
Eleanor Lee's former assistant to make public apology and compensate losses for fabricating clip of actress
Back in May, the 25-year-old faced massive public backlash after an alleged voice clip of Lee insulting mainland Chinese was leaked by her former assistant Xiao Pang.
The incident led to talk that she would be edited out of new drama Fu Shan Hai aka Go To The Mountains And Sea in which she has a starring role.
The actress maintained her innocence and on May 21, posted a video on her socials to share that she had filed a police report and was fully cooperating with the investigation. She remained under the radar since.
While everyone has been curious about Lee's whereabouts, her team took to Weibo on Tuesday (Jul 29) to share that they have won the lawsuit against Xiao Pang.
According to the legal statement, the court issued a judgement on Jun 23 and it came into effect on Jul 17.
It noted that Lee's former assistant had disseminated false information online, which infringed Lee's right to reputation, caused her psychological harm and affected her commercial activities.
Prior to the lawsuit, Xiao Pang had admitted on her socials that the recording was fabricated. At that time, Xiao Pang also apologised to Lee and urged the public to stop spreading the false rumours.
"Based on this, the court ruled that the defendant must publish a signed apology to Eleanor Lee at a designated location on Sina Weibo for 60 consecutive days, and compensate for emotional distress, legal expenses, and other economic losses," it read.
Additionally, the legal team has collected evidence and identified over 10 social media accounts that maliciously fabricated and spread false information about the actress.
They will continue to monitor these users, stating that if relevant online users do not promptly delete the infringing content after the statement is published, or continue their infringing behaviour, the lawyers will gather further evidence and take legal action on behalf of their client.
Lee's team also reposted the statement to reiterate her love for China.
"Eleanor Lee has always loved and respected Chinese culture and firmly upholds her own stance," they wrote.
"The studio is committed to protecting her legal rights and calls on everyone not to believe or spread rumours, to jointly resist false information, and work together in creating a clean and positive online environment."
So when is Lee making her comeback?
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


CNA
5 hours ago
- CNA
EU condemns arrest of former Macau pro-democracy lawmaker
BRUSSELS: The European Union on Saturday (Aug 2) condemned Macau's arrest of former pro-democracy lawmaker Au Kam-san, saying it only heightened concerns about the "erosion of political pluralism" in the Chinese territory. Au is the first person to be arrested under the city's national security law. Authorities alleged on Thursday that the 68-year-old primary school teacher had ties to foreign groups endangering China. "This development adds to the existing concerns about the ongoing erosion of political pluralism and freedom of speech in the Macao Special Administrative Region," said European Union spokesperson Anitta Hipper in a statement. "The EU recalls that the respect for human rights and fundamental freedoms is a central element of the Macao Basic Law and 'one country, two systems'," set up in the former Portuguese colony. The territory near Hong Kong, known for its casinos, has retained its own legal system since China took it back from Portugal in 1999. The security law, which restricts political activity, was passed in 2009 but broadened in 2023. Au, a legislator up to 2021, has campaigned on social welfare, corruption and electoral reform.

Straits Times
14 hours ago
- Straits Times
Dance review: Singapore Chinese Dance Theatre celebrates 11th year with nostalgic show set in Telok Ayer
Sign up now: Get ST's newsletters delivered to your inbox Strokes Upon A Faded Page is one of the segments in Impressions Of Telok Ayer (2025) by Singapore Chinese Dance Theatre. Impressions Of Telok Ayer Singapore Chinese Dance Theatre SOTA Drama Theatre Aug 1, 3pm As Singapore Chinese Dance Theatre moves into its 11th year, the company's performance on August 1 is a nostalgic reflection on the history of Telok Ayer. A neighbourhood virtually synonymous with the immigrant Chinese community during colonial times, the cultures of the various dialect groups who lived there have left their imprint on the surrounding area. Such a theme certainly aligns with the current zeitgeist of SG60 celebrations. Impressions Of Telok Ayer is presented in four distinct segments, each giving a treatment of a different aspect of life in old Telok Ayer. After a short prologue, the first segment, Strokes Upon A Faded Page, conjures up the challenging circumstances of Chinese immigrants in postwar Singapore, for whom home and family would have been distant yearnings. The scene is presented against the backdrop of letter-writing. Calligrapher Koh Eng Tat performs the role of a letter-writer who helps illiterate clients write letters to their families back in China. The audience hears a voiceover in Hokkien narrating phrases communicating that the sender has sent money home and misses their parents. Soon after, an image of a letter being written in Chinese is projected on a translucent screen in the foreground, while two dancers perform behind it, their bodies forming shapes and lines in beautiful juxtaposition against the Chinese characters. This is especially meaningful considering that Chinese characters are ideograms, some of which are based on the human body itself. The second segment, Gentle Combs, Silent Wishes, revolves around ma jie, Cantonese women who took vows of celibacy and usually worked as domestic helpers, forming close sisterhoods. Top stories Swipe. Select. Stay informed. Singapore Opening of Woodlands Health has eased load on KTPH, sets standard for future hospitals: Ong Ye Kung Singapore New vehicular bridge connecting Punggol Central and Seletar Link to open on Aug 3 Singapore New S'pore jobs portal launched for North West District residents looking for work near home Singapore HSA investigating teen who was observed to be allegedly vaping in MRT train Asia KTM plans new passenger rail service in Johor Bahru to manage higher footfall expected from RTS Singapore Tengah facility with over 40 animal shelters, businesses hit by ticks Business Property 'decoupling' illegal if done solely to avoid taxes: High Court Singapore 60 years of building Singapore Gentle Combs, Silent Wishes is a segment in Impressions of Telok Ayer (2025) by Singapore Chinese Dance Theatre. PHOTO: KUANG JINGKAI Set against haunting music by Eri Sugai, the dancers are dressed in the typical white tops and black trousers of ma jie. The majority wear their hair in long pigtails, contrasting against the traditional 'hair-combing' ceremony re-enacted in the foreground. The young ma jie-to-be approaches the ceremony with trepidation yet resolution, highlighting the gravitas of the tradition. The Lasting Brew is somewhat lighter hearted, telling the story of a young man from current times who time-travels to the 1970s and meets his grandfather during the latter's days as a young man running a coffee shop in Telok Ayer. The Lasting Brew is one segment in Impressions Of Telok Ayer (2025) by Singapore Chinese Dance Theatre. PHOTO: KUANG JINGKAI This segment is bright and cheery, complete with polka-dot dresses and a charming duet between the young 'grandfather' and his sweetheart. While these first three segments together paint a coherent picture of nostalgia for the Telok Ayer of days past, the last segment unfortunately disappoints. Titled Beneath The Beams, Beyond The Realms, this segment pays tribute to Thian Hock Keng Temple by conjuring up a fantasy scene of fairies holding balls of light, and several other mythical dragon-like creatures. The temple is of course a key landmark in the neighbourhood, and undoubtedly one that holds profound memories and meanings for residents past and present. However, the abrupt leap from the everyday scenes in the first three segments into an entirely mythical context is bewildering. Even within this segment, one struggles to make sense of the disparate sub-scenes – beginning with girls playing and dancing with red clogs, followed by a section evoking the construction of the temple with the collaboration of four guest Malay dancers, and then the mythical scenes. Nevertheless, the company's endeavour to provide a performing opportunity for a large number of dancers, and of varying age groups, is recognised. Barring some instances where the movements and handling of props could be tighter, the performance was generally engaging, and a reflective way to start the nation's birthday month.

