微短剧主角是“社畜男主”，被天降系统绑定，必须在限定时间内攻略性格极端的“极品”女孩，控制欲爆棚的前女友、茶里茶气的青梅竹马、反PUA大师的海后学姐…通过和各种性格的女孩沟通，最终锻炼自己成为爱情专家。

网络色情明星朋亮是个年轻漂亮的女孩，当她12岁时，她的母亲自杀。 在她的母亲死之后,她的父亲伤心过度导至得了帕金森疾病。在18岁那年她进入色情行业，几年以后迅速窜红后使她浸淫其中...本片围绕她和父亲、经纪人、男友等人物之间的关系，揭示了她在错综复杂的社会中迷失的灵魂，最终她幡然悔悟，开始了新的生活。

网络色情明星朋亮是个年轻漂亮的女孩，当她12岁时，她的母亲自杀。 在她的母亲死之后,她的父亲伤心过度导至得了帕金森疾病。在18岁那年她进入色情行业，几年以后迅速窜红后使她浸淫其中...本片围绕她和父亲、经纪人、男友等人物之间的关系，揭示了她在错综复杂的社会中迷失的灵魂，最终她幡然悔悟，开始了新的生活。

《爱玩客》是三立电视台的一款推荐美食和旅游胜地的节目。由詹姆士等人联合主持。节目风格大胆风趣富有活力，旨在向全球华人推荐世界各地的美食美景。其前身是《美食大三通》。

《爱玩客》是三立电视台的一款推荐美食和旅游胜地的节目。由詹姆士等人联合主持。节目风格大胆风趣富有活力，旨在向全球华人推荐世界各地的美食美景。其前身是《美食大三通》。

DORIS WISHMAN (Satan Was a Lady), the First Lady of Exploitation, makes the ultimate deviate’s dream come true with this extraordinarily demented piece of celluloid sickness. 　　A degenerate gambler, unable to come up with the cash necessary for a high stakes poker game, bets his nubile daughter. And loses. His daughter immediately becomes the delectable property of a hot-to-trot sex fiend and the film promptly becomes a catalog of perversion, wallowing in domination, humiliation, fetishism, voyeurism, masturbation, lesbianism, spanking, bondage, blowjobs, incest, and more. You’ll be showering for days after this one! 　　Short of her few hardcore films, this is about the sleaziest thing she's ever done. And it's incredible. Enjoy!

本作是modern pets品牌旗下的设计组脑洞大开，设计出的形形色色怪兽为蓝本制作出的短篇动画，正体不明的怪兽们将在3分钟的时间里大闹特闹，供你寻开心~~

The mythological satyr plays some tunes on his pipes and gets various flora and fauna dancing to them. Two clouds also dance; they bump into each other, causing lightning strikes that start a forest fire. The animals rush to escape the fire. Finally, an animal comes to tell Pan of the fire; he rushes to it, and gets it to dance to his tune, right into the lake.

A telephone rings in the dark—three times, pauses, then rings three times again. A fully-clothed figure lights a cigarette before rising from bed, dons a raincoat, then sets out into the night. Another figure emerges from the shadows, lights a cigarette, then discards a crumpled cigarette pack, which the first picks up and carries home. Back in his room, the first man places the refuse on his desk, paces apprehensively about his apartment before he finally removes the inner foil and examines it. After letting what it reveals sink in, he sets it on fire, and a cold look comes over his face... 　　Thus begins The Thief, a 1952 cold war, espionage thriller—unique in that it is completely without dialogue—directed by Russell Rouse, and produced by Clarence Greene, who co-wrote the screenplay. Allan Fields (Ray Milland) is an award-winning nuclear scientist working at the Atomic Energy Commission research laboratory. He is also a spy, photographing top secret documents, then relaying the miniature film canisters back through an elaborate network to enemy agents in Egypt. His signal is the telephone, and his liaison outlines his assignments through instructions on his cigarette refuse, with nary a word spoken. It is a dangerous business, and one that creates many close calls—too close for comfort. When one of his assignments goes awry, the FBI begins to close in, and the race is on to leave the country before he is caught. 　　The Thief has all the trappings of classic noir. Produced at the height of the "Red Scare," the film manages to maintain a constant state of tension, relying heavily on reaction shots and Herschel Burke Gilbert's riveting musical score. The cinematography heightens the effect, utilizing lighting and camera angles to convey the unspoken. Milland, who won an Oscar® for his role in Billy Wilder's The Lost Weekend, carries the part off to perfection, letting the audience read his character's thoughts solely through facial expression and body language. The direction also fools the audience into anticipating dialogue, then cleverly avoiding it. Only the Oscar®-nominated score and sound effects break the silence. 　　This is a fascinating use of visuals to tell a story, and a gripping suspense film, which held my interest throughout, and aside from one sequence where Fields' conscience begins to plague him, the narrative is fairly straight forward, without much in the way of gimmickry. Avoid the back cover text because it gives away the ending, which was the only part that didn't really work for this reviewer. For those interested in cold war-era film noir, this is certainly worth a look, if for no other reason than its uniqueness.