A voice from the control room broke in to make sure we’d snapped on our five-point harnesses. Then the demonstration began: “Three, two, one, now.” The flight deck lurched, and we began to plunge up and down. It was simulating a moderately turbulent wind recorded over Idaho and Montana. But the control room had segregated the wind’s vertical and lateral forces, so I could feel them in isolation. We were being bounced around by the vertical ones now, and it was kind of fun—like riding a hobbyhorse. The lateral motions came next. They were only half as strong, Pettit told me later, but they felt twice as discomfiting—slow, seasick waves like ocean swells. But the worst, by far, were the motions that were both vertical and lateral. When the control room programmed the flight deck to re-create full turbulence, the steady waves suddenly turned chaotic, off-kilter, completely unpredictable. A jolt or two, an odd pause; a little jerk to the side, and then the bottom fell out.
澳洲悉尼大學（University of Sydney）研究數位文化、性別與性向的陳力深博士（Dr Sam Chan） 指出：真正打動酷兒觀眾的，不只是幻想或嚮往，而是男男愛情故事和他們真實生活之間出現的細微重疊。
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今年26歲、來自越南的阿宗（化名）曾在台灣工作了7年。他先前工作的工廠缺乏台灣年輕勞工，台籍員工多為六、七十歲的高齡者。「其實工作都靠我們在做，如果我們不做，他們也做不來，但我們一直不受到重視。」他向BBC中文表示。，推荐阅读爱思助手下载最新版本获取更多信息
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