山青文选 2026-2029 Selected Writings from Shanqing 2026–2029

杂文一览 Miscellaneous Essays

从成海恩到朴喜铣：韩综的阶级固化与精英对大众情怀的殖民 From Sung Hae-eun to Park Hee-sun: Entrenched Class Divisions in Korean Variety Shows and the Elite’s Colonization of Popular Sentiment

好像从海恩（换恋2）之后的所有恋综女嘉宾我都不会发自内心喜欢了，当然，这种爱是互相的，她们内心里大抵也觉得高价整出来的脸蛋，屈尊给我们演戏也不容易，凑活看看得了。

It feels as though I haven’t been able to sincerely like any female contestant on a dating show since Hae-eun in EXchange 2. Of course, the feeling is mutual. Deep down, they probably think it is no small favor to grace us with a performance, with faces they paid so much to have sculpted. We should just make do and watch.

但我还是觉得无法共情。她们从小享受着精英的资源，自小出国规避韩国极为内卷的高考（CSAT），刚刚成年、在读本科或研究生的时候，就回韩国捞金，演一场几天的恋爱戏，便让自己登上韩国演艺圈的新人高位。

But I still cannot relate to them. They have enjoyed elite resources since childhood, going abroad young to sidestep South Korea’s fiercely competitive college entrance exam, the CSAT. Barely adults, still pursuing undergraduate or graduate degrees, they return to Korea to cash in. A few days of playing at romance are enough to secure them a coveted place among the entertainment industry’s newcomers.

前天看崔延胜先生的 Instagram 自述，里面他就讲到：现在的综艺节目远不是十几年前，普通人可以通过素人选拔便能登上这种顶级综艺的年代了。现在恋综中的每个人无不是被节目组严格筛选背景，以一种近乎温室培养出来的蔬菜的感觉，进入我们大众的视野。她们太完美了，完美到我觉得她们与我遥不可及，也可能正因如此，才能让我“欣赏”这种“无害的纯爱”吧。

The day before yesterday, I read Choi Yeon-seung’s account on Instagram. He made the point that today’s variety shows are a far cry from those of a decade or more ago, when ordinary people could make it onto top-tier programs through open casting. Everyone on a dating show now has had their background rigorously screened by the production team, entering the public eye almost like vegetables cultivated in a greenhouse. They are too perfect—so perfect that they feel impossibly far removed from me. Perhaps that very distance is what lets me “appreciate” this “harmless, innocent romance.”

但近来的势头有些不对了，她们有别于传统的演员需要通过维持神秘感来维持品牌溢价，她们为了PPL的投放，开始大量侵入公共场域，YTB、IG是必备的，现在甚至抖音和小红书都入驻都纷至沓来了。

But something about the recent trend feels wrong. Unlike traditional actors, who need to preserve an air of mystery to sustain their brand premium, these women have begun flooding public spaces to accommodate product placements. YouTube and Instagram are prerequisites; now they are flocking to Douyin and Xiaohongshu as well.

这带来了一个问题，她们的生态位同时囊括了“完美生活”和“隔壁邻居”的两极，若我不是千万富豪，必然会从中窥见自相矛盾的表述。毕竟，真正的朋友不会做好满身的妆发，一本正经地和你说张元英在PD101出道（喜铣啊，小圆上的是pd48……），而必然是一边吃着零食一边饶有兴致地听我讲述当年投票的故事。

This creates a problem: their niche spans both extremes, the “perfect life” and the “girl next door.” Unless I am a multimillionaire myself, I am bound to notice the contradictions. After all, a real friend would not sit there with immaculate hair and makeup, solemnly telling me that Jang Won-young debuted on Produce 101 (Hee-sun, Won-young was on Produce 48…). She would be snacking and listening with interest as I told her about voting back then.

其实我反感的归根到底是富豪们的傲慢延伸到我惯常的领域。比如当时我前女友轻易踏碎了“霉粉”的门槛时，比如朴喜铣用无知褫夺了真正粉丝的代表权时……她们过得这么好了，为什么还要来占领我用真心和时间构建的公共场域高地？

At root, what I resent is the arrogance of the wealthy extending into the spaces I have long called my own. Like when my ex-girlfriend so casually trampled the threshold of being a “Swiftie,” or when Park Hee-sun’s ignorance stripped real fans of the right to represent themselves… Their lives are already so comfortable. Why must they also occupy the ground I have built in the public sphere with my sincerity and time?

现在爱豆行业其实像RESCENE这样的小公司女团爆红的案例也是越来越少了（这是后话了），我不知道我对韩国娱乐行业的爱还能持续多久，但无论如何，观察我本科入学以来、乃至初中以来的情感消费经历，总归是一件有趣的事情。以上。

In the idol industry, cases of girl groups from small agencies breaking out, like RESCENE, are actually becoming rarer too—but that is a story for another time. I don’t know how much longer my love for the Korean entertainment industry will last. Whatever happens, looking back at my emotional consumption since I started university, or even since middle school, remains an interesting exercise. That’s all.