Chat means chat, and GPT is the acronym for Gene Rate Pre trained Transformer. Genrative means generation, and its function is to create or produce something new; Pre trained refers to a model of artificial intelligence that is learned from a large amount of textual materials, while Transformer refers to a model of artificial intelligence. Don't worry about T, just focus on the words G and P. We mainly use its Generative function to generate various types of content; But we need to know why it can produce various types of content, and the reason lies in P. Only by learning a large amount of content can we proceed with reproduction. And this kind of learning actually has limitations, which is very natural. For example, if you have learned a lot of knowledge since childhood, can you guarantee that your answer to a question is completely correct? Almost impossible, firstly due to the limitations of knowledge, ChatGPT is no exception, as it is impossible to master all knowledge; The second is the accuracy of knowledge, how to ensure that all knowledge is accurate and error free; The third aspect is the complexity of knowledge, where the same concept is manifested differently in different contexts, making it difficult for even humans to grasp it perfectly, let alone AI. So when we use ChatGPT, we also need to monitor the accuracy of the output content of ChatGPT. It is likely not a problem, but if you want to use it on critical issues, you will need to manually review it again. And now ChatGPT has actually been upgraded twice, one is GPT4 with more accurate answering ability, and the other is the recent GPT Turbo. The current ChatGPT is a large model called multimodality, which differs from the first generation in that it can not only receive and output text, but also other types of input, such as images, documents, videos, etc. The output is also more diverse. In addition to text, it can also output images or files, and so on.

South Korea's Minister of Health and Welfare Cho Kyu-hong said at a press conference on the 8th local time that after comprehensively considering the suggestions of frontline interns and the situation on the front line of medical care, the government decided that from that day on, all interns and residents who resigned would not be given administrative sanctions such as revoking their medical licenses. Cho Kyu-hong also said that for interns and residents who have returned to work and those who have resigned and are preparing to re-register for internship courses in September, the government will make special cases to try to minimize the internship gap and not affect the relevant doctors from obtaining specialist medical licenses. Cho Kyu-hong said that the government believes that in order to minimize the diagnosis and treatment gaps for critically ill and emergency patients and ensure the smooth training process of interns and residents, it is in the public interest, so it has made a decision not to punish interns and residents who resigned. It is hoped that major hospitals will complete the resignation processing of doctors who have not returned to work before July 15 and determine the scale of vacancies. Previously, large general hospitals in South Korea, such as Seoul National University Hospital, Yonsei University Severance Hospital, and Seoul Asan Medical Center, suspended or limited their medical services in an effort to cancel all penalties against interns and residents.

On July 8, Ukrainian President Zelensky, who was visiting Poland, and Polish Prime Minister Tusk signed a bilateral security agreement in Warsaw, the capital of Poland. The agreement clearly states that Poland will provide support to Ukraine in air defense, energy security and reconstruction. After signing the agreement, Tusk said that the agreement includes actual bilateral commitments, not "empty promises." Previously, the United States, Britain, France, Germany and other countries as well as the European Union signed similar agreements with Ukraine.

At the beginning of this year, Elon Musk had a fortune of $251 billion and could almost single-handedly solve world hunger. However, Tesla's stagnant sales, the endless struggle to buy Twitter, and the volatility of Tesla's stock price meant he lost a lot of money this year. According to Forbes, Musk is the billionaire with the most losses so far this year, with his wealth shrinking at a rate of about $5 billion a month. According to the website, his wealth shrank by more than 10% from the end of 2023 to June 28, 2024. As the website explains: Between December 31, 2023, and June 28, the last day of regular stock market trading for the first half of the year, Musk's net worth fell from $251.3 billion to $221.4 billion, a bigger drop than any other billionaire tracked by Forbes, but Musk remains the richest person on the planet. The main reason for the dip in Musk's pocketbook is that a Delaware judge in January canceled Musk's then-record Tesla compensation package worth $51 billion, which led Forbes to cut the value of the equity award by 50 percent because of uncertainty about whether Musk would receive those stock options. Excluding that bonus, Musk's wealth has remained volatile over the past six months, with the value of his 13 percent stake in Tesla shrinking by about $20 billion as falling profits and car deliveries sent the stock down 20 percent. But that was partly offset by the growth of Musk's stake in his generative artificial intelligence startup xAI to $14.4 billion (Musk also has a roughly $75 billion stake in private aerospace company SpaceX, a $7 billion stake in social media company X, And smaller stakes in other companies, such as brain experimentation startup Neuralink).

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.