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HONG KONG — A high-profile legal dispute involving actress Cecilia Cheung and her former manager, Yu Yuk Hing, commenced in the Hong Kong High Court yesterday, December 3. The 2020 lawsuit, filed by Yu Yuk Hing and his company, Asia Entertainment Group (AEG) Limited, seeks approximately HK$12.76 million (S$2.2 million) in damages, alleging that Cheung accepted advance payments for four films but failed to fulfill her contractual obligations.

The complex case centers on a management agreement and film commitments dating back to 2011. According to court filings, Cheung received HK$41.76 million (S$6.94 million) upfront to feature in four designated motion pictures. The plaintiffs contend that the star subsequently breached both the film contracts and her exclusive management agreement, resulting in significant financial losses for the talent agency.

Manager Recounts Rationale for Partnership

On the first day of the proceedings, Yu Yuk Hing took the stand, offering a detailed account of the events preceding the disputed contracts. He testified that Cheung approached him in 2011 seeking career advice following a tumultuous period that included her public divorce from Nicholas Tse and the fallout from the 2008 Edison Chen photo scandal.

Yu stated that he advised Cheung to strategically reshape her public image, focusing on rebranding herself as a “strong woman” and a dedicated mother to her then-young sons. He also suggested establishing her own independent studio. Yu claimed that Cheung agreed to this strategy and, in July 2011, formally requested that he become her manager.

The HK$40 Million Question: Management Versus Financing

A key point of contention emerged regarding a substantial financial transaction. Yu testified that around the time of the management agreement, Cheung sought HK$40 million (S$6.65 million) to fund a property purchase. As his personal funds were temporarily inaccessible, Yu solicited the help of Bona Film Group chairman Yu Dong. The business executive reportedly agreed to release the necessary funds on the condition that Cheung first sign agreements committing her to star in two films as a form of guarantee.

During the session, the presiding judge questioned whether Cheung’s decision to sign the exclusive management contract was implicitly linked to securing the HK$40 million loan. Yu Yuk Hing firmly maintained that the two agreements were entirely separate. He asserted that Cheung had already made the decision to appoint him as her manager prior to any financial discussions concerning the property acquisition. Yu further testified that he informed Cheung that the HK$40 million transfer was uncertain, yet she still assured him she would sign the management contract.

Allegations of Unfulfilled Obligations

According to the lawsuit, the parties formalized an eight-year global exclusive management contract in July 2011. Following this, Yu advanced Cheung HK$40 million as film fees, requiring her to participate in four films between 2011 and 2019. In May 2012, an additional agreement was signed, requiring her to film two more projects, for which AEG provided a further advance of HK$2.76 million (S$460,000).

However, AEG and Yu Yuk Hing allege that Cheung never completed these required film projects, constituting a core breach of the management contract and subsequent financial agreements. The plaintiffs are now seeking compensation for lost revenue and damages amounting to at least HK$12.76 million.

To fully assess their losses, the plaintiffs have also requested the court compel Cheung to disclose her full income records spanning from May 2015 to July 2019. The highly publicized hearing is slated to continue.

Taiwanese singer and actor Vanness Wu inadvertently triggered widespread concern among fans this week after a poorly lit mirror selfie circulated on social media, prompting unsubstantiated claims of significant weight loss and health deterioration. The photo, which rapidly spread across Weibo, showed the 47-year-old former F4 star with noticeably hollowed cheeks and a much thinner appearance, leading to speculation about his well-being just ahead of planned reunion concerts.

The image immediately alarmed followers, with many expressing concern over the perceived physical changes. Comments flooded the platform questioning if Wu was facing personal troubles, with some netizens remarking he looked “skeletal” and prematurely aged by the apparent weight drop. The circulating posts specifically alleged that the celebrity had shed 20 kilograms, based solely on the visual impact of the photograph.

