Created on

1

/

20

/

2026

,

12

:

57

Updated on

1

/

20

/

2026

,

19

:

20

Location

Oakland, CA

PSA: Selina Huang

声明:关于黄艳琪

2025 年 8 月左右,我通过小红书上一位网友的介绍,认识了自称“调酒博主”的多多干饭,黄艳琪。

随后的一段时间里,我们逐渐熟悉起来。我们曾一起开车去国家公园,也去过洛杉矶等地。这些接触主要是日常结伴出行,我当时将其理解为普通朋友之间的往来,并未意识到存在需要特别警惕的边界问题。

当时她住在离我不远的 Lake Merritt 一带,借住在她所称的前“co-founder”家中。后来我才逐渐确认,她并不是对方的联合创始人,而更接近实习生或从属角色。但在当时,我并不清楚这些细节,只知道那位男性经常因为她的错误打电话过来追问她。在与我相处的过程中,她一方面不断攻击这位前老板,另一方面又反复强调自己在能力和前景上远胜于对方。在她的单方面叙述影响下,我一度对那位前老板留下了非常糟糕的印象,而这种印象并非基于我的直接接触。后来我理解了。

在之后的接触中,情况开始逐渐失衡。出于善意,我曾主动提出可以让她使用我家的客厅举办 cocktail nights,并明确表示收入大头归她,比例为她七、我三。但在实际执行中,她经常在临近时间才通知我要办酒局,导致我无法安排自己的生活和工作节奏。基于这一点,我逐渐选择不再参与相关活动,此后所有收入也全部归她所有。尽管如此,她仍以各种理由要求我到场,但从这一阶段开始,我在经济层面已经与她完全没有任何关系。

再后来,我们逐渐熟悉。她开始频繁出入我家,一周可达四次,在我家洗衣、吃饭,把我家当作日常停留的地方。那段时间她正在寻找下一份工作,我亲眼看到她准备面试、参加面试,也经历被拒绝的过程。期间她向我询问注册公司、公司结构等问题,我基于当时的认知如实回答,甚至一度出于信任和善意,提出可以在合规前提下,让她使用我公司的 EIN 来处理 OPT 相关事宜。当时我完全没有预想到,这个决定会在后来造成如此大的影响。

随后,她提出要做一个名为 AIGEO 的项目。至于这个项目在技术和现实层面是否可行,当时我并未深入判断,而是选择表示支持。我给她转了 1000 美元,名义上是让她帮我做一些事情,实际上更多只是暂时帮她一把。但在后续过程中,她并未完成任何实质性工作。我让她看几本与电影相关的书,她没有看;帮她介绍故事版的流程,没有推进;让她读剧本,她反而让我帮她打印。

大约在 11 月左右,她被那位前老板要求搬离原先的住处。此前,她曾要求在我家暂住几天,我答应了。被要求搬离的时候,我出于同情,提出她可以暂时住在我家。但随着她侵犯边界的行为愈演愈烈,我逐渐意识到问题的严重性,最终明确拒绝了这一提议,并清楚告知她不要搬来我家。此后,我们不再有任何联系。

直到昨日,我偶然看到一位我们曾经的共同好友之前发布的朋友圈,内容显示其以 AIGEO 公司名义前往拉斯维加斯参加 CES。起初我甚至没有意识到这是黄艳琪的公司。出于好奇,我去 LinkedIn 查看相关信息,却赫然发现,该公司对外登记的地址竟然是我的家庭住址。

在确认这一情况后,我第一时间要求对方将我的住址撤除。与此同时,黄艳琪本人否认使用过我的公司信息,甚至表示从未使用过我的 EIN。直到又过了半天时间,我的家庭住址才终于被从其公司信息中撤下。

关于是否使用过我的 EIN 从事其他事务,她表示并未有任何相关行为。但由于我无法独立核实这一说法,加之此前发生过多次超出我理解范围的行为,我无法仅凭口头否认就完全排除风险。这种怀疑在我看来是合理的。为了杜绝任何可能对我个人或公司造成影响的情况,我选择将这一经过完整说明。

这篇记录并非指控任何既成事实,而是出于自我保护的需要,对前因后果进行解释,并明确我已切断关系、收回授权、撤除关联信息的立场。

Around August 2025, through an introduction from a Xiaohongshu user , I met Huang Yanqi, who presented herself as a “cocktail influencer” under the handle “Duoduo Ganfan.” At the time of the introduction, this mutual acquaintance warned me that something about this person seemed off, but I didn’t take it too seriously then.

