Dan Shipper, the founder of the media start-up Every, says he gets asked a lot whether he thinks robots will replace writers. He swears they won't, at least not at his company. Every, though, also uses generative AI to create software products, including an online writing tool, that are core to its business. Subscribers pay $200 a year for (40)________ to those tools, which has led to about $1 million in annual revenue.

That revenue is tiny in the booming world of AI. But Every’s business has generated (41)________ interest inside media circles – and become something of a Rorschach test for the news industry. It is a symbol of AI’s potential to (42)________ journalists or unemploy them, depending on your point of view. On Wednesday, the company announced that it had (43)________ $2 million from a group of investors, including Reid Hoffman, the venture capitalist and founder of LinkedIn. That round values Every at $25 million, Mr. Shipper said.

Mr. Shipper, 33, started Every with a mission to combine articles from writers into a single (44)________, an old idea that has been tried many times. When that finally (45)________ the ground, he realized that he had essentially created a digital magazine. Mr. Shipper argues that the advent of generative AI is merely the latest step in a centuries-long technological march that has brought writers closer to their own ideas. Along the way, most typesetters and scriveners have been erased. But the part of writing that most requires humans remains (46)________: a perspective and taste, and AI can help form both even though it doesn’t have either on its own, he said.

Mr. Shipper said he had even used AI to prepare for the interview for this article. He said he had asked ChatGPT to do a (47)________ interview with him, as a kind of trial run to predict what questions he might be asked.

Dan Shipper, the founder of the media start-up Every, says he gets asked a lot whether he thinks robots will replace writers. He swears they won't, at least not at his company. Every, though, also uses generative AI to create software products, including an online writing tool, that are core to its business. Subscribers pay $200 a year for (40)________ to those tools, which has led to about $1 million in annual revenue.

That revenue is tiny in the booming world of AI. But Every’s business has generated (41)________ interest inside media circles – and become something of a Rorschach test for the news industry. It is a symbol of AI’s potential to (42)________ journalists or unemploy them, depending on your point of view. On Wednesday, the company announced that it had (43)________ $2 million from a group of investors, including Reid Hoffman, the venture capitalist and founder of LinkedIn. That round values Every at $25 million, Mr. Shipper said.

Mr. Shipper, 33, started Every with a mission to combine articles from writers into a single (44)________, an old idea that has been tried many times. When that finally (45)________ the ground, he realized that he had essentially created a digital magazine. Mr. Shipper argues that the advent of generative AI is merely the latest step in a centuries-long technological march that has brought writers closer to their own ideas. Along the way, most typesetters and scriveners have been erased. But the part of writing that most requires humans remains (46)________: a perspective and taste, and AI can help form both even though it doesn’t have either on its own, he said.

Mr. Shipper said he had even used AI to prepare for the interview for this article. He said he had asked ChatGPT to do a (47)________ interview with him, as a kind of trial run to predict what questions he might be asked.

Dan Shipper, the founder of the media start-up Every, says he gets asked a lot whether he thinks robots will replace writers. He swears they won't, at least not at his company. Every, though, also uses generative AI to create software products, including an online writing tool, that are core to its business. Subscribers pay $200 a year for (40)________ to those tools, which has led to about $1 million in annual revenue.

That revenue is tiny in the booming world of AI. But Every’s business has generated (41)________ interest inside media circles – and become something of a Rorschach test for the news industry. It is a symbol of AI’s potential to (42)________ journalists or unemploy them, depending on your point of view. On Wednesday, the company announced that it had (43)________ $2 million from a group of investors, including Reid Hoffman, the venture capitalist and founder of LinkedIn. That round values Every at $25 million, Mr. Shipper said.

Mr. Shipper, 33, started Every with a mission to combine articles from writers into a single (44)________, an old idea that has been tried many times. When that finally (45)________ the ground, he realized that he had essentially created a digital magazine. Mr. Shipper argues that the advent of generative AI is merely the latest step in a centuries-long technological march that has brought writers closer to their own ideas. Along the way, most typesetters and scriveners have been erased. But the part of writing that most requires humans remains (46)________: a perspective and taste, and AI can help form both even though it doesn’t have either on its own, he said.

