英语每日一听 | 每天少于5分钟

Friday the 13th is a date that many people around the world connect with bad luck.
“13号星期五”是世界各地许多人认为与厄运相关的一个日期。

This idea comes from a superstition, a belief that something can bring good or bad luck even if there is no proof.
这种观念来自迷信——即认为某些事物会带来好运或厄运，即使没有任何证据支持。

People have long considered both the number 13 and the day Friday unlucky.
人们长期以来都认为数字13和星期五这一天是不吉利的。

The number 12 is often viewed as complete or balanced, so 13 feels unusual or unlucky in comparison.
数字12通常被视为完整或平衡的象征，因此与之相比，13显得不寻常甚至不吉利。

That is why some buildings skip the 13th floor, and people avoid making big plans on that date.
这也是为什么一些建筑会跳过13层，以及人们会避免在这一天做重要计划。

In history, Friday was linked with sad or serious events, such as the crucifixion of Jesus.
在历史上，星期五曾与悲伤或重大事件相关，例如耶稣的受难。

One famous event that may have contributed to the fear was the arrest of many members of the Knights Templar on Friday, October 13, 1307.
一个可能加深这种恐惧的著名事件是：1307年10月13日星期五，许多圣殿骑士团成员被逮捕。

Over time, the date became more well-known through books, scary stories, and horror movies.
随着时间推移，这一天通过书籍、恐怖故事和恐怖电影变得更加广为人知。

Today, some people are afraid of the date, a fear known as paraskevidekatriaphobia.
如今，一些人对这一天感到恐惧，这种恐惧被称为“十三号星期五恐惧症”（paraskevidekatriaphobia）。

But there is no proof it brings bad luck, many people just treat it like any other day.
但并没有证据表明它真的会带来厄运，许多人只是把它当作普通的一天来看待。

The viral internet horror series The Backrooms, created by 20-year-old YouTuber Kane Parsons, has successfully transitioned into a film.
由20岁的YouTuber Kane Parsons创作的网络病毒式恐怖系列《The Backrooms》已经成功被改编成电影。

Produced by the famous studio A24, the movie has already broken box office records in the UK and Ireland.
该电影由知名制片公司A24出品，并已在英国和爱尔兰打破票房纪录。

The production was very intense. A small team in Vancouver worked until the very last minute to finish the project.
制作过程非常紧张。一支位于温哥华的小团队一直工作到最后一刻才完成该项目。

This success highlights a growing trend of digital creators successfully moving into traditional film and TV.
这一成功凸显出一个日益增长的趋势：数字内容创作者正在成功进入传统影视行业。

YouTube serves as a highly accessible platform for talented filmmakers without large budgets, where they can test their ideas and build a community before scaling up.
YouTube为没有大预算的有才华电影创作者提供了一个高度可及的平台，他们可以在这里测试想法并建立社区，然后再扩大规模。

For young creators starting online, the best approach is to focus on the art rather than the YouTube algorithm, find a specific niche, and create something unique that doesn’t exist yet.
对于刚开始在线创作的年轻人来说，最佳方式是专注于艺术本身而不是YouTube算法，找到特定的细分领域，并创造出尚不存在的独特内容。

Support from family, such as technical assistance with hardware and data recovery from parents with experience in the tech industry, also plays a key role in these independent beginnings.
家庭支持也在这些独立创作的起步阶段发挥着关键作用，例如来自有技术行业经验的父母在硬件和数据恢复方面提供的帮助。

The film itself explores unsettling, empty environments that fascinate audiences because they trigger childhood memories, dream logic, and a strange feeling of familiarity.
这部电影本身探索了令人不安的空旷环境，这些场景之所以吸引观众，是因为它们触发了童年记忆、梦境逻辑以及一种奇异的熟悉感。

The broader Backrooms universe is set to expand even further with more projects planned for the future.
更广泛的《Backrooms》宇宙将在未来通过更多项目进一步扩展。

A US judge has dismissed Justin Baldoni’s 400-million-dollar defamation lawsuit against Blake Lively.
一名美国法官驳回了贾斯汀·巴尔多尼（Justin Baldoni）针对布蕾克·莱弗利（Blake Lively）提起的4亿美元诽谤诉讼。

Baldoni claimed Lively wrongly accused him of sexual harassment during the filming of It Ends with Us. However, the judge said Lively’s complaint to a California agency was privileged, meaning it was legally protected.
巴尔多尼称，莱弗利在拍摄电影《It Ends with Us》期间对他提出了不实的性骚扰指控。然而，法官指出，莱弗利向加州某机构提交的投诉属于“特权信息”，也就是说在法律上受到保护。