Over the following period, we gradually became more familiar. We drove together to national parks and also traveled to places like Los Angeles. These interactions were mainly casual outings, and I understood them as ordinary socializing between friends. I did not realize there were boundary issues that required particular caution.

At that time, she was living near Lake Merritt, staying at the home of someone she referred to as her former “co-founder.” Only later did I come to understand that she was not actually his co-founder, but closer to an intern or subordinate role. At the time, I didn’t know these details; I only knew that this man frequently called to question her about various matters. During our interactions, she repeatedly attacked this former boss while also emphasizing that she was far superior to him in ability and prospects. Influenced by her one-sided account, I ended up forming a very negative impression of him—an impression not based on any direct contact of my own.

As our contact continued, the situation gradually became unbalanced. Acting in good faith, I offered my living room as a venue for her to host cocktail nights. I explicitly proposed that the majority of the income should go to her, on a 70/30 split (her/me). But in practice, she often informed me at the last minute that she wanted to hold an event, which made it impossible for me to plan my own life and work. Because of this, I gradually stopped participating. From that point on, all revenue went entirely to her. Even so, she continued to ask me to show up for various reasons, but from that stage onward, I had no financial relationship with her whatsoever.

Later, matters escalated further. She began coming to my home frequently—up to four times a week—to do laundry, eat, and treat my place as if it were her own. At the time, I still hadn’t recognized how serious these boundary violations were. During that period, she was looking for her next opportunity, and I watched her interview and be rejected. She asked me questions about company registration and structure, and I answered based on what I knew. At one point, out of trust and goodwill, I even suggested that—assuming everything could be done compliantly—she could use my company’s EIN for her OPT-related matters. I had no idea then that this decision would later have such serious consequences.

After that, she said she wanted to build a project called AIGEO. I did not deeply evaluate whether it was feasible in technical or practical terms at the time; I chose to be supportive. I transferred her $1,000, nominally as payment for helping me with some tasks, though in reality it was more like a temporary form of assistance. However, she did not complete any substantive work afterward. I asked her to read several film-related books; she did not. I tried to connect her with the process related to the “Fengshen” storyboard; nothing came of it. I asked her to read a script, and she instead asked me to print it for her. At that point, I clearly felt that things were starting to go wrong.

Around November, she was asked by that former boss to move out of her prior living situation. Out of sympathy, I initially suggested she could stay at my place temporarily. But as her boundary-crossing behavior became more and more severe, I recognized the seriousness of the issue. I ultimately withdrew that offer, clearly telling her not to move into my home. After that, we had no further contact.

Then yesterday, I happened to see an old WeChat Moments post from someone who used to be a mutual friend (and is no longer my friend). The post showed them traveling to Las Vegas for CES under the name of AIGEO. At first, I didn’t even realize this was Huang Yanqi’s company. Out of curiosity, I checked LinkedIn—and was shocked to see that the company’s listed address was my home address.

After confirming this, I immediately demanded that my address be removed. That former mutual friend then insulted me and attacked me personally, using slurs like “mentally ill” and “hysterical.” Meanwhile, Huang Yanqi denied having used my company information and even claimed she had never used my EIN. Only after another half day did my home address finally get removed from her company information.

As for whether she used my EIN for any other purposes, she claims she did not. But because I have no independent way to verify that claim—and given that there had already been multiple incidents in the past that I could not reasonably anticipate—I cannot fully rule out risk based solely on a verbal denial. I consider this a reasonable doubt. To prevent any potential impact on me personally or on my company, I am documenting the full sequence of events here.

This record is not an accusation of any established wrongdoing. It is an explanation of the context for self-protection, and a clear statement of my position: I have cut off the relationship, withdrawn any authorization, and removed any associated information.

Artist Statement

My work is not about explaining the world; it’s about dismantling the emotional structures that everyday life tries to conceal. What I focus on is not “story,” but the dynamics between people—the pull and tension of intimacy, the quiet control embedded in family, the fractures that come with migration, and how an individual maintains their boundaries within these systems.

I grew up between shifting cultures and languages, often in environments where I was expected—needed—claimed by others. I was asked to understand, to accommodate, to take care, to adjust. Even the gentlest relationships carried an undercurrent of consumption. That tension became the foundation of my creative work.

The characters in my stories are not moral types. They each carry a kind of private conflict: they want closeness but fear being swallowed; they long to be seen but can’t fully expose themselves; they are asked again and again to give—to family, to love, to work—without knowing how to keep space for themselves. These aren’t inventions; they’re reflections of lived experience. Writing, for me, is a way to unearth the emotions that have been suppressed, ignored, or normalized—and let them speak again.

