#艾美獎

[x-fast-and-furious10-at-movies]

《玩命關頭X》線上看小鴨|免費影音(台灣版)

《玩命關頭X》高畫質免費線上看，玩命關頭X線上看完整版，玩命關頭X線上看小鴨，提供繁體中文字幕。

(電影)免費線上看【玩命關頭X】 ：

➤ https://t.co/UDmDPBznJC

台灣 No.1 高清正版線上看 | 460p - 720p - 1080p - BRRip - DvdRip - 4KUHD

電影信息：玩命關頭X

導演： 路易斯賴托瑞

演員： 馮迪索、莎莉賽隆、布麗拉森、傑森摩莫亞、海倫米蘭、傑森史塔森、麗塔莫瑞諾、蜜雪兒羅莉葛茲、娜塔莉艾曼紐、喬丹娜布魯斯特、約翰希南、麥可魯克、史考特伊斯威特、姜成鎬、丹妮拉梅爾基奧、泰瑞斯吉布森、路達克里斯

類型： 冒險、動作

上映日期：2023/05/17

片長： 2 時 21 分

《玩命關頭X》是《玩命關頭》系列的第十部電影，馮迪索主演。在東京街頭，速度不用翻譯…

《玩命關頭》系列的第十部電影，唐老大（馮迪索 飾）這些年來曾經執行許多看似不可能的任務，他和他的家人遇到的每一個對手都比他們更聰明、更冷酷無情和更會飆車。現在，他們必須面對有史以來最致命的對手：一個從過去的陰影中冒出來的可怕威脅，他為了報仇雪恨下定決心要永遠摧毀這個家庭，以及唐老大所愛的每一個人和所有的一切。

唐老大和他的夥伴在2011年的《玩命關頭5》一片中，除掉了惡名昭彰的巴西大毒梟赫南芮斯，並且在里約熱內盧的一座橋上徹底瓦解他的販毒帝國。但是他們卻不知道芮斯的兒子但丁（《水行俠》傑森摩莫亞 飾）親眼目睹了那一切，而且在過去的12年之間精心策劃了一個復仇計畫，目的是要讓唐老大付出終極代價。

但丁的復仇計畫會拆散唐老大的家人，有些人會從洛杉磯去到羅馬的地下墓穴，有些人會從巴西去到倫敦，有些人則會從葡萄牙去到南極。他們將會得到全新的盟友，以往的敵人也會一一出現，但是當唐老大發現他八歲大的兒子（影集《黑人當道》李歐艾伯羅派瑞 飾）才是但丁復仇計畫的真正目標，一切就從此改變。

《玩命關頭X》一片的導演是路易斯賴托瑞（《超世紀封神榜》、《無敵浩克》），回歸演出的演員包括蜜雪兒羅卓奎茲、泰瑞斯吉布森、克里斯“路達克里斯”布里吉斯、娜塔莉艾曼紐、喬丹娜布魯斯特、姜成鎬、傑森史塔森、約翰希南和史考特伊斯威特，以及金獎影后海倫米蘭與金獎影后莎莉賽隆。

這部電影全新的演員陣容包括金獎影后布麗拉森，她飾演泰絲，一名叛逃的中情局探員；艾倫里奇森（影集《神隱任務》），他飾演艾姆斯，中情局的全新局長，他不像前任局長小人物先生一樣對唐老大這一夥人有相同的好感；丹妮拉梅爾基奧（《自殺突擊隊：集結》），她飾演一名巴西街頭賽車手，和唐老大的過去有強烈的連結；奧斯卡獎得主及傳奇性演員麗塔莫瑞諾則飾演唐老大和蜜雅的奶奶。

雖然現在網路上有許多強大的字幕網站，提供大量電影、動畫、美劇、日劇與韓劇等免費中文字幕讓大家下載，但有時候還可能發生到找不到的情形，這時就能透過這款 atmovies.fun 線上翻譯字幕工具，把國外字幕一鍵翻成繁體中文，完全免費且支援超多語言。

您可以免費在線觀看《玩命關頭X》電影，而無需註冊，但是在這裡您還可以觀看質量更高的舊電影。 您觀看的所有內容都將在線上顯示； 如果您有娛樂動作電影的訣竅，可以在這裡觀看。 如果您正在尋找適合您或您的孩子的動畫電影，也可以在這裡找到他們。

以上就是 atmovies.fun 免費看《玩命關頭X》方法。

《玩命關頭X》線上看小鴨 台灣，用atmovies.fun輕鬆看正版

《玩命關頭X》（X Fast & Furious 10）將於台灣時間6月25正式上架，較為特別是這部電影將獨家atmovies.fun 平台上線，至於該如何線上免費看《玩命關頭X》？這篇來教大家一個最快速看正版方法。

至於《玩命關頭X》電影版會不會有中文字幕？目前看了一下 atmovies.fun 所有影片都會包含中文字幕，所以不用擔心會缺少繁體中文配音。

想要在第一時間免費看《玩命關頭X》電影，建議先準備好爆米花和飲料，畢竟這次電影片長會長達1小時13分鐘。

台灣除了能透過 atmovies.fun 觀賞《玩命關頭X》以外，也可以選擇 Catchplay 或有線電視，如台灣大寬頻、凱擘大寬頻、TBC、大新店 / 屏南數位有線電視、台灣數位光訊科技集團、 Home+中嘉同樣都可以直接訂閱觀賞，不過這次會教大家用 atmovies.fun 免費看玩命關頭X方法。

用電腦和電視上也可以觀賞 《玩命關頭X》

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如果要在電視上觀看《玩命關頭X》電影，只能透過 iPhone / Android 投影、鏡像、AirPlay 或 Chromecast 方式。

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[wangwill66]

逃離與逃避

H：看公視「拉格朗日什麼辦法」，其中一幕「公車司機自稱建中畢業，旁邊逃課兩位學生笑了」，學生是逃離，公車司機是面對現實。學生逃離高中教室，公路之旅展開。另保羅的日本食記，即美食之旅，食記好名詞。逃離是甩開暫時的思考，以玩樂美食獲取短暫的解脱。逃避是不面對，駝鳥心態。人生可以短暫逃離，但不能逃避，要有面對困難挑戰的勇氣。《逃離吧！腳就是用來跑的》戰敗要有逃離的智慧，重整再來。拼命死戰，甚至全軍覆没是悲劇。逃避没有好將來。加油！20240920W5

維基百科

拉格朗日方程式

Add article description

拉格朗日方程式（Lagrange equation），因數學物理學家約瑟夫·拉格朗日而命名，是分析力學的重要方程式，可以用來描述物體的運動，特別適用於理論物理的研究。拉格朗日方程式的功能相當於牛頓力學中的牛頓第二定律。

約瑟夫·拉格朗日

定義

假設一個物理系統符合完整系統的要求，即所有廣義座標都互相獨立，則拉格朗日方程式成立：

ddt∂L∂q˙−∂L∂q=0；

其中，L(q, q˙, t)是拉格朗日量，q=(q1,q2,…,qN)是廣義座標，是時間t的函數，q˙=(q˙1,q˙2,…,q˙N)是廣義速度。

拉格朗日什麼辦法

【 劇情大綱 】

兩位十七歲男孩綱大(潘綱大 飾)與阿爆(吳翰林 飾)，在一日早晨，意外的發動了一台機車，逮住這個千載難逢的機會，想用一天的自由，逃離鬱悶的高中教室、逃離黏膩的台北城，一段公路之旅就此開展。

《保羅的日本食記》不是一般的美食節目，由保羅好萊塢帶領觀眾看見英國最受歡迎的烘焙師的頓悟，以及日本如何迅速成為世界上最重要的美食家必訪國家之一。 在節目中，保羅前往日本品嚐當地美食，並學會了一些日本最著名的菜餚。

食記

食物記錄：

食譜：如何準備和烹飪某種食物的步驟和配方。

餐廳評論：

飲食日記：��錄每天所攝入的食物和飲料，以便監控飲食習慣和營養攝入。

飲食記憶：可以指與食物相關的記憶。

歲時歌

「正月正，牽新娘，出大廳；二月二，土地公，扮老戲；三月三，桃仔李仔，雙頭擔。四月四，桃仔來，李仔去；五月五，龍船皷;，滿街路；六月六，做田人，打碌碡。七月七，芋仔蕃薯，全全必；八月八，牽豆藤，挽豆莢；九月九，風箏鳴鳴哮。十月十，三界公，來鑒納；十一月，磑圓仔粹；十二月，賣飯春花。」

博客來

逃離

作者：[加]艾麗絲·門羅（Alice Munro）

原文作者：Alice Munro

譯者： 李文俊

語言：簡體中文

出版社：北京十月文藝出版社

出版日期：2009/07/01

內容簡介

★她們的生活細節，世上女人天天都在經歷

細節背後的情緒，無數女人一生都不曾留意

榮獲2009年布克國際獎、

《紐約時報》年度最佳圖書

法國《讀書》雜志年度最佳外國小說

加拿大文學大獎吉勒獎

2013年諾貝爾文學獎

《隱之書》作者拜雅特傾情推薦

著名翻譯家李文俊精心翻譯

表面上沉靜得有如手中的一杯茶，內里卻暗涌著漫卷無邊的激情和呼嘯而來的風暴。——《泰晤士報》

逃離，或許是舊的結束。或許是新的開始。或許只是一些微不足道的瞬間，就像看戲路上放松的腳步，就像午後窗邊悵然的向往。

卡拉，十八歲從父母家出走，如今又打算逃脫丈夫和婚姻；朱麗葉，放棄學術生涯，毅然投奔在火車上偶遇的鄉間男子；佩內洛普，從小與母親相依為命，某一天忽然消失得再無蹤影；格雷斯，已然談婚論嫁，卻在一念之間與未婚夫的哥哥出逃了一個下午┅┅

