RS e-tron GT: Shares J1 platform with Porsche Taycan. The iconic closed hexagonal "big mouth" is quite a brand recognition, and the rear of the car uses a decorative design shaped like a diffuser. Although the difference between it and the regular e-tron GT is very limited, the "RS" nameplate on the rear of the car means that it is not an ordinary person, of course, low-key is also the style of AUD-Sport. The center console continues the family design of the Audi brand, the lines are simple and refined, and the center control screen, the front air conditioning control panel and the function keys below are obviously tilted to the driver's side, echoing the product positioning of the driver's car. Sports seats, leather fabrics with red stitches, etc. appear in the configuration table of the car, rendering the interior sports atmosphere just right, and the overall beauty of the cabin has been affirmed by the reviewers. Although the official model of the cockpit chip selected by the car has not been announced, it has a high score in the evaluation items such as the cold start speed of the car, the start speed of the core application and the navigation search speed, which shows that the car performance is good. In addition, in terms of specifications and accuracy, the car received full marks in the touch accuracy and screen sharpness evaluation, and the daily high-frequency interaction experience is excellent. Of course, if you optimize the voice car control ability, its intelligent experience will be a higher level.

In the past few weeks of anti-government activities in Kenya, AI tools have been creatively used by protesters to serve protests. According to the US "Flag" News Agency on July 5, protests in Kenya triggered by the 2024 fiscal bill are still continuing. In the past few weeks, Kenyan protesters, mainly young people, have creatively developed a series of AI tools to assist anti-government activities. The Kenyan government expressed concern about the risks associated with the use of AI tools in protests. Kelvin Onkundi, a software engineer in Kenya, developed the "Fiscal Bill GPT", which operates similarly to ChatGPT and can receive questions about the fiscal bill and generate responses. Martin Siele, a reporter from the "Flag" News Agency, analyzed: "The 'Fiscal Bill GPT' can convert professional terms in many legislative fields into easy-to-understand information for protesters, helping Kenyans understand the potential impact of the fiscal bill." Another software engineer, Marion Kavengi, developed the "SHIF GPT" to provide Kenyans with information about the upcoming Social Health Insurance Fund (SHIF). In addition to AI tools designed to help people understand controversial policies, protesters have also developed "Corrupt Politicians GPT" to assist protest demonstrations. After entering the name of a politician on the platform, the platform will generate a list of corruption scandals about the politician in chronological order. Developer BenwithSon wrote on the social platform X on June 28: "'Corrupt Politicians GPT' allows people to search for any scandal related to any politician. I have seen some leaders stand at the forefront of the political arena, but they are corrupt behind the scenes." Kenyan Chief Minister and Foreign Minister Mudavadi issued a communiqué to ambassadors of various countries in Nairobi on July 2 local time on protests and relevant government measures, expressing concerns about the use of AI and false information in protests. Mudavadi said: "AI technology is used by people with ulterior motives, which will fill the global information system with false narratives." The Kenya Times reported on June 30 that AI technology enables people to force the government to increase transparency and strengthen accountability, and its role in Kenyan political activities is becoming increasingly prominent. Martin Siller believes that AI is reshaping African political behavior in many ways. AI is a new tool for both governments and opposition parties in Africa, but Kenya is one of the African countries with the most developers, and its young protesters are particularly good at using AI technology to fight the government. The 2024 fiscal bill voted and passed by the Kenyan National Assembly on June 25 clearly stated that additional taxes will be levied to repay the interest on high sovereign debt, triggering large-scale demonstrations. After President Ruto announced the withdrawal of the tax increase bill on the evening of the 26th, demonstrations in many parts of Kenya continued. According to Reuters on July 3, Kenyan anti-government protesters are re-adjusting their activities to prevent the protests from turning into violent incidents.

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.

As a major city in the United States and even the global film industry, Hollywood has gathered a large number of veteran film and television production companies, including Universal Pictures, Warner Bros., Paramount Pictures, Disney Pictures, MGM Pictures, etc. In addition, new streaming forces such as Netflix have also entered in recent years. When the new generation of technology represented by generative AI sweeps the world, the movie "dream factory" is also experiencing a transformative moment. In early May last year, the US film and television industry launched a series of strikes that lasted for five months. Two labor disputes, led by the Writers Guild and the Screen Actors Guild, have caused the worst industry disruption since the 2020 pandemic, forcing many film projects and TV shows to halt or delay production. The strike has been costly, with Kevin Klowden, chief global strategist at the Milken Institute think tank, estimating it has cost the U.S. economy more than $5 billion, affecting not only film and television production companies, but also surrounding service industries such as catering, trucking and dry cleaning. One of the main conflicts between labor and management is that many actors and screenwriters have expressed concerns about "unemployment" due to the "invasion" of artificial intelligence. Luo Chenya has been working in the film and television industry for more than 10 years, including scriptwriter, documentary photographer and assistant director. She told the first financial reporter that after ChatGPT became popular, she also tried to use chatbots to assist script creation. "I can talk to the AI about my ideas and ideas, and it will help analyze and refine my ideas, and even make some suggestions that I think are quite effective." But on the execution level, the idea of writing it down into a very specific scene, character action, it doesn't really help me." Luo Chenya said that AI still needs more training and evolution in script writing, but the ability to present images is amazing. "AI can directly generate images, which can indeed save labor to a great extent, and may even replace photographers in the future." In post-production, AI can beautify images and modify flaws." A place to be fought over Earlier this year, OpenAI released the Vincennes video model Sora on its website, which can create videos up to a minute long, generating complex scenes with multiple characters, specific types of movement, and precise theme and background details. In addition to being able to generate video from text, the model can also generate video from still images, precisely animating the image content. "Vincennes Video can quickly produce high-quality video content, greatly improving production efficiency, and generative AI helps to improve the analysis of user preferences and personalized recommendations, and enhance the attractiveness of content." These technologies will disrupt traditional video production and content distribution models, and media companies need to adapt and change their operating models." Wang Haoyu, CEO of Mairui Asset Management, said in an interview with the first financial reporter. For this reason, Hollywood giants have long made big bets and stepped up their layout.

