by Tencent Video, Yiguangnian Film and Television, and China Procuratorial Publishing House and starring Ren Suxi, Gao Weiguang and Liu Lin, has recently attracted widespread attention. The drama takes the development history of the juvenile procuratorate between 2014 and 2019 as the main line, and connects the construction and improvement of the juvenile protection system through six major cases. In an exclusive interview with the Beijing News, general producer Ma Ke talked in detail about the original intention of the series, the logic of case selection, the concept of character design, and the challenges and persistence during the shooting process.

Gao Weiguang and Ren Suxi play prosecutors in "The End of End".

　　The plot timeline matches the nodes of the relevant regulations

　　The creation of "The Endless End" began in 2021. Ma Ke's team has been deeply engaged in realistic themes for a long time. After a chance to understand the work attributes of the Minors' Procuratorial Office (Null Procuratorial Office), the team went deep into the field and communicated with the prosecutors, and was finally moved by the sense of mission of this profession.

　　The choice of cases follows the logic of "showing problems - solving problems - preventing problems". For example, in the first case of "Three Young Men's Bullying and Killing", the people will ask: Why are minors not sentenced to death if they kill? Then there is the problem to solve the problem. The second case, "family thief case", is rooted in the parents, so there is a case of "deprived of custody". The plot timeline is exactly consistent with the node of the issuance of relevant regulations in 2015; the second half of the series talks about "crime prevention", and introduces a mandatory reporting system and the rule of law into campus through the "Case of Going to Lake and Killing Children" and "Campus Candid Pornography Case".

　　Ren Suxi and Gao Weiguang interpret the collision between ice and fire

　　The characters of the two prosecutors in the play, Lin Zhitao (played by Ren Suxi), and Bai Enyu (played by Gao Weiguang). Bai Enyu was once a teenager on the verge of crime. Because he received the care of his clan grandmother and neighbors, he grew up to be a warm and enthusiastic prosecutor; Lin Zhitao closed himself due to his childhood victimization, and when he first appeared, he was like a "cold legal robot". Marco said that this contrast aims to explore different paths of "redemption": Bai Enyu represents "healing by others", while Lin Zhitao is "self-redemption".

　　In terms of casting, the team insists on "texture first". Gao Weiguang is close to the character with a bare face and unshaven look, and his friendly and humorous personality in life is highly consistent with Bai Enyu; Ren Suxi interprets Lin Zhitao's changes from cold to softness through delicate performances to clearly define the changes. Due to the legal profession, the lines of the drama are divided into three types: those who draw two bars must not be changed; those who draw one bar can change, but the meaning must be consistent; those who do not draw the bars can perform their own performance. In the "No Bar" section, the actors' performance is particularly exciting, injecting new soul into the characters and making the group portrait of the Unexpected Office more vivid.

　　Adhere to the warm realistic tone

　　The presentation of minor roles is a highlight of the drama. Whether it is Lu Sheng who worked hard after coming out of the juvenile management office, Yang Huihui who was in the "Youhu Slaying Son", or the minors involved in the "Thieves Family Case", they are all vividly portrayed, and the audience sighed: "These young actors are very good!" Ma Ke revealed that the young actors in the drama are divided into two categories: experienced "old actors" and amateurs who have no acting experience. Some amateur actors are too young to understand the complex plot involved in the case. The crew will guide them according to the actual situation of each person, so that they can show their truest side in front of the camera.

　　Looking back on the entire project, Marco is glad that the team has always adhered to the "warm realist tone". He admitted that during the search for director after the script was completed, many people suggested that the drama strengthen the commerciality and topicality, and even direct the plot to the criminal suspense style, but the team finally chose to restrain the narrative and avoid "torn open the wound and sprinkle salt." Marco believes that this drama is currently on the verge of breaking the circle and not breaking the circle. Although the original intention is not to pursue commercial returns, he still hopes that more people will see this drama and pay attention to the social value of the work of the Unprocuratorate Office. (Reporter Yang Lianjie)

[Editor in charge: Susan]