Mr. Shipper said he had even used AI to prepare for the interview for this article. He said he had asked ChatGPT to do a (47)________ interview with him, as a kind of trial run to predict what questions he might be asked.

Dan Shipper, the founder of the media start-up Every, says he gets asked a lot whether he thinks robots will replace writers. He swears they won't, at least not at his company. Every, though, also uses generative AI to create software products, including an online writing tool, that are core to its business. Subscribers pay $200 a year for (40)________ to those tools, which has led to about $1 million in annual revenue.

That revenue is tiny in the booming world of AI. But Every’s business has generated (41)________ interest inside media circles – and become something of a Rorschach test for the news industry. It is a symbol of AI’s potential to (42)________ journalists or unemploy them, depending on your point of view. On Wednesday, the company announced that it had (43)________ $2 million from a group of investors, including Reid Hoffman, the venture capitalist and founder of LinkedIn. That round values Every at $25 million, Mr. Shipper said.

Mr. Shipper, 33, started Every with a mission to combine articles from writers into a single (44)________, an old idea that has been tried many times. When that finally (45)________ the ground, he realized that he had essentially created a digital magazine. Mr. Shipper argues that the advent of generative AI is merely the latest step in a centuries-long technological march that has brought writers closer to their own ideas. Along the way, most typesetters and scriveners have been erased. But the part of writing that most requires humans remains (46)________: a perspective and taste, and AI can help form both even though it doesn’t have either on its own, he said.

Mr. Shipper said he had even used AI to prepare for the interview for this article. He said he had asked ChatGPT to do a (47)________ interview with him, as a kind of trial run to predict what questions he might be asked.

Task 7

Dan Shipper, the founder of the media start-up Every, says he gets asked a lot whether he thinks robots will replace writers. He swears they won't, at least not at his company. Every, though, also uses generative AI to create software products, including an online writing tool, that are core to its business. Subscribers pay $200 a year for (40)________ to those tools, which has led to about $1 million in annual revenue.

That revenue is tiny in the booming world of AI. But Every’s business has generated (41)________ interest inside media circles – and become something of a Rorschach test for the news industry. It is a symbol of AI’s potential to (42)________ journalists or unemploy them, depending on your point of view. On Wednesday, the company announced that it had (43)________ $2 million from a group of investors, including Reid Hoffman, the venture capitalist and founder of LinkedIn. That round values Every at $25 million, Mr. Shipper said.

Mr. Shipper, 33, started Every with a mission to combine articles from writers into a single (44)________, an old idea that has been tried many times. When that finally (45)________ the ground, he realized that he had essentially created a digital magazine. Mr. Shipper argues that the advent of generative AI is merely the latest step in a centuries-long technological march that has brought writers closer to their own ideas. Along the way, most typesetters and scriveners have been erased. But the part of writing that most requires humans remains (46)________: a perspective and taste, and AI can help form both even though it doesn’t have either on its own, he said.

Mr. Shipper said he had even used AI to prepare for the interview for this article. He said he had asked ChatGPT to do a (47)________ interview with him, as a kind of trial run to predict what questions he might be asked.

You Must Be Joking: Comedy as a Tool for Climate Action

In the last few years, comedy has been making its entry into the world of effective climate communication. Efforts like Climate Science Breakthrough in the UK, where comedians “translate” the analyses of straight-faced climate scientists, to the YouTube series Politically Aweh in South Africa, which discusses climate science with the use of TV show clips, are working to break the barriers to public engagement on climate change through humour.

Comedy has a fantastic ability to lower people’s defences and make hard-to-stomach topics more digestible. It has a long history of addressing tough topics. (34)________ Netflix shows like Baby Reindeer, about the screenwriter’s experience of being stalked, and Feel Good, a romcom about a comedian struggling with substance abuse, are two recent examples of humour being used to tackle trauma and emotionally heavy topics. A light-hearted tone and a touch of self-deprecation can go a long way to dismantling psychological defences to discussions about the climate and other topics we'd prefer not to think about.

