As a child, Diana participates in an athletic competition on Themyscira against adult Amazons. After being knocked off her horse, she takes a shortcut and remounts, but misses a checkpoint. Antiope removes her from the race for cheating, explaining that anything worthwhile must be obtained honestly, while her mother Hippolyta advises her to be patient in her pursuit of glory and honor. In 1984, Diana is working at the Smithsonian Institution in Washington, D.C., while secretly performing heroic deeds as Wonder Woman. New museum employee Barbara Minerva, a shy geologist and cryptozoologist, has trouble getting noticed by her co-workers, but quickly finds a friend in Diana. The FBI asks the museum to identify stolen antiquities from a robbery that Wonder Woman recently foiled; Barbara and Diana notice a Latin inscription on one artifact (the Dreamstone) claiming to grant the holder one wish. Neither one openly takes the inscription seriously, but after Diana saves Barbara from an assailant by secretly using her powers, Barbara wishes she was strong, sexy, and cool "like" Diana and thus unintentionally acquires the same superpowers. Because Diana yearns for Steve Trevor, her lover who died heroically, he is resurrected in another man's body and they are reunited. Failing businessman Maxwell "Max Lord" Lorenzano steals the Dreamstone, hoping to use its power to save his nearly bankrupt oil company. His wish is to "become" the stone and gain its powers: whenever he grants someone else's desire, he can take what he wants from the wisher. This soon results in worldwide chaos, destruction, and instability. Diana discovers that the Dreamstone was created by Dolos/Mendacius, The God of Lies, also known as the Duke of Deception. It grants a user's wish but exacts an equally strong toll unless they renounce the wish or destroy the stone. Although Diana's powers and Barbara's humanity begin to diminish, neither is willing to renounce their wish. Max visits the U.S. President, who wishes for more nuclear missiles as protection against the Soviets, but these are detected, bringing the world to the brink of nuclear war. Max also learns of a new and secret satellite system that can broadcast to anyone in the world. Since his powers are causing his body to deteriorate, he plans to grant wishes globally to steal strength and life force from the viewers and regain his health. Diana and Steve confront him, but Barbara sides with Max, overpowering Diana and escaping with him on Marine One. Steve convinces Diana to renounce her wish and let him go, restoring her to full strength. Donning the armor of Asteria, the greatest of all Amazon warriors, Diana flies to the satellite headquarters and again battles Barbara, who has transformed into a humanoid cheetah after wishing to become an apex predator. After a brutal fight that ends in a lake, Diana overcomes Barbara with an electric shock, then pulls her out of the water. Diana confronts Max and uses her Lasso of Truth to communicate with the world through him, persuading everyone to renounce their wish. She then shows him visions of his unhappy childhood and of his son, Alistair, who is frantically searching for his father amid the chaos. Realizing the error of his ways, Max renounces his wish and reunites with Alistair, simultaneously renouncing everyone else's wishes, and turning Barbara back to normal. In the present day, it is winter, and Diana meets the man whose body Steve possessed. In a mid-credits scene, Asteria is revealed to be alive, living among humans and also secretly heroic.

《治史三书》作者严耕望享誉国际史坛，是钱穆最欣赏的学生，胡适、杨联陞一致称许的史学大家，余英时誉之为中国史学界的朴实楷模。本书汇集了严耕望先生的三本小书《治史经验谈》、《治史答问》和《钱穆宾四先生与我》，系著者总结数十年从师问学的历程与研治国史的实际经验，现身说法，指示后人以治史门径。著者不矜其能，不放言高论，举凡历史学研究的基本方法、具体规律、论题选择、论著标准、论文体式、引用材料与注释方式、论文撰写及改订，以及努力途径与生活修养等诸多问题，皆以质朴流畅的语言娓娓道来，原原本本，条分缕析，诚挚亲切，务求实用，可谓金针度人，功在学林。 对初学治史者而言，有一本非常实用的参考书，那就是严耕望的《治史三书》，特别是其中的《治史经验谈》。严先生文如其人，甚少“惊人之语”，亦不弄玄虚，所论处处针对学子所需，实在而具体。 ——罗志田（北京大学历史系教授） 这是一本值得向所有有志于中国文史研究的学者推荐的书。谈论治学经验的书并不少见，但切实周到如本书者则不易多得。 ——傅 杰（复旦大学中文系教授） 严耕望的特长，在于同所有具备朴实品格的历史学家一样，能够把这个议题通过自身的治学经历以及深厚经验讲述得惟妙惟肖……可让读者感受到“充实而有光辉”的魅力，金针度人、沾丐后学自然不在浅显。这些措施和办法也极为切实，归结为一句话，就是勤奋读书而已。 ——李洪岩（《历史研究》副主编）

A movie fan escapes from a labour camp during the Chinese Cultural Revolution and strikes up a relationship with a homeless female vagabond.

