1 . The recent criticisms of Taylor Swift for her silence on the war in Gaza highlight a strange issue: the unrealistic expectations we place on celebrities to be know-alls. It’s a topic worth looking into.

While many are quick to urge figures like Taylor Swift to make their voices. to global issues, a concerning pattern emerges on the flip side: celebrities navigating the dark waters of complex issues with limited knowledge. Take, for instance, Billie Eilish’s fashion choice at the Oscars — a red hand pin. This wasn’t just any accessory(配饰); it’s rooted in the upset history of the cruel treatment of two Israelis. It raises the question: Was Eilish aware of the weighty story this symbol carries? This moment serves as a reminder of the nuance(微妙的) balance celebrities must strike between being supportive and the profound responsibility of using a public platform.

The celebrity culture in the United States, where public figures are promoted to almost god-like status, plays a significant role in such behavior. They are seen as perfect, their opinions holy. When we prioritize a celebrity’s opinion over those with professional knowledge, we do severe damage to the complexity of these issues.

As a society, we must reevaluate our extreme pursuit of celebrity culture and recognize the limitations of depending on entertainers for guidance on complex issues. This doesn’t mean celebrities can’t or shouldn’t speak out on matters. It’s entirely sensible for Taylor Swift to publicly support political candidates in her home country. The action originates from personal values, which are different from commenting on international conflicts without a deep understanding of the nuances involved.

In advocating for this sensible approach, we’re not suggesting celebrities should remain silent on all matters of public concern. Instead, we’re calling for a transformation in how we, as the public, understand and react to their involvement in social and political issues.

Ultimately, the goal should be to create a more sympathetic, informed society that values extensive knowledge and genuine activism over celebrity support. By encouraging public figures to use their platforms responsibly and directing our attention to where they can make a real difference, we take a step toward a more insightful understanding of global issues.

2 . People often say that “failure is the mother of success.” This cliché (陈词滥调) might have some truth to it, but it __________ tells us how to actually turn a loss into a win, says Emmanuel Manalo, a professor of educational psychology at Kyoto University in Japan. As a result, he says, “we know we shouldn’t give up when we fail—but __________, we do.”

Manalo and Manu Kapur, a professor of learning sciences at the Swiss Federal Institute of Technology Zurich, put together a special issue of the journal Thinking Skills and Creativity last December on __________ failure. The issue’s 15 studies provide teachers and educational researchers with a guide for __________ success. One study reported, for example, that the sooner and more often students fail at a task, such as building a robot, the sooner they can __________ and improve. Another confirmed that feedback on failures is most __________ when the giver comes across as caring, and the receiver is prepared to weather negative emotions.

Manalo and his co-authors also contributed their own study focused on overcoming one fundamental, everyday form of failure: not __________ a task. They asked 131 undergraduates to write an essay about their school experiences. Half of the students received __________ for structuring their writing, and half were left to their own devices. All, however, were __________ prior to finishing. Afterward the researchers found that those in the structured group were more motivated to complete their essays, compared with those who lacked guidance—even if the latter were __________ to being done. Knowing how to finish, __________, was more important than being close to finishing.

The researchers dubbed this finding “the Hemingway effect,” for the author’s self-reported __________ to stop writing only when he knew what would happen next in the story—so as to avoid writer’s block when he returned to the page. Manalo believes that learning how to fail temporarily can help people avoid becoming __________ failures at many tasks, such as completing an essay, learning a language or inventing a new technology.

Demystifying failure and teaching students not to __________ it make goals more attainable, says Stephanie Couch, executive director of the Lemelson-MIT Program, a nonprofit organization dedicated to developing and supporting inventors. Couch, whose work was also featured in the special issue, __________ that we “should really be thinking of failure as part of a process of going forward toward success.”

8 . It was the most destructive wildfire in California history. It started in Paradise (天堂镇) and caused $16.5 billion in _______, destroying nearly 19,000 buildings and killing 85 in all. The beauty of this _______ named place was gone.

Grammer, working in Los Angeles, grew up there. When his friend Edwards posted pictures of his white chimney — the only part of his house to survive — he felt _______. And then he had an idea.

“I’ve got to _______ that chimney,” he says, “I’m not trying to say anything. I’m an artist. It was an opportunity for me to _______.”

Grammer spent three hours painting an image of a woman on the _______ — a reminder of the chimney, of the beauty of life, or even just of _______ itself.