I gravitate toward rhythmic narrative structures: compressed scenes, quick shifts, intentional gaps, silences between characters. These spaces reveal more truth than dialogue ever could. The themes I explore—migration, family, identity, trauma, intimacy, female autonomy—ultimately point to a single question: how does a person protect their boundaries in a world that constantly pulls at them, demands from them, watches them?

Creating is neither escape nor self-soothing. It is a way of reclaiming authorship over my own narrative. When I write a character’s silence, resistance, hesitation, or departure, I’m answering one essential question:

When the world insists on defining me, how do I choose to define myself?

艺术家陈述

我的创作不是为了解释世界,是为了拆开被日常掩盖的情绪结构。我关注的核心不是“故事”,而是人与人之间的力量关系——亲密带来的拉扯、家庭带来的隐性控制、身份在迁徙中的断裂,以及一个人在这些结构里如何保持自己的边界。

出生在不断变化的文化与语言之间,长期处在“被期待—被需要—被占用”的环境里。很多时候,我被要求理解别人、照顾别人、顺着环境。那些看似温和的关系里,也潜藏着吞噬性的需求。这种张力成了我创作的源头。

在我的故事里,人物不是善恶分明的类型。他们都带着某种困境:他们想靠近别人,但又害怕被吞没;他们渴望被看见,却无法完全暴露自己;他们在家庭、爱情、工作里不断被要求付出,却不知道怎样为自己保留空间。这并不是虚构,是现实经验的折射。我写作,把那些长期被压抑、被忽略、被习惯化的情感重新挖出来,让它们重新发声。

我倾向于使用节奏性的叙事结构:压缩的篇幅、快速切换的场景、留白的空间、人物之间的静默。这些“空隙”比对白本身更能暴露一个人的真实状态。我处理的主题是移民、家庭、身份、创伤、亲密、女性的自主性,但它们都指向同一件事:一个人如何在被拉扯、被要求、被凝视的世界里,维护自己的边界。

创作不是逃避,也不是自我疗愈,是重新夺回叙事权的方式。当我写下一个人物的沉默、反抗、犹豫或离开,我其实是在回答一个核心问题:
当世界不断定义我时,我选择如何定义自己?

Artist Statement

My work is not about explaining the world; it’s about dismantling the emotional structures that everyday life tries to conceal. What I focus on is not “story,” but the dynamics between people—the pull and tension of intimacy, the quiet control embedded in family, the fractures that come with migration, and how an individual maintains their boundaries within these systems.

I grew up between shifting cultures and languages, often in environments where I was expected—needed—claimed by others. I was asked to understand, to accommodate, to take care, to adjust. Even the gentlest relationships carried an undercurrent of consumption. That tension became the foundation of my creative work.

The characters in my stories are not moral types. They each carry a kind of private conflict: they want closeness but fear being swallowed; they long to be seen but can’t fully expose themselves; they are asked again and again to give—to family, to love, to work—without knowing how to keep space for themselves. These aren’t inventions; they’re reflections of lived experience. Writing, for me, is a way to unearth the emotions that have been suppressed, ignored, or normalized—and let them speak again.

I gravitate toward rhythmic narrative structures: compressed scenes, quick shifts, intentional gaps, silences between characters. These spaces reveal more truth than dialogue ever could. The themes I explore—migration, family, identity, trauma, intimacy, female autonomy—ultimately point to a single question: how does a person protect their boundaries in a world that constantly pulls at them, demands from them, watches them?

Creating is neither escape nor self-soothing. It is a way of reclaiming authorship over my own narrative. When I write a character’s silence, resistance, hesitation, or departure, I’m answering one essential question:

When the world insists on defining me, how do I choose to define myself?