The judge also dismissed Baldoni’s 250-million-dollar lawsuit against The New York Times, which had reported on the conflict.
法官还驳回了巴尔多尼针对《纽约时报》（The New York Times）提起的2.5亿美元诉讼，该媒体此前曾报道过这一纠纷。

The judge said Baldoni didn’t give enough facts to support the claim that Lively and others tried to ruin his reputation on purpose.
法官表示，巴尔多尼未提供足够事实来支持其主张，即莱弗利及其他人有意试图破坏他的声誉。

He may still file another lawsuit based on their contract. Meanwhile, Lively’s lawsuit against Baldoni continues. She is asking for more damages, and a trial is going to take place in 2026.
他仍然可能基于双方合同另行提起诉讼。与此同时，莱弗利针对巴尔多尼的诉讼仍在继续，她要求获得更多赔偿，案件预计将在2026年开庭审理。

Lively’s lawyers called the dismissal a victory. They said Baldoni’s lawsuit was a dishonest way to attack her.
莱弗利的律师称此次驳回是一次胜利，并表示巴尔多尼的诉讼是对她进行不实攻击的一种手段。

The Times also defended its reporting, saying the court supported the freedom of the press to report important stories.
《纽约时报》也为其报道进行了辩护，称法院的裁决支持新闻自由，使媒体能够报道重要事件。

People are social creatures who have a deep need for real-world community and connection.
人类是社会性生物，对现实世界中的社群归属感和人与人之间的联系有着深层次的需求。

However, the modern phone-based childhood, which began in the early 2010s, has shifted young people’s social lives online and taken away essential physical bonding experiences such as sharing food, laughter, and touch.
然而，自 2010 年代初期开始形成的“以手机为中心的童年”，将年轻人的社交生活转移到了线上，并剥夺了许多建立情感联结所必需的现实互动体验，例如一起分享食物、共同欢笑以及身体接触。

Multiple studies show that this shift causes loneliness, anxiety, and depression.
多项研究表明，这种转变会导致孤独感、焦虑以及抑郁。

Furthermore, the constant use of social media and short videos fragments adolescents’ attention systems and causes what young people call brain rot.
此外，持续使用社交媒体和短视频会破坏青少年的注意力系统，并导致年轻人所说的“脑腐（brain rot）”现象。

Social psychologist Jonathan Haidt explains three main principles of techno-skepticism.
社会心理学家乔纳森·海特（Jonathan Haidt）提出了“技术怀疑主义”的三项主要原则。

First, protect brain development through puberty by raising the age limit for opening social media accounts to 16.
第一，通过将开设社交媒体账户的最低年龄提高到 16 岁，来保护青少年在青春期期间的大脑发育。

Second, prioritize people and books over screens in education.
第二，在教育中，应将人与书籍置于屏幕之上，赋予更高的优先级。

Modern classroom research shows that personal devices often impair student learning and lower national test scores.
现代课堂研究表明，个人电子设备往往会削弱学生的学习效果，并降低全国性考试成绩。

Third, beware of artificial relationships for small children, such as responsive AI toys and chatbots, which can interfere with a child’s natural attachment system and affect relationships with their parents.
第三，要警惕幼儿与人工关系建立情感依附，例如会互动的 AI 玩具和聊天机器人，因为它们可能干扰儿童自然形成的依恋系统，并影响他们与父母之间的关系。

Instead of treating technology as an automatic advantage for the future, companies should show their products are safe before giving them to children.
企业不应将科技视为天然有利于未来发展的事物，而应在将产品提供给儿童之前，先证明这些产品是安全的。

In the refined garden designs of Chelsea Flower Show, gnomes are usually a no-no. But this year there'll be a scattering of them around the place, many painted by celebrities.
在切尔西花展雅致的庭院设计中，“小矮人” 往往不登大雅之堂。但今年，它们将出现在花展的各个角落，其中许多都由名人亲手彩绘。

All the gnomes will be sold off to raise money for the Royal Horticultural Society's campaign for school gardening.
所有的小矮人都将被义卖拍卖，所得资金将用于资助皇家园艺协会的校园园艺推广项目。

Elsewhere on the 20-acre site, there's a garden from Parkinson's UK, which includes a rose with hardly any scent, a reminder that a loss of smell is an early symptom of the disease. And the King's Foundation Garden, which had creative input from keen gardener Sir David Beckham, contains plenty of the King's favourite flower, the delphinium.
在这片占地 20 英亩的展区内别处，有英国帕金森病协会打造的花园，里面种植了一种几乎没有香味的玫瑰，以此提醒人们，嗅觉丧失是该疾病的早期症状。还有国王基金会花园，该花园由园艺爱好者大卫·贝克汉姆爵士提供创意，里面种有大量国王最喜欢的飞燕草。