该剧讲述儿时相识的男女在长大后再次相遇挑战减肥、感悟爱与健康的浪漫喜剧。

曾经，西蒙（阿尔·帕西诺 Al Pacino 饰）是业界炙手可热的莎士比亚悲剧演员，创造过无数辉煌，打破过无数记录，然而，西蒙如今已经老去，他的事业亦因此而凋零，过分沉溺于戏剧世界的他混淆了现实与虚幻，人生走入了死胡同之中无法回头。
某日，在康涅狄格州的一座疗养院里，西蒙遇见了名为佩吉（格蕾塔·葛韦格 Greta Gerwig 饰）的女子。佩吉的年龄只有西蒙的一半大，然而，这并没能阻止两人迅速的坠入了爱河。这段忘年恋遭到了几乎所有人的反对，但西蒙却依然沉浸在幸福的喜悦中无法自拔。随着时间的推移，当爱情的魔法渐渐消失，现实的压力渐渐增大，西蒙是否还能够坚持自己的选择呢？

妳生命中沒有一個性，是與另一個性，一模一樣的。
性，乃妳的心，加妳的生。
張亦絢短篇小說集
從此身敗名裂的小說
附錄張亦絢、葉佳怡9000字對談
葉佳怡：《性意思史》似乎像一種「世故的倒帶手法」，去幫助讀者再一次發現「性」。而少女是在這個過程中產生的一套輕巧編碼系統，透過這樣的編碼系統，讀者幾乎可以回到「性別角色」之前的「前性別」的時期，去撫摸到關於人的「樣子」的各種曖昧邊角。
張亦絢：為什麼強調「性」呢，主要是我發現，許多事物，仍因為「性」卡住，但也有另一種相反傾向，所謂「性大於一切」，又造成對其他事物的貶低忽略——這個傾向的副作用，就是例如認為膽怯不可以、保守就壞、羞恥必逐、不確定就不耐煩、哀傷太低級——簡言之，就是「感情不可」。我想克服的確實就是對性與感情「兩者必擇一」的這種方便慣性。——摘自附錄〈在性意思間繼續摩擦：如果妳我本是雙頭龍〉
關於性，我們都複雜，也都單純。
幾乎從來沒有人提醒我們，注意妳的性在哪裡，記得它為何發生，看見它的許多形狀、死滅或光亮。我花時間紀錄過綠豆與黃豆如何長大、有陣子每天都得觀察蠶寶寶吃了桑葉沒有......為什麼，沒人用一種說「嗨」的方式讓我知道，妳當留意......。妳生命中沒有一個性，是與另一個性，一模一樣的......。它們從不重來，一朝一命。
本書收錄四篇小說，成篇最早的〈淫婦不是一天造成的〉，是應《金瓶梅同人誌》的邀稿寫成，是一篇以蘭陵笑笑生《金瓶梅》人物為底的新小說。小說裡的潘金蓮與白玉蓮，都是原來《金瓶梅》中就有的人物。〈四十三層樓〉則是應「字母會」的企畫寫成，〈性意思史〉既是12篇文本也是一個作品，原是刊在《聯合文學》的專欄。〈風流韻事〉延續〈性意思史〉的筆調，算是〈性意思史〉的第二部。張亦絢：「出現在這本小說集中的，是我在心裡放了非常多年的素材，也是我非常在乎的東西。」
如果我有女兒，我會送《性意思史》給她，作為青春的禮物，這樣她就可以看到性的各種面貌：可愛、好笑、好玩、迷人、悲傷、可怕、荒涼、療癒……（是的，性就像人一樣，是很複雜的哦）但是我沒有女兒，所以我把《性意思史》送給自己心中的少女，這青春的禮物，來得一點都不遲。——作家 林蔚昀
文體如身體，羨慕張亦絢「永不出櫃」的衣櫃有那麼多身體，層層疊疊，鬆鬆緊緊——這說的是皮膚，或者文字，她卻永遠在乎並企圖更深：表面的裡面，上面的下面，後面的前面，畢竟，「沒有一個性，是與另一個性，一模一樣的……」身體也是。
讀《性意思史》，感覺書中所要顯露的，並非色情，而是知情。與身體有關的記憶及政治，全都在小說所允許的誠實中滔滔掏出。這絕不是容易的事。一如我們對待自己身體常有的陌生或漠視，挖掘性欲的手勢也可能跟日常扒飯一樣潦草了事，如何竟可以看穿自己和性欲、和他人之間，那道實存的「隱形牆」？
知情更淫。她所能見，所欲見，所呵護，所對抗，是時間向所有人敞開卻未有人曾牴觸（或觸而未覺，無法以文體或身體留下敘事）的洞穴，穿過明暗迂迴的獸徑，她一次次徒手交回，對我而言極其貴重的啟蒙：性亦是死。在「一朝一命」，各種各樣的小死亡之後，唯有歷劫歸來的人，才能冰清玉潔地說：「性，乃妳的心，加妳的生。」
名人推薦
林蔚昀、孫梓評、陳栢青、諶淑婷 一致推薦
極其貴重的啟蒙——孫梓評
我把《性意思史》送給自己心中的少女，這青春的禮物，來得一點都不遲。——林蔚昀
這是一本沒有人寫過的心的故事，也是一本沒有人該忽略的生的斷代史。——詩人 孫梓評
當人們讚美女人很「知性」，往往是藉此取消她的身體。當人們說這女人很知「性」，太知道性，一下又太多身體，是小男生總愛彼此幹拐子擠眉弄眼傳耳語。張亦絢這批小說讓兩者並置，並讓他們互相抵消，豈止「知性」，更能知「性」，不多不少還原最初的身體，其實是不黏不膩還原最初的性。如果整個人類文明演進只為了傳達一件事情，知「性」近乎恥。那張亦絢的小說做到一件事情：知恥。近乎勇。她指出世界是怎麼寫出這個大大的恥字，但知恥是一回事，那又怎麼樣呢？把句號打上，把身體打開，《性意思史》讓羞恥的變勇敢。讓終於勇敢起來的，別因此羞愧。——作家 陳栢青
談性似乎沒什麼了不起，但我們其實從沒真正在談，我們在怕。只是畏懼的是性，還是生命的重量與心無法真誠？——文字工作者 諶淑婷