一次次逃離的閃念，就是這樣無法預知，無從招架，或許你早已被它們悄然逆轉，或許你早已將它們輕輕遺忘。

艾麗絲·門羅（Alice Munro，台譯：孟若，1931- ），加拿大著名女作家。以短篇小說聞名全球，入選美國《時代周刊》「世界100名最有影響力的人物」。1931年出生於安大略省。長期居住於荒僻寧靜之地，逐漸形成以城郊小鎮平凡女子的平凡生活為主題的寫作風格。故事背景大多為鄉間小鎮及其鄰里，故事人物和現實中人並無二致，亦經歷出生與死亡、結婚與離異。但泥土芳香的文字背後，卻是對成長疼痛與生老病死等嚴肅話題濃墨重彩的描寫。細膩優雅、不施鉛華的文字和簡潔精致、寬廣厚重的情節，常常給人「於無聲處聽驚雷」的莫大震撼。

目錄

逃離

機緣

匆匆

沉寂

激情

侵犯

播弄

法力

譯後記

網路字典

逃離

run away B2 phrase

to leave a place or person secretly and suddenly:

He ran away from home when he was only twelve.他年僅12歲時就離家出走了。

escape verb (GET FREE)

Add to word list 

B1 [ I or T ]

to get free from something, or to avoid something

逃走，逃脫，逃離;逃避，避開

Two prisoners have escaped.兩個犯人逃走了。

逃離

逃避離開。如：「當火山爆發時，附近的居民紛紛逃離家園。」

《逃離吧！腳就是用來跑的》｜親子天下出版

吉竹伸介的繪本，最奇妙的就是，你會一秒掉入吉竹式的思考邏輯，一種混雜著搞笑、奇思、怪想、強辯、惡搞、突破框架、無所謂、放輕鬆，偶然又感覺言之有物的邏輯。

伊東寬的《沒關係沒關係》。書中那位小孫子在爺爺的陪伴引導之下，能跨越成長中陸續湧現的困擾難題。爺爺的陪伴加上那句神奇的安慰話語「沒關係，沒關係」，成為小孫子的力量。

維基百科

逃避

逃避又稱逃避現實、逃避主義、是一種心理防衛機制，是指人們為了不想被日常生活中不愉快的事情所困擾，而想盡辦法不要去接觸這些事情。例如有些人為了暫時逃避現實而去參加一些娛樂活動。 [1][2][3] 暫時逃避現實有助於人們遠離抑鬱，也有助於人們走出悲傷。



巴伐利亞國王路德維希二世以逃避現實而聞名

參考文獻

escape from reality

英文的「逃避現實」片語裡面，沒有鴕鳥卻是鴨子！？「duck」在英文名詞是指＂鴨子＂的意思，則「duck out」的「duck」為口語表達中作動詞用。

逃避現實

逃避現實的英文翻譯

基本釋義

retreatism

escapism

freak-out

escape from reality

leaving the field

flight from reality

shutting out reality

retreat from reality

查看更多

逃避現實傾向以沉湎於空想、狂想或消遣的辦法來逃避日常現實

The tendency to escape from daily reality or routine by indulging in daydreaming, fantasy, or entertainment.

「逃避現實、鴕鳥心態」英文怎麼說？

hide one's head in the sand

hide    把...藏起來、隱藏    head    頭    sand    沙子、沙灘    

[robbielintw]

【獎項】2024 艾美獎得獎影集｜羅比

[eyeontw]

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[deadpool-wolverine-online-fulltw]

《死侍與金鋼狼》線上看、完整版小鴨 2024，(電影)死侍與金鋼狼線上看【小鴨版免費】而且還是原廠正版HD畫質。

死侍與金鋼狼線上看、電影下載片免費：

➤ https://atmovies.org/zh/movie/533535/deadpool-wolverine

點開後就可以觀看囉，高畫質免費線上看，死侍與金鋼狼線上看完整版、死侍與金鋼狼線上看小鴨。提供繁體中文字幕，離線觀看，支援跨裝置（Android, iOS, Android TV, Apple TV, Chromecast, AirPlay, MOD）接續播放。 《死侍與金鋼狼》（英語：Deadpool & Wolverine，中國大陸譯《死侍與金剛狼》，香港譯《死侍與狼人》）是一部2024年美國超級英雄電影，改編自漫威漫畫旗下角色死侍以及金鋼狼，由漫威影業、最大努力和21圈娛樂共同製作、華特迪士尼工作室電影發行。該片為2018年電影《死侍2》的續集，同時是「漫威電影宇宙」的第34部電影作品，屬於漫威電影宇宙第五階段，由薛恩·李維執導，萊恩·雷諾斯、雷特·瑞斯、保羅·韋尼克、贊伯·威爾斯及李維共同編劇，雷諾斯、休·傑克曼、艾瑪·科林、莫蓮娜·芭卡琳、羅伯·德萊尼、萊斯莉·奧加姆斯、卡蘭·索尼以及馬修·麥費狄恩等人主演。 在2016年電影《惡棍英雄：死侍》取得商業成功後，二十世紀福斯開始開發兩部續集電影。2019年3月，在迪士尼完成收購21世紀福斯後，《死侍與金鋼狼》的製作工作被擱置，死侍的影視控制權移交給漫威影業，該角色將加入漫威電影宇宙之中，同時保持限制級的分級。 《死侍與金鋼狼》排定2024年7月26日於美國上映。 本片是《死侍》系列加入漫威電影宇宙的第一炮，「漫威電影宇宙」的第34部電影作品，屬於漫威電影宇宙第五階段，象徵了X戰警正式「回歸」漫威懷抱，死侍與金鋼狼再續睽別15年兄弟情，也被《洛基》影集中的時間變異管理局抓入，一如以往惡搞，他依然嘴賤嗆說漫威救世主非他莫屬，勢在改寫漫威電影宇宙。 史上最另類超級英雄、語不驚人死不休的死侍睽違六年終於萬眾矚目重返大銀幕，除了與老搭檔鋼人、青少女彈頭和雪緒再度聚首，更將與金鋼狼二度並肩作戰再續兄弟情…. 導演薛恩李維日前透露本片的參考藍本，其實是1980年代「不是冤家不聚首」類型的瘋狂動作喜劇，包括金獎影帝勞勃狄尼洛的《午夜狂奔》、笑匠巨星艾迪墨菲的《48小時》，等多部經典雙搭檔喜劇，令本片堪稱冤家公路電影的超級英雄版！《X戰警》漫畫的鐵粉絕對對於金鋼狼在《X戰警》第一集電影面世長達24年後、終於以「黃藍緊身衣」經典原始造型登上大銀幕欣喜若狂，身為鐵粉之一的導演薛恩李維就說他也等了超過20年，這回到了他手上，當然不能放過這個「圓夢」的大好機會！演了24年、已集滿10次飾演金鋼狼的休傑克曼也大讚：「感覺超對味，早就該穿這套了，這才是他嘛！」 薛恩李維並曾透露本集的神秘時間點，其實就是跟《死侍2》推出後一樣過了6年，死侍除了淪為汽車銷售員，還私下偷賣房東盲婦愛兒的血壓藥才湊得出房租錢，除了延續死侍令人又生氣又好笑的兩光特性，他也跟疫情期間的許多人一樣經濟困難，令人莫名看得感同身受。

[twister-online-2024-full-tw]

《龍捲風暴》線上看、完整版小鴨 2024，(電影)龍捲風暴線上看【小鴨版免費】而且還是原廠正版HD畫質。

龍捲風暴線上看、電影下載片免費

： ➤ https://atmovies.org/zh/movie/718821/twisters

點開後就可以觀看囉，高畫質免費線上看，龍捲風暴線上看完整版、龍捲風暴線上看小鴨。提供繁體中文字幕，離線觀看，支援跨裝置（Android, iOS, Android TV, Apple TV, Chromecast, AirPlay, MOD）接續播放。 龍捲風暴 (2024年電影) 《龍捲風暴》（英語：Twisters）是一部2024年美國災難電影，由鄭李爍執導，馬克·L·史密斯擔任編劇，法蘭克·馬歇爾和帕特里克·克勞利監製。本片為1996年電影《龍捲風》的獨立續集。主演陣容包括黛西·埃德加-瓊斯、葛倫·鮑威爾、安東尼·拉莫斯、布蘭登·皮雷亞、毛拉·蒂爾尼與莎夏·蓮恩。 《龍捲風暴》由環球影業定檔2024年7月19日於美國上映。電影獲得影評界平均中上的評價，視覺效果、葛倫·鮑威爾的演出表現、動作序列、製作野心獲得好評，但對情節設計、角色化學反應、與原作的對照則褒貶不一。 本片是1996年賣座鉅片《龍捲風》的現代篇章，由曾經獲得奧斯卡金像獎提名的《夢想之地》編導鄭李爍執導。片中由曾入圍金球獎的《沼澤謀殺案》、影集《正常人》黛西艾德格瓊斯以及《愛愛愛上你》格蘭鮑威爾主演，雖然他們相互對峙，但卻決定一起合作，試圖預測並盡可能馴服龍捲風的巨大力量。 凱特庫珀（黛西艾德格瓊斯飾演）曾在大學時期追逐風暴，然而卻因為經歷過災難性的龍捲風事件而飽受糾纏，於是在紐約市安全地透過螢幕研究風暴模式。但是現在她又被朋友哈維（《紐約高地》金球獎入圍者安東尼拉莫斯　飾演）說服回到一望無際的廣闊平原，測試一套突破性的全新追蹤系統。她在那裡遇到泰勒歐文斯（格蘭鮑威爾飾演），他是迷人卻莽撞的網路紅人，熱衷於在網路上分享他和他吵鬧又粗魯的團隊所拍攝到的風暴追逐冒險影片，而且越危險越好。隨著越來越危險的風暴季節，也開始出現從未見過的可怕現象；凱特、泰勒和其對手們發現他們置身於奧克拉荷馬州中部匯集多個風暴系統的路徑上，並且為了生死存亡而奮戰。 導演鄭李爍自小在美國中西部長大，龍捲風對他而言是種生活方式，當《龍捲風》在1996年上映時，那時讀高中的他完全被迷住了。他分享：「導演揚德邦特做了電影院該做的事情，讓觀眾近距離接觸比我們更大的事物，帶給我們恐懼、敬畏和崇敬。我當時真的很害怕，也想要直接面對恐懼而不是逃避它。」 其他演員包括飾演哈維的《紐約高地》安東尼拉莫斯、《Superman: Legacy》大衛科倫斯韋、《不！》布蘭登皮雷亞、莎夏蓮恩、犯罪影集《浴血黑幫》戴瑞麥考馬克、《莎賓娜的顫慄冒險》琪兒蘭席普卡以及《美麗男孩》莫拉堤艾妮等人。 雖然現在網路上有許多強大的字幕網站，提供大量電影、動畫、美劇、日劇與韓劇等免費中文字幕讓大家下載，但有時候還可能發生到找不到的情形，這時就能透過這款 《龍捲風暴》 線上翻譯字幕工具，把國外字幕一鍵翻成繁體中文，完全免費且支援超多語言。 您可以免費在線觀看《龍捲風暴》電影，而無需註冊，但是在這裡您還可以觀看質量更高的舊電影。 您觀看的所有內容都將在線上顯示； 如果您有娛樂動作電影的訣竅，可以在這裡觀看。 如果您正在尋找適合您或您的孩子的動畫電影，也可以在這裡找到他們。 電影《龍捲風暴》免費線上看，電視劇免註冊會員看到飽 防疫宅家有什麼低成本的娛樂嗎？最近小編發現「 龍捲風暴 」線上免費電影站，包含：免費《龍捲風暴》電影、免費《龍捲風暴》電影、免費電視劇片等……幾乎囊括了所有類型的免費追劇資源，載入速度相當快、新片源更新快，竟然連最新火神的眼淚都有，最重要是開瀏覽器就能看，不需要安裝任何 App，也因為如此沒有系統上的限制，不論 iOS、Androi、Windows 還是 macOS 通通能看。 就可以看到有許多節目縮圖，不知道看什麼的話，右邊則是熱門排行榜。 網站的頂端有許多節目分類，包含：《龍捲風暴》電影線上看、電視劇、綜藝、動漫、紀錄片等，或是直接在右上方的欄位搜尋你想看的影片名稱。 《龍捲風暴》 上架新片的速度非常快，像是最近非常熱門的《龍捲風暴》、《龍捲風暴》電視劇都應有盡有。 點擊影片之後可以看到導演、主演、類型、語言、地區及影片介紹等資訊，下方則有多個影片播放來源。 點開後就可以觀看囉，完全不需要註冊會員，影片觀看時也支援「播放速度調整」。