Fast forward to a year after my first attempt at stand-up comedy, and I was collaborating with Countdown Comedy Club, an open mic show based in Brussels, to host an open mic night all around the theme of the climate. I’m used to being a token activist in the comedy scene. (35)________. But both seasoned comedians and newcomers took the stage to discuss their traumas from the German train system, the difficulty of dating while eco-anxious, and the love-hate relationship with cycling in the city. The bar was packed. And a lot of the audience members came from nearby offices of non-governmental organizations and European institutions. (36) ________.

Those of us already involved in activist movements, working in advocacy or elsewhere at the frontlines of tackling climate change, have to cope with constant exposure to negative news, and the knowledge that we’re working against sickeningly high stakes. In my own full-time job, I find myself pendulum-swinging between despair about the state of the world and obsessive workaholism to regain some sense of agency over the situation. (37)________. The overwhelming reaction made it clear how many people are struggling with the same.

Comedy faces the criticism that it risks trivialising serious topics. On particularly stressful days, I’ve stopped halfway through drafting sketches and wondered how I could ever joke about something like catastrophic flooding or destabilised food supply chains. But I did. And those have been some of my best performances. (38)________.

I feel that approach makes a difference. It allows the audience to relax. Just like in my online writing about burnout, the personal approach has served to create a more accessible and human space to discuss serious topics and break down barriers. It’s not just something I do for the audience’s benefit either. Sharing my work and its frustrations with other people can serve as a far healthier coping mechanism than sitting at home doomscrolling. As humans, we need comedy. (39)________. So, if you are a good scientist, we need climate scientists. If you are a good artist, we need artists, too. And if you're funny, we need climate comedians. I’m not joking.

You Must Be Joking: Comedy as a Tool for Climate Action

In the last few years, comedy has been making its entry into the world of effective climate communication. Efforts like Climate Science Breakthrough in the UK, where comedians “translate” the analyses of straight-faced climate scientists, to the YouTube series Politically Aweh in South Africa, which discusses climate science with the use of TV show clips, are working to break the barriers to public engagement on climate change through humour.

Comedy has a fantastic ability to lower people’s defences and make hard-to-stomach topics more digestible. It has a long history of addressing tough topics. (34)________ Netflix shows like Baby Reindeer, about the screenwriter’s experience of being stalked, and Feel Good, a romcom about a comedian struggling with substance abuse, are two recent examples of humour being used to tackle trauma and emotionally heavy topics. A light-hearted tone and a touch of self-deprecation can go a long way to dismantling psychological defences to discussions about the climate and other topics we'd prefer not to think about.

Fast forward to a year after my first attempt at stand-up comedy, and I was collaborating with Countdown Comedy Club, an open mic show based in Brussels, to host an open mic night all around the theme of the climate. I’m used to being a token activist in the comedy scene. (35)________. But both seasoned comedians and newcomers took the stage to discuss their traumas from the German train system, the difficulty of dating while eco-anxious, and the love-hate relationship with cycling in the city. The bar was packed. And a lot of the audience members came from nearby offices of non-governmental organizations and European institutions. (36) ________.

Those of us already involved in activist movements, working in advocacy or elsewhere at the frontlines of tackling climate change, have to cope with constant exposure to negative news, and the knowledge that we’re working against sickeningly high stakes. In my own full-time job, I find myself pendulum-swinging between despair about the state of the world and obsessive workaholism to regain some sense of agency over the situation. (37)________. The overwhelming reaction made it clear how many people are struggling with the same.

Comedy faces the criticism that it risks trivialising serious topics. On particularly stressful days, I’ve stopped halfway through drafting sketches and wondered how I could ever joke about something like catastrophic flooding or destabilised food supply chains. But I did. And those have been some of my best performances. (38)________.

I feel that approach makes a difference. It allows the audience to relax. Just like in my online writing about burnout, the personal approach has served to create a more accessible and human space to discuss serious topics and break down barriers. It’s not just something I do for the audience’s benefit either. Sharing my work and its frustrations with other people can serve as a far healthier coping mechanism than sitting at home doomscrolling. As humans, we need comedy. (39)________. So, if you are a good scientist, we need climate scientists. If you are a good artist, we need artists, too. And if you're funny, we need climate comedians. I’m not joking.

You Must Be Joking: Comedy as a Tool for Climate Action

In the last few years, comedy has been making its entry into the world of effective climate communication. Efforts like Climate Science Breakthrough in the UK, where comedians “translate” the analyses of straight-faced climate scientists, to the YouTube series Politically Aweh in South Africa, which discusses climate science with the use of TV show clips, are working to break the barriers to public engagement on climate change through humour.

Comedy has a fantastic ability to lower people’s defences and make hard-to-stomach topics more digestible. It has a long history of addressing tough topics. (34)________ Netflix shows like Baby Reindeer, about the screenwriter’s experience of being stalked, and Feel Good, a romcom about a comedian struggling with substance abuse, are two recent examples of humour being used to tackle trauma and emotionally heavy topics. A light-hearted tone and a touch of self-deprecation can go a long way to dismantling psychological defences to discussions about the climate and other topics we'd prefer not to think about.

Fast forward to a year after my first attempt at stand-up comedy, and I was collaborating with Countdown Comedy Club, an open mic show based in Brussels, to host an open mic night all around the theme of the climate. I’m used to being a token activist in the comedy scene. (35)________. But both seasoned comedians and newcomers took the stage to discuss their traumas from the German train system, the difficulty of dating while eco-anxious, and the love-hate relationship with cycling in the city. The bar was packed. And a lot of the audience members came from nearby offices of non-governmental organizations and European institutions. (36) ________.

Those of us already involved in activist movements, working in advocacy or elsewhere at the frontlines of tackling climate change, have to cope with constant exposure to negative news, and the knowledge that we’re working against sickeningly high stakes. In my own full-time job, I find myself pendulum-swinging between despair about the state of the world and obsessive workaholism to regain some sense of agency over the situation. (37)________. The overwhelming reaction made it clear how many people are struggling with the same.

Comedy faces the criticism that it risks trivialising serious topics. On particularly stressful days, I’ve stopped halfway through drafting sketches and wondered how I could ever joke about something like catastrophic flooding or destabilised food supply chains. But I did. And those have been some of my best performances. (38)________.

I feel that approach makes a difference. It allows the audience to relax. Just like in my online writing about burnout, the personal approach has served to create a more accessible and human space to discuss serious topics and break down barriers. It’s not just something I do for the audience’s benefit either. Sharing my work and its frustrations with other people can serve as a far healthier coping mechanism than sitting at home doomscrolling. As humans, we need comedy. (39)________. So, if you are a good scientist, we need climate scientists. If you are a good artist, we need artists, too. And if you're funny, we need climate comedians. I’m not joking.

You Must Be Joking: Comedy as a Tool for Climate Action

In the last few years, comedy has been making its entry into the world of effective climate communication. Efforts like Climate Science Breakthrough in the UK, where comedians “translate” the analyses of straight-faced climate scientists, to the YouTube series Politically Aweh in South Africa, which discusses climate science with the use of TV show clips, are working to break the barriers to public engagement on climate change through humour.

Comedy has a fantastic ability to lower people’s defences and make hard-to-stomach topics more digestible. It has a long history of addressing tough topics. (34)________ Netflix shows like Baby Reindeer, about the screenwriter’s experience of being stalked, and Feel Good, a romcom about a comedian struggling with substance abuse, are two recent examples of humour being used to tackle trauma and emotionally heavy topics. A light-hearted tone and a touch of self-deprecation can go a long way to dismantling psychological defences to discussions about the climate and other topics we'd prefer not to think about.

Fast forward to a year after my first attempt at stand-up comedy, and I was collaborating with Countdown Comedy Club, an open mic show based in Brussels, to host an open mic night all around the theme of the climate. I’m used to being a token activist in the comedy scene. (35)________. But both seasoned comedians and newcomers took the stage to discuss their traumas from the German train system, the difficulty of dating while eco-anxious, and the love-hate relationship with cycling in the city. The bar was packed. And a lot of the audience members came from nearby offices of non-governmental organizations and European institutions. (36) ________.

