Two Women Fight Over a Husband in the "Chen-Hong-Chen" Affair — A Boundless Script by Modern Entertainment Directors

2006/2/28 20:07:01

Tonight, the moment I went online, I saw that the steamed-bun saga of modern entertainment had a new plot development. This woman is not actually fond of gossip. The explosion of Big Sister Hong's blog — which took pride in being crass — over the past two weeks had already hinted at the plot's development. But when hints step by step become reality, one cannot help but sigh at the boundlessness and shamelessness of modern entertainment.

In the Chen-Hong-Chen relationship, the thread runs through the ex-husband's steamed bun, the ex-wife's blog, and the new wife's photos. Before the ex-wife there was another ex-wife; before the ex-husband there was another ex-husband — that is the portion of the story that has already been storied. Meanwhile, one new wife has already become an ex-wife, and the suspense of whether another new wife will become an ex-wife changes as rapidly as modern entertainment itself — this constitutes the most attractive and most valuable part of the story's potential to be storied. As for the two women fighting over the same husband live on the same turf — that constitutes the story's present.

A good modern entertainment story must undoubtedly encompass a story's past life, afterlife, and present. If such a story is enacted as a real-person version by so-called celebrities, its value increases geometrically. The so-called steamed-bun murder case cannot compare. And modern celebrities are precisely those who become celebrities through such stories. Turning a person's name into a celebrity name — the modern entertainment machine, against the backdrop of globalization, fluently replicates the same unchanging pattern.

Hong the ex-wife's sharp words need Chen the ex-husband's steamed bun as a target. Chen the new wife says not a word, using only glamorous fashion photos to proclaim her own advantages. On the same turf, text and images form the most boundlessly shameless juxtaposition in the modern entertainment edition. Both text and images point to the same context — equally boundlessly pale yet lingering and melancholic. Two women, one a talented woman, one a beautiful woman — why must both expend their energy for the same boundless man? When this man plays "Farewell My Concubine," it probably has nothing to do with either of you or any woman. Must women's beauty and talent be so historically fated?

Wake up, actors and spectators of modern entertainment! What life manufactures through expenditure is merely the bloody myth of capital's sameness. Globalized modern entertainment entertains-to-stupidity the globalized modernity. And modernity — does it still have a future?