The world's deepest diving pool, Deepspot, opened this weekend near the Polish capital Warsaw. The 45.5-meter pool contains artificial underwater caves, Mayan ruins and a small shipwreck for scuba divers and free divers to explore. Deepspot can hold 8,000 cubic meters of water, more than 20 times the capacity of a normal 25-meter swimming pool. Unlike ordinary swimming pools, Deepspot can still open despite Poland's COVID-19 epidemic prevention restrictions because it is a training center that provides courses. The operator also plans to open a hotel where guests can observe divers at a depth of 5 meters from their rooms. "This is the deepest diving pool in the world," Michael Braszczynski, 47, Deepspot's director and a diving enthusiast, told AFP at the opening yesterday. The current Guinness World Record holder is a 42-meter-deep pool in Montegrotto Terme, Italy. The 50-meter-deep Blue Abyss pool in the UK is scheduled to open in 2021. On the first day of Deepspot's opening, about a dozen people visited, including eight experienced divers who wanted to pass the instructor exam. "There are no spectacular fish or coral reefs here, so it can't replace the ocean, but it is certainly a good place to learn and train safe open water diving," said 39-year-old diving instructor Przemyslaw Kacprzak. "And it's fun! It's like a kindergarten for divers."

The world's first portable electrocardiograph was an 85-pound backpack, and now a 10-gram patch attached to your chest can transmit electrocardiograms uninterrupted for two weeks. The Apple Watch, which is worn by an estimated 100 million people, can send a text message to alert people when their heartbeat is irregular. Wearable sensors on the arms, wrists and fingers can now report arrhythmias, blood sugar levels, blood oxygen and other health indicators. Medical journals have also proposed a more ambitious vision - wearable devices can monitor patients with chronic diseases, eliminating the need for frequent hospital visits. They can spot potential health problems before a stroke or diabetes develops. The forces of health technology and wearables are converging. Tech giants like Apple (AAPL) and Alphabet's (GOOGL) Google are adding health features to their products. Medical technologists like electrocardiogram patch maker iRhythm Technologies or blood sugar monitor makers DexCom (DXCM) and Abbott Laboratories (ABT) are taking their devices beyond the clinic. "In the sensor world, people started on the consumer side and wanted to get into health care," said Kevin Sayer, chief executive of Decon Medical. "In health care, we're trying to be more consumer oriented, and I think all of those things are sort of colliding." Early bets favored the tech giants, with every health-related announcement from Apple, Google or Samsung Electronics hitting medical tech stocks. But changing doctors' practices will also require sustained investment in clinical trials. Big tech companies have cut back on investments in health care. Now it seems that medical technologists will be at the vanguard of the digital health revolution - with smartwatches and smart rings bringing them more customers who need to be diagnosed. Blake Goodner, co-founder of Bridger Management, a hedge fund focused on health care, said: "A group of medtech companies focused on digital health are maturing and reaching a scale where they can not only be profitable but also make investments to compete with larger tech companies." Tech giants aren't getting out of the health business. Apple's smartwatch has an electronic heart rate sensor that generates a single-point electrocardiogram, a wrist temperature sensor, and an accelerometer that can detect violent falls. Hundreds of millions of people are wearing smartwatches with health features from Apple or its rivals Samsung and Garmin.

This Barbie is going to be a mother. And Margot Robbie has no problem putting her burgeoning baby bump on full display. In fact, the Barbie star, who is pregnant with her Tom Ackerley’s first baby, debuted recently her bump while vacationing on Italy’s Lake Como with her husband July 7. For the outing, Margot donned a black blazer over a white tee that was cropped above her stomach, showing off a sweet baby bump. She finished off the look with low-rise black trousers, black platform sandals and a summery straw bag. For his part, Tom—whom Margot wed in a 2016 ceremony in her native Australia—wore olive green trousers and a cream-colored button-down shirt and tan sneakers. The couple were photographed waiting on a dock in Lake Como before they hopped in a boat and sailed off into a literal sunset. While Margot and Tom, both 34, haven’t spoken publicly about their upcoming bundle of joy, the I, Tonya alum has previously expressed hope to have a big family one day. As she told Porter in 2018, “If I'm looking into my future 30 years from now, I want to see a big Christmas dinner with tons of kids there.” Tom and Margot’s new chapter comes over ten years after their love story first began on the set of 2014's Suite Française, in which Margot starred while Tom worked as a third assistant director. But while she was immediately smitten, Margot was convinced her love would go unrequited. "I was always in love with him, but I thought, ‘Oh, he would never love me back,'" she admitted to Vogue in 2016. "'Don't make it weird, Margot. Don't be stupid and tell him that you like him.' And then it happened, and I was like, ‘Of course we're together. This makes so much sense, the way nothing has ever made sense before.'"