[virtualrealitynewstoday]

Sabrina Carpenter 180 度虛擬實境音樂會 - Meta Horizon Worlds

隨著夏季假期的到來，Meta Horizon Worlds 成為朋友聚會、結識新朋友以及創造美好回憶的絕佳平台。從一系列精彩的音樂會到充滿激情的遊戲競賽，這裡為用戶提供了豐富多彩的虛擬體驗。 去年十一月，Meta Horizon Worlds 開放了音樂谷（Music Valley），一個全年都是音樂節季節的多元音樂目的地。今天，他們興奮地宣布，Sabrina Carpenter 將在 7 月 19 日領銜一場標誌性的沉浸式音樂會。這場音樂會靈感來自她在 Coachella 音樂節上的精彩演出，並特別以 180 度虛擬實境拍攝，展現了華麗的舞台、精心設計的服裝和引人入勝的編舞。粉絲們可以期待欣賞到從她的經典老歌如《Why》，到近期的熱門歌曲如《Nonsense》和她的熱門單曲《Espresso》。 這場音樂會的製作方是榮獲艾美獎提名的 Gunpowder &…

[yuki8563-caravan]

【拍圖】熊孩子佳娜爾

我喜歡佳娜爾 我喜歡佳娜爾如同她配色一般的開朗活潑 我喜歡她在危急當時刻反應比別人快 我喜歡劇情過長動畫的她的所有特寫 靈動的雙眼、率真的眼神、不做作、不欺騙。 偶爾任性，但是內心溫柔體貼。

我愛佳娜爾，我愛她有關的一切， 不管是艾鳴呈現的還是我腦裡呈現的我都喜歡。 除了穿婚紗ㄉ那種。（ㄟ

＝＝下面不重要+劇透注意＝＝

所有佳娜爾的鏡頭中我最喜歡的就是蘿柯故事裡雪山地震的兩段，滾倒跟小心翼翼地踏步真的可愛到死，再來就是戴歐的泉水故事了。 除了這種傻里傻氣的賣萌之外，她的側臉特寫也意外的很多，眼睛不安的張望的細節也是我很喜歡的一部分，一是矮人序章等待矮主浮起的鏡頭、二是看見索蓋伊拉蘇蘇的特寫，這遊戲的人物的斜側面都很美很好看。

再來佳娜爾跟卡爾的互動 雖然卡爾看起來都像是追在佳娜爾身後幫忙收拾爛攤子的人 但其實佳娜爾也可以很自然地展現出姊姊的模樣 像是薩里邦的故事中主動跟人商量 或是在溫泉街的劇情中拿著辣辣ㄉ食物塞到卡爾的嘴巴旁邊（卡爾：你明明知道我不吃辣！！！） 水獺物語的最後，揭露佳娜爾態度一直很幼稚的真正原因，她看起來什麼都沒想又我行我素，其實還是很為別人著想。

另外，雖然我沒有很喜歡油到不行又騙我一堆巧克力的戈拉德…（＝＝

兄妹的故事我覺得也是佳娜爾最經典的一話，我覺得佳娜爾鬧脾氣也是因為哥哥都不跟她說任何事情，拒絕溝通，想把她放在安全的場所讓她安安穩穩的長大，不要被亂七八糟的政局風波影響。（邦生最大超譯現場）

可是佳娜爾想要的是家人之間的信任，哥哥難受的地方她一定可以感覺到，就算知道了，卻還是受不了覺得被欺騙的感受，而出口傷害了哥哥。 哥哥難受的時候就由佳娜爾代替流淚，哥哥也為了不讓妹妹受傷、不讓自己所認識的人受傷，而盡自己所能為國家效力。

身邊有任何人難受到哭不出來的時候，佳娜爾也會代替他流淚。 哭完之後又是充滿朝氣的笑臉，一如往常。 佳娜爾就是這麼溫柔卻又堅強，像太陽一樣，還有熊寶貝的味道（並沒有）

從一開始的巴爾德村姑(X)到她到現在與熊五郎重逢， 見證這樣的成長讓我很感動。 巴爾德一朵花，米爾歐茲小天使。

我最愛的寶寶。 雖然告白文的獎勵真ㄉ太香ㄌ我沒有尊嚴的跑去告白我最缺ㄉ波穆爾。 佳娜爾還是我最愛ㄉ寶寶。 我曾經拿來給被混亂的人主砍ㄉ副坦（靠腰啊

在更新新的佳娜爾的故事之前拜託卡拉邦長壽一點 我需要跟我的孩子說說當年偉大ㄉ故事

推薦重播故事： 克雷維斯_前往自由都市的旅程（好可愛ㄉ大型臉部特寫） 蘿柯_動搖大地的少女+再次引發騷動的少女（佳娜爾好可愛） 薩里邦_供品（薩里邦故事裡的佳娜爾超可愛） 米科斯塔_黑色傷疤（嗆聲的佳娜爾好可愛） 帕爾揚_前往托爾布朗（當姊姊的佳娜爾好可愛，另外我覺得很可惜沒辦法重溫的故事是經驗塔的，佳娜爾會去牽小帕的手，最棒姊姊ˊ///ˋ） 戴歐_向泉水許願（整部都好可愛） 戈拉德_家裡的騷動（又虐又可愛ㄉ兄妹好香ㄛ） 法里安特_面具俘虜（佳娜爾好可愛）

[meiweb]

看完 請轉傳！

驚爆！

今天投毒凶手終於找到，果然是美國投放的！

真相讓人毛骨悚然，新冠病毒是人為制造的，源自美國北卡羅來納P3病毒實驗室！

美國著名情報專家格雷格·魯比尼，日前在接受美國第一新聞網電視頻道採訪時，正式道出了這天大的隱秘。據格雷格透露：新冠病毒是作為生物武器進行基因工程改造的，源自北卡羅來納州BSL-3實驗室，由拉爾夫·巴裡克教授負責研制。他同時還表示：病毒是由“深暗政府”從北卡羅來納州傳播到中國、意大利以及全美國的。格雷格就曾經發推特質問特朗普：為什麼不告知美國人民，病毒就是美國制造的？為什麼不講明新冠病毒本身就是生物武器？

無獨有偶，因發現艾滋病毒而獲得諾貝爾醫學獎的呂克·蒙塔尼耶教授日前向法國記者透露：新冠病毒不是自然產生的，是生物分子學家精心研制出來的。

蒙塔尼耶還說：很顯然，專業人員對這個來自於蝙蝠的病毒，又添加了艾滋病毒的序列。

這無疑是有史以來最大最惡劣的投毒案！

疫情爆發以來，關於“新冠病毒是由人工合成的生物武器”的傳聞沸沸嚷嚷，各國的科學家們也一直努力做著病毒的溯源工作。早在2月份，印度科學家就在新冠病毒中發現了HIV病毒的插入物，由此証明了該病毒是人為設計合成的。3月中旬，科學家們從華盛頓州一名患者身上提取的新冠病毒中發現，其進化周期已經長達半年以上。隨著研究的深入，世界很多國家都把懷疑的目光指向了美國。日本、意大利、澳大利亞等國都有源自於美國的早期確診病例。隨后，美國疾病控制和預防中心主任羅伯特·雷德菲爾德承認：2019年9月美國所爆發的“大流感"死者當中，有很多是因為感染新冠病毒而致死的。對此，我國外交部發言人趙立堅也在推特上對美國進行了質問。

經過美國弗吉尼亞州的一個記者團隊艱苦卓絕的努力，終於追溯到了零號病人。

這個零號病人，果然就是去年10月參加武漢軍運會的美國軍人，她的名字叫Maatje Benassi。這位美國女軍官的背景非常特殊，她跟美軍德特裡克堡P4生化實驗室有著莫大的聯系，其家族已有多人確診，其中一位還是荷蘭第一個確診病例，確診前去過意大利倫巴第大區，導致了該區的疫情大爆發。