Throwing down the theoretical gauntlet, Lee Edelman outlines a radically uncompromising new ethics of queer theory. His searing polemic takes aim at the figure of the child, whom he contends is the lynchpin of an entire rhetoric and politics of "reproductive futurity." Edelman argues that in the popular imaginary, the child - innocent, angelic, and imperiled - represents the possibility of the future and the queer is constructed as its radical negation, as the embodiment of morbidity, corruption, and stasis. He insists that in such a thoroughly heteronormative culture, the efficacy of queerness lies in its resistance to the social and political order.In "No Future", Edelman urges queers to abandon accommodation and embrace their status as figures beyond the consensus of those always "fighting for the children." Looking to literature and film, "No Future" offers several models of queer characters who take a perverse pleasure in repudiating the cult of the child. Edelman makes a compelling case for imagining Charles Dickens' Ebeneezer Scrooge without Tiny Tim and George Eliot's Silas Marner without little Eppie.Looking to Alfred Hitchcock's films "North by Northwest" and "The Birds", he embraces two of the director's most notorious creations: the sadistic Leonard stepping on the hand that holds the heterosexual couple above the abyss and the birds themselves, predators attacking couples and children. Edelman breathes new life into psychoanalytic theory as he brings it to bear not just upon film and literature but also upon current political issues such as gay marriage and gay parenting. A call to arms for a queer theory too often banalized, "No Future" is sure to incite passionate debate.

亚当·桑德勒饰演的力奇是一个害羞和笨拙的人，同时他却是魔鬼撒旦的儿子。当老撒旦垂死时，他交托力奇接管他的魔鬼事业。但力奇本性善良，决定将地狱变得『亲切』化，但唯一的障碍就是他那两个已落凡间，到处作恶的兄弟，于是他首先要做的就是去纽约把他兄弟的邪恶力量征服。

