From Sudden Death to Eternal Statue – The Grotesque Rumor That Links Từ Minh and Yu Menglong in a Single Nightmare
Beijing, late 2024.
Từ Minh collapses in his apartment. Cardiac arrest. Cremation announced. End of story.
Or so the public was told.
Six months later, a rumor so macabre it feels like dark fiction begins racing through overseas Chinese chat groups: Từ Minh was never cremated. His ex-wife, actress Điền Hải Dung, allegedly paid for his body to be secretly preserved—plastinated—into a lifelike, permanent statue kept in a private villa. The motive, according to the story, was twofold: destroy any forensic evidence that might contradict the official cause of death, and allow Điền to maintain control of his considerable estate without challenge.
No photos exist. No witnesses have come forward. No embalming specialist has been named. Yet the rumor persists, gaining strength with every new leak in the parallel case of Yu Menglong.
Yu died in September 2025 after a reported fall from a high-rise. Official verdict: accident, alcohol, no foul play. But leaked airport images show scars he tried to hide, audio captures screams, a rumoured final declaration speaks of coercion and surveillance. Then came the 798 CCTV clip: three figures loading a shrouded object into a black car before dawn, no family present, no ambulance lights.
Netizens now insist the same “shadow management company” handled both bodies—one supposedly preserved as a trophy, the other allegedly spirited away to prevent exhumation. The company, unnamed but repeatedly described as a “crisis-resolution” firm serving Beijing’s elite entertainment circles, is said to specialise in making inconvenient deaths look routine and inconvenient bodies disappear.
The plasticization claim is grotesque yet disturbingly plausible in its logistics. Modern plastination techniques can produce museum-quality specimens that last indefinitely. A private facility with the right equipment could theoretically complete the process in weeks. The result would be a perfect likeness—clothed, posed, forever silent.
Điền Hải Dung has not commented. Her social-media accounts remain inactive. Từ Minh’s family has issued no statement since the initial announcement of his passing.
The parallel with Yu Menglong is what makes the rumor impossible to ignore. Two high-profile deaths. Two rapid official closures. Two sets of leaks suggesting foul play. Two bodies allegedly removed or altered under cover of darkness. And one recurring motif: the fear that speaking out, documenting abuse, or refusing to comply leads to erasure—not just of a career, but of a life and its evidence.
In the absence of official answers, grief has created its own mythology. The plasticized Từ Minh and the shrouded Yu become twin symbols: proof that the glittering surface of CBIZ hides something capable of turning human beings into objects—living or dead—to be controlled, displayed or discarded.
Whether any part of the rumor is true may never be known.
What is known is that two families still wait for real answers.
And while they wait, the story keeps growing darker.
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