至此，美國是新冠病毒發源地的証據鏈完整了，環環相扣。武漢軍運會后專機接回的5個特殊士兵和美國被關閉的生化實驗室，終於有了實質性的聯系。

按照特朗普等人的邏輯，我們可以理所當然地將新冠病毒稱之為北卡羅來納病毒，或者稱為美國病毒。

就在所有証據都指向美國的時候，美國高層卻公開承認冠狀病毒不屬於瘟疫，而屬於武器級別。其無恥程度讓世界震驚，而這也進一步加大了美國投毒的嫌疑。案情至此已經真相大白，可是特朗普等人還在拼命甩鍋。新冠病毒已對世界各國造成了無比巨大的傷害和損失，這個鍋實在太大了，是絕對甩不出去的。還有一個疑點需要解釋：格雷格在爆料中提到的負責北卡病毒研制的拉爾夫·巴裡克是什麼來頭？

巴裡克來自北卡羅來納大學，他是2015年通過基因編輯手段改造出新型sars冠狀病毒的首席病毒學家，也是該病毒研發的主導者。

更為驚奇的是，他居然也是神藥“瑞得西韋”臨床開發的負責人。這難道就是傳說的那種，下毒之人都會提前備好解藥？瑞得西韋在后來的臨床中，因為有專家對其有效性和安全性提出質疑，使之很快就跌落神壇。隨著病毒的蔓延，美國已成為疫情的“震中”。

在疫情早期，美國總統特朗普根本就沒有將其放在眼裡，隻是當成了重一些的流行性感冒。直到他的好友、紐約房地產大亨斯坦利·切拉因感染新冠去世，從引起了他的高度重視。

可是，已經晚了！……天不生華夏，萬古如長夜。現在制毒和投毒的凶手已經暴露，等待他們的是什麼呢？我們拭目以待！

[harvardwang]

伊萊恩·梅

美國女演員

伊萊恩·梅（英語：Elaine May，1932年4月21日—），女，美國演員、導演、編劇。曾獲得托尼獎最佳話劇女主角。

家庭：女兒珍妮·伯林。

參考資料

簡介

出生資訊： 1932 年 4 月 21 日（92歲），美國賓夕凡尼亞費城

專輯： An Evening With Mike Nichols And Elaine May

子女： 珍妮·伯林

父母： 艾達·伯林、 傑克·伯林

配偶： 大衛·L·魯賓芬 (結婚於 1964 年–1982 年)、 薛爾登・哈尼克 (結婚於 1962 年–1963 年)， …

Elaine May

American screenwriter, film director, actress, and comedian (born 1932)

Elaine Iva May (née Berlin; born April 21, 1932) is an American comedian, filmmaker, playwright, and actress. She first gained fame in the 1950s for her improvisational comedy routines with Mike Nichols, before transitioning her career regularly breaking the mold as a writer and director of several critically acclaimed films. She has received numerous awards, including a BAFTA Award, a Grammy Award, and a Tony Award. She was honored with the National Medal of Arts from President Barack Obama in 2013, and an Honorary Academy Award in 2022.

Quick Facts Born, Other names ...

In 1955, May moved to Chicago and became a founding member of the Compass Players, an improvisational theater group. She began working alongside Nichols and in 1957, they both quit the group to form their own stage act, Nichols and May. In New York, they performed nightly in clubs in Greenwich Village alongside Joan Rivers and Woody Allen, as well as on the Broadway stage. They also made regular appearances on television and radio broadcasts. They released multiple comedy albums and received four Grammy Award nominations, winning Best Comedy Album for An Evening with Mike Nichols and Elaine May in 1962. Their collaboration was covered in the PBS documentary Nichols and May: Take Two (1996).

May infrequently acted in films, including Luv, Enter Laughing (both 1967), California Suite (1978), and Small Time Crooks (2000). She became the first female director with a Hollywood deal since Ida Lupino when she directed the 1971 black screwball comedy A New Leaf. Experimenting with genres, she directed the dark romantic comedy The Heartbreak Kid (1972), the gangster film Mikey and Nicky (1976), and adventure comedy Ishtar (1987). May later earned acclaim writing the screenplays for Warren Beatty's Heaven Can Wait (1978), and Mike Nichols' The Birdcage (1996) and Primary Colors (1998). Heaven Can Wait and Primary Colors each earned her a nomination for the Academy Award for Best Adapted Screenplay, while the latter won her the BAFTA Award for Best Adapted Screenplay.

May returned to acting in Woody Allen's Amazon Prime series Crisis in Six Scenes (2016) and on Broadway in the revival of the Kenneth Lonergan play The Waverly Gallery (2018) the later of which earned her the Tony Award for Best Actress in a Play. The win made May the second-oldest performer behind Lois Smith to win a Tony Award for acting. In 2022, the Academy of Motion Pictures Arts and Sciences gave May an Honorary Academy Award for her "bold, uncompromising approach to filmmaking, as a writer, director, and actress".

Early years and personal life

Elaine Iva Berlin was born on April 21, 1932, in Philadelphia, Pennsylvania, the daughter of Jewish parents, theater director and actor Jack Berlin and actress Ida (Aaron) Berlin.: 39  As a child, May performed with her father in his traveling Yiddish theater company, which he took around the country. Her stage debut on the road was at the age of three, and she eventually played the character of a generic little boy named Benny.

Because the troupe toured extensively, May had been in over 50 schools by the time she was ten, having spent as little as a few weeks enrolled at any one time. May said she hated school and would spend her free time at home reading fairy tales and mythology.: 331  Her father died when she was 11 years old, and then she and her mother moved to Los Angeles, where May later enrolled in Hollywood High School. She dropped out when she was fourteen years old. Two years later, at the age of sixteen, she married Marvin May, an engineer and toy inventor. They had one child, Jeannie Berlin (born 1949), who became an actress and screenwriter. The couple divorced in 1960, and she married lyricist Sheldon Harnick in 1962; they divorced a year later. In 1964, May married her psychoanalyst, David L. Rubinfine; they remained married until his death in 1982.: 332 

May's longtime companion was director Stanley Donen, from 1999 until his death in 2019. Donen said he proposed marriage "about 172 times".

Career

1950–1957: Stage career and Compass players

After her marriage to Marvin May, she studied acting. She also held odd jobs during that period, such as a roof salesman, and tried to enroll in college. She learned, however, that colleges in California required a high school diploma to apply, which she did not have.: 39  After finding out that the University of Chicago was one of the few colleges that would accept students without diplomas, she set out with seven dollars and hitchhiked to Chicago.

Soon after moving to Chicago in 1950, May began informally taking classes at the university by auditing, sitting in without enrolling. She nevertheless sometimes engaged in discussions with instructors and once started a huge fight after saying that Socrates' apology was a political move. Mike Nichols, who was then an actor in the school's theatrical group, remembers her coming to his philosophy class, making "outrageous" comments, and leaving.: 324  They learned about each other from friends, eventually being introduced after one of his stage shows. The director, Paul Sills, brought May to Nichols and said, "Mike, I want you to meet the only other person on the campus of the University of Chicago who’s as hostile as you are: Elaine May." Six weeks later, they bumped into each other at a train station in Chicago and soon began spending time together over the following weeks as "dead-broke theatre junkies.": 324f 

In 1955, May joined a new, off-campus improvisational theater group in Chicago, The Compass Players, becoming one of its charter members. The group was founded by Sills and David Shepherd. Nichols later joined the group, wherein he resumed his friendship with May. At first he was unable to improvise well on stage, but with inspiration from May, they began developing improvised comedy sketches together.: 333  Nichols remembered this period:

From then on it became mostly pleasure because of Elaine's generosity. The fact of Elaine—her presence—kept me going. She was the only one who had faith in me. I loved it... We had a similar sense of humor and irony... When I was with her I became something more than I had been before.: 333 

Actress Geraldine Page recalled they worked together with great efficiency, "like a juggernaut.": 336  Thanks in part to Nichols and May, the Compass Players became an enormously popular satirical comedy troupe. They helped the group devise new stage techniques to adapt the freedom they had during the workshop.: 16 

May, Nichols and Dorothy Loudon, 1959

May became prominent as a member of the Compass's acting group, a quality others in the group observed. Bobbi Gordon, an actor, remembers that she was often the center of attention: "The first time I met her was at Compass... Elaine was this grande dame of letters. With people sitting around her feet, staring up at her, open-mouthed in awe, waiting for 'The Word'.": 330f  A similar impression struck Compass actor Bob Smith:

May would hold court, discussing her days as a child actor in the Yiddish theater, as men hung on her every word. Every guy who knew her was in love with her. You'd have been stupid not to have been.: 329 

As an integral member of their group, May was open to giving novices a chance, including the hiring of a black actor and generally making the group "more democratic". And by observing her high level of performance creativity, everyone's work was improved. "She was the strongest woman I ever met," adds Compass actor Nancy Ponder.: 330 

In giving all her attention to acting, however, she neglected her home life. Fellow actress Barbara Harris recalled that May lived in a cellar with only one piece of furniture, a ping-pong table. "She wore basic beatnik black and, like her film characters, was a brilliant disheveled klutz.": 330 

Group actor Omar Shapli was "struck by her piercing, dark-eyed, sultry stare. It was really unnerving", he says. Nichols remembers that "everybody wanted Elaine, and the people who got her couldn't keep her." Theater critic John Lahr agrees, noting that "her juicy good looks were a particularly disconcerting contrast to her sharp tongue.": 329 

"Elaine was too formidable, one of the most intelligent, beautiful, and witty women I had ever met. I hoped I would never see her again."

