Some people say I only know how to be promiscuous, like drinking wine in front of flowers or enjoying autumn fragrance under the moon, making me feel like I'm not doing my job... If they say I'm crazy, then let me ask you, if my parents, wife, children, and sister all passed away in the same year, wouldn't you be emo? You answer me! "In a short video at the Suzhou Museum, Tang Bohu, one of the" Four Great Scholars of Jiangnan ", was" resurrected "with the help of AI technology, using modern language and emotional expression to respond to the misunderstanding of his" promiscuity "in later generations: Look in my eyes! Tell me why? Why? Baby why? "Then, Wen Zhengming, one of the" Four Masters of Ming ", appeared in the same way:" I admit that I have taken the imperial examination nine times but did not get into Yingtian Prefecture. So, let me ask you, did I receive a 'waiting edict from the Hanlin Academy' in the end? Answer me... Then what is worse about my calligraphy, painting, and literature? Am I not one of the representatives of the Wu School of Painting? Speak up! I am still writing at the age of 90, can you do it? "The creator of the Suzhou Museum, who first developed the series of videos about ancestral insults, used tools such as DeepSeek, Minimax, and Viggle Ai to input historical figures. Generate text that matches the character's personality and history by incorporating background information and modern dialogue scripts. At present, this series of videos has achieved impressive views and dissemination. Subsequently, cultural and tourism platforms such as Dunhuang Museum quickly caught up and launched similar creative videos. The reposting by official media has further expanded the influence of this series. Although they were stunned by the criticism, many netizens exclaimed that they were addicted. Why do we love to watch 'our ancestors curse' and 'serious people engage in abstraction'? This question can be analyzed from three dimensions: history, philosophy, and communication studies. From a historical perspective, traditional historical research often falls into the narrative trap of "looking up at the mountains", while AI technology deconstructs historical figures into tangible emotional containers. This perspective of restoring ancient people to ordinary people is similar to Qian Zhongshu's method of discussing history, which pointed out that "historians need to trace real people and facts from a distance, imagine the situation, set up a situation, immerse themselves in the cavity, contemplate and measure it, and use it to absorb and apply it, so as to understand the situation reasonably. When Li Shizhen is no longer the portrait of a sage in the Compendium of Materia Medica, but becomes an old Chinese medicine practitioner who worries young people about staying up late, and when we open the folds of history and see the life story behind Tang Bohu, this dashing scholar, we also have more empathy for our understanding of the ancients. From a philosophical perspective, such dissemination is highly consistent with the "micro narrative" advocated by postmodernism, which emphasizes local, temporary, and contextualized knowledge, highlighting differences, diverse perspectives, and the fragmentation of human experience. The video reinterprets history through humorous and emotional expressions by placing historical figures in a modern context, breaking the authority and singularity of traditional historical narratives, and presenting a decentralized and personalized narrative style. From the perspective of communication studies, whether it is the "ancestral curse" series in museums or the "dialogue scene" teaching of history teachers, they are both a transformation of cultural communication from knowledge imparting to value resonance. Through entertaining expressions, cultural dissemination can not only attract more audiences, but also enhance their sense of participation and interactivity through the repeated "you answer me". It is difficult to say that such interactivity cannot arouse the audience's interest in specific historical figures, thereby generating enthusiasm for active exploration and learning. It cannot be denied that this is just a popular product in cultural dissemination. Watching too many of them inevitably leads to aesthetic fatigue, and even when such memes cross a certain boundary, they can create a sense of historical nihilism. But at this moment, immersing oneself in such joy for three minutes, being scolded for three minutes, is also a joyful and beneficial thing. (New Society)