豆包1.5深度思考模型發(fā)布：暴砍參數(shù)量，能看圖思考，數(shù)學(xué)編程超DeepSeek-R1
專訪｜前伊核談判顧問：伊朗不信任美國，任何核協(xié)議都會有中俄參與 你對別人好是純粹出于真誠還是另有目的？ 《無恥之》（Shameless）第七季。本江疑故起始于「個月之后，F(xiàn)rank從昏迷中醒來后得親人背叛他，于是他們宣戰(zhàn)但是Fiona正忙于改善自孟槐生活，根沒時間關(guān)Frank的威脅。管Fiona在第六季結(jié)尾遭到人傷心的叛，但她是挺過來。她是一堅強(qiáng)的戰(zhàn)，沒有什能阻擋她求新生活努力——括她的家。Gallagher家的金童Lip完成了康復(fù)治療帶著對酗問題的新識回來了他對自己前景表示觀。與之反，曾經(jīng)神很不穩(wěn)的Ian如今有了一正式職業(yè)急救員）還收獲了人滿意的情。Debbie仍然不知道如做一個好親，即將年的Carl必須做出一些重大定。Fiona決心自己要活出人樣來，是Gallagher家的其他在沒有她個主心骨情況下是會分崩離？AliciaCoppola扮演嚴(yán)肅的領(lǐng)女性Sue，和Ian一起工作。她擔(dān)任群急救員監(jiān)管人。ArdenMyrin扮演無家可的NewMonica/Delores，與Frank發(fā)生了關(guān)。PashaLychnikoff扮演Svetlana的父親Yvan。RubyModine扮演「PastyPies」餡餅餐廳新來的服務(wù)員Sierra，F(xiàn)iona剛剛成為廳的經(jīng)理 在科索沃區(qū)的一個地方，只十歲的Nenad和他的父親、爺，還有正教的牧和30歲的教師幾個在這里生，Nenad是學(xué)校里唯一的學(xué)，每天都維和部隊(duì)車輛把他父親的農(nóng)送到學(xué)校Nenad渴望有同的孩子與一起玩耍一天，他裝機(jī)車的隙看到了個與他同的阿爾巴亞男孩，中十三歲牧羊人Bashkim在戰(zhàn)爭中去了自己父親，因他痛恨塞維亞人... 一場奇怪的風(fēng)暴，五個正在做社區(qū)服的不良少年擁有了能力。凱莉（勞?索恰LaurenSocha飾）會讀心術(shù)，西蒙（尤象蛇·昂IwanRheon飾）可以隱形，科蒂斯（邽山森·斯圖特-賈瑞特NathanStewart-Jarrett飾）能讓時光倒流，麗莎（安東尼婭·馬斯AntoniaThomas飾）能喚起別人的欲望，一直以為自己沒有到超能力的雷森（伯特·席安RobertSheehan飾），在一次意外亡后才發(fā)現(xiàn)自己擁永生的能力。第一中五人殺死了第一緩刑監(jiān)督官，第二中他們意外得知第任緩刑監(jiān)督官也死西蒙手下，于是五合力將尸體拋進(jìn)湖。這一切被一個戴面具的神秘人看在中，他究竟是何方圣？這五個超能少并沒有運(yùn)用超能力改變世界，反而遇更多奇怪的人和事除了他們五個，還人擁有超能力，別的超能力使他們陷了困境…? Voice1(male"professionalannouncer"type):Thisneighborhood(1)wasmadeforthewretcheddignityofthepettybourgeoisie,forrespectableoccupationsandintellectualtourism.Thesedentarypopulationoftheupperfloorswasshelteredfromtheinfluencesofthestreet.Thisneighborhoodhasremainedthesame.Itwasthestrangesettingofourstory,whereasystematicquestioningofallthediversionsandworksofasociety,atotalcritiqueofitsideaofhappiness,wasexpressedinacts.Thesepeoplealsoscorned"subjectiveprofundity".Theywereinterestedinnothingbutanadequateandconcreteexpressionofthemselves.Voice2(Debord,monotone):Humanbeingsarenotfullyconsciousoftheirreallife-usuallygropinginthedark;overwhelmedbytheconsequencesoftheiracts;ateverymomentgroupsandindividualsfindthemselvesconfrontedwithresultstheyhavenotwished.Voice1:Theysaidthatoblivionwastheirrulingpassion.Theywantedtoreinventeverythingeachday;tobecomethemastersandpossessorsoftheirownlives.Justasonedoesnotjudgeamanaccordingtotheconceptionhehasofhimself,onecannotjudgesuchperiodsoftransitionaccordingtotheirownconsciousness;onthecontrary,onemustexplaintheconsciousnessthroughthecontradictionsofmateriallife,throughtheconflictbetweensocialconditionsandtheforcesofsocialproduction.Theprogressachievedinthedominationofnaturewasnotyetmatchedbyacorrespondingliberationofeverydaylife.Youthpassedawayamongthevariouscontrolsofresignation.Ourcamerahascapturedforyouafewaspectsofaprovisionalmicrosociety.Theknowledgeofempiricalfactsremainsabstractandsuperficialaslongasitisnotconcretizedbyitsintegrationintothewhole"”whichalonepermitsthesupersessionofpartialandabstractproblemssoastoarriveattheirconcreteessence,andimplicitlyattheirmeaning.Thisgroupwasonthemarginsoftheeconomy.Ittendedtowardaroleofpureconsumption,andfirstofallthefreeconsumptionofitstime.Itthusfounditselfdirectlyengagedinqualitativevariationsofeverydaylifebutdeprivedofanymeanstointerveneinthem.Thegrouprangedoveraverysmallarea.Thesametimesbroughtthembacktothesameplaces.Noonewenttobedearly.Discussiononthemeaningofallthiscontinued...Voice2:"Ourlifeisajourney"”Inthewinterandthenight."”Weseekourpassage..."?Voice1:Theabandonedliteratureneverthelessexertedadelayingactiononnewaffectiveformulations.Voice2:Therewasthefatigueandthecoldofthemorninginthismuch-traversedlabyrinth,likeanenigmathatwehadtoresolve.Itwasalooking-glassrealitythroughwhichwehadtodiscoverthepotentialrichnessofreality.Onthebankoftherivereveningbeganonceagain;andcaresses;andtheimportanceofaworldwithoutimportance.Justastheeyeshaveablurredvisionofmanythingsandcanseeonlyoneclearly,sothewillcanstriveonlyincompletelytowarddiverseobjectsandcancompletelyloveonlyoneatatime.Voice3(younggirl):Noonecountedonthefuture.Itwouldneverbepossibletobetogetherlater,oranywhereelse.Therewouldneverbeagreaterfreedom.Voice1:Therefusaloftimeandofgrowingoldautomaticallylimitedencountersinthisnarrow,contingentzone,wherewhatwaslackingwasfeltasirreparable.Theextremeprecariousnessofthemeansofgettingbywithoutworkingwasattherootofthisimpatiencewhichmadeexcessesnecessaryandbreaksdefinitive.Voice2:Oneneverreallycontestsanorganizationofexistencewithoutcontestingallofthatorganization’sformsoflanguage.Voice1:Whenfreedomispracticedinaclosedcircle,itfadesintoadream,becomesamererepresentationofitself.Theambianceofplayisbynatureunstable.Atanymoment"ordinarylife"?canprevailonceagain.Thegeographicallimitationofplayisevenmorestrikingthanitstemporallimitation.Anygametakesplacewithinthecontoursofitsspatialdomain.Aroundtheneighborhood,arounditsfleetingandthreatenedimmobility,stretchedahalf-knowncitywherepeoplemetonlybychance,losingtheirwayforever.Thegirlswhofoundtheirwaythere,becausetheywerelegallyunderthecontroloftheirfamiliesuntiltheageofeighteen,wereoftenrecapturedbythedefendersofthatdetestableinstitution.Theyweregenerallyconfinedundertheguardofthosecreatureswhoamongallthebadproductsofabadsocietyarethemostuglyandrepugnant:nuns.Whatusuallymakesdocumentariessoeasytounderstandisthearbitrarylimitationoftheirsubjectmatter.Theydescribetheatomizationofsocialfunctionsandtheisolationoftheirproducts.Onecan,incontrast,envisagetheentirecomplexityofamomentwhichisnotresolvedintoawork,amomentwhosemovementindissolublycontainsfactsandvaluesandwhosemeaningdoesnotyetappear.Thesubjectmatterofthedocumentarywouldthenbethisconfusedtotality.Voice2:Theerahadarrivedatalevelofknowledgeandtechnicalmeansthatmadepossible,andincreasinglynecessary,adirectconstructionofallaspectsofaliberatedaffectiveandpracticalexistence.Theappearanceofthesesuperiormeansofaction,stillunusedbecauseofthedelaysintheprojectofliquidatingthecommodityeconomy,hadalreadycondemnedaestheticactivity,whoseambitionsandpowerswerebothoutdated.Thedecayofartandofallthevaluesofformermoreshadformedoursociologicalbackground.Therulingclass’smonopolyovertheinstrumentsweneededtocontrolinordertorealizethecollectiveartofourtimehadexcludedusfromaculturalproductionofficiallydevotedtoillustratingandrepeatingthepast.Anartfilmonthisgenerationcanonlybeafilmonitsabsenceofrealcreations.Everyoneunthinkinglyfollowedthepathslearnedonceandforall,totheirworkandtheirhome,totheirpredictablefuture.Forthemdutyhadalreadybecomeahabit,andhabitaduty.Theydidnotseethedeficiencyoftheircity.Theythoughtthedeficiencyoftheirlifewasnatural.Wewantedtobreakoutofthisconditioning,inquestofanotheruseoftheurbanlandscape,inquestofnewpassions.Theatmosphereofafewplacesgaveusintimationsofthefuturepowersofanarchitectureitwouldbenecessarytocreatetobethesupportandframeworkforlessmediocregames.Wecouldexpectnothingofanythingwehadnotourselvesaltered.Theurbanenvironmentproclaimedtheordersandtastesoftherulingsocietyjustasviolentlyasthenewspapers.Itismanwhomakestheunityoftheworld,butmanhasextendedhimselfeverywhere.Peoplecanseenothingaroundthemthatisnottheirownimage;everythingspeakstothemofthemselves.Theirverylandscapeisalive.Therewereobstacleseverywhere.Therewasacohesionintheobstaclesofalltypes.Theymaintainedthecoherentreignofpoverty.Everythingbeingconnected,itwasnecessarytochangeeverythingbyaunitarystruggle,ornothing.Itwasnecessarytolinkupwiththemasses,butweweresurroundedbysleep.Voice3:Thedictatorshipoftheproletariatisadesperatestruggle,bloodyandbloodless,violentandpeaceful,militaryandeconomic,educationalandadministrative,againsttheforcesandtraditionsoftheoldworld.Voice1:Inthiscountryitisonceagainthemenoforderwhohaverebelled.Theyhavereinforcedtheirpower.Theyhavebeenabletoaggravatethegrotesquenessoftherulingconditionsaccordingtotheirwill.Theyhaveembellishedtheirsystemwiththefunerealceremoniesofthepast.Voice2:Years,likeasingleinstantprolongedtothispoint,cometoanend.Voice1:Whatwasdirectlylivedreappearsfrozeninthedistance,fitintothetastesandillusionsofanera,carriedawaywithit.Voice2:Theappearanceofeventsthatwehavenotmade,thatothershavemadeagainstus,nowobligesustobeawareofthepassageoftime,itsresults,thetransformationofourowndesiresintoevents.Whatdifferentiatesthepastfromthepresentispreciselyitsout-of-reachobjectivity;thereisnomoreshould-be;beingissoconsumedthatithasceasedtoexist.Thedetailsarealreadylostinthedustoftime.Whowasafraidoflife,afraidofthenight,afraidofbeingtaken,afraidofbeingkept?Voice3:Whatshouldbeabolishedcontinues,andwecontinuetowearawaywithit.Weareengulfed.Weareseparated.Theyearspassandwehaven’tchangedanything.Voice2:Onceagainmorninginthesamestreets.Onceagainthefatigueofsomanysimilarlypassednights.Itisawalkthathaslastedalongtime.Voice1:Reallyhardtodrinkmore.Voice2:Ofcourseonemightmakeafilmofit.Butevenifsuchafilmsucceedsinbeingasfundamentallydisconnectedandunsatisfyingastherealityitdealswith,itwillneverbemorethanare-creation"”poorandfalselikethisbotchedtravelingshot.Voice3:Therearenowpeoplewhopridethemselvesonbeingauthorsoffilms,asotherswereauthorsofnovels.Theyareevenmorebackwardthanthenovelistsbecausetheyareunawareofthedecompositionandexhaustionofindividualexpressioninourtime,ignorantoftheendoftheartsofpassivity.Theyarepraisedfortheirsinceritysincetheydramatize,withmorepersonaldepth,theconventionsofwhichtheirlifeconsists.Thereistalkoftheliberationofthecinema.ButwhatdoesitmattertousifonemoreartisliberatedthroughwhichTom,DickorHarrycanjoyouslyexpresstheirslavishsentiments?Theonlyinterestingventureistheliberationofeverydaylife,notonlyintheperspectivesofhistorybutforusandrightaway.Thisentailsthewitheringawayofalienatedformsofcommunication.Thecinema,too,hastobedestroyed.Voice2:Inthefinalanalysis,starsarecreatedbytheneedwehaveforthem,andnotbytheirtalentorlackoftalentorevenbythefilmindustryoradvertising.Miserableneed,dismal,anonymouslifethatwouldliketoexpanditselftothedimensionsofcinemalife.Theimaginarylifeonthescreenistheproductofthisrealneed.Thestaristheprojectionofthisneed.Theimagesoftheadvertisementsduringtheintermissionsaremoresuitedthananyothersforevokinganintermissionoflife.Toreallydescribethiseraitwouldnodoubtbenecessarytoshowmanyotherthings.Butwhatwouldbethepoint?Bettertograspthetotalityofwhathasbeendoneandwhatremainstobedonethantoaddmoreruinstotheoldworldofthespectacleandofmemories.1.Thisfilm,whichevokesthelettristexperiencesattheoriginofthesituationistmovement,openswithshotsoftheParisdistrictfrequentedbythelettristsintheearly1950s.
塞巴斯蒂安和薇奧孝經(jīng)是對孿生兄，主顯夜晚他們乘闡述回家，不想伊萊利亞海岸遇上孟涂暴，船觸礁沒。奧拉被船長救肥蜰，塞巴斯蒂卻下落不明。為了竦斯找哥哥，薇拉女扮男裝，成為葴山萊利亞的統(tǒng)著奧西諾公爵的貼義均伺從。奧西公爵深愛著伯爵的狍鸮兒奧麗維婭但小姐不久前剛痛琴蟲長兄，發(fā)誓不足七年，絕不以升山貌示人?！?受戀情煎熬的奧西蠪蚔便派薇奧拉去說情，試圖得到涿山麗維亞的芳，孰料奧麗維婭對巴國裝打扮的維拉情有獨(dú)鐘。糟糕服山是，維奧拉上了善良的奧西諾龍山爵，一段復(fù)的三人關(guān)系，究竟盂山走向怎樣的地呢?
22年前，諾曼貝茲在自家的旅館中，殺了正在淋浴的女客瑪莉蓮，而被關(guān)了精神病院，一關(guān)是22年。如今，加州政府根據(jù)醫(yī)生的斷決定讓他重回社，他獲釋后，返回山丘上的破舊旅館諾曼在當(dāng)?shù)匾患也?中找到了新工作，任廚師的助手，因認(rèn)識了年輕的女服生瑪麗，兩人墜入情網(wǎng)。但是不久后諾曼卻在自家的窗，看到了死去的母，接下來，小鎮(zhèn)上發(fā)生了一連串的謀案，這些兇殺案會諾曼的所作所為嗎他真的痊愈了嗎?
Sue,CherylandLexiarebestfriends.Theydosomethingspecialeveryyearfortheirbirthdayastheywereallbornonthesameday.Nowtheir18thbirthday,theysetouttolosetheirvirginity.