Richard Burton: 331 

May's sense of humor, including what she found funny about everyday life, was different from others' in the group. Novelist Herbert Gold, who dated May, says that "she treated everything funny that men take seriously... She was never serious. Her life was a narrative.": 329  Another ex-boyfriend, James Sacks, says that "Elaine had a genuine beautiful madness." Nevertheless, states Gold, "she was very cute, a lot like Debra Winger, just a pretty Jewish girl.": 329 

May was considered highly intelligent. "She's about fifty percent more brilliant than she needs to be," says actor Eugene Troobnick. Those outside their theater group sometimes noticed that same quality. British actor Richard Burton, who was married to Elizabeth Taylor at the time, agreed with that impression after he first met May while he was starring in Camelot on Broadway.: 331 

1957–1961: Nichols and May comedy team

Nichols and May, 1960

Nichols was personally asked to leave the Compass Players in 1957 because he and May became too good, which threw the company off balance, noted club manager Jay Landsman. Nichols was told he had too much talent.: 338  Nichols then left the group in 1957, with May quitting with him. They next formed their own stand-up comedy team, Nichols and May. After contacting some agents in New York, they were asked to audition for Jack Rollins, who would later become Woody Allen's manager and executive producer. Rollins said he was stunned by how good their act was:

Their work was so startling, so new, as fresh as could be. I was stunned by how really good they were, actually as impressed by their acting technique as by their comedy... They were totally adventurous and totally innocent, in a certain sense. That's why it was accepted. They would uncover little dark niches that you felt but had never expressed... I'd never seen this technique before. I thought, My God, these are two people writing hilarious comedy on their feet!: 340 

By 1960, they made their Broadway debut with An Evening with Mike Nichols and Elaine May, which later won a Grammy. After performing their act a number of years in New York's various clubs, and then on Broadway, with most of the shows sold out, Nichols could not believe their success:

We were winging it, making it up as we went along. It never even crossed our minds that it had any value beyond the moment. It was great to study and learn and work there. We were stunned when we got to New York... Never for a moment did we consider that we would do this for a living. It was just a handy way to make some money until we grew up.: 333 

His feelings were shared by May, who was also taken aback by their success, especially having some real income after living in near-poverty. She told a Newsweek interviewer, "When we came to New York, we were practically barefoot. And I still can't get used to walking in high heels.": 343 

The uniqueness of their act made them an immediate success in New York. Their style became the "next big thing" in live comedy. Charles H. Joffe, their producer, remembers that sometimes the line to their show went around the block. That partly explains why Milton Berle, a major television comedy star, tried three times without success to see their act.: 341  Critic Lawrence Christon recalls his first impression after seeing their act: "You just knew it was a defining moment. They caught the urban tempo, like Woody Allen did.": 343  They performed nightly at mostly sold-out shows, in addition to making TV program and commercial appearances and radio broadcasts.: 346  Their relatively brief time together as comedy stars led New York talk show host Dick Cavett to call their act "one of the comic meteors in the sky". Woody Allen said, "the two of them came along and elevated comedy to a brand-new level".

Technique

Theater program from 1961

Among the qualities of their act, which according to one writer made them a rarity, was that they used both "snob and mob appeal", which gave them a wide audience. Nachman explains that they presented a new kind of comedy team, unlike previous comedy duos which had an intelligent member alongside a much less intelligent one, as with Laurel and Hardy, Fibber McGee and Molly, Burns and Allen, Abbott and Costello, and Martin and Lewis.: 322 

What differentiated their style was the fact that their stage performance created "scenes," a method very unlike the styles of other acting teams. Nor did they rely on fixed gender or comic roles, but instead adapted their own character to fit a sketch idea they came up with. They chose real-life subjects, often from their own life, which were made into satirical and funny vignettes.: 322 

This was accomplished by using subtle joke references which they correctly expected their audiences to recognize, whether through clichés or character types. They thereby indirectly poked fun at the new intellectual culture which they saw growing around them. They felt that young Americans were taking themselves too seriously, which became the subject of much of their satire.: 321 

Nichols structured the material for their skits, and May came up with most of their ideas. Improvisation became a fairly simple art for them, as they portrayed the urban couple's "Age of Anxiety" in their sketches, and did so on their feet. According to May, it was simple: "It's nothing more than quickly creating a situation between two people and throwing up some kind of problem for one of them."

Nichols noted that after coming up with a sketch idea, they would perform it soon after with little extra rehearsal or writing it down. One example he remembered was inspired simply from a phone call from his mother. I called Elaine and I said, "I've got a really good piece for us tonight." They created a six-minute-long, mostly improvised, "mother and son" sketch, which they performed later that night.: 335 

May helped remove the stereotype of women's roles on stage. Producer David Shepherd notes that she accomplished that partly by not choosing traditional 1950s female roles for her characters, which were often housewives or women working at menial jobs. Instead, she often played the character of a sophisticated woman, such as a doctor, a psychiatrist, or an employer.: 337  Shepherd notes that "Elaine broke through the psychological restrictions of playing comedy as a woman.": 322 

May and Nichols had different attitudes toward their improvisations, however. Where Nichols always needed to know where a sketch was going and what its ultimate point would be, May preferred exploring ideas as the scene progressed. May says that even when they repeated their improvisations, it was not rote but came from re-creating her original impulse. Such improvisational techniques allowed her to make slight changes during a performance. Although May had a wider improvisational range than Nichols, he was generally the one to shape the pieces and steer them to their end. For their recordings, he also made the decision of what to delete.: 323 

Team break-up

Nichols and May

Audiences were still discovering May and Nichols in 1961, four years after they arrived. However, at the height of their fame, they decided to discontinue their act that year and took their careers in different directions: Nichols became a leading Broadway stage and film director; May became primarily a screenwriter and playwright, with some acting and directing. Among the reasons they decided to call it quits was that keeping their act fresh was becoming more difficult. Nichols explained:

Several things happened. One was that I, more than Elaine, became more and more afraid of our improvisational material. She was always brave. We never wrote a skit, we just sort of outlined it: I'll try to make you, or we'll fight—whatever it was. We found ourselves doing the same material over and over, especially in our Broadway show. This took a great toll on Elaine.: 349 

"Nichols and May are perhaps the most ardently missed of all the satirical comedians of their era. When Nichols and May split up, they left no imitators, no descendants, no blueprints or footprints to follow. No one could touch them."

Author Gerald Nachman: 319 

Nichols said that for him personally the breakup was "cataclysmic", and he went into a state of depression: "I didn't know what I was or who I was." It was not until 1996, thirty-five years later, that they would work together again as a team, when she wrote the screenplay and he directed The Birdcage. It "was like coming home, like getting a piece of yourself back that you thought you'd lost," he said.: 353  He adds that May had been very important to him from the moment he first saw her,: 325  adding that for her "improv was innate," and few people have that gift.: 359 

Director Arthur Penn said of their sudden breakup, "They set the standard and then they had to move on.": 351  To New York talk show host Dick Cavett, "They were one of the comic meteors in the sky.": 348 

They reunited for a Madison Square Garden benefit for George McGovern for President in June, 1972. The event, titled "Together Again for McGovern," also featured two musical groups that had recently broken up, Simon and Garfunkel and Peter, Paul and Mary, as well as singer Dionne Warwick.[citation needed]

1962–1969: Playwright and actor

May has also acted in comedy films, including Enter Laughing (1967), directed by Carl Reiner, and Luv (1967), costarring Peter Falk and Jack Lemmon. The latter film was not well received by critics, although Lemmon said he enjoyed working alongside May: "She's the finest actress I've ever worked with," he said. "And I've never expressed an opinion about a leading lady before... I think Elaine is touched with genius. She approaches a scene like a director and a writer." Film scholar Gwendolyn Audrey Foster notes that May is drawn to material that borders on dry Yiddish humor. As such, it has not always been well received at the box office. Her style of humor, in writing or acting, often has more to do with traditional Yiddish theater than traditional Hollywood cinema.

Following the break-up, May wrote several plays. Her greatest success was the one-act Adaptation (1969). Other stage plays she has written include Not Enough Rope, Mr Gogol and Mr Preen, Hotline (which was performed off-Broadway in 1995 as part of the anthology play Death Defying Acts), After the Night and the Music, Power Plays, Taller Than A Dwarf, The Way of All Fish, and Adult Entertainment. In 1969, she directed the off-Broadway production of Adaptation/Next.

1970–1999: Career as a writer and director

May made her film writing and directing debut in 1971 with A New Leaf, a black comedy based on a short story which she read in an Alfred Hitchcock Mystery Magazine called The Green Heart which the author Jack Ritchie would later retitle A New Leaf. The unconventional romance with Walter Matthau as a Manhattan bachelor faced with bankruptcy, also starred May herself as the awkward botanist-heiress, Henrietta Lowell, who Matthau cynically woos and marries to salvage an extravagant lifestyle. Director May originally submitted a 180-minute work to Paramount, but the studio cut it back by nearly 80 minutes for release. The film has since become a cult classic. Vincent Canby cited the two-reelers of the 1930s and Depression-era screwball comedies when he called it "a beautifully and gently cockeyed movie that recalls at least two different traditions of American film comedy... The entire project is touched by a fine and knowing madness." May received a Golden Globe nomination for her portrayal of the shy botanist in the project from which she fought studio exec Robert Evans, unsuccessfully, to have her name removed.

Lead actors John Cassavetes (left) and Peter Falk (right) in 1971

May quickly followed her debut film with 1972's The Heartbreak Kid. She limited her role to directing, using a screenplay by Neil Simon, based on a story by Bruce Jay Friedman. The film starred Charles Grodin, Cybill Shepherd, Eddie Albert, and May's own daughter, Jeannie Berlin. It was a major critical success, and holds a 90% fresh rating on Rotten Tomatoes. In 2000, it was listed at No. 91 on AFI's 100 Years... 100 Laughs list. May followed the two comedies by writing and directing the gangster film Mikey and Nicky, starring Peter Falk and John Cassavetes. Budgeted at $1.8 million and scheduled for a summer 1975 release, the film cost $4.3 million and was not released until December 1976. [citation needed] May ended up in a legal battle with Paramount Pictures over post-production costs, at one point hiding reels of the film in her husband's friend's Connecticut garage and later suing the company for $8 million for breach of contract. May worked with Julian Schlossberg to get the rights to the film and released a director's cut in 1980. In 2019, May worked with The Criterion Collection to create the newest director's cut. The film has gained appreciation by many critics and audiences in recent years.