Grammer posted the image on Instagram. Those who were affected by the fire, _______, could not calm down. Someone _______, “You bring beauty and hope.”

Greatly inspired, Grammer returned eight times. Outside one house, he found a photo of a girl, Eleanor. He painted a picture of her on the wall of her home left __________. It was a stamp that life was here and that life can __________ to be here. The painting has __________ meaning for the homeowner. Eleanor’s father, recalls how she used to play just feet away. Eleanor herself returned once to __________ the painting.

Ironically (讽刺的是) that first painting, on the chimney in Paradise, __________ only a few months — the bulldozer (推土机) is a cruel art critic. However, Grammer couldn’t be more delighted. It means that the __________ of Paradise is rising again.

9 . Binge-watching (刷剧) is when a person watches more than one episode of a show in a row. With developments in the speed and connectivity of the Internet, increases in technology and the rise of on-demand entertainment companies, people can now have their favorite shows stream (流播) directly to their television at their convenience.

This behavior is nothing new. In fact, binge-watching has been officially listed in dictionaries since 2015. The entertainment companies recognize this behavior and many take steps to encourage it. Often, instead of releasing each episode on a week-by-week basis, an entire series will become available concurrently. Once the episode finishes, many platforms will display pop-ups with “you might like” suggestions, or will automatically play the next episode.

However, recent research suggests that out of the more than half of British adults who watch more than one episode of a show back-to-back (一集接一集地), almost a third have admitted missing sleep or becoming tired as a result; and 25% have neglected their household chores (家务活). Next we’ll be missing work!

Bingeing has other connections — binge eating, binge drinking and binge smoking. All of them are often associated with a lack of control and a possible route to addiction. Lindsey Fussell, consumer group director, said, “The days of waiting a week for the next episode are largely gone, with people finding it hard to resist (抗拒) watching multiple episodes around the house or on the move.” If people find binge-watching hard to resist, are we witnessing the birth of a new type of addiction?

The countless number of information and entertainment that television and online media can bring us is, many would say, a good thing. However, when the activity begins to bleed into other areas, causing us to stop functioning, then it becomes a problem. So, what’s the answer? Moderation! Neither a tiny amount, nor too much. After all, as the old proverb says, “A little of what you fancy does you good.”

10 . If humans were truly at home under the light of the moon and stars, we would go in darkness happily, the midnight world as visible to us as it is to the vast number of nocturnal (夜间活动的) species on this planet. Instead, we are diurnal creatures, with eyes adapted to living in the sun’s light. This is a basic evolutionary fact, even though most of us don’t think of ourselves as diurnal beings. Yet it’s the only way to explain what we’ve done to the night: We’ve engineered it to receive us by filling it with light.

The benefits of this kind of engineering come with consequence called light pollution whose effects scientists are only now beginning to study. Light pollution is largely the result of bad lighting design, which allows artificial light to shine outward and upward into the sky. Ill-designed lighting washes out the darkness of night and completely changes the light levels and light rhythms to which many forms of life, including ourselves, have adapted. Wherever human light spills into the natural world, some aspect of life is affected.

In most cities the sky looks as though it has been emptied of stars, leaving behind a vacant haze (霾) that mirrors our fear of the dark. We’ve grown so used to this orange haze that the original glory of an unlit night—dark enough for the planet Venus to throw shadow on Earth—is wholly beyond our experience, beyond memory almost.

We’ve lit up the night as if it were an unoccupied country, when nothing could be further from the truth. Among mammals alone, the number of nocturnal species is astonishing. Light is a powerful biological force, and on many species it acts as a magnet. The effect is so powerful that scientists speak of songbirds and seabirds being “captured” by searchlights on land or by the light from gas flares on marine oil platforms. Migrating at night, birds tend to collide with brightly lit tall buildings.

Frogs living near brightly lit highways suffer nocturnal light levels that are as much as a million times brighter than normal, throwing nearly every aspect of their behavior out of joint, including their nighttime breeding choruses. Humans are no less trapped by light pollution than the frogs. Like most other creatures, we do need darkness. Darkness is as essential to our biological welfare, to our internal clockwork, as light itself.

Living in a glare of our making, we have cut ourselves off from our evolutionary and cultural heritage—the light of the stars and the rhythms of day and night. In a very real sense light pollution causes us to lose sight of our true place in the universe, to forget the scale of our being, which is best measured against the dimensions of a deep night with the Milky Way—the edge of our galaxy—arching overhead.