因寝室使用违规电器引发火情，意外穿越至修仙世界，成为某魔道家族成员。该家族乃东洲三大魔道顶尖势力之一，而他毫无修炼天赋，幸凭出众口才才免于被家族抛弃。自知天赋不足的他，未敢声张，只能在无人知晓的情况下，悄悄积累力量，朝着无敌之路默默前行，在魔道世界中寻求生存与发展。

许玥穿书成了科举文里孤苦无依、只能尴尬寄住在男主家的小白花表妹。还意外绑定了名臣系统。于是三岁背书、七岁考功名，最终多年以后，许玥三元及第、打马游街，以女流之身，在古代闯出属于女子的天。

Les Maitres Fous is about the ceremony of a religious sect, the Hauka, which was widespread in West Africa from the 1920s to the 1950s. Hauka participants were usually rural migrants from Niger who came to cities such as Accra in Ghana (then Gold Coast), where they found work as laborers in the city's lumber yards, as stevedores at the docks, or in the mines. There were at least 30,000 practicing Hauka in Accra in 1954 when Jean Rouch was asked by a small group to film their annual ceremony During this ritual, which took place on a farm a few hours from the city, the Hauka entered trance and were possessed by various spirits associated with the Western colonial powers: the governorgeneral, the engineer, the doctor's wife, the wicked major, the corporal of the guard. 　　The roots of the Hauka lie in traditional possession cults common among the Songhay and Djerma peoples of the Niger River basin. Gifted men and women may enter trance and become possessed by any of a number of strong gods, such as Dongo, god of thunder and the sky.Supplicants consult the god through the trancing medium and receive advice about their problems, cures for diseases, comfort and support, or reprimands for their wrongdoings. Like these traditional possession cults, the Hauka sect co-existed with Islam and incorporated many Islamic saints and heroes into its rituals. Most of its adherents were Muslims. 　　Hauka first appeared in Niger, it is thought, in the person of a former soldier who participated in the savage battles of the second German offensive of World War I in 1917 and 1918, in which West African troops were decimated despite their spectacular performance. This soldier made the pilgrimage to Mecca and returned to Niger in the 1920s. In his village, in Rouch's account, he found the people "doing a traditional dance and the soldier was possessed, very violently possessed, and while possessed he said 'I am the avant-garde of the new gods who are coming from Malia [the Red Sea]. My name is Governor Malia and I am the first of the new gods who are coming and they are the gods of strength'." 　　The Hauka were quickly suppressed by the French authorities in Niger, with the support of traditional chiefs and priests who feared the popularity of the new movement and its challenge to established authority. But the Hauka cult spread, even within the jail walls, and by 1935 the British administration in Ghana again attempted to suppress it and to jail the cultists. Fires broke out in response throughout Accra, and eventually there was an agreement that Hauka priests would limit their ceremonies to certain places and to Saturdays and Sundays. This was still the case in 1954 when Rouch filmed Les Maitres Fous, which was banned by the colonial government in 1955. 　　The Hauka movement was a phenomenon of the colonial era. After the independence of Ghana in 1957, migration was controlled and many Hauka who had settled in Accra returned to Niger. Niger itself gained independence three years later, and the Hauka began to subside and to be absorbed into the traditional religious system. Dongo, for example, the old god of thunder, is now considered the father of the Hauka. As Rouch has pointed out, "there was no more colonial power and there never was a Hauka called Kwame N'krumah." The events filmed represent the end of the Hauka development. Today the film is shown in the villages of Ghana and in the Niger Cultural Center. 　　The imagery in Les Maitres Fous is powerful and often disturbing: possessed men with rolling eyes and foaming at the mouth, eating a sacrificed dog (in violation of taboo), burning their bodies with naming torches. Beyond the imagery, the themes are also powerful, and have had an impact in our own culture:Jean Genet's The Blacks was modeled upon the Hauka inversion in which blacks assume the role of masters, and Peter Brook's Marat/Sade was influenced by the theatricality and invented language of Hauka possession. Yet, as Rouch reminds us in an interview in Cineaste, possession for the Hauka cultists was not theater but reality. The significance of this reality is left ambiguous in the film, although Rouch's commentary suggests that the ritual provides a psychological release which enables the Hauka to be good workers and to endure a degrading situation with dignity. The unexplored relation of the Hauka movement to their colonial experience 1-S perhaps the most intriguing issue raised by this ceremony in which the oppressed become, for a day, the possessed and the powerful.

The film depicts the psychological journey of a young woman named Victoria. Since her childhood she has been sexually abused by her family. One day she decides to escape but the world is against her and she soon finds herself cast into an inferno of torture and punishment. This causes her unimaginable suffering but she also comes to understand the true meaning of her existence.

The film depicts the psychological journey of a young woman named Victoria. Since her childhood she has been sexually abused by her family. One day she decides to escape but the world is against her and she soon finds herself cast into an inferno of torture and punishment. This causes her unimaginable suffering but she also comes to understand the true meaning of her existence.

Dr. Combs left Los Angeles to go work in the office of a private practice in a small rural town. It isn't long before the patients back in LA seemed normal to every dirty and crazy person in town that shows up at the doctors' office. Although, no matter how bad any of them may seem to Dr. Combs, none of them can compare to Charity Betencourt. A woman who shows up every two weeks with a new problem each time, which is often the result of her willing to perform surgery on herself before going to the good doctor

Bizzare, often perverse yarn about nurses in a metropolitan hospital who seduce then murder male patients.

上世纪60年代，苏格兰裔精神病学家R·D·莱英在伦敦东部创办了金斯利厅疗养院，以反传统的方式来治疗精神病人，不用药物和电休克法，为前来就诊的病人营造一个独一无二的家庭氛围。莱英医生博学广闻，桀骜不驯，他鞭辟入里的见解赢得了博士生安吉的芳心，两人坠入爱河。然而，金斯利厅的对精神病人剑走偏锋的治疗方式引来舆论媒体的关注，但也招来了源源不绝的反对和质疑。他在摄影机前侃侃而谈，并与镜头一起走访大的精神病院，宣传交流自己的理念，但光彩背后工作的压力，失败婚姻的挫折，让莱英医生不堪重负，踽踽独行。

著名精神病学家刘易斯博士，毕生致力于研究死刑犯的心理状态，试图探寻极端暴力行为背后的深层根源。这部HBO纪录片跟随她的脚步，通过对连环杀手等案例的深度剖析，挑战了司法体系中对“理智”与“疯狂”的简单二分法。 　　影片揭示了许多极端罪行背后，往往与严重的童年创伤和未被识别的精神疾病相关联，引发了对惩罚与治疗、正义与人性的深刻思考。 　　在看似不可理喻的“恶”背后，往往埋藏着需要被看见和理解的复杂人性与制度盲点。

大卫·田纳特和伊丽莎白·莫斯加盟《Acid-Marxist》，精神病学家R·D·莱茵的传记片。