图片来源：Chris Polk—FilmMagic/Getty Images 1997年重返苹果后，他仍持续参与皮克斯运营。随着《海底总动员》（Finding Nemo）、《超人总动 员》（The Incredibles）、《美食总动员》（Ratatouille）等全球票房均破数亿美元的作品接连问世，迪 士尼于2006年以74亿美元收购皮克斯的全部股票，乔布斯所持股份价值约46亿美元。 总之，乔布斯凭借直觉投资皮克斯的经历，印证了一条亘古不变的成功箴言：成功的关键在于找到热情 所在并全力以赴。 "飞向宇宙，浩瀚无垠！"不仅是《玩具总动员》（Toy Story）中巴斯光年的经典台词，更是乔布斯成为 亿万富翁的命运转折点。 1985年，一场权力斗争迫使乔布斯离开苹果公司。次年，乔布斯以1,000万美元收购了卢卡斯影业 （Lucasfilm）的图形计算部门。卖家正是刚打造完《星球大战》（Star Wars）帝国的乔治·卢卡斯。这 家小公司很快更名为皮克斯（Pixar），即将永远改变好莱坞与乔布斯的财富轨迹。 公司初期经营坎坷，乔布斯因需持续垫付月度资金缺口曾多次考虑是否应该将公司出售。但到1995年， 他相信皮克斯 ...

Core Viewpoint - The lawsuit filed by Disney and Universal Pictures against Midjourney marks a significant legal battle in the entertainment industry regarding copyright issues related to generative AI technology [2][3][7]. Group 1: Lawsuit Details - Disney and Universal Pictures have filed a 110-page lawsuit against Midjourney, providing examples of generated images that closely resemble iconic characters from their franchises [3]. - The companies argue that Midjourney has used their copyrighted materials without authorization, claiming that the AI company has ignored previous requests to cease infringement [3][4]. - Disney's legal representatives emphasize that the infringement remains theft regardless of the technology used, highlighting the importance of copyright protection for content creators [3][4]. Group 2: Financial Implications - Copyright revenue is a crucial income source for both Disney and Universal Pictures, with Disney reporting a 7% year-over-year revenue increase to $23.621 billion for Q2 of fiscal year 2025, and a net profit of approximately $3.275 billion [4]. - Universal's parent company, Comcast, reported a revenue of $29.887 billion in Q1, with a net profit of $3.375 billion, although both figures showed a year-over-year decline [4]. Group 3: Industry Context - Midjourney is a leading player in the "text-to-image" AI sector, generating $300 million in revenue from its subscription services in 2024 [4]. - The lawsuit reflects a broader trend of copyright disputes between large content companies and AI firms, with previous cases involving OpenAI and music companies also highlighting similar issues [6][7]. - The legal landscape for AI copyright is still evolving, with traditional copyright frameworks being applied to new technologies, raising questions about authorship and the nature of AI-generated works [7][8]. Group 4: Challenges in Copyright Management - The current copyright management systems struggle to keep pace with AI's automatic data scraping capabilities, complicating the tracking and licensing of images [8][9]. - Legal experts note that the responsibility for copyright infringement often falls on the users of AI technology, while the AI models themselves are not recognized as legal entities [8][9].

Core Viewpoint - Disney and Universal Studios have filed a lawsuit against AI image generator Midjourney for copyright infringement, marking a significant legal battle between Hollywood giants and generative AI companies [2][4]. Group 1: Lawsuit Details - The lawsuit is 110 pages long and accuses Midjourney of using a vast amount of film works to train its AI, allowing users to generate infringing images of iconic characters such as Darth Vader and Minions [4][6]. - Midjourney has generated infringing content from over 20 film IPs, including characters from "Toy Story," "Frozen," and "Shrek," by using prompts like "Disney style" and "Marvel style" [6][10]. - The characters listed in the lawsuit span over five decades, from 1977's Yoda to characters from 2023 releases [10]. Group 2: Midjourney's Business Performance - Midjourney, founded in 2021, reported a revenue surge to $300 million (approximately 2.2 billion RMB) last year, with a user base reaching tens of millions [10]. - The subscription service offers monthly fees ranging from $10 to $120, depending on the level of image generation speed [10]. Group 3: Industry Implications - The lawsuit is viewed as a milestone in the ongoing debate over generative AI and copyright infringement, with the film industry warning that AI infringements could disrupt the incentive mechanisms of U.S. copyright law [10]. - The U.S. film industry has a salary scale of $229 billion (approximately 1.66 trillion RMB) and supports 2.3 million jobs [10]. Group 4: Midjourney's Response and Industry Context - Midjourney has not yet responded to the lawsuit and claims to be an "independent research lab" with a team of fewer than 12 people [11]. - The Hollywood industry has had a conflicted stance on AI technology, having previously seen strikes over AI threats, while also utilizing AI in Oscar-nominated films for tasks like voice correction [13].

Core Viewpoint - Disney and Universal Pictures have filed a copyright lawsuit against AI image generation company Midjourney, alleging unauthorized use of their well-known characters in generated images [2][4] Group 1: Legal Allegations - The lawsuit claims two main infringements: the use of intellectual property to train AI models and the generation of infringing images featuring recognizable characters [4] - The lawsuit is noted as the first significant legal action between Hollywood studios and an AI company [4] Group 2: Company Responses - Midjourney has not immediately responded to the lawsuit, but previously argued that AI-generated images are merely "insignificant fragments" of the training data [4] - Disney's legal executive emphasized that while the company is optimistic about the potential of AI technology, copyright infringement remains a serious issue regardless of the infringer's identity [4]

Group 1 - The core theme of the articles revolves around the significance of imagination in science fiction, particularly in the works of Liu Cixin and the impact of his novel "The Three-Body Problem" on the genre [1][2][3] - Liu Cixin's emphasis on imagination as a driving force in his creative process highlights the importance of visionary thinking in science fiction literature [1][2] - The evolution of science fiction comics is discussed, showcasing how they serve to visualize concepts that are often beyond the average person's imagination, thus enhancing the reader's experience [4][5][6] Group 2 - The history of science fiction comics dates back to the early 20th century, gaining popularity in the mid-20th century with notable works that challenged readers' perceptions of reality [7][8] - The emergence of Chinese science fiction comics is marked by the efforts of artists like Wu Qingsong, who brought European comic influences back to China, contributing to the development of all-age comics in the domestic market [8][9] - The adaptation of "The Three-Body Problem" into a graphic novel format represents a significant step in making Liu Cixin's work accessible to a broader audience, combining literary depth with visual storytelling [12][13] Group 3 - The graphic novel adaptation of "The Three-Body Problem" aims to maintain the original's narrative complexity while presenting it in a visually engaging manner, thus appealing to both existing fans and new readers [12][14] - Character development in the graphic novel is crucial, with efforts made to capture the essence of key figures from the original story, enhancing reader connection to the narrative [14][15] - The graphic novel serves as a bridge for readers to experience the vast universe of "The Three-Body Problem," effectively translating imaginative concepts into visual representations [15]