Heo Kyung-hwan, who recently appeared on SBS' 'No, but Really!', appeared in his unique 'flower beggar' makeup and gave viewers a big laugh. Although there were some bitter stories about his attitude controversy during the broadcast, the professionalism he showed was enough to revitalize the program. In particular, the entertainment chemistry with actor Kim Ye-won attracted the attention of viewers, and the sight of Kim Ye-won expressing her affection for Heo Kyung-hwan by directly imitating Heo Kyung-hwan's catchphrases gave many people excitement despite being a typical entertainment device. The process in which the cast, led by Lee Sang-min, adds dramatic fun by inciting the rivalry between the two people clearly shows how entertainment reorganizes the relationships between performers and induces public interest.

Unlike the light atmosphere in entertainment programs, Heo Kyung-hwan's buzzwords summoned from the political world have a very different weight. On the Channel A radio show, political commentators cited Heo Kyung-hwan's buzzwords 'unbalanced' and 'uneasy' while explaining the complex power struggle within the Democratic Party and the ruling party's unstable state administration. This can be read as a highly strategic metaphor intended to more easily convey political issues to the public, as well as an attempt to relieve tension by making a complex conflict situation into a caricature. By replacing the precariousness of power and conflict of camp logic experienced by politicians with the language of comedians, it has the effect of lowering hard current affairs issues into the realm of the public's everyday language.

In the media ecosystem, celebrities' comments go beyond simple personal opinions and become a window for public sentiment. The fact that Heo Kyung-hwan revealed his strong feelings about topics such as 'transit love' in entertainment programs proves that he uses an honest speaking style that stimulates public sympathy. This honesty makes viewers feel like he is a friendly colleague or neighbor, and as a result, the pink air or personal anger in entertainment becomes a powerful 'content narrative'. In the end, the characters and buzzwords created by celebrities are flexibly used not only in popular culture but also in current affairs, expanding their influence.

However, this phenomenon cannot be viewed only positively. This is because the political world borrowing the language of entertainment carries the risk of obscuring or making fun of the essence of the current issue. There are also concerns that when heavy political criticism, such as 'Geogeom, Bokgeom', and Heo Gyeong-hwan's light catchphrase are used in the same context, the seriousness of the issue may be obscured. Nevertheless, the fact that the public reacts more immediately to the figurative expressions of entertainers than to the rigid speeches of politicians clearly shows how emotional and intuitive the communication methods in our society have become. At a time when the boundaries between popular culture and politics are collapsing, it is time for us to think again about what constitutes sincere communication.