Đề ôn thi Đề thi vào lớp 10 Hà Tĩnh môn Tiếng Anh - Mã đề HTI-109

Suspension bridges are amazing structures that can span huge distances. Their strength comes from a clever design that distributes weight. The road, or deck, where cars drive doesn't hold its own weight. Instead, it hangs (24) __________ strong vertical steel ropes called suspenders. These suspenders transfer the load of the deck and the traffic to two massive main cables above.

The main cables are the most important part. They (25) __________ all the weight from the suspenders and carry it to the tall towers at each end. If the main cables were not incredibly strong, the entire structure (26) __________ collapse. (27) __________, the towers are not the final destination for the force. The main cables continue past the towers and are secured deep into the ground in huge concrete blocks called anchorages. These anchorages (28) __________ the enormous pulling force of the cables. This system ensures that (29) __________ part of the bridge works together to remain stable.

Streaming services like Netflix have become a daily part of life for many teenagers in Vietnam. While viewers enjoy a vast library of international films and series, a common question is emerging: why isn't there more original Vietnamese content? This discussion is not unique to Vietnam; Netflix has found great success by producing local shows in countries like South Korea and Spain, which then often become global hits.

The primary argument for more Vietnamese content is cultural representation. Seeing your own language, traditions, and stories on a global platform can be incredibly powerful. It allows for more authentic storytelling that reflects the real experiences of Vietnamese people. The massive success of local films like 'Bố Già' (Dad, I'm Sorry) proves that there is a large and eager domestic audience ready to support high-quality productions that speak to them directly.

However, producing this content presents a complex set of challenges. Firstly, high-quality film production is expensive, and it's a significant financial risk for any company. Secondly, there is the challenge of creating stories that are not only popular in Vietnam but also have the potential for global appeal. This requires finding scripts and creative teams that can balance local culture with universal themes. Finally, any new local show must compete with big-budget international blockbusters.

In conclusion, while the demand for more Vietnamese content on platforms like Netflix is clear, the path to creating it is not simple. It requires a careful balance of financial investment, creative risk, and a deep understanding of what both local and global audiences want to watch. The future likely holds more Vietnamese stories on our screens, but it will be a gradual process.