In Herbert Ross's California Suite (1978), written by Neil Simon, she was reunited with A New Leaf co-star Walter Matthau, playing his wife Millie. In addition to writing three of the films she directed, May received an Oscar nomination for updating the 1941 film Here Comes Mr. Jordan as Heaven Can Wait (1978). May reunited with Nichols for a stage production of Who's Afraid of Virginia Woolf? in New Haven in 1980. She contributed (uncredited) to the screenplay for the 1982 megahit Tootsie, notably the scenes involving the character played by Bill Murray.

Warren Beatty worked with May on the comedy Ishtar (1987), starring Beatty and Dustin Hoffman. Largely shot on location in Morocco, the production was beset by creative differences among the principals and had cost overruns. Long before the picture was ready for release, the troubled production had become the subject of numerous press stories, including a long cover article in New York magazine. Some of the opposition to the film came from David Puttnam, the studio head, making Ishtar a prime example of studio suicide. The advance publicity was largely negative and, despite some positive reviews from the Los Angeles Times and The Washington Post, the film was a box office disaster. The film Ishtar has been positively re-evaluated in the 21st century by multiple publications including the Los Angeles Times, Slate, Indiewire, and The Dissolve. Richard Brody of The New Yorker called Ishtar a "wrongly maligned masterwork" and raved, "There's a level of invention, a depth of reflection, and a tangle of emotions in Ishtar which are reached by few films and few filmmakers."

May acted in the film In the Spirit (1990), in which she played a "shopaholic stripped of consumer power"; Robert Pardi has described her portrayal as a "study of fraying equanimity [that] is a classic comic tour de force." She also contributed to the screenplay for the drama Dangerous Minds (1995). May reunited with her former comic partner, Mike Nichols, for the 1996 film The Birdcage, an American adaptation of the classic French farce La Cage aux Folles. Their film relocated the story from France to South Beach, Miami. It was a major box office hit. May received her second Oscar nomination for Best Screenplay when she again worked with Nichols on the 1998 film Primary Colors.

2000–present: Return to acting and Broadway

She appeared in Woody Allen's Small Time Crooks (2000) where she played the character May Sloane, which Allen named after May when he wrote it, and with May being his first choice for the part. For her acting, she won the National Society of Film Critics award for Best Supporting Actress. Allen spoke of her as a genius, and of his ease of working with her: "She shows up on time, she knows her lines, she can ad-lib creatively, and is willing to. If you don't want her to, she won't. She's a dream. She puts herself in your hands. She's a genius, and I don't use that word casually." Nearly 15 years later, Allen ended up casting her to play his wife, Kay Munsinger, in his Amazon limited series, Crisis in Six Scenes, which was released in 2016.

In 2002, Stanley Donen directed her musical play Adult Entertainment with Jeannie Berlin and Danny Aiello at Variety Arts Theater in Manhattan. May wrote the one-act play George is Dead, which starred Marlo Thomas and was performed on Broadway from late 2011 into 2012 as part of the anthology play Relatively Speaking along with two other plays by Woody Allen and Joel Coen, directed by John Turturro. Charles Isherwood of The New York Times praised May's entry describing it as "a delicious study in the bliss of narcissism". David Rooney of The Hollywood Reporter concurred describing George is Dead as the "Strongest entry". Before he died in 2019, Donen was reported to be in pre-production for a new film, begun December 2013, to be co-written with May and produced by Nichols. A table reading of the script for potential investors included such actors as Christopher Walken, Charles Grodin, Ron Rifkin, and Jeannie Berlin.

When May's lifelong collaborator Nichols died in 2014, May stepped up to poignantly direct the 2016 TV documentary Mike Nichols: American Masters. That same year, she returned to acting, her first role since 2000, starring alongside her friend Woody Allen in his series Crisis in Six Scenes on Amazon Prime, Tim Goodman of The Hollywood Reporter praised their chemistry together writing, "The best episodes are the last two, when Crisis in Six Scenes becomes a full-blown farce and we get to see Allen and May playing accidental aging radicals, shuffling around Brooklyn".

In 2018, aged 86, May returned to Broadway after 60 years in a Lila Neugebauer-directed revival of Kenneth Lonergan's play The Waverly Gallery opposite Lucas Hedges, Joan Allen, and Michael Cera. The play ran at the John Golden Theatre, the same theatre where Nichols and May had started out almost 60 years earlier. May received rapturous reviews for her performance as the gregarious, dementia-ridden elderly gallery owner Gladys Green, with many critics remarking that she was giving one of the most extraordinary performances they had ever seen onstage. The show received a nomination for the Tony Award for Best Revival of a Play, while May herself won the Tony Award for Best Actress in a Play for her performance. She became the second oldest performer to win a Tony Award for acting. In 2021 she portrayed Ruth Bader Ginsburg in the Paramount+ series The Good Fight.

In 2019, it was announced that May is set to direct her first narrative feature in over 30 years. Little is known about the project other than its title, Crackpot, and that it is set to star Dakota Johnson, who announced the project at the 2019 Governors Awards. In 2024, Johnson stated that the film is still in development and she serves as the film's producer and star with May still set to direct.

Filmography

Film

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Television

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Theatre

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Discography

Improvisations to Music (1958) Mercury ASIN B000W0V9BW

An Evening with Mike Nichols and Elaine May (1960) Mercury ASIN B000W06CCS

Mike Nichols & Elaine May Examine Doctors (1961) Mercury MG 20680/SR 60680 ASIN B000W0AGDY

In Retrospect (1962) Polygram, compilation, re-released as compact disc in 1996 ASIN B000001EKT

Influence and legacy

Nichols and May created a new "Age of Irony" for comedy, which showed actors arguing contemporary banalities as a key part of their routine. That style of comedy was picked up and further developed by later comics such as Steve Martin, Bill Murray, and David Letterman.: 323  According to Martin, Nichols and May were among the first to satirize relationships. The word "relationship," notes Martin, was first used in the early sixties: "It was the first time I ever heard it satirized.": 323  He recalls that soon after discovering their recorded acts, he went to sleep each night listening to them. "They influenced us all and changed the face of comedy.": 324 

In Vanity Fair, Woody Allen declared, "Individually, each one is a genius, and when they worked together, the sum was even greater than the combination of the parts—the two of them came along and elevated comedy to a brand-new level."

Lily Tomlin was also affected by their routines and considers May to be her inspiration as a comedian: "There was nothing like Elaine May, with her voice, her timing, and her attitude," says Tomlin.: 43  "The nuances of the characterizations and the cultured types that they were doing completely appealed to me. They were the first people I saw doing smart, hip character pieces. My brother and I used to keep their 'Improvisations to Music' on the turntable twenty-four hours a day.": 324 

In an interview with Pitchfork Magazine, standup comedian John Mulaney described Mike Nichols & Elaine May Examine Doctors (1961) as one of his favorite comedy albums of all time. Mulaney stated, "I got this album for Christmas when I was in junior high. The last track, 'Nichols and May at Work,' is an outtake from recording the album, they were just improvising dialog in a studio. They’re trying to do a piece where a son goes to his mother and says that he wants to become a registered nurse. It’s something you just have to experience, because two people that funny laughing that hard is really, really, really funny. I think it might be the happiest thing ever recorded."

Filmmaker and film historian Peter Bogdanovich covered Elaine's filmography in his book Movie of the Week (1999). Bogdanovich praised all of her films and concluded with "Long live Elaine! Would that she could act and direct again in pictures. In 1998 I saw her perform off-Broadway in a couple of one-act plays she wrote (Power Plays), and her performances matched the comic genius of the writing." Other admirers of May's work include comedian Patton Oswalt, and directors Ben and Josh Safdie who both detailed their admiration for her and her work, in particular her film Mikey and Nicky (1976) through The Criterion Channel.

May's work as a director has been given a closer look in recent years with David Hudson, a writer for The Criterion Collection declaring her as a "criminally underappreciated moviemaker". In 2017 the Philadelphia Film Critics Circle created an award in her name given "to a deserving person or film that brings awareness to women’s issues".

May's life and career will be profiled in the biography Miss May Does Not Exist: The Life and Work of Elaine May, Hollywood’s Hidden Genius written by Carrie Courogen, which is set to be released in June 2024 published by Macmillan Publishers.

Awards and honors

Main article: List of awards and nominations received by Elaine May

May receiving the Medal of Arts award from President Obama, July 13, 2013

For her acting, her accolades include a nomination for a Golden Globe award for Best Actress in a musical or comedy for A New Leaf (1971), and winning the National Society of Film Critics Award for Best Supporting Actress for her role in Small Time Crooks (2000).

May was awarded the National Medal of Arts for her lifetime contributions to American comedy by President Barack Obama, in a ceremony in the White House on July 10, 2013. She was awarded for her "groundbreaking wit and a keen understanding of how humor can illuminate our lives, Ms. May has evoked untold joy, challenged expectations, and elevated spirits across our Nation."

In January 2016, the Writers Guild of America-West announced that May would receive its 2016 Laurel Award for Screenwriting Achievement at the Writers Guild of America Award ceremony in Los Angeles on February 13.

On June 9, 2019, May won the Tony Award for Best Actress in a Play for her performance as Gladys in the Broadway revival of Kenneth Lonergan's The Waverly Gallery. She also received a Drama League Award nomination and won a Drama Desk Award and an Outer Critics Circle Award for Outstanding Actress in a Play. That same year, May's film A New Leaf was selected by the Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant".

In 2021, she was chosen to receive the Honorary Academy Award by the Board of Governors of the Academy of Motion Pictures Arts and Sciences, receiving the award for her "bold, uncompromising approach to filmmaking, as a writer, director and actress". She was honored at the annual Governors Awards alongside Samuel L. Jackson, Liv Ullman, and Danny Glover on March 25, 2022. Bill Murray presented her with the award crediting her with "saving his life on multiple occasions professionally".

