该剧讲述了当代“大厂女孩”吴秀雅早与高中同学史野结下关于“脱口秀”的缘分。多年之后，吴秀雅看似有着稳定的事业和上进的男友，但她对自己的人生并不满意，自己的一切都是在别人的安排下按部就班地进行，削足适履，习惯了遇事迁就别人的“讨好”生活。机缘巧合之下，吴秀雅重新遇到史野，正式接触到了脱口秀，于是她找到了可以直率表达自我的舞台，开始不断追逐热爱、勇敢蜕变、重新活出自我的故事。

该剧讲述了当代“大厂女孩”吴秀雅早与高中同学史野结下关于“脱口秀”的缘分。多年之后，吴秀雅看似有着稳定的事业和上进的男友，但她对自己的人生并不满意，自己的一切都是在别人的安排下按部就班地进行，削足适履，习惯了遇事迁就别人的“讨好”生活。机缘巧合之下，吴秀雅重新遇到史野，正式接触到了脱口秀，于是她找到了可以直率表达自我的舞台，开始不断追逐热爱、勇敢蜕变、重新活出自我的故事。

本片的大牌便是1983年凭借着《搭错车》获得金马奖影帝的孙越，他在片中饰演侦探可可李，受雇于姜翰常的大老婆，调查姜的情人。有意思的是也有一个叫江汉长的人跟姜是邻居，他们两个在回国搭乘同一驾飞机，拿着一模一样的手提箱，阴差阳错拿错了行李。然后本来姜背着老婆送给情人的钻戒到了江的手里，大老婆为了夺回钻戒，这两个家庭和姜的情人以及侦探可可李开始相互打闹。本片虽为喜剧，加了很多夸张的效果，但是没头没脑的剧情，智商欠费的编剧为这部电影减分不少。

本片的大牌便是1983年凭借着《搭错车》获得金马奖影帝的孙越，他在片中饰演侦探可可李，受雇于姜翰常的大老婆，调查姜的情人。有意思的是也有一个叫江汉长的人跟姜是邻居，他们两个在回国搭乘同一驾飞机，拿着一模一样的手提箱，阴差阳错拿错了行李。然后本来姜背着老婆送给情人的钻戒到了江的手里，大老婆为了夺回钻戒，这两个家庭和姜的情人以及侦探可可李开始相互打闹。本片虽为喜剧，加了很多夸张的效果，但是没头没脑的剧情，智商欠费的编剧为这部电影减分不少。

上辈子，李行简被李晨曦推下水溺死，重生归来，李行简决定不再讨好家人，开启“不孝”反击，看她如何逆风翻盘，事业爱情双丰收。

每期一位明星嘉宾和若干卡司，上演情景喜剧和脱口秀两部分内容。明星和家族成员一起演绎还原时下最火热的新闻事件，用情景喜剧带动观众一起讨论热点；家族成员爆笑吐槽时下热门事件，用脱口秀表达观点：冒犯有道理，得罪没关系。

每期一位明星嘉宾和若干卡司，上演情景喜剧和脱口秀两部分内容。明星和家族成员一起演绎还原时下最火热的新闻事件，用情景喜剧带动观众一起讨论热点；家族成员爆笑吐槽时下热门事件，用脱口秀表达观点：冒犯有道理，得罪没关系。

林芊芊攥着手机的手指泛白，屏幕上陈村发来的信息像毒蛇吐信：“我女儿又发烧了，你不能见死不救！” 窗外暴雨拍打着玻璃，和她擂鼓般的心跳声混在一起。自从大学那次骨髓捐献后，她的生活就被这家人彻底搅乱 —— 工作日堵在公司楼下，周末守在小区门口，甚至往家里寄恐吓信。​ “老婆，别理他们。” 顾遇白轻轻搂住她颤抖的肩膀，掌心传来的温度让她眼眶发烫。他早就辞掉了出差频繁的工作，每天接送孩子上下学，把家打理得井井有

The story opens in Balochistan, in a small, scarcely ‘wired’ village bordering Iran and Afghanistan. Ahmad is an idealistic teacher in exile, educating the local community; his partner Haseeba, however, has spent time in jail in Tehran for the very same offence against the State. The disaccord between them is not only social but also personal. Ahmad's destiny collides with that of a family fleeing the Taliban; soon the intricate divisions of age and gender within that group will trigger other problems and entanglements – including a 'lovers on the run' intrigue that fleetingly recalls Murnau's classic Tabu (1931). 　　Across all the arresting, shifting peripeteia of its plot, Abbas Amini's film deftly dramatises the complicated question of commitment: do we commit ourselves to a political cause, a set of religious beliefs, or a person? And how do we negotiate the commitments of others, even those closest to us, when they are based on a very different value system? 　　With its sparse music score, densely naturalistic acting and unostentatious camera work, Endless Borders is almost a minimalistic suspense thriller (with Hitchcockian overtones), combined with a heated family melodrama – but it never loses sight of the serious and extremely timely issues that it raises. 　　源自：https://iffr.com/en/iffr/2023/films/endless-borders

The story opens in Balochistan, in a small, scarcely ‘wired’ village bordering Iran and Afghanistan. Ahmad is an idealistic teacher in exile, educating the local community; his partner Haseeba, however, has spent time in jail in Tehran for the very same offence against the State. The disaccord between them is not only social but also personal. Ahmad's destiny collides with that of a family fleeing the Taliban; soon the intricate divisions of age and gender within that group will trigger other problems and entanglements – including a 'lovers on the run' intrigue that fleetingly recalls Murnau's classic Tabu (1931). 　　Across all the arresting, shifting peripeteia of its plot, Abbas Amini's film deftly dramatises the complicated question of commitment: do we commit ourselves to a political cause, a set of religious beliefs, or a person? And how do we negotiate the commitments of others, even those closest to us, when they are based on a very different value system? 　　With its sparse music score, densely naturalistic acting and unostentatious camera work, Endless Borders is almost a minimalistic suspense thriller (with Hitchcockian overtones), combined with a heated family melodrama – but it never loses sight of the serious and extremely timely issues that it raises. 　　源自：https://iffr.com/en/iffr/2023/films/endless-borders