特殊时期，被隔离在家的小南嘴巴闲得难受，便开启了搞笑吐槽模式。他一张嘴，能把八方的人都逗笑。每期围绕一个生活热点话题，他喋喋不休说个不停，风格时而欠揍，时而犯贱，能让人笑得掉牙，也能把人气得肝疼。哈哈，关键是你还拿他没办法，你说气不气人？哈哈哈

特殊时期，隔离在家里的小南憋的嘴痒痒，于是开启搞笑吐槽模式！一人张嘴，笑吐八方！每期一个生活热点话题，叨叨叨没完没了，或欠儿，或贱，笑的掉牙，气的肝疼，哈哈哈哈但你还打不着他，你说气人不？哈哈哈

Like the art cinema of David Lynch or Luis Bunuel (not to mention Harrington's most immediate influence/mentor, the long-venerated celluloid poet Maya Deren, whose 1943 short Meshes of an Afternoon clearly turned the budding filmmaker Harrington on to the medium's wider-than-imagined possibilities), Harrington's films aren't abstract so much as they, very much like a dream (the closest experience to cinema real life offers, and offered long before movies ever existed), consist of narratives with recognizable, "real" human figures and places where some kind of story is happening, except with a disconcerting adherence to their own unpredictable, irrational internal logic and sign systems. In 1946's 13-minute Fragment of Seeking, his first completed work as a mature filmmaker, a twentysomething Harrington himself appears as the bespectacled, fedora'd, trenchcoat-clad, faintly androgynous (he resembles Truman Capote a bit) young man who, when he enters through an imposing gate into the courtyard of a beautiful old ivy-covered L.A. apartment building, is captivated and led ever deeper into a mysterious realm (like Alice down the rabbit hole) by a girl who, with her Veronica Lake blonde tresses, is ravishing enough to be a starlet. As he watches and pursues her through the walkways and corridors around and inside of the building, what at first looks like voyeuristic flirtation becomes a journey into the young man's own deepest fears and desires -- a gorgeous and terrifying pulling back of the veil of surface reality for a glimpse of both his true self and that too-close-for-comfort Freudian link between sex and death. Like all of this early work, the film is more or less silent-with-score (by Ernest Gold, whose music is fantastically cinematic and integral to setting the mood of many of these these moody pictures), and Harrington uses no effects any more special than the skilled, inspired manipulation of shadow and light and a very finely honed intuitiveness at the editing table to create a world as convincing and vivid as it is removed from realism -- one with a lush, eerie atmosphere fraught with allure, suspense, danger, and dread.

故事发生在1990年代的南京，高中生吴南与陈晓建立了深厚的友情。然而，陈晓因家庭和学业原因即将离开南京，这让吴南开始怀疑自己对他的感情是否超越了友情的界限。 　　影片通过散文化叙述展示他们的成长轨迹，独特美学风格注重人物主观世界的描摹和旁观视点的运用，营造空灵氛围和借景抒情的韵味。

南方的乡村里，少年服刑犯阿邓，在春节期间离监探亲。而突如其来的疫情，让他所期待的亲戚朋友都无法如约而至。困在家里的阿邓，不得不面对曾经酗酒家暴、现已瘫痪的父亲，一直无怨无忧照顾着家庭的继母却将要出走。新年之下，他备受煎熬……

本系列探讨弗洛伊德精神分析学说对20世纪的巨大影响。 　　美国特纳出版公司最近出版的《20世纪人类全纪录》，把1900年西格蒙特·弗洛伊德《梦的释义》的出版作为20世纪的开端。这决不是别出心裁，而是把精神分析理论的问世当作一个划时代的标志，从此人类对自身的探索进入了一个新阶段，所以有些西方学者把20世纪称之为"精神分析的世纪".《梦的释义》出版100年来，人们对精神分析学说毁誉参半，研究弗洛伊德的着作就达几千部，特别是许多思想大师都对弗洛伊德做出了评价，这就使人们常常戴着大师们的眼镜去看待弗洛伊德，由此产生了一些"错误认同".正如当代意大利哲学家恩贝托·埃柯（UmbereoEco）所说，马可波罗在爪哇把犀牛认作独角兽，这种错误认同产生的原因在于"他正是他的"背景书籍"的牺牲品。"①经过100年的洗礼，弗洛伊德的思想价值不但没有减弱反而增强了。因此要摆脱以往人们对弗洛伊德的错误认同，强调个人对弗洛伊德原着的特殊理解，并把这种理解与当代学术界的研究成果结合起来是十分必要的。首先，弗洛伊德不仅是一个精神病专家，更重要的是，他作为一个人文科学思想家在历史上留下了宝贵的精神财富。 　　弗洛伊德从人类心理冲突的角度去关照潜意识的产生与作用。因此，他的发现不仅意味着医学的进步，还打破了人类思想与生活中的许多假象，扩展了人类对精神生活的感知，并以不能再视而不见的事实描述出潜意识这种复杂而真实的人文现象。他对梦的层层揭示触及了人类精神世界最难以接近的部分。他对导致人的梦境的潜意识的分析引导着人类更透彻地了解了自己——20世纪达利的绘画、劳伦斯的小说、希区柯克的电影、马勒的音乐，弗洛伊德对生命潜意识的透视在几乎所有人文领域里都留下了深刻的印记。 　　当弗洛伊德80岁诞辰来临之际，全世界200多位科学艺术家致信祝贺，他们说：“如果世间有什么行动可以被永远铭记的话，那就是对人类心灵的洞察。” 　　弗洛伊德，“有史以来第一位正视人类心灵问题的人”。

Employing experimental techniques, Emshwiller magically moved through a collection of objects and artifacts in order to capture the spirit of George Dumpson and his backyard museum, as he noted: "George Dumpson was a scavenger. He created a small universe with what he found and could carry on his homemade wagon. To me he epitomized the soul of the artist. He put together what things he could in such a way as to satisfy some inner need, just as I had to make this picture of him and his place."

Employing experimental techniques, Emshwiller magically moved through a collection of objects and artifacts in order to capture the spirit of George Dumpson and his backyard museum, as he noted: "George Dumpson was a scavenger. He created a small universe with what he found and could carry on his homemade wagon. To me he epitomized the soul of the artist. He put together what things he could in such a way as to satisfy some inner need, just as I had to make this picture of him and his place."

做过兼职成人电影明星和女仆的Punkin最后嫁给了做女仆时的主人Crean-Smith先生，她希望他所有的朋友和亲戚都能接受她进入他们的上流社会世界。