Straits Times
18 hours ago
- Straits Times
Book review: Poet Wahidah Tambee's Eke is a mesmerising archipelago of letters
Eke By Wahidah Tambee Poetry/Gaudy Boy/Paperback/106 pages/$19 Each poem is an island – no, an islet – in Singaporean poet Wahidah Tambee's typographically dense Eke. Words, often just letters, cluster around a single patch of each page, such that thumbing through the collection feels like one is rifling through a folio of 40 old maps to a lost archipelago in a white sea. An excerpt from poet Wahidah Tambee's typographically dense Eke (2025). PHOTO: GAUDY BOY Where then do these 40 concrete poems in this mesmerising debut collection point the reader to? The poems' inability to speak in the genre's lingua franca – continents of stanzas, the latitude of the line – make visible the difficulty in articulating some themes that float throughout the book: grief, terror and erasure, among others. But not all the poems deal with such aphasia turned into visual stutters. A poem like 'sunrise' can read like a simple visual translation of the nature poem – austere in its execution, a few ambiguous brushstrokes conjuring the entire landscape. Each poem makes do with its scarce resources – alphabetically (10 letters in the opening poem) and typographically (sized like a thumb). With overlapping leading (that is, the space between lines of type), they invite multiple ways of reading – does this one say 'letter / let us tell her / she left us' or 'letters / terse / tell us she let us'? After all, the art of being an islet is the art of ekeing out an existence from not much. An islet's existence is improbable and ephemeral – two Indonesian islands vanished in 2020 and a chain of West African islands is on the brink of disappearing. These poems assert themselves on the page even as they appear like they are sinking or resemble eraser dust on the page (see the poem 'erasuredust'). Like islets, Wahidah's poems are places for the visitor to project his or her fantasies – they do not take their sovereignty for granted. In her poems, the word 'dismiss' is contiguous with 'missile', a stumble away from 'dismally' (which contains the word 'ally') and 'mull'. Thus, the poems in Eke are not so much texts as they are musical scores – inviting the reader to interpret and improvise. The poet's own performances of the poems at multiple readings this reviewer has attended are but one entry point into the poems, but they are by no means authoritative versions of these slippery creatures. In its stuttering and attempt to find a language for the inexpressible, Eke is reminiscent of prominent poetic antecedents. For example, Canadian poet M. NourbeSe Philip's Zong! (2008) erases legal documents from a 1781 massacre of around 150 enslaved Africans to stir up a voice from a voiceless people. The American modernist Gertrude Stein's playful and cubist deconstruction of syntax in poetry also countered the representational arts. In the book's afterword, Wahidah writes that her fragments 'recreate the mental interjections or the thought-flood of overthinking caused by polysemantic words, ambiguous situations, and hyperactive word-meaning activations'. But the poems in Eke are not quite backed by the conceptual heft and rigour that lend weight to the formal experimentation with language's deconstruction and erasure. Still, these are poems attuned to the minutiae of language – its sounds, constituent letters and polysemy. Each word, in Wahidah's hand, contains an excess of a dozen meanings and opens up pathways to a word's potential beyond etymology. Eke is a distinct debut and a fresh voice in Singapore poetry. Rating: ★★★★☆