Those of us already involved in activist movements, working in advocacy or elsewhere at the frontlines of tackling climate change, have to cope with constant exposure to negative news, and the knowledge that we’re working against sickeningly high stakes. In my own full-time job, I find myself pendulum-swinging between despair about the state of the world and obsessive workaholism to regain some sense of agency over the situation. (37)________. The overwhelming reaction made it clear how many people are struggling with the same.

Comedy faces the criticism that it risks trivialising serious topics. On particularly stressful days, I’ve stopped halfway through drafting sketches and wondered how I could ever joke about something like catastrophic flooding or destabilised food supply chains. But I did. And those have been some of my best performances. (38)________.

I feel that approach makes a difference. It allows the audience to relax. Just like in my online writing about burnout, the personal approach has served to create a more accessible and human space to discuss serious topics and break down barriers. It’s not just something I do for the audience’s benefit either. Sharing my work and its frustrations with other people can serve as a far healthier coping mechanism than sitting at home doomscrolling. As humans, we need comedy. (39)________. So, if you are a good scientist, we need climate scientists. If you are a good artist, we need artists, too. And if you're funny, we need climate comedians. I’m not joking.

You Must Be Joking: Comedy as a Tool for Climate Action

In the last few years, comedy has been making its entry into the world of effective climate communication. Efforts like Climate Science Breakthrough in the UK, where comedians “translate” the analyses of straight-faced climate scientists, to the YouTube series Politically Aweh in South Africa, which discusses climate science with the use of TV show clips, are working to break the barriers to public engagement on climate change through humour.

Comedy has a fantastic ability to lower people’s defences and make hard-to-stomach topics more digestible. It has a long history of addressing tough topics. (34)________ Netflix shows like Baby Reindeer, about the screenwriter’s experience of being stalked, and Feel Good, a romcom about a comedian struggling with substance abuse, are two recent examples of humour being used to tackle trauma and emotionally heavy topics. A light-hearted tone and a touch of self-deprecation can go a long way to dismantling psychological defences to discussions about the climate and other topics we'd prefer not to think about.

Fast forward to a year after my first attempt at stand-up comedy, and I was collaborating with Countdown Comedy Club, an open mic show based in Brussels, to host an open mic night all around the theme of the climate. I’m used to being a token activist in the comedy scene. (35)________. But both seasoned comedians and newcomers took the stage to discuss their traumas from the German train system, the difficulty of dating while eco-anxious, and the love-hate relationship with cycling in the city. The bar was packed. And a lot of the audience members came from nearby offices of non-governmental organizations and European institutions. (36) ________.

Those of us already involved in activist movements, working in advocacy or elsewhere at the frontlines of tackling climate change, have to cope with constant exposure to negative news, and the knowledge that we’re working against sickeningly high stakes. In my own full-time job, I find myself pendulum-swinging between despair about the state of the world and obsessive workaholism to regain some sense of agency over the situation. (37)________. The overwhelming reaction made it clear how many people are struggling with the same.

Comedy faces the criticism that it risks trivialising serious topics. On particularly stressful days, I’ve stopped halfway through drafting sketches and wondered how I could ever joke about something like catastrophic flooding or destabilised food supply chains. But I did. And those have been some of my best performances. (38)________.

I feel that approach makes a difference. It allows the audience to relax. Just like in my online writing about burnout, the personal approach has served to create a more accessible and human space to discuss serious topics and break down barriers. It’s not just something I do for the audience’s benefit either. Sharing my work and its frustrations with other people can serve as a far healthier coping mechanism than sitting at home doomscrolling. As humans, we need comedy. (39)________. So, if you are a good scientist, we need climate scientists. If you are a good artist, we need artists, too. And if you're funny, we need climate comedians. I’m not joking.

Task 6

You Must Be Joking: Comedy as a Tool for Climate Action

In the last few years, comedy has been making its entry into the world of effective climate communication. Efforts like Climate Science Breakthrough in the UK, where comedians “translate” the analyses of straight-faced climate scientists, to the YouTube series Politically Aweh in South Africa, which discusses climate science with the use of TV show clips, are working to break the barriers to public engagement on climate change through humour.