本片由韩国性少数者父母委员会制作、韩国电影振兴委员会、釜山国际电影节后援。影片主人公的职业各有特色：微微安是机场国际线乘务员，从业27年，熟悉同性情侣乘客，但却从没想过自己的孩子是一个男同性恋者；蝴蝶是消防员，从业34年，在得知自己的孩子是跨性别男性之前对Bigender/ Panromantic/Asexuality这些单词是完全陌生的，孩子要求做性别转换手术时第一时间想到的也是“你明明都不能挣钱”。她们从保守的“儒教母亲”转变成坚定的性少数群体支持者，观众可以从片段的采访中充分感受到她们艰难的心态转变之路，以及她们始终不变的那颗爱孩子的心。

What constitutes a "real" man or woman in the twenty-first century? Since birth control pills, erectile dysfunction remedies, and factory-made testosterone and estrogen were developed, biology is definitely no longer destiny.
In this penetrating analysis of gender, Paul B. Preciado shows the ways in which the synthesis of hormones since the 1950s has fundamentally changed how gender and sexual identity are formulated, and how the pharmaceutical and pornography industries are in the business of creating desire. This riveting continuation of Michel Foucault's The History of Sexuality also includes Preciado's diaristic account of his own use of testosterone every day for one year, and its mesmerizing impact on his body as well as his imagination.

《男男正傳》，記錄了六十三歲到八十九歲的一群老年男同志的歲月故事，
在男同志似乎永遠青春澎湃慾望奔騰的形象外靜靜述說著具體生命的平凡與精彩。

Lala (lesbian) and gay communities in mainland China have emerged rapidly in the 21st century. Alongside new freedoms and modernizing reforms, and with mainstream media and society increasingly tolerant, lalas still experience immense family and social pressures to a degree that this book argues is deeply gendered. The first anthropological study to examine everyday lala lives, intimacies, and communities in China, the chapters explore changing articulations of sexual subjectivity, gendered T-P (tomboy-wife) roles, family and kinship, same-sex weddings, lala-gay contract marriages, and community activism. Engebretsen analyzes lala strategies of complicit transgressions to balance surface respectability and undeclared same-sex desires, why "being normal" emerges a deep aspiration and sign of respectability, and why openly lived homosexuality and public activism often are not.
Queer Women in Urban China develops a critical ethnographic analysis through the conceptual lens of "different normativities," tracing the paradoxes and intricacies of the desire for normal life alongside aspirations for recognition, equality, and freedom, and argues that dominant paradigms fixed on categories, identities, and the absolute value of public visibility are ill-equipped to fully understand these complexities. This book complements existing perspectives on sexual and gender diversity, contemporary China, and the politics and theories of justice, recognition, and similitude in global times.

西恩（瑞恩·菲利普 Ryan Phillippe 饰）是一个来自于小地方的穷小子，怀抱着梦想，他只身来到了纽约这座繁华而喧嚣的城市。在这里，一个名为“54俱乐部”的神秘组织吸引着他的注意，能够成为这个俱乐部中的一员是西恩梦寐以求的事情。54俱乐部位于曼哈顿城的54号街上，史帝夫（麦克·梅尔斯 Mike Myers 饰）是它的创始人。俱乐部中充斥着各种使人或是意乱情迷或是狂欢放纵的元素，人们来到这里，单纯的享受着音乐和性带来的快感。
不仅仅是西恩，西恩的同事葛列格（布瑞金·梅耶 Breckin Meyer 饰），美丽的舞女安妮塔（萨尔玛·海耶克 Salma Hayek 饰），他们都将进入54俱乐部当做了自己的梦想。而当梦想实现的那一天来到时，他们的人生会发生怎样的变化？

大卫（艾丹·奎因 Aidan Quinn 饰）是就职于耶鲁耶稣学院的灵学教授，某日，他收到艾德布鲁克家三兄妹的邀请，前往宅邸调查发生在那里的灵异事件。罗伯特（安东尼·安德鲁斯 Anthony Andrews 饰）带人冷淡而疏离，西蒙（Alex Lowe 饰）则恰恰相反，是个热情活泼的年轻人，最让大卫在意的，是最小的妹妹克里斯汀娜（凯特·贝金赛尔 Kate Beckinsale 饰），她的自信和独立深深的吸引着大卫。
随着时间的推移，大卫无法抵挡克里斯汀娜的魅力，和她走到了一起，与此同时，宅子里接二连三发生的灵异事件一次又一次的挑战着大卫的信仰。某日，大卫竟然看到了自己死去的妹妹朱丽叶特（Victoria Shalet 饰）的灵魂，在朱丽叶特的引导之下，大卫走进了一个隐藏多年的秘密之中。

