2023年2月26日，由资深媒体人杨澜发起的《发光吧，大女生》访谈综艺将在抖音独家直播。从女性视角出发，杨澜与她的朋友们将以线下对话形式开启女性主题漫谈，关注女性社会动态、心理健康、职业发展等需求，探寻不同女性的无限可能性。节目邀请到多位女性话题红人、行业领袖和专家学者，以国际化视角和睿智风格，面向成熟都市女性，向深度话题尖锐发问，全方位打破女性在固有话语体系下的刻板印象。

2023年2月26日，由资深媒体人杨澜发起的《发光吧，大女生》访谈综艺将在抖音独家直播。从女性视角出发，杨澜与她的朋友们将以线下对话形式开启女性主题漫谈，关注女性社会动态、心理健康、职业发展等需求，探寻不同女性的无限可能性。节目邀请到多位女性话题红人、行业领袖和专家学者，以国际化视角和睿智风格，面向成熟都市女性，向深度话题尖锐发问，全方位打破女性在固有话语体系下的刻板印象。

影片讲述一个爱打抱不平的武校女生李响通过父亲没日没夜开发的虚拟现实（VR）技术进入游戏，精进武功、重塑自我的故事。她在虚拟的古代世界里遇到了现实中常常欺负她的“男校霸”于大宝，两个小冤家是继续斗法，还是联手打怪？

影片讲述一个爱打抱不平的武校女生李响通过父亲没日没夜开发的虚拟现实（VR）技术进入游戏，精进武功、重塑自我的故事。她在虚拟的古代世界里遇到了现实中常常欺负她的“男校霸”于大宝，两个小冤家是继续斗法，还是联手打怪？

婚約者もいて、普通に生活を送っていた普通のOL芳村香は、突如会社からリストラされてしまう。ハローワークで紹介された職場はボクシングジム。ボクシングジムとは知らず就職した彼女は、早く辞めようと思案する。 　　そこで出会った少し奇妙なロートルボクサー澤田亮平。彼は一流大学を出、一流企業に勤めていた順風満帆な日々を捨て、ボクサーになった偏屈者。婚約者からプロポーズを受けた香だったが、引退の年齢も近く、日々負けつづけてもなおボクサーである事を辞めない澤田との出会いが、彼女の人生が徐々に変えていく。 　　このドラマの前後のドラマ（「神様、もう少しだけ」・救命病棟24時）が、共に平均視聴率20％前後あったのに対し、この作品は平均10.1%、低い時では9.6％と余り奮わなかった。主題歌の『終わりなき旅』はミリオンセラーとなった。 　　なお、現在においてもビデオ・DVD化はされていない

婚約者もいて、普通に生活を送っていた普通のOL芳村香は、突如会社からリストラされてしまう。ハローワークで紹介された職場はボクシングジム。ボクシングジムとは知らず就職した彼女は、早く辞めようと思案する。 　　そこで出会った少し奇妙なロートルボクサー澤田亮平。彼は一流大学を出、一流企業に勤めていた順風満帆な日々を捨て、ボクサーになった偏屈者。婚約者からプロポーズを受けた香だったが、引退の年齢も近く、日々負けつづけてもなおボクサーである事を辞めない澤田との出会いが、彼女の人生が徐々に変えていく。 　　このドラマの前後のドラマ（「神様、もう少しだけ」・救命病棟24時）が、共に平均視聴率20％前後あったのに対し、この作品は平均10.1%、低い時では9.6％と余り奮わなかった。主題歌の『終わりなき旅』はミリオンセラーとなった。 　　なお、現在においてもビデオ・DVD化はされていない

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

Maxime, un jeune homme de 25 ans, débarque à Paris, mais souhaite rejoindre Justine, la femme qu'il aime, en Inde. Au bar de l'hôtel Raphaël, il fait la connaissance de Jack Lesterhoof, un riche homme d'affaires qui lui propose de devenir son interprète pour un rendez-vous important. Maxime accepte. 　　Les deux hommes deviennent bientôt amis. Jack décide de faire un break, de rompre avec la routine et d'accompagner Maxime en Inde.

大女生是自定义的一种态度，我们不是寻找完美榜样。扔掉片面的、刻板的标签，打破所谓的完美，接受真实的、丰富的自己。 　　可可爱爱的、真实温暖的、丰富有趣的大女生们，与你相约在这个冬季。2022年1月5日起，每周三晚21:20江苏卫视播出。