身处纽约，对「metropolis」这个词的时候，是特别敏感的。今天读到《国家地理杂志》2019 年 7 月刊专题《阿波罗 11 号的 50 年之后，新的月球竞赛正在到来》（50 Years after Apollo 11, a New Moon Race Is On）这篇文章，读到迪拜要在太空时代建设「cosmopolis」的时候一下被吸引住了眼球：
At the edge of Dubai, where Emirates airline has forged a massive global crossroads for air travelers out of once empty desert, an entirely new and even more colossal airport under construction is being billed as the world’s first “cosmotropolis”. Authorities say it will be capable of handling rocket ships and hyper-and supersonic aircraft as well as conventional jet airliners.
纽约作为世界交叉路口的兴起，离不开其海边河边易于建设港口的特殊地理位置，从 Chelsea 往北依次编号的一系列码头还让人每每想起那个河运时代的疯狂。纽约同样没有错过后来陆路交通发展的时代。作为铁路发展时代标志的纽约宾夕法尼亚站（New York Pennsylvania Station）与中央总站（Grand Central）和作为公路的换乘中心的港务局公交总站（Port Authority Bus Terminal）每一天都提醒着坐地铁通勤于曼哈顿的人们纽约作为世界中心的位置；再后来民航时代的到来，纽约也毫无疑问地并没有失去交叉路口的存在，三座东海岸的重要机场在曼哈顿附近，但却已经离开了曼哈顿本身，虽然肯尼迪国际机场一次又一次地被提及。这是直到 21 世纪的故事。那么如果 21 世纪之后的交通方式是基于太空的，那它催生的宇宙都市，又会是怎样的地方呢？
The term postwar art has most typically been used to describe art created in the aftermath of World War II within a North American or Western European context. The advent of the atomic age – initiated by the United States’ bombing of Hiroshima and Nagasaki in 1945-and the atrocities of the Holocaust, perpetuated by Adolf Hitler’s Third Reich, challenged artists and intellectuals to invent new languages and forms that could respond to the un-representable. The disjunction between Western ideologies and the realities of violence and devastation led many European and North American artists to embrace non-Western aesthetics and modes of thought.
In the visual arts, abstraction provided an experimental vocabulary with which to signify the magnitude of destruction caused by the war and the gravity of horrors unleashed by the nuclear bomb. It also offered artists an openended approach to envisioning other psychic or emotional states, as a respite and refuge from the harsh realities of the present. Simultaneously, figuration and performance art flourished, as artists sought to portray the radical fragmentation of the body-a result of the violence wrought against it and the environment, the cityscape, and the countryside. Art offered both a critique of and an escape from a war-weary world.
在《滚石》（Rolling Stone）杂志的编辑笔下，电视节目正变得越来越像是当代的音乐文化，每一个粉丝群体，在变得越发分裂和孤立。《滚石》2019 年 4 月刊 Editor’s Letter: Goodbye to ‘Game of Thrones’：
Game of Thrones had a global reach like nothing before it on TV. When you factor in illegal downloads and streams, the previous season was viewed by at least a billion people — meaning one of seven humans on the planet. “It does things you never expected TV to be able to do in terms of dragons flying and burning up entire armies, and zombies storming down a mountain,” says Alan Sepinwall, our chief TV critic, who has never missed an episode. “It’s viscerally thrilling in a way that almost nothing in TV has ever been before.”
When Game of Thrones debuted, back in 2011, TV was a totally different place. Netflix, Hulu and Amazon hadn’t begun to create their own programming, and the audience for great shows wasn’t splintered across niche genres and formats. It was actually possible (and enjoyable!) to keep up with GoT and other great shows like Homeland, Breaking Bad and Mad Men as they unfolded week to week. Now, dozens of original shows, docs and miniseries are dumped onto streaming services every month, and even the best of them reach smaller, fragmented audiences.
“TV is like the new music, and more than a little tribal,” says Rolling Stone entertainment editor Maria Fontoura. “Everyone has their favorite shows, and people judge each other’s taste by what they’re watching.”
李如一笔下的 Apple News+ 也在让杂志变得越来越像是音乐。《一天世界》博客 Apple News+：
苹果最落后的地方是反复讲各种「最好」和「最有创意」。汇集最好的杂志，找最好的创意人来做最好的电视节目。她们没有收到风，最好的时代已经结束了。没有最好，也没有更好，只有各种各样的好。不仅没有最好，甚至最火都已经没有了。已经不再是 for the rest of us 的苹果不懂这个。