Shouya Ishida starts bullying the new girl in class, Shouko Nishimiya, because she is deaf. But as the teasing continues, the rest of the class starts to turn on Shouya for his lack of compassion. When they leave elementary school, Shouko and Shouya do not speak to each other again... until an older, wiser Shouya, tormented by his past behaviour, decides he must see Shouko once more. He wants to atone for his sins, but is it already too late...?

2019 Chinese film

A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he attempts to persuade a girl to run away to Italy with him.

Ways of Seeing is a 1972 BBC four-part television series of 30-minute films created chiefly by writer John Berger and producer Mike Dibb. Berger's scripts were adapted into a book of the same name. The series and book criticize traditional Western cultural aesthetics by raising questions about hidden ideologies in visual images. The series is partially a response to Kenneth Clark's Civilisation series, which represents a more traditionalist view of the Western artistic and cultural canon.

1973 animated film directed by René Laloux

A commanding officer defends three scapegoats on trial for a failed offensive that occurred within the French Army in 1916.

本书阐述了作为“大众”的社会力量在现代的崛起，以及一个由“大众”占据支配地位的时代的来临。当前文明带来了越来越舒适安逸的环境，这是一个“随波逐流” “任其自然”的时代，大众人在其中过着一种缺乏重量、失去根基的生活。他们几乎没有人能够抵制得了来自思想、政治、艺术或社会习惯 方面的那些浅薄而短暂的风潮，却宣称自己有权利自行其事，企图取代精英。故而奥尔特加将这种现象称为“大众的反叛”。 奥尔特加着重剖析了这一时代病症，并从欧洲的“大众人”推延至国际范围内的“大众民族”。虽成书于20世纪30年代，反映的是他对于当时欧洲公共生活境况的担忧，但近一个世纪之后，我们将发现它无疑具有更深远、更普遍的意义。“大众的反叛”已是我们每个人都要面对的问题，也是全球化时代下的人类文明所面临的考验。 ⭐⭐⭐⭐⭐ 经典译本，精装再版 新增北京大学教授何怀宏深入导读+诺贝尔文学奖得主索尔•贝娄推荐序言 ⭐⭐⭐⭐⭐ （奥尔特加是）尼采以后欧洲最伟大的作家。 ——加缪，法国存在主义作家、哲学家，诺贝尔文学奖得主 他（奥尔特加）是一个文明的欧洲人，一个伟大的欧洲人。 ——索尔•贝娄，美国犹太裔作家，诺贝尔文学奖得主 此书之于20世纪，一如《社会契约论》之于18世纪，《资本论》之于19世纪。 ——《大西洋月刊》 我仍然记得自己在30多年前第一次读到《大众的反叛》时，对这本古怪的书感觉多么受挫……最近我又读了一遍这本书，反应却完全不同：我在20世纪时曾认为的那些已经过时的观点，如今却显示出一种不可思议的能力，可以解释数字时代最离奇的事件。 ——特德•焦亚（Ted Gioia），被誉为美国最杰出的音乐历史学家之一 一部深刻的书，从始至终都充满生机和活力……就思想深度和影响而言，它与斯宾格勒那本宣告文明厄运的《西方的没落》，同样发人深省，同样具有潜在的影响力。 ——《纽约时报》 奥尔特加无疑是20世纪上半叶最伟大的哲学散文家，而且很可能是为数不多的真正具有开创性的思想家之一。 ——《新共和》杂志

A hidden memory sends David across the far reaches of time and space to solve a deadly mystery involving his time-traveling future selves.

After narrowly escaping a bizarre accident, a troubled teenager is plagued by visions of a large bunny rabbit that manipulates him to commit a series of crimes.

2020 film

The even more intense, more insane season two finds The Boys on the run from the law, hunted by the Supes, and desperately trying to regroup and fight back against Vought. In hiding, Hughie, Mother’s Milk, Frenchie and Kimiko try to adjust to a new normal, with Butcher nowhere to be found. Meanwhile, Starlight must navigate her place in The Seven as Homelander sets his sights on taking complete control. His power is threatened with the addition of Stormfront, a social media-savvy new Supe, who has an agenda of her own. On top of that, the Supervillain threat takes center stage and makes waves as Vought seeks to capitalize on the nation’s paranoia.

Two drag queens and a transgender woman contract to perform a drag show at a resort in Alice Springs, a town in the remote Australian desert. As they head west from Sydney aboard their lavender bus, Priscilla, the three friends come to the forefront of a comedy of errors, encountering a number of strange characters, as well as incidents of homophobia, whilst widening comfort zones and exploring new horizons.

Three detectives in the corrupt and brutal L.A. police force of the 1950s use differing methods to uncover a conspiracy behind the shotgun slayings of the patrons at an all-night diner.

Improbable encounters bring tenderness, laughter and compassion to a world of urban alienation.

The story takes place in a universe where most of the superpowered individuals are recognized as superheroes, but in reality abuse their powers for personal gain, information the public is kept unaware of.

1982 film by Rainer Werner Fassbinder

2013 film by Kim Byeong-u