A look at the day ahead in U.S. and global markets from Mike Dolan After an intense month focused on election risk around the world, markets quickly switched back to the more prosaic matter of the cost of money - and whether disinflation is resuming to the extent it allows borrowing costs to finally fall. Thursday's U.S. consumer price update for June is the key moment of the week for many investors - with the headline rate expected to have fallen two tenths of a percentage point to 3.1% but with 'core' rates still stuck at 3.4%. With Federal Reserve chair Jerome Powell starting his two-pronged semi-annual congressional testimony later on Tuesday, the consensus CPI forecast probably reflects what the central bank thinks of the situation right now - encouraging but not there yet. But as the U.S. unemployment rate is now back above 4.0% for the first time since late 2021, markets may look for a more nuanced approach from the Fed chair that sees it increasingly wary of a sudden weakening of the labor market as real time quarterly GDP estimates ebb again to about 1.5%. There were some other reasons for Fed optimism in the lead up to the testimony. The path U.S. inflation is expected to follow over coming years generally softened in June, amid retreating projections of price increases for a wide array of consumer goods and services, a New York Fed survey showed on Monday. Inflation a year from now was seen at 3% as of June - down from the expected rise of 3.2% in May - and five-year expectations fell to 2.8% from 3%. Crude oil prices are better behaved this week, too, falling more than 3% from the 10-week highs hit late last week and halving the annual oil price gain to 10%. The losses on Tuesday came after a hurricane that hit a key U.S. oil-producing hub in Texas caused less damage than many in markets had expected - easing concerns over supply disruption. Before Powell starts speaking later, there will also be an update on U.S. small business confidence for last month.

On the evening of July 8, local time, the Israel Defense Forces issued a statement saying that Major General Avi Bluth replaced Yehuda Fox as the commander of the Israeli Central Command. Earlier that day, the Israeli army held a handover ceremony, which was presided over by the Israeli Chief of Staff Halevy. Avi Bluth joined the Israel Defense Forces in 1993 and commanded the Israeli military operations in the West Bank. In May this year, Bruce was promoted to major general and served as a military commander in the Israeli Central Command. CCTV reporters learned that in late April this year, Yehuda Fox, then commander of the Israeli Central Command, requested to resign and retire from the army in August this year. Fox had previously stated that he should bear part of the responsibility for the military intelligence failure on October 7 last year, and "must end his term like everyone else." According to the official website of the Israeli Defense Forces, the Central Command is one of the four major commands of the Israeli army, headquartered in Jerusalem, and its responsibility covers nearly one-third of Israel's territory.

A provocative new study reveals the complex effects of the space environment on human health, providing insight into potential damage to blood, cell structure and the immune system. The study focused on SpaceX's Inspiration4 mission, which successfully sent two men and two women into space in 2021 to orbit the Earth for three days and shed some light on the effects of space travel on the human body. The research data, derived directly from the Inspiration4 mission, shows that even a brief trip to space can significantly damage the human immune system, trigger an inflammatory response, and profoundly affect cell structure. In particular, space travel triggered unprecedented changes in cytokines that play a key role in immune response and muscle regulation but are not usually directly associated with inflammation. In particular, the study found a significant increase in muscle factors, which are physiological responses specific to skeletal muscle cells in microgravity, rather than a simple immune response. Although non-muscular tissues did not show changes in proteins associated with inflammation, specific leg muscles such as soleus and tibialis anterior muscles showed significant signs of metabolic activity, especially increased interleukin in the latter, further enhancing the activation of immune cells.

An artificial intelligence (AI) team at Stanford University apologized for plagiarizing a large language model (LLM) from a Chinese AI company, which became a trending topic on the Chinese social media platforms, where it sparked concern among netizens on Tuesday. We apologize to the authors of MiniCPM [the AI model developed by a Chinese company] for any inconvenience that we caused for not doing the full diligence to verify and peer review the novelty of this work, the multimodal AI model Llama3-V's developers wrote in a post on social platform X. The apology came after the team from Stanford University announced Llama3-V on May 29, claiming it had comparable performance to GPT4-V and other models with the capability to train for less than $500. According to media reports, the announcement published by one of the team members quickly received more than 300,000 views. However, some netizens from X found and listed evidence of how the Llama3-V project code was reformatted and similar to MiniCPM-Llama3-V 2.5, an LLM developed by a Chinese technology company, ModelBest, and Tsinghua University. Two team members, Aksh Garg and Siddharth Sharma, reposted a netizen's query and apologized on Monday, while claiming that their role was to promote the model on Medium and X (formerly Twitter), and that they had been unable to contact the member who wrote the code for the project. They looked at recent papers to validate the novelty of the work but had not been informed of or were aware of any of the work by Open Lab for Big Model Base, which was founded by the Natural Language Processing Lab at Tsinghua University and ModelBest, according to their responses. They noted that they have taken all references to Llama3-V down in respect to the original work. In response, Liu Zhiyuan, chief scientist at ModelBest, spoke out on the Chinese social media platform Zhihu, saying that the Llama3-V team failed to comply with open-source protocols for respecting and honoring the achievements of previous researchers, thus seriously undermining the cornerstone of open-source sharing. According to a screenshot leaked online, Li Dahai, CEO of ModelBest, also made a post on his WeChat moment, saying that the two models were verified to have highly similarity in terms of providing answers and even the same errors, and that some relevant data had not yet been released to the public. He said the team hopes that their work will receive more attention and recognition, but not in this way. He also called for an open, cooperative and trusting community environment. Director of the Stanford Artificial Intelligence Laboratory Christopher Manning also responded to Garg's explanation on Sunday, commenting "How not to own your mistakes!" on X. As the incident became a trending topic on Sina Weibo, Chinese netizens commented that academic research should be factual, but the incident also proves that the technology development in China is progressing. Global Times

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.