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青少年国学素养培育节目。全季十二期节目，每期围绕一个核心主题，编创适合青少年参与的文艺、戏剧作品。使中华民族的传统美德，以喜闻乐见的传播方式，根植于青少年内心，成长为传统文化的优秀传承者。。托尼（纳萨尼尔·马斯顿 Nathaniel Marston 饰）拥有英俊帅气的外表和非常成功的事业，在外人看来，托尼几乎是一个完美无瑕的男人。数周后，他即将和相恋多年的女友携手步入婚姻的殿堂，人生可谓是一帆风顺。 托尼唯一的弱点，就是他是一名百分之百恐同的男人，对同性恋者可谓是恨之入骨避之不及，巧合的是，托尼公司里新来的职员斯蒂夫（汤姆·阿齐迪肯 Tom Archdeacon 饰）正好就是一名同性恋者。这下托尼可逮着了，每天都在对斯蒂夫进行无情的羞辱和嘲笑，并且以此为乐。哪知道在误打误撞之中，托尼竟然出发了圣诞魔咒，他发现自己竟然喜欢上了男人！婚礼还有两周就要举行了，在两周内，他必须找出恢复正常的方法。。The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich| his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.。