藤冈靛、井浦新将双主演富士台开台60周年特别企划《悲惨世界 没有终点的旅途》。该作将雨果《悲惨世界》的原著背景搬到平成30年的日本，讲述了围绕过去犯…

这是我的一个长达 80 分钟的脱口秀专场，和之前线下火热巡演的《天生有意思》专场同名不同内容！ 　　里面收录了我最喜欢的一系列段子，包括我参加奇葩说第七季的经历、社会性死亡的经历、对社会残障辅助设备的思考，还吐槽了我的名字我的忌口我的杠精网友。

出生在一个被黑手党控制的小城里，一名愤怒的年轻女子决意向拆散和囚禁她家人的邪恶力量复仇。

钟灿（金柱赫 饰）和妻子妍红（孙艺珍 饰）结婚多年，膝下有一可爱的女儿，两人男才女貌，在外人眼中是如同神仙眷侣一般的存在。钟灿涉足政坛，事业小有成就，同僚们都知道，他将有极大的可能成为下一任的国会议员。 　　某一日，厄运降临到了这个幸福的家庭之中，女儿无故失踪下落不明，留下难以解释的模糊线索，令警方毫无头绪。让妍红感到不可思议的是，对于女儿的失踪，钟灿似乎并没有那么焦急，他脑中所想的，只有如何在下一场竞选中取得胜利，夫妻两人之间的感情因此而产生裂痕。无奈之下，妍红只得强打起精神，她知道，女儿所能依靠的只有自己。

一名受人尊敬的主播（高庚杓 饰）突然在播报时失去自我约束力，此举吸引了一名电视台编剧（姜汉娜 饰）的注意，并邀请他上自己的综艺节目。

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

老人斯拉维萨（Miodrag Krstovic 饰）与女儿女婿住在一起。他的老伴已经去世，而他渐渐患上了阿茨海默综合征，记忆力不断减退。他甚至忘记了自己曾经当教授时写过的教材，而在雨夜中也会迷失回家的路。 　　斯拉维萨只有在老伴的墓碑前才显得头脑清晰，每次都表达着对逝去的伴侣的思念和对当前无奈的感受。女儿和女婿忙于工作和照顾他们自己的家庭，无法完美的顾及到老人的需求。最终，他们不得不做出决定，将老人送进养老院，那里毕竟是专业照顾老人的机构。为了降低老人摔倒的风险，养老院没有设置台阶。虽然在决定和送老人去之间有很多不舍和无奈，但这被认为是最好的选择。

老人斯拉维萨（Miodrag Krstovic 饰）与女儿女婿住在一起。他的老伴已经去世，而他渐渐患上了阿茨海默综合征，记忆力不断减退。他甚至忘记了自己曾经当教授时写过的教材，而在雨夜中也会迷失回家的路。 　　斯拉维萨只有在老伴的墓碑前才显得头脑清晰，每次都表达着对逝去的伴侣的思念和对当前无奈的感受。女儿和女婿忙于工作和照顾他们自己的家庭，无法完美的顾及到老人的需求。最终，他们不得不做出决定，将老人送进养老院，那里毕竟是专业照顾老人的机构。为了降低老人摔倒的风险，养老院没有设置台阶。虽然在决定和送老人去之间有很多不舍和无奈，但这被认为是最好的选择。