世界上许多关于哺乳动物时代的知识都埋葬于美国中心地带的广阔景观之下。从3400万年前到冰河世纪，开始一场史诗般的探险。进入史前世界，在哺乳动物统治至高时，开始一场化石狩猎之旅。加入古生物学家的研究，他们发现了化石，揭示了气候变化如何将北美炎热潮湿的森林转化为了冰冻草原。从大象、马、犀牛、骆驼、雷兽，到火山灰沉降层中的动物，跟随主持人迈克·维瑞斯，我们将在这一集的古生物侦探中深入美国大平原。

The films of Ulrike Ottinger (b. 1942) are shaped by a fascination with place, a topical and topographical curiosity that drives their wanderlust across locales both imagined and real, from the fantastically spectral Berlin of the early Freak Orlando and the nostalgia shrouded Viennese amusement park of Prater, to the vast, remote steppes of Central Asia explored in Taiga and the busy banquet halls of present-day Seoul in The Korean Wedding Chest. Ottinger’s fiction films kaleidoscope a carnivalesque vision of the world, staging unpredictable encounters with a remarkably motley cast of “freak” outsiders – lovers, pirates, brigands, grafters and their adversaries. While Ottinger’s documentaries, in contrast, focus insightfully on the quotidian reality of everyday people, but are no less colorful and exuberant in their spirited exploration of the playful and poetic intersection of the traditional and contemporary. 　　Born in Konstanz, Germany, Ottinger spent much of the 1960s working as a painter in Paris – where she also studied with the likes of Claude Lévi-Strauss and Louis Althusser – before launching her film career in Berlin in the early 1970s. Ottinger’s earliest films grow out of her close association with various Berlin subcultures and art scenes and involved collaborations with such luminary figures as Tabea Blumenschein, as well as Irm Hermann, Kurt Raab and Magdalena Montezuma, actors central to the Fassbinder scene. International recognition and reknown followed her first feature film Madame X (1977), which especially drew the interest of queer and feminist critics and scholars in the U.S. To this day Ottinger’s films are held up for their radicalness, not only of narrative but also of their treatment of sexuality and of gender itself. A Renaissance woman, Ottinger writes her own scripts, frequently operates the camera and even designs the often elaborate sets and costumes showcased in her films. 　　The fall of the Berlin Wall and a massive funding crisis for “art cinema” coincided at the beginning of the 1990s to inspire a distinct shift in Ottinger’s cinema away from the theatrical extravagances of her early film work to a mode of carefully observed documentary. Yet uniting and cross-pollinating Ottinger’s documentary and fiction work are a set of running themes – a concern for the normative function of power and its ability to repress and ostracize difference; a nostalgia for the cosmopolitism of pre-war Central Europe; and a delight in the richness and beauty of “other cultures,” be they popular, archaic or simply non-Western. 　　Taiga 　　Directed by Ulrike Ottinger. 　　Germany 1992, 16mm, color, 501 min. Mongolian and Tuvinian with English subtitles 　　Ottinger returned to Mongolia to craft her incredible epic documentary portrait of reindeer herders on the far Northern steppes. While offering rare glimpses into the shamanic ceremonies, hunts, weddings and amusements that color the herders’ lives, Taiga uses its nine hours to resist any notion of the nomads as simply “exotic” by creating a fully immersive encounter with the Mongolians daily routines and rituals. Bearing mesmerizing witness to a world seemingly out of time, Taiga is ultimately a study in contrasts: between the vast steppes and the intimacy of the nomads’ private spaces, between the mobility of the nomadic life and the fixity of Ottinger’s camera, between pre-modern practices and their contemporary variations.