References

Further reading

External links

ABOUT THIS ARTICLE

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Mike Nichols

American film and theatre director (1931–2014)

Jeannie Berlin

American actress and screenwriter

Julian Schlossberg

American film producer

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[oecsports]

華國三太子盃》四臺將止步會外首輪 遺憾未能用勝利當做母親節禮物

「2024華國三太子國際男子網球挑戰賽」5月12日至18日在臺北市網球中心熱鬧登場，今(12日)首日單打會外賽適逢母親節，李冠毅等4位持外卡上陣的地主臺灣好手，雖然未能開胡晉級，場場全力以赴的奮戰精神，仍贏得現場球迷喝采及掌聲肯定，賽後眾臺將們也都感性說出：「媽媽辛苦了，母親節快樂！」

「李冠毅、王愷翊師徒同日出擊 王愷翊私房錢送母親節禮物 」

李冠毅2017年臺北世界大學運動會頂住烈陽高溫，力拚至8強抱憾傷退，當時被球迷譽為「世大運戰神」，如今重返熟悉的臺北市網球中心，會外賽首輪他歷經兩盤激戰，3-6, 4-6不敵印度薩西庫瑪爾（Mukund Sasikumar），「以為今天會下雨，天氣還是悶熱，當然對手發揮很好，我也享受再次在中央球場比賽，感謝觀眾熱情加油。」

回想世大運過往，李冠毅歷歷在目，如今27歲的他已經在帶年輕球員，「當年拚太兇，身體有點受不了，後來打打停停休息一、兩年身體才復原，但沒想到又遇到疫情，職業生涯也被影響。」一度想退下來當全職教練的李冠毅直言，人生就是如此，只能妥協接受，接下來是否再打下去，就看身體狀況能否負荷。「媽媽今天有事，不然她都會來看我比賽。」李���毅還透露，雖然比賽、訓練和教球相當忙碌，靠著母親悉心照顧，讓自己無後顧之憂，「她真的很偉大，我要特地謝謝媽媽。」

世大運戰神李冠毅直步會外賽首輪

巧的是，李冠毅執教的王愷翊，週日也拿外卡打參加會外賽，師徒各自出擊，經驗傳承也形成網壇佳話。王愷翊雖以5-7, 2-6敗給澳洲艾利斯（Blake Ellis），初生之犢的膽識展露無遺，「開賽互保至5-6，我發球局錯失領先，被對方追上破掉，士氣有點下滑，第2盤被破了2局，付出代價。」王愷翊表示，賽前教練李冠毅提醒他放開來打，自己也不去想太多，算有些收獲，「我們合作半年，想拚明年德國（萊茵-魯爾都會區）世大運，希望持續進步。」

這是21歲的王愷翊，職業生涯頭一回打挑戰賽，心情緊張又興奮，「其實緊張比興奮還多，媽媽留在臺南沒來看比賽，但我偷偷準備禮物，給她驚喜。」原來他特地用比賽獎金存下來的私房錢，買了蘋果耳機包好放家裡，「她耳機壞掉了，想省錢捨不得換，母親節我到臺北比賽，讓她開心一下。」

王愷翊挑戰賽首秀雖敗猶榮

至於陳彥丞則以 4-6, 6-7(6)惜敗給日本白石光（Hikaru Shiraishi），就讀臺灣師大的他表示，第2盤把握度高，接發球也不錯，可惜逼進搶7時關鍵球失誤，錯失扳回一城機會，「原本想說母親節如果贏了，可以當禮物。」

拿外卡首次嘗試挑戰賽的陳彥丞表示，臨場壓力確實比較大，但也感受不一樣的氛圍，尤其前兩年左手手腕受傷，休息超過半年，「復健很久，一度考慮放棄，感謝家人支持，是我撐下去的動力。」雖然母親沒來現場，以免造成壓力，陳彥丞揮拍奮戰時，仍能感受到親人隔空加油的力量，「媽媽辛苦了，我會繼續努力！。」

陳彥丞挑戰賽首度參賽惜敗

此外，孟慶洋則以2-6、1-6敗給日本詹姆斯．特羅特（James Trotter）。孟慶洋賽後也特別擔任神秘嘉賓，配合主辦單位出席好友吳東霖的記者會「慶生橋段」，孟慶洋笑說，兩人自從10歲認識至今，平常鮮少展現感性的一面，希望藉此讓好友留下難忘的回憶。

孟慶洋不敵日本好手

「沙鹿小當家吳東霖生日快樂 賽後下廚請媽媽、阿嬤吃大餐」

週日也是地主好手吳東霖26歲生日，甫結束中國無錫挑戰賽行程的臺灣名將，馬不停蹄趕回臺北參與「2024華國三太子國際男子網球挑戰賽」，過往在此擁有不錯成績的他說：「今天母親節又是我的生日，這也是拚6月溫布頓錦標賽會外賽的最後機會，要好好努力。」

對廚藝頗有心得的吳東霖，被球迷稱為「網球食神」、「沙鹿小當家」，出國參賽還不忘帶著專用主廚刀，「身為運動員，健康美味的食物不���或缺，因此我對烹煮和細節都很要求。」他打算賽後親自準備大餐，請媽媽、阿嬤好好享用。貼心的主辦單位則在記者會製造驚喜，特地安排好友許育修、孟慶洋及球僮們送上蛋糕，並獻唱生日快樂歌，樂得吳東霖開心又感動，當眾許下心願：「祝福本屆賽事順利，所有人都身體健康，最後願望就留給自己。」

吳東霖度過26歲生日並許願賽事順利

吳東霖本屆男單首輪遭遇英國費里（Arthur Fery），過去歐洲出賽，應邀到對方所屬俱樂部練過草地球場，了解彼此打法。近況保持不錯的他透露，2月台維斯盃腹肌拉傷，還好逐漸調整回來，一個月前還找到國內體能訓練專家，特地強化肩膀和發球等動作，「 希望提升拿手的發球，回家比賽能���最好表現。」

適逢本週第十三屆「美傑仕OPI盃全國青少年網球錦標賽」也在現場舉行，從小參賽的吳東霖，今日練球看到小朋友揮汗對抗，感受非常深刻，「大家都很有精神，讓我想到以前的美好時光，當然也希望我們這次的表現，能夠激勵大家勇敢追夢。」

好友許育修和孟慶洋驚喜現身為吳東霖慶生

「2024華國三太子國際男子網球挑戰賽」明（13）日上午11點開賽，將展開單打會外賽第二輪和單打會內賽首輪賽程。相關賽事及活動內容，請持續關注中華民國網球協會官網、華國三太子國際男子網球挑戰賽Facebook粉絲團及Instagram官方帳號，掌握最新資訊。

5月13日第二天賽程

[chicagochinesenews]

亞裔傳媒大亨李蔚華生日慶典 德州參議院送來褒獎令

【美南新聞泉深】美南新聞傳媒集團于3月29日在美南環球劇場爲該集團創始人李蔚華董事長舉辦生日慶典。李蔚華的夫人、美南新聞傳媒集團創始人之一、《美南日報》社長朱勤勤女士主持了這次慶典活動，她代表美南新聞傳媒集團全體員工祝賀李蔚華董事長生日快樂！身體健康！並代表美南新聞集團向李董事長贈送了生日禮物。 德克薩斯州參議院、休斯頓市長惠特邁爾、美國國會議員艾爾·格林和希拉·傑克遜·李、哈裏斯郡專員Rodney Ellis 等爲這位美國亞裔傳媒大亨發來賀函，祝賀這位新聞媒體、國際貿易、金融投資的開拓者李蔚華先生生日快樂！身體健康！再接再厲！再創輝煌！ 出生于雲南，因內戰流浪到緬甸，再遷移到台灣，此後又移民到美國的傳奇人物李蔚華，1979年在休斯頓成立美南新聞傳媒集團（Southern News…

[gzswl10248]

爲什麽妳的另壹半會出軌？出軌只有0次和無數次？告訴妳生理原因

出軌是本能？只有0次和無數次？

除了嫖娼，男人的另壹常見道德問題——出軌，也常被粉飾爲“本能”以作借口。

無論國內國外，出軌都不算新鮮事。

美國國家輿情調查中心公布的數據顯示，約25%的美國男性和14%的美國女性曾有過出軌經曆。其他關于已婚夫妻的研究則顯示，已婚男女壹生中曾有過壹次婚外情的比例分別是20%~40%和20%~25%。而根據潘綏銘教授的調查數據，從2000年到2015年，男性出軌率從11.8%上升到34.0%，女性則從4.1%上升到13.4%。

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俗話說，“出軌只有0次和無數次。”看似絕對，但還真有科學依據。

壹項刊發在美國《性行爲檔案》期刊上的研究跟蹤調查了484名慘與者在男女婚戀關系中的情況。研究人員要求慘與者報告他們是否在婚戀關系中發生過所謂的“劈腿”關系，即與伴侶以外的人發生性關系，以及他們是否懷疑自己的伴侶在關系中不忠。

研究結果顯示，與那些在婚戀關系中保持忠誠的人相比，初次戀愛就出軌的人在下壹段感情中出軌的可能性高出了3倍。

此外，那些知道自己的前任伴侶曾欺騙過他們的人，下壹任伴侶出軌的可能性是其他人的2倍。紅金偉哥 黃金偉哥 華佗神丹 一炮到天亮 德國黑螞蟻  保羅V8  日韓虎王 雙效犀利士  一想就硬  

這壹研究強調了個體的出軌行爲可能在不同感情關系中重複出現，並暗示了早期的出軌經曆可能與未來的關系忠誠度有關。

需要強調的是，出軌不是壹種本能，而是取抉于個體的價值觀、道德觀念、情感需求以及個體對婚姻或伴侶關系的承諾程度。從生理角度來看，可能受到三種機制的影響。

1、多巴胺受體基因

多巴胺是與愉悅感和獎賞相關的神經遞質。美國金賽研究院的壹項研究表明，擁有多巴胺受體D4變體的人更容易追求新奇和刺激，這可能包括壹夜情和不負責任的性行爲。2H2D持久液  2H2D延時噴劑  日本丸榮  2H2D  日本2h2d 德國黑金剛 黑金剛持久液

這壹基因變體的人也更容易對追求刺激的行爲，如看恐怖電影、酗酒和賭博産生興趣，這可能增加了他們出軌的可能性。

2、後葉加壓素

後葉加壓素是壹種激素，與忠誠和親密關系有關。研究發現，注射後葉加壓素的動物更容易對伴侶保持忠誠。在人類中，壹些研究表明，較高水平的後葉加壓素可能與更穩定的婚姻關系相關聯，而低水平則可能與出軌行爲有關。