Comedy has a fantastic ability to lower people’s defences and make hard-to-stomach topics more digestible. It has a long history of addressing tough topics. (34)________ Netflix shows like Baby Reindeer, about the screenwriter’s experience of being stalked, and Feel Good, a romcom about a comedian struggling with substance abuse, are two recent examples of humour being used to tackle trauma and emotionally heavy topics. A light-hearted tone and a touch of self-deprecation can go a long way to dismantling psychological defences to discussions about the climate and other topics we'd prefer not to think about.

Fast forward to a year after my first attempt at stand-up comedy, and I was collaborating with Countdown Comedy Club, an open mic show based in Brussels, to host an open mic night all around the theme of the climate. I’m used to being a token activist in the comedy scene. (35)________. But both seasoned comedians and newcomers took the stage to discuss their traumas from the German train system, the difficulty of dating while eco-anxious, and the love-hate relationship with cycling in the city. The bar was packed. And a lot of the audience members came from nearby offices of non-governmental organizations and European institutions. (36) ________.

Those of us already involved in activist movements, working in advocacy or elsewhere at the frontlines of tackling climate change, have to cope with constant exposure to negative news, and the knowledge that we’re working against sickeningly high stakes. In my own full-time job, I find myself pendulum-swinging between despair about the state of the world and obsessive workaholism to regain some sense of agency over the situation. (37)________. The overwhelming reaction made it clear how many people are struggling with the same.

Comedy faces the criticism that it risks trivialising serious topics. On particularly stressful days, I’ve stopped halfway through drafting sketches and wondered how I could ever joke about something like catastrophic flooding or destabilised food supply chains. But I did. And those have been some of my best performances. (38)________.

I feel that approach makes a difference. It allows the audience to relax. Just like in my online writing about burnout, the personal approach has served to create a more accessible and human space to discuss serious topics and break down barriers. It’s not just something I do for the audience’s benefit either. Sharing my work and its frustrations with other people can serve as a far healthier coping mechanism than sitting at home doomscrolling. As humans, we need comedy. (39)________. So, if you are a good scientist, we need climate scientists. If you are a good artist, we need artists, too. And if you're funny, we need climate comedians. I’m not joking.

Tourism became even bigger business internationally in the latter half of the 20th century. The globalization that has taken place in recent years has not been a one-way process; it has entailed negotiation between hosts and guests. That is why to service the burgeoning tourist industry, an array of professionals has developed who attempt to reproduce ever new objects for the tourist to look at. These objects or places are located in a complex and changing hierarchy. This depends upon the interplay between, on the one hand, competition between interests involved in the provision of such objects and, on the other hand changing class, gender, and generational distinctions of taste within the potential population of visitors. It has been said that to be a tourist is one of the characteristics of the modern conduct. It is becoming a custom. Not to go away is like not possessing a car or a nice house. Travel is a marker of status in modern societies and is also thought to be necessary for good health. The role of the professional, therefore, is to cater for the needs and tastes of the tourists in accordance with their class and overall expectations.

Tourism not only impacts the local economy, but it is also starting to affect the social structures, culture and lifestyle of the destinations visited. Tourists tend to visit features of landscape and townscape which separate them off from everyday experience. Isolated from the host environment and the local people the mass tourist travels in guided groups and finds pleasure in inauthentic contrived attractions gullibly enjoying the pseudo- events and disregarding the real world outside. The viewing of these tourist sights often involves different forms of social patterning with a much greater sensitivity to visual elements of landscape or townscape than is normally found in everyday life. People linger over these sights in a way that they would not normally do in their home environment and the vision is objectified or captured through photographs, postcards, films and so on which enable the memory to be endlessly reproduced and recaptured.

Transport innovation was an essential enabler of tourism’s spread, and democratization, and its ultimate globalization. The steamships and the railway brought greater comfort, and speed, and cheaper travel, in part because fewer overnight and intermediate stops were needed. Railways promoted domestic as well as international tourism, including short visits to the coast, city, and countryside which might last less than a day but fell clearly into the “tourism” category. Rail travel also made grand tour destinations more widely accessible, reinforcing existing tourism flows. In recent years, with low-cost flights and the existence of accommodations, managed by online companies, it is much easier for tourists to afford to travel and they can design their itinerary and experiences to their hiking.