Editor's Note: This year marks the 10th anniversary of the Belt and Road Initiative (BRI) proposed by Chinese President Xi Jinping. Through the lens of foreign pundits, we take a look at 10 years of the BRI - how it achieves win-win cooperation between China and participating countries of the BRI and how it has given the people of these countries a sense of fulfillment. In an interview with Global Times (GT) reporter Li Aixin, Erik Solheim (Solheim), former under-secretary-general of the United Nations and former executive director of the UN Environment Programme, recalled how the BRI helped shorten a previously long journey in Sri Lanka to a half-hour trip. "We will all be losers in a de-globalized, de-coupled world. The BRI can play a key role in bringing the world together," Solheim said. This is the 18th piece of the series. GT: How do you evaluate the role of the BRI in promoting development in participating countries over the past 10 years? Solheim: The BRI has been a major driver of development since it was announced by President Xi Jinping in Kazakhstan 10 years ago. The China-Laos Railway has connected landlocked Laos to the Chinese and European rail network, making it possible for Laos to sell more goods and welcome more tourists. Rail corridors in Kenya and from Djibouti to Addis Ababa connect the interior of Africa to the coast, bringing opportunities for much faster development in East Africa. The Bandung-Jakarta railway in Indonesia, Hanoi metro, roads and ports in Sri Lanka - there are great examples of good south-south and BRI projects in almost every corner of the world. GT: In your experience of traveling around the world, has any BRI-related story left a deep impression on you? Solheim: Yes, many! I'll just mention two. When I was chief negotiator in the Sri Lanka peace process 15 years ago, it took a long time to travel from the airport to Colombo, the capital of Sri Lanka. When I came back last year, it took half an hour on wonderful Chinese-built highways. Traveling through Mombasa, a coastal city in Kenya, you see a lot of poverty and run down houses. Then all of a sudden, a green, clean, well-run oasis opens up. It's the end station of the Nairobi-Mombasa railway which links the capital Nairobi to the coast. The rail station stands out and is showing the future for Kenya. GT: The EU proposed the Global Gateway, and the US proposed the Build Back Better World. What do you think are the similarities and differences between these projects and the BRI? Solheim: I really wish success for the Western initiatives. What developing nations ask for is a choice of good cooperation with both China and the West. Unfortunately, up to now, a number of the Western-led initiatives have been more like media events. They lack structure, secretariat, finances and clear direction. Nearly all nations in the world want to see close people-to-people relations, investment and political cooperation with both China and the West. No one wants to choose. GT: Some people from the West are talking about "de-coupling" and "de-risking." Both seem to be another way of saying "de-globalization." Do you think "de-coupling" and "de-risking" will affect the BRI? And what role will the BRI play in maintaining globalization? Solheim: Decoupling is probably the most unwise idea in the world today. It's outright dangerous. Facing climate change, environmental degradation, economic troubles, war in Ukraine and other places, and the threat of pandemics, we need more, not less, cooperation. We will all be losers in a de-globalized, de-coupled world. The BRI can play a key role in bringing the world together. Almost all developing countries have made BRI agreements with China. As an example, when President Xi met all the leaders of Central Asia recently in Xi'an, Northwest China's Shaanxi Province, they made a very ambitious declaration on future green cooperation between China and Central Asia. GT: You have previously said that the BRI is a fantastic vehicle to promote green global development, which can boost the economy and ecology at the same time. Could you elaborate on how you think the BRI has achieved development of the economy and ecology? Solheim: In the beginning there were too many fossil fuel projects among BRI programs. In the BRI International Green Development Coalition, we argued this should stop. When President Xi pledged to stop building new coal-fired power projects overseas, it was one of the most important environmental decisions ever. Also, it happened at a time when important BRI nations like Bangladesh, Kenya and Pakistan decided they could grow their economies and go green without coal. The BRI will in the next decade become the world's most important vehicle for green energy and green transport. We will see massive investments in solar and wind power, hydrogen, electric batteries and more. GT: How do you view China's goal of achieving harmony between humanity and nature in modernization? In what way is China's story in pursuing harmony between humanity and nature relevant to other countries? Solheim: China now covers between 60 percent and 80 percent of all major green technologies in the world - solar, wind, hydro, batteries, electric cars and high-speed rail. Companies like Longi, BYD and CATL are the world leaders in their sectors. More remarkably and maybe less noticed abroad, China is also a global leader in protecting nature. It's embarking upon one of the most massive national park programs, with a focus on Qinghai Province and Xizang Autonomous Region. China is by far the biggest tree planter in the world and the global leader in desert control in Kubuqi, Inner Mongolia and other places. China has been hugely successful in the recovery of endangered species like the Giant Panda, Tibetan Antelope and Snow Leopard. A new center for mangrove restoration is being set up in Shenzhen and the fishing ban in the Yangtze will restore that magnificent ecosystem. The Belt and Road is a great opportunity for the world to learn from good Chinese green practices.