However, a segment of the audience hypothesized that the drastic change might be intentional, perhaps in preparation for the upcoming F4 reunion performances. The popular boyband, comprising Wu, Jerry Yan, and Vic Chou, recently announced the F☆FOREVER City of Stars World Tour, scheduled to commence in Shanghai from December 19-22. (Notably, fellow F4 member Ken Chu is absent from the current tour lineup.) This speculation added to the intense focus on Wu’s physique.

The actor quickly moved to quash the mounting anxiety and misinformation. Addressing the situation directly, Wu posted a new video to his social media channels, showcasing his face from various angles to provide a realistic depiction of his current appearance.

“Am I really that skinny?!” he questioned in the caption, alongside the video footage. He then dismissed the initial photograph’s deceptive quality, attributing the dramatic look to poor self-portrait technique. “Selfie skills are really important, and obviously I’m not good at them,” he wrote, laughing off the incident.

The visual evidence from the video and Wu’s explanation confirmed that the extreme look was a direct result of unflattering lighting and an ill-chosen camera angle, rather than actual rapid weight loss. The episode underscored the potential for basic photographic errors to be misinterpreted, particularly when viewed through the critical lens of celebrity scrutiny.

Fans reacted positively to the candid clarification, appreciating his rapid response to the online hysteria. One netizen humorously advised, “Very handsome, but please don’t take extreme-angle selfies again.” This incident serves as a clear reminder of the crucial difference between professional, controlled photography and casual mobile snapshots, demonstrating why public figures often rely on expert visual content to manage their image and maintain accurate public perception.

Following Hong Kong’s deadliest fire in recent memory, which tragically claimed 156 lives, a remarkable rescue in the Tai Po residential complex offered a rare moment of resilience. A 15-year-old poodle named Jason was safely recovered by firefighters, reuniting him with his owner and underscoring the enduring commitment to preserving all forms of life amidst catastrophe.

The devastating blaze tore through the Tai Po building on November 26. Forty-three-year-old resident Jacky Lee was alerted while away from her home, leaving her senior dog trapped inside. Upon returning, Ms. Lee’s desperate attempts to enter the burning structure were halted by emergency responders, who safely directed her to a temporary shelter. Later that night, hope dwindled after a district official suggested the search for pets had concluded.

However, the next day brought a poignant reversal. Ms. Lee received an unexpected call from a firefighter inquiring about a dog residing on the 27th floor. Soon after, she was reunited with Jason, who was being carried by volunteers.

“He was still visibly shaking from a distance, but when I called his name, he stopped, looked at me, and then seemed to smile,” Ms. Lee recounted. “The rush of joy was overwhelming; it felt entirely surreal.”

The successful rescue was credited to the quick thinking of both the owner and the emergency teams. A key factor was a small note Ms. Lee had previously affixed to a wall, bearing Jason’s name. This simple detail allowed the firefighters to gently coax the distressed animal into a carrier during their search.

First responders confirmed that Jason’s behavior played a crucial role in his own rescue. In a text exchange shared by Ms. Lee, one firefighter revealed that they heard continuous, frantic barking, which alerted them to the presence of an animal inside. “When we confirmed there was life inside, we immediately executed the rescue,” the responder wrote.

The firefighter emphasized the crew’s gentle approach toward the frightened dog and offered a profound message reflecting the sentiment of the entire operation: “All life is precious. I hope everyone continues to cherish and care for one another.”

Jason has since been recovering well. A veterinary examination confirmed that the elderly dog was physically unaffected by smoke inhalation, suffering only mild dehydration. Ms. Lee later posted on social media, expressing deep gratitude for the crew’s actions, asserting that the firefighters “didn’t just save my dog, they saved my soul.”

While the focus remains on the immense human tragedy and the efforts to recover the community, the incident highlighted the devastating impact on non-human residents. Although nearly 200 animals were successfully rescued from the apartment complex, numerous others perished. Reports indicated that 63 pets were lost in the inferno.

The courageous rescue of Jason serves as a testament to the dedication of Hong Kong’s emergency services and the ethical imperative of preserving life under extreme pressure. As the community begins the challenging process of recovery, the story of Jason and his rescuers stands as a vital reminder of hope and compassion in the face of widespread disaster.