从勾引嫂子的鬼子到习近平的亲爹 从靳东升官封神到习家天下的横空出世

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从勾引嫂子的鬼子到习近平的亲爹 从靳东升官封神到习家天下的横空出世

靳东事件表面上是一个演员的飞黄腾达，实际上暴露了当下中国政治文化的深刻危机。这不仅仅是文艺被工具化的问题，而是一种更为危险的政治现象：个人崇拜的加剧，权力与文化的深度交融，以及对正常政治伦理的全面侵蚀。

靳东从演艺圈的一个商业化明星，到因为扮演了“习近平他爹”而迅速跻身正司局级，享受着不对等的政治待遇，这不是他的个人问题，而是一个体制的荒谬缩影。文艺，本应是探索人性、服务大众、批判现实的独立领域，如今却沦为对权力表忠的舞台。靳东这条“成神之路”本质上是一条对现实低头、为权力服务的谄媚之路。

更令人警惕的是，这不仅仅是靳东的问题。从中共高层为这部剧亲自选角，到贵州省委书记徐麟高规格接待靳东，这些动作不是简单的偶然，而是“习家天下”神话化的真实写照。靳东的被神化，背后是整个权力结构对习家符号的集体捧场，是一个政治系统在偶像化道路上的加速狂奔。

当演员被赋予超出其艺术能力的政治意义，当文艺成为政治的附庸，当一个国家用资源和仪式为一部电视剧、一段历史虚构而疯狂鼓掌，我们看到的不是对艺术的尊重，而是对政治独裁的致命加速。这不是靳东一个人的荒诞，而是一场对中国未来走向的警告。

From the Japanese soldier seducing his sister-in-law to Xi Jinping’s biological father, from Jin Dong’s meteoric rise to the emergence of the Xi family dynasty

The Jin Dong incident appears on the surface as the meteoric rise of an actor, but it reveals a profound crisis in contemporary Chinese political culture. This is not merely a problem of the instrumentalization of art, but a more dangerous political phenomenon: the intensification of personality cults, the deep integration of power and culture, and the total erosion of normal political ethics.

Jin Dong’s transformation from a commercial star in the entertainment industry to someone rapidly promoted to a bureau-level political position for playing “Xi Jinping’s father”—enjoying disproportionate political privilege—is not his personal problem. It is a reflection of the absurdity of the system. Art, which should explore humanity, serve the public, and critique reality, has now become a stage for demonstrating loyalty to power. Jin Dong’s “deification journey” is essentially one of submission to reality and servility to authority.

Even more concerning is that this is not just about Jin Dong. From high-level CCP officials personally selecting the cast for this drama to Guizhou Party Secretary Xu Lin providing high-profile receptions for Jin Dong, these actions are not mere coincidences but a vivid portrayal of the mythologization of the “Xi family dynasty.” The deification of Jin Dong reflects the collective adulation of Xi family symbols by the entire power structure, an accelerated march down the road of political idolization.

When actors are given political significance far beyond their artistic abilities, when art becomes a servant of politics, and when a nation uses its resources and ceremonies to zealously applaud a television series or a fabricated historical narrative, what we witness is not respect for art but a fatal acceleration toward political despotism. This is not the absurdity of one individual, Jin Dong, but a dire warning about the trajectory of China’s future.