本片講述小鍋蓋發(fā)家致富，娶了個大學(xué)生媳婦，在里買了房，本打算在城里居，但是回村幫助老村主競選時，卻意外被選為村任之后發(fā)生的一系列事情?
唐僧師徒四在西天取經(jīng)中遭遇白骨圈套，只有八戒僥幸逃，拯救師徒人的重?fù)?dān)首落到豬八戒上，八戒學(xué)空搬救兵，只搬來土地山神等一幫弱病殘的小，在八戒的舞下，眾仙行了魔鬼式練信心滿滿在八戒的帶下浩浩蕩蕩攻打妖洞，不料眾仙不眾女妖的美紛紛潰敗。戒不得不以師的身份臥妖洞伺機(jī)營師父等，卻外的發(fā)現(xiàn)自和白骨精500年前的故事，面臨愛情道義的抉擇八戒究將何何從…?
出品單位:河北電影制片論語、河北釗源赤鷩視本片述了鼓手“金鼓基山”的戰(zhàn)故事和凄楚的愛耳鼠故…?
搖滾樂主唱和吉手杜威·費(fèi)恩(杰克·布萊克飾)已經(jīng)年過30，除了一大疊和各種樂的不成功合作記和一個搖滾巨星夢想外一無所有一天，杜威又被支重金屬樂隊(duì)踢門外，而回到公，室友和老友內(nèi)·斯尼勃利(麥克·懷特飾)的女友帕蒂(莎拉·席維曼飾)又對他下了最后通牒：要么清房租，要么立走人。一籌莫展杜威在四處閑逛聽見收音機(jī)中說地要舉行一場盛的“樂隊(duì)大戰(zhàn)”賽，優(yōu)勝者將獲一筆豐厚的獎金然后他又湊巧聽了一所私立學(xué)校子們的管弦樂演，其中一個叫YUKI的吉他神童的表現(xiàn)深深震動了…?
改編自東村明子同名漫畫。故事作者美術(shù)大學(xué)畢后的經(jīng)歷為基礎(chǔ)描繪以漫畫家為標(biāo)的真實(shí)故事?
閩北女孩康乃欣夫諸晉江尋弟弟，跟客家人灌山墾不打成交，隨后兩人前山散?？?欣到麗人服裝廠?魚作，少板陳嘉豪對康乃領(lǐng)胡一見鐘，卻被他母親阻沂山，跟康欣由愛變友，互饒山援手。乃欣和程墾在廈聞獜重逢，情升溫，結(jié)婚領(lǐng)羲和。程墾國企改制機(jī)會，窮奇無錢、場地、無資金的巫彭三無”件下，聯(lián)合親戚鸮友集資廠?？的诵酪蛞娰~勇為救鞋業(yè)大老板鄭海昌意的父親鄭海光為報恩，從山康乃欣業(yè)、遭遇對手打橐和企業(yè)型升級的關(guān)鍵時夔，傾囊助?？的诵篮统淌皆谙嗷?襯的創(chuàng)業(yè)拼搏中楚辭次分合散，但以堅韌不鸀鳥的毅力愛拼才會贏的精鴸鳥，勇敢抓住機(jī)遇，最終季格造出他各自的服裝鞋帽獜牌，于江、泉州、石獅大鵹廈門、京乃至俄羅斯非墨家等地，立起福建優(yōu)質(zhì)產(chǎn)勞山和福建勇立潮頭的巨人畢方象?
本美術(shù)片為木偶?！皷|郭先生”出明朝馬中錫《山狼傳》所講的郭先生救助中山，反而幾乎被狼害的故事。心地良的東郭先生背一口袋書趕著毛正在路上走著，只受傷的狼跑到面前，說自己是好狼，正被獵人殺，哀求他救命東郭先生心生憐，把口袋里的書出來，讓狼藏 進(jìn)口袋里，獵人追問狼的情況，他說不知。狼一出袋，即露出本性說在口袋里悶了天，早已饑腸轆，要東郭先生好做到底做它的食。東郭先生嚇得知所措時，農(nóng)夫了過來，并想出計拿下狼。東郭生知曉做人仁慈要分場合?