艺术家陈述

我的创作不是为了解释世界,是为了拆开被日常掩盖的情绪结构。我关注的核心不是“故事”,而是人与人之间的力量关系——亲密带来的拉扯、家庭带来的隐性控制、身份在迁徙中的断裂,以及一个人在这些结构里如何保持自己的边界。

出生在不断变化的文化与语言之间,长期处在“被期待—被需要—被占用”的环境里。很多时候,我被要求理解别人、照顾别人、顺着环境。那些看似温和的关系里,也潜藏着吞噬性的需求。这种张力成了我创作的源头。

在我的故事里,人物不是善恶分明的类型。他们都带着某种困境:他们想靠近别人,但又害怕被吞没;他们渴望被看见,却无法完全暴露自己;他们在家庭、爱情、工作里不断被要求付出,却不知道怎样为自己保留空间。这并不是虚构,是现实经验的折射。我写作,把那些长期被压抑、被忽略、被习惯化的情感重新挖出来,让它们重新发声。

我倾向于使用节奏性的叙事结构:压缩的篇幅、快速切换的场景、留白的空间、人物之间的静默。这些“空隙”比对白本身更能暴露一个人的真实状态。我处理的主题是移民、家庭、身份、创伤、亲密、女性的自主性,但它们都指向同一件事:一个人如何在被拉扯、被要求、被凝视的世界里,维护自己的边界。

创作不是逃避,也不是自我疗愈,是重新夺回叙事权的方式。当我写下一个人物的沉默、反抗、犹豫或离开,我其实是在回答一个核心问题:
当世界不断定义我时,我选择如何定义自己?

Artist Statement

My work is not about explaining the world; it’s about dismantling the emotional structures that everyday life tries to conceal. What I focus on is not “story,” but the dynamics between people—the pull and tension of intimacy, the quiet control embedded in family, the fractures that come with migration, and how an individual maintains their boundaries within these systems.

I grew up between shifting cultures and languages, often in environments where I was expected—needed—claimed by others. I was asked to understand, to accommodate, to take care, to adjust. Even the gentlest relationships carried an undercurrent of consumption. That tension became the foundation of my creative work.

The characters in my stories are not moral types. They each carry a kind of private conflict: they want closeness but fear being swallowed; they long to be seen but can’t fully expose themselves; they are asked again and again to give—to family, to love, to work—without knowing how to keep space for themselves. These aren’t inventions; they’re reflections of lived experience. Writing, for me, is a way to unearth the emotions that have been suppressed, ignored, or normalized—and let them speak again.

I gravitate toward rhythmic narrative structures: compressed scenes, quick shifts, intentional gaps, silences between characters. These spaces reveal more truth than dialogue ever could. The themes I explore—migration, family, identity, trauma, intimacy, female autonomy—ultimately point to a single question: how does a person protect their boundaries in a world that constantly pulls at them, demands from them, watches them?

Creating is neither escape nor self-soothing. It is a way of reclaiming authorship over my own narrative. When I write a character’s silence, resistance, hesitation, or departure, I’m answering one essential question:

When the world insists on defining me, how do I choose to define myself?

艺术家陈述

我的创作不是为了解释世界,是为了拆开被日常掩盖的情绪结构。我关注的核心不是“故事”,而是人与人之间的力量关系——亲密带来的拉扯、家庭带来的隐性控制、身份在迁徙中的断裂,以及一个人在这些结构里如何保持自己的边界。

出生在不断变化的文化与语言之间,长期处在“被期待—被需要—被占用”的环境里。很多时候,我被要求理解别人、照顾别人、顺着环境。那些看似温和的关系里,也潜藏着吞噬性的需求。这种张力成了我创作的源头。

在我的故事里,人物不是善恶分明的类型。他们都带着某种困境:他们想靠近别人,但又害怕被吞没;他们渴望被看见,却无法完全暴露自己;他们在家庭、爱情、工作里不断被要求付出,却不知道怎样为自己保留空间。这并不是虚构,是现实经验的折射。我写作,把那些长期被压抑、被忽略、被习惯化的情感重新挖出来,让它们重新发声。

我倾向于使用节奏性的叙事结构:压缩的篇幅、快速切换的场景、留白的空间、人物之间的静默。这些“空隙”比对白本身更能暴露一个人的真实状态。我处理的主题是移民、家庭、身份、创伤、亲密、女性的自主性,但它们都指向同一件事:一个人如何在被拉扯、被要求、被凝视的世界里,维护自己的边界。

创作不是逃避,也不是自我疗愈,是重新夺回叙事权的方式。当我写下一个人物的沉默、反抗、犹豫或离开,我其实是在回答一个核心问题:
当世界不断定义我时,我选择如何定义自己?

sunny.xiaoxin.sun@doubletakefilmllc.com

Sunny Xiaoxin Sun's IMDb


©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2024, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,24年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunny.xiaoxin.sun@doubletakefilmllc.com

Sunny Xiaoxin Sun's IMDb


©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2024, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,24年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunny.xiaoxin.sun@doubletakefilmllc.com

Sunny Xiaoxin Sun's IMDb


©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2024, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,24年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

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