On December 21st, the TV series "Lightseeker: The Story of the Young Mao Zedong" aired its sixth episode. In the latest two episodes (Episode 5 and Episode 6), Mao Ze Dong and his classmates from Hunan rented a house and encountered a scam, resulting in them being deceived out of a year's worth of rent.

This major plot development is definitely worth discussing. I believe that this storyline showcases the craftsmanship of the scriptwriters and holds significant meaning. From a historical perspective, it reflects the real challenges faced by students who went to France for work-study programs during the European crisis. Students who had returned to Beijing indeed faced numerous livelihood issues. This scene serves as a positive portrayal of that problem.

On the narrative level, it vividly depicts the specific housing difficulties faced by young people living in Beijing. This is something that the audience can directly empathize with. I believe that those who have experienced life as young drifters in Beijing must have countless stories about renting houses. Moreover, in terms of narrative attitude, I think it is necessary to discuss this major plot development. The act of showing people houses and then deceiving them to extract money from rental seekers indeed happens in old Beijing.

"Lightseeker: The Story of the Young Mao Zedong" utilizes this storyline as a plot element, demonstrating its significant realistic value. It can even be said that this plot development instantly establishes a strong connection to the essence of the city of Beijing.

In the storyline, Yao San meets his fate while Er Ya makes her entry, which is a testament to the ingenuity of the scriptwriters. They don't shy away from portraying villains and their deeds, but after the wrongdoing, they definitely introduce good-hearted characters and acts to counterbalance it. This counterbalance is an aspect that many scriptwriters fail to grasp. Characters like Yao San represent the scammers and opportunists in the city of Beijing.

On the other hand, Er Ya, a Beijing native, represents the positive and sunny side of the city. Presenting both aspects allows the audience to make their own judgments, showcasing the skillful technique of the creators. Not all Beijing residents are like Yao San, of course, nor are they all like Er Ya. Good people exist everywhere, just as there are bad people.

By presenting both the negative and positive aspects, the audience is left with the power of self-choice. Should they choose to be bad or to be good? TV series have the power to encourage people to do good, and this power is evident in this particular context.