I have a cherished(珍爱的，珍视的) memory of a family trip to the movies. In the Australian tradition, we bought choc-top ice-creams, chattered(喋喋不休，闲聊) through pre-show trailers and a hush fell on(一片寂静降临) the full house as the movie started.
我有一个珍贵的家庭观影记忆。按照澳大利亚的传统，我们买了巧克力脆皮冰淇淋，在映前预告片时叽叽喳喳地聊天，电影开始时全场安静下来。
It was Christopher Nolan’s The Odyssey, on film(用胶片拍摄/放映), only a couple of weeks ago, months after its release.
那是克里斯托弗·诺兰的《奥德赛》，在胶片上放映，就在几周前，距离其上映已过去数月。
In an AI-supercharged(增强的，强力驱动的) world of algorithmic recommendations and atomised(原子化的，孤立的) cultural space, I’ve come to suspect(逐渐开始怀疑) The Odyssey’s ongoing popular appeal is no longer its Greeks with gifts(希腊人送礼物（特洛伊木马典故）), or superstar director.
在一个由AI强力驱动、充满算法推荐和原子化文化空间的世界里，我开始怀疑《奥德赛》持续流行的吸引力不再是其“带着礼物的希腊人”，或是超级明星导演。