3、柯立芝效應

柯立芝效應描述了壹種生物學現象，即動物（包括人類）對于新出現的異性具有更高的交配意願。這種生物學趨勢可能在人類感情中也存在。人們可能在長期關系中感到厭倦或缺乏新鮮感，因此���求新的刺激和親密體驗，導致出軌的風險增加。

其實，無論是零次還是多次出軌，都會導致伴侶的情感受傷和家庭破裂，因此，對于出軌的個體來說，應該意識到其行爲可能帶來的後果，並承擔相應的責任。在伴侶關系中，建立互相尊重、誠實和信任的基礎至關重要，同時也需要積極尋求婚姻或關系的修複和改進方式，而不是通過出軌來應對問題。日本神油 naskic持久液 日本神油噴劑 日本神油評價 日本神油效果 naskic神油  耐時王神油 

[sassy324]

論正義的聲音（21）：

2024年2月26日，中東正義和平猶太之聲主席維蘭德霍班：「德國在20世紀犯下了兩次種族滅絕：大屠殺和納米比亞種族滅絕，今天又參與了加薩種族滅絕。對大屠殺的正確反應不是對加薩種族滅絕保持沉默，而是拒絕一切“種族滅絕”

2024年2月26日，「你基本上是在一小片土地上發動戰爭，而這片土地上人口稠密，只有 50% 是兒童。 在這個過程中，你們正在殺害成千上萬的兒童，並將繼續這樣做。”@piersmorgan對以色列前總理納夫塔利·貝內特 (Naftali Bennet) 說。

2024年2月27日，他是喬恩·斯圖爾特，著名諷刺節目《每日秀》的老闆，諷刺的是，他是「猶太人」。 他嘲笑內塔尼亞胡說：“你消滅哈馬斯的計劃就是摧毀整個加沙……啊……這不是會產生更多的哈馬斯嗎？這是哈馬斯這個詞的複數形式嗎？”我們一再說過，自衝突爆發以來，這個「實體」從未像現在這樣在世界上如此孤立和被官方（更普遍地）定為犯罪，巴勒斯坦也沒有像現在這樣出現在世界意識中。就是現在。

2024年2月27日，更多美國退伍軍人大聲疾呼反對以色列種族滅絕和殘酷屠殺兒童 美國退伍軍人艾倫·謝巴羅（Alan Shebaro）發出了強有力的信息： 「我叫艾倫·謝巴羅。我在第三特種部隊大隊。我在B23 的絕境部隊指揮官中。我是一名狙擊手、一名突擊手和一名突破手。我進行過三次輪換：2008 年、2009 年及2007年。 我知道戰爭。 巴勒斯坦現在發生的事情不是戰爭。 這就是非人化。這是種族滅絕。這就是種族清洗。特定民族奪取他們的土地。這是錯誤的。沒有什麼比大聲反對錯誤更符合美國精神的了。 美國納稅人為此買單，更令人沮喪。這需要停止。 無論你能做什麼，無論什麼，這都需要停止。”

2024年2月28日，前美國退伍軍人盧卡斯·蓋奇攻擊受猶太復國主義遊說團體影響的權力圈和媒體#غزة ...說，“我們必須切斷與以色列的這種聯繫，我們從中一無所獲！” #حرب_غزة

2024年2月28日，「透過長達一個多世紀的暴力、殖民和種族主義努力，巴勒斯坦人民被剝奪了合法的自決權，目的是在託管的巴勒斯坦土地上建立一個專門為猶太人民服務的民族國家。” 阿拉伯聯盟律師拉爾夫·王爾德在國際法院羞辱以色列。

2024年2月28日，以色列因在巴勒斯坦被佔領土犯下的罪行而受到的孤立和仇恨在世界範圍內不斷升級。參加威尼斯雙年展的9000名畫家首次簽署請願書，要求阻止以色列參加，因為這是種族隔離實行種族清洗的國家。將於明年四月舉行的威尼斯雙年展被認為是最著名、最負盛名的藝術展覽之一。每兩年在義大利威尼斯舉辦一次的世界藝術展覽#غزة_تنتصر #غزة_لن_تجوع

2024年2月28日，一名美國囚犯做了偉大的人道工作,一名美國囚犯每小時賺 13 美分。你知道他用自己賺來的136小時——一個月的奴工「工資」做了什麼嗎？並將其捐贈給加薩。 😭雖然不到 18 美元，但在人類眼中卻價值數百萬美元.

2024年2月29日，英國醫生 安迪·弗格森對他在加薩看到的恐怖事件表示震驚，他說：我從未經歷過像加薩這樣的事情，我希望我一生中不會再重複這樣的經歷！

2024年2月29日，美國退伍軍人和士兵在美國波特蘭市以色列大使館前舉行抗議活動，焚燒軍裝和獎章，以紀念飛行員亞倫·布什內爾 (Aaron Bushnell)，他在#غزة期間自焚，譴責“種族滅絕」.

（加拿大司馬田2024.2. 谷歌翻譯fb：Markss Tang）

[wangwill]

柏林的女人

H：「柏林的女人」由同名日記體作品改編拍攝的電影。20240202W5

維基百科介紹：

柏林的女人

譯自英文-妮娜·霍斯（Nina Hoss）和尤金妮·西迪金（Eugeny Sidikhin）主演的《柏林的女人》（A Woman in Berlin）是一部由MaxFärberböck執導的2008年德國電影，被稱為《英國的柏林Anonyma的倒台》。 维基百科（英文)

查看原文說明

上映時間： 2008 年 10 月 23 日 (德國)

導演： 馬克斯·法貝爾布克

改編原著： A Woman in Berlin

提名記錄： 德國電影獎最佳女配角獎， 德國電影獎最佳音效剪輯獎

剪輯： 艾娃·J·琳德

plot noun [C] (STORY)

Add to word list 

B2

the story of a book, film, play, etc.

情節

The movie has a very simple plot.這部電影情節很簡單。

The plots of his books are basically all the same.他的書情節基本上都一樣。

Plot

In the waning days of World War II, an assortment of women, children and elderly men struggle to survive in Berlin, cast out of their formerly middle-class lives.

The Soviet Red Army arrives, defeating the last German defense. Its soldiers rape women of any age as they occupy the city. After having been raped by a number of Soviet soldiers, the film's anonymous woman, a German journalist (Nina Hoss), petitions the battalion's commanding officer for an alliance and protection. After initially rejecting her, the married officer Andrei Rybkin (Eugeny Sidikhin) is gradually seduced by the beautiful but battered German woman. She has a cool, practical approach to her life and has been part of an informal community that developed among survivors in her apartment building.

The officer subsequently protects, feeds and parties with her and her neighbors. Other women in the flats also take particular officers or soldiers for protection against being raped by soldiers at large. Rybkin comes under suspicion and he is reassigned.

百度百科

《柏林的女人》是由德國康斯坦丁影業製作發行的131分鐘劇情影片。該片由馬克斯·法貝爾布克執導，妮娜·霍斯主演，於2008年10月23日在德國上映。

該片改編自德國女記者同名日記體作品，講述了二戰的最後幾個月，蘇聯紅軍進駐柏林後，德國婦女如何受到了蘇聯軍人的強姦和虐待，並最終成功逃脱的故事。

劇情簡介

一個遊歷過12個國家、會多種語言的德國女記者，為了理想和未來回到家鄉柏林。時間是1945年4月，正是第二次世界大戰戰局發生重大變化的時間點，美蘇軍隊在易北河會師，不久，柏林被蘇聯紅軍攻陷。

蘇軍攻克柏林後，以勝者的姿態在破敗的柏林街頭狂歡、叫喊，搶掠、強暴以宣泄壓抑在心中太久的恐懼和對停戰的渴望。女人，作為一種戰爭時期的特殊“物品”，也成了勝者的戰利品。蘇軍既以勝利者又以復仇者的面目肆意對柏林女人羞辱蹂躪。“女記者”藉着會俄語，試圖向蘇軍長官請求幫助，希望那些受糟踏的柏林女人能得到保護。第一次，她得到的是長官安德烈少校冷冷且挑釁般的回覆：“他們都很乾淨、健康。”這無疑是認可並縱容蘇軍在柏林的所作所為。無處可藏的柏林女人們，成了名副其實的喪家之犬，身心及生命安全無任何保障。多次慘遭蹂躪的“女記者”再次試圖向安德烈少校請求幫助，結果她得到的依然是冷血的回答。“女記者”絕望了，明白這個時候能救自己的唯有自己，她告誡自己，外表的傷害摧毀不了自己的內心，必 須盡一切可能活下去。她及她的同伴們改變了策略，與其被羣奸，不如主動找一個固定的靠山。“女記者”儘量努力結識蘇軍中的軍官，先是一個上尉，可上尉是個浪子，只想玩玩她。終於，她成功“勾搭”上了少校安德烈。少校是個受過良好教育、會彈鋼琴、目光深沉、外表冷漠內心豐富的男人，對她要求甚少，兩人之間竟產生了一種難以名狀的愛情。

戰爭終於結束了，蘇軍少校因為她而被上級處分、調走。她遠赴西伯利亞參戰的丈夫也回來了。然而，曾經深愛的丈夫因看了她的日記而無法面對這一切，嫌她骯髒、嫌她無恥，最後，厭惡地棄她而去。

[virtualrealitynewstoday]

TARGO 《透過他們的鏡頭》虛擬實境應用：重塑歷史體驗

TARGO，一家曾獲提名艾美獎的虛擬實境媒體公司，即將在 Vision Pro 平台推出其首個應用程序《透過他們的鏡頭》。這個應用利用先進的3D沉浸式修復技術，將1944年 D – Day的照片和影像轉化為可在客廳中體驗的立體時刻，讓使用者能夠親身感受到那些戰地攝影師捕捉的非凡瞬間。 這一創新應用由多位業界重量級人士共同創作。導演克洛伊·羅什呂依（Chloé Rochereuil）以其精湛的導演技巧獲得了艾美獎提名，而製片人維克多·阿古龍（Victor Agulhon）及奧斯卡獲獎導演安東尼·賈奇諾（Anthony…