The films of Ulrike Ottinger (b. 1942) are shaped by a fascination with place, a topical and topographical curiosity that drives their wanderlust across locales both imagined and real, from the fantastically spectral Berlin of the early Freak Orlando and the nostalgia shrouded Viennese amusement park of Prater, to the vast, remote steppes of Central Asia explored in Taiga and the busy banquet halls of present-day Seoul in The Korean Wedding Chest. Ottinger’s fiction films kaleidoscope a carnivalesque vision of the world, staging unpredictable encounters with a remarkably motley cast of “freak” outsiders – lovers, pirates, brigands, grafters and their adversaries. While Ottinger’s documentaries, in contrast, focus insightfully on the quotidian reality of everyday people, but are no less colorful and exuberant in their spirited exploration of the playful and poetic intersection of the traditional and contemporary. 　　Born in Konstanz, Germany, Ottinger spent much of the 1960s working as a painter in Paris – where she also studied with the likes of Claude Lévi-Strauss and Louis Althusser – before launching her film career in Berlin in the early 1970s. Ottinger’s earliest films grow out of her close association with various Berlin subcultures and art scenes and involved collaborations with such luminary figures as Tabea Blumenschein, as well as Irm Hermann, Kurt Raab and Magdalena Montezuma, actors central to the Fassbinder scene. International recognition and reknown followed her first feature film Madame X (1977), which especially drew the interest of queer and feminist critics and scholars in the U.S. To this day Ottinger’s films are held up for their radicalness, not only of narrative but also of their treatment of sexuality and of gender itself. A Renaissance woman, Ottinger writes her own scripts, frequently operates the camera and even designs the often elaborate sets and costumes showcased in her films. 　　The fall of the Berlin Wall and a massive funding crisis for “art cinema” coincided at the beginning of the 1990s to inspire a distinct shift in Ottinger’s cinema away from the theatrical extravagances of her early film work to a mode of carefully observed documentary. Yet uniting and cross-pollinating Ottinger’s documentary and fiction work are a set of running themes – a concern for the normative function of power and its ability to repress and ostracize difference; a nostalgia for the cosmopolitism of pre-war Central Europe; and a delight in the richness and beauty of “other cultures,” be they popular, archaic or simply non-Western. 　　Taiga 　　Directed by Ulrike Ottinger. 　　Germany 1992, 16mm, color, 501 min. Mongolian and Tuvinian with English subtitles 　　Ottinger returned to Mongolia to craft her incredible epic documentary portrait of reindeer herders on the far Northern steppes. While offering rare glimpses into the shamanic ceremonies, hunts, weddings and amusements that color the herders’ lives, Taiga uses its nine hours to resist any notion of the nomads as simply “exotic” by creating a fully immersive encounter with the Mongolians daily routines and rituals. Bearing mesmerizing witness to a world seemingly out of time, Taiga is ultimately a study in contrasts: between the vast steppes and the intimacy of the nomads’ private spaces, between the mobility of the nomadic life and the fixity of Ottinger’s camera, between pre-modern practices and their contemporary variations.

元气食堂（熊大卫和1001只食物丁）是以美食世界为主题创作的动漫IP形象。 在吃货熊大卫的世界里，可爱的食物丁们像人类一样要上学和上班，吵闹又温馨的日常，在大卫呵（吃）护（掉）中欢乐地上演。

元气食堂（熊大卫和1001只食物丁）是以美食世界为主题创作的动漫IP形象。 在吃货熊大卫的世界里，可爱的食物丁们像人类一样要上学和上班，吵闹又温馨的日常，在大卫呵（吃）护（掉）中欢乐地上演。

在商业区附近的某条商店街角落，门上画了猫咪图案的餐馆──“猫咪西餐厅”。虽然是西餐厅，但西餐以外的菜单也非常丰富。这么一间不起眼的小餐厅，在每周六都会对外公休，但是其实每到这天，都要迎接来自“异想世界”食客的光顾，这群客人不论是人族、魔族、鬼族、精灵族、蜥蜴人族、吸血鬼族、兽人、传说的魔龙，都会从一扇神秘的“门”内光临！他们带各自的烦恼来到这里，又同样都因美食得到了治愈。

在商业区附近的某条商店街角落，门上画了猫咪图案的餐馆──“猫咪西餐厅”。虽然是西餐厅，但西餐以外的菜单也非常丰富。这么一间不起眼的小餐厅，在每周六都会对外公休，但是其实每到这天，都要迎接来自“异想世界”食客的光顾，这群客人不论是人族、魔族、鬼族、精灵族、蜥蜴人族、吸血鬼族、兽人、传说的魔龙，都会从一扇神秘的“门”内光临！他们带各自的烦恼来到这里，又同样都因美食得到了治愈。

除了人类世界，宇宙还存在着一个美食世界——元气食堂。这里是吃货熊大卫和食物丁所生活的地方。食物不仅像人类一样要读书上学，还要打工上班和恋爱结婚~但有点不同的是，它们身上的美食属性总是闹出许多笑料。大卫作为食物丁的好朋友，和它们吵吵闹闹的生活在这里一天天上演。

在商业区附近的某条商店街角落，门上画了猫咪图案的餐馆──“猫咪西餐厅”。 虽然是西餐厅，但西餐以外的菜单也非常丰 富。这么一间不起眼的小餐厅，在每周六都 会对外公休，但是其实每到这天，都要迎接 来自“异想世界”食客的光顾，这群客人不 论是人族、魔族、鬼族、精灵族、蜥蜴人族、 吸血鬼族、兽人、传说的魔龙，都会从一扇 神秘的“门”内光临!他们带各自的烦恼来 到这里，又同样都因美食得到了治愈。

《姜食堂》是韩国 tvN 的综艺节目，由制作《花样爷爷》的罗䁐锡（罗 PD）操刀，姜镐童、李寿根、殷志源、安宰贤和宋旻浩共同主持。该节目翻拍自热门节目《尹食堂》，是《新西游记》推出的特别企划。节目内容主要围绕开设餐厅的经历以及过程中发生的各类故事展开。餐厅开设在济州岛，主打“老板吃得更多”这一特色。