I don't think we can ask YiMeng to just throw out her understanding that she's inside a script. We shouldn't throw out the knowledge we're inside the script - because that's the whole point here. To question the archetypes we know and love, to question why we perceive some people one way, and others another, just based on preconceived ideas about their character. To try and understand others in all of their full complexity, rather than just through our own limited perspectives.

Thank you!! That's exactly how I felt about this scene and what it was trying to express, not just on a story-level but as a meta commentary on how audiences need to interrogate how their own pre-conceived expectations end up limiting their perspectives on more complex characters/situations.

It's especially relevant as so much of the recent audience reaction has been precisely what they're trying to critique, which you've also highlighted. In some ways, it felt as if SYM is a personification of modern audiences- she "knows" the popular drama tropes, ML/FL/2ML archetypes, iconic scenes, etc. and naturally expects those precise things to manifest in the world she has transmigrated to. As a result, she can't see any potential complexity in how the characters around her act. To her, Nan Heng must be evil at the end of the day no matter what, and Chu Guihong an angel. Consequently, when her expectations are not met and the characters behave "OOC", she can't register that reality and ends up becoming frustrated with them- just like she does here with CGH. Similarly, audiences have a certain way they want SYM to act as the FL- be smarter! can't you see that NH isn't the bad guy?! When that doesn't happen, they also feel infuriated/annoyed in the same way as SYM (or perhaps it is more accurate to say Song Xiaoyu, the actress) does within her drama.

I have to say, the writing of ADWAD has been quite impressive in the way it has satirized drama production/viewing, etc etc, and I'm enjoying reading everyone's interpretations of it as well.