BEIRUT/JERUSALEM July 3 (Reuters) - An Israeli strike killed one of Hezbollah's top commanders in south Lebanon on Wednesday, prompting retaliatory rocket fire by the Iran-backed group into Israel as their dangerously poised conflict rumbled on. The Israeli military said it had struck and eliminated Hezbollah's Mohammed Nasser, calling him commander of a unit responsible for firing from southwestern Lebanon at Israel. Nasser, killed by an airstrike near the city of Tyre in southern Lebanon, was the one of the most senior Hezbollah commanders to die yet in the conflict, two security sources in Lebanon said. Sparked by the Gaza war, the hostilities have raised concerns about a wider and ruinous conflict between the heavily armed adversaries, prompting U.S. diplomatic efforts aimed at deescalation. Israeli Defence Minister Yoav Gallant said Israeli forces were hitting Hezbollah "very hard every day" and will be ready to take any action necessary against the group, though the preference is to reach a negotiated arrangement. Hezbollah began firing at Israeli targets at the border after its Palestinian ally Hamas launched the Oct. 7 attack on Israel, declaring support for the Palestinians and saying it would cease fire when Israel stops its Gaza offensive. Hezbollah announced at least two attacks in response to what it called "the assassination", saying it launched 100 Katyusha rockets at an Israeli military base and its Iranian-made Falaq missiles at another base in the town of Kiryat Shmona near the Israeli-Lebanese border. Israel's Channel 12 broadcaster reported that dozens of rockets were fired into northern Israel from Lebanon. There were no reports of casualties. The Israeli Defence Ministry said that air raid sirens sounded in several parts of northern Israel. Israel's military did not give a number of rockets launched but said most of them fell in open areas, some were intercepted, while a number of launches fell in the area of Kiryat Shmona.

According to Chinese movie ticketing platform Taopiaopiao, the box office for the 2024 Spring Festival holidays surpassed last year's 6.766 billion yuan and entered the top two in the history of Chinese Spring Festival holidays box office. I recently watched three movies, and I think they are all good. However, their overall level is not higher than the movies from last Spring Festival holidays. The higher box office compared to last year reflects the strong potential for movie consumption in Chinese society. Our filmmakers need to make further efforts. The current development of Chinese movies has many advantages. People often complain that our film creation faces various "restricted areas," but in terms of societal topics, the space for Chinese film creation is relatively large and relaxed. For example, Zhang Yimou's film Article 20 shows protest scenes and boldly explores the issue of judicial injustice in depth. A few years ago, the film I Am Not Madame Bovary specifically discussed the sensitive issue of petitioning. Another film, Johnny Keep Walking! which was aired last year, also touches on serious social issues. The breadth and depth of these films' topics lay the foundation for their attractiveness. The improvement of China's basic film production level has played a role in boosting their success, resulting in Hollywood films being collectively pushed off the Chinese box office charts. Now, almost any domestic film can be considered "watchable." The next step is to produce world-class masterpieces and promote the collective advancement of Chinese films on the global stage. The three movies that I watched are YOLO, directed, written and starring Jia Ling, a representative of the new generation of female Chinese directors, Pegasus 2, directed by Han Han and Article 20. They are all realistic-themed films, and the actors who play the main characters have some overlap. Although each of them is good, as mentioned earlier, I personally feel that their overall quality is not as good as films screened during last year's Spring Festival holidays. So I have a feeling that Chinese movies have been spinning in place for a year in such a good market environment. Of course, I am not an expert, so what I say may not be correct, or it may be biased. The production level of Chinese films, in terms of technology, has caught up. Domestic films have surpassed Hollywood in the domestic market through competition, which is a great achievement. However, I hope that this does not mark the beginning of a "decoupling" between Chinese movies and the rest of the world, but rather a turning point for Chinese films to reach a higher level domestically and to go global. This requires Chinese realistic films to not only be loved by domestic audiences but also become increasingly "understandable" to foreigners, allowing them to empathize with us through these films. If Chinese films can gradually go global through market-oriented approaches, it will be a new process for the international community to re-recognize and understand China, and to establish common values between us. The earliest understanding of the US by the Chinese people came entirely from the shaping of news propaganda. Later, American films and TV works entered China, showcasing the rich American society. Now, Western media's portrayal of China is completely stereotyped. If Chinese films and other popular culture do not go global, and if a large number of secular elements from China do not appear on the global internet, the outside world's perception of China is likely to be dictated by Western media for a long time. So I hope that China's excellent film market can incubate outstanding works that are loved and enjoyed globally. Not only should our cultural policies provide greater space, but our internet public opinion should also be more tolerant of the interweaving and mutually influencing between Chinese and Western cultural elements. We should not restrict those elements in Chinese films that can resonate with both Chinese and foreign audiences. For example, comedies should not only make Chinese people laugh, but also be understandable to foreigners. Chinese films need to establish their own big stars, including top-tier female stars. In the past, Bruce Lee and Jackie Chan became famous in the West, but they were primarily seen as "Hollywood stars." It is a more challenging journey for Chinese stars to gain international recognition through their own films. The success of Chinese films and Chinese stars worldwide is definitely a complementary process. The backgrounds of our film stories should also be carefully selected and more diverse, enhancing the visual quality and international appeal of the films. Feng Xiaogang's film Be There or Be Square was entirely set in the US, and later, there was another film called Lost in Thailand, both of which achieved good results. Choosing such backgrounds should be encouraged as one of the approaches. In conclusion, I am delighted by the comprehensive recovery of the Chinese film market, and I also hope that the films nurtured by this market will continue to progress. To achieve this, we need to keep introducing the world's best films and collaboratively cultivate the aesthetic taste of the Chinese people alongside Chinese films. Chinese films have already stood up, but they should not monopolize this vast market. Instead, the Chinese market should serve as the stage for them to expand globally.