On the afternoon of July 8, local time, the Vietnamese Ministry of Health issued a notice stating that an 18-year-old girl in the country died of diphtheria. The Ministry of Health asked Nghe An Province and Bac Giang Province to take urgent action to control the epidemic. Diphtheria is an acute respiratory infectious disease caused by Corynebacterium diphtheriae, which is mainly transmitted through droplets and can also be indirectly transmitted by contact with objects containing Corynebacterium diphtheriae. Severe cases may show symptoms of poisoning throughout the body, complicated by myocarditis and peripheral nerve paralysis.

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.

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.

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.'"

Companies are going to have fewer people and fewer layers. Ten years from now, the software development circuit may have fewer jobs, higher salaries, and more product-centric work. The reason behind it is the rapid development of AI, AI has approached human beings at the intelligence level, a lot of work relying on thinking ability may be handed over to AI, while emotion is still the territory of human beings, how to communicate and collaborate is the most important ability in the near future. When Indeed's chart for software development and operations jobs was released, we found that, as the chart shows, there was a peak in early 2022, but after that there was a precipitous decline.