酷儿理论不是指某种特定的理论，而是多种跨学科理论的综合，它来自历史、社会学、文学等多种学科。酷儿理论是对社会性别身份与性欲之间关系的严重挑战。它的前身是各种与同性恋有关的理论；它的哲学背景是后结构主义和后现代理论；它的终极目标是圆满解决性别和性倾向的问题，创造新的人际关系格局，创造人类新的生活方式。

《惡女書》為十年前陳雪的第一本小說創作，不但變成了陳雪的「代名詞」，也是許多研究她的學生、學者、評論者必然會提到的重點書單。本書共收錄〈尋找天使遺失的翅膀〉、〈異色之屋〉、〈夜的迷宮〉、〈貓死了之後〉四篇中篇，以第一人稱告白體，書寫女同性戀充滿罪惡感卻又耽溺其中的情慾，在看似淫蕩敗德的字裡行間，流露的是被社會主流價值所壓抑的痛苦與悲哀。作者述說的是關於「人內在」的故事，不只是女性的，不只是同性戀的，更不只是情慾的，而是企圖用文字與肉身極力抵抗所謂「唯一的真實」。

What does it mean to be queer in a Confucian society in which kinship roles, ties, and ideologies are of such great importance? This book makes sense of queer cultures in China—a country with one of the largest queer populations in the world—and offers an alternative to Euro-American blueprints of queer individual identity. This book contends that kinship relations must be understood as central to any expression of queer selfhood and culture in contemporary cultural production in China. Using a critical approach—“queering Chinese kinship”—Lin Song scrutinizes the relationship between queerness and family relations, and questions Eurocentric queer culture’s frequent assumption of the separation of queerness from blood family.
Offering five case studies of queer representations across a range of media genres, this book also challenges the tendency in current scholarship on Chinese and East Asian queerness to understand queer cultures as predominantly counter-mainstream, marginal, and underground. Shedding light on the representations of queerness and kinship in independent and subcultural as well as commercial and popular cultural products, the book presents a more comprehensive picture of queerness and kinship in flux and highlights queer politics as an integral part of contemporary Chinese public culture.

1992年，B•卢比•里奇在《乡村之声》上发表了一篇具有开创性的文章，定义了一种全新的电影类型——新酷儿电影。这场电影和视频界的运动引起了政治和美学的巨大创新。如今，这一电影类型已经不断壮大，涉及到整整一代酷儿艺术家、电影人和活动家。
身兼评论家、策展人、记者和学者多重身份的里奇，自新酷儿电影的概念出现之时起就与之有着千丝万缕的联系。本书收集了她关于新酷儿电影的优秀文章，并加入了她对于这一话题的新想法。里奇向我们介绍了这场电影运动自20世纪80年代起源以来所诞生的先驱代表，如德里克•贾曼和艾萨克•朱利安，同时详细研究了《钓鱼去》《断背山》《女权俱乐部》和《米尔克》等著名电影，探索了部分鲜为人知的电影作品，并记录了近期银幕上、网络上、艺术画廊中的新酷儿电影的代表作品。

In early twentieth-century China, age-old traditions of homosocial and homoerotic relationships between women suddenly became an issue of widespread public concern. Discussed formerly in terms of friendship and sisterhood, these relationships came to be associated with feminism, on the one hand, and psychobiological perversion, on the other—a radical shift whose origins have long been unclear.
In this first ever book-length study of Chinese lesbians, Tze-lan D. Sang convincingly ties the debate over female same-sex love in China to the emergence of Chinese modernity. As women's participation in social, economic, and political affairs grew, Sang argues, so too did the societal significance of their romantic and sexual relations. Focusing especially on literature by or about women-preferring women, Sang traces the history of female same-sex relations in China from the late imperial period (1600-1911) through the Republican era (1912-1949). She ends by examining the reemergence of public debate on lesbians in China after Mao and in Taiwan after martial law, including the important roles played by globalization and identity politics.

推荐这本书，心里颇有些矛盾：一方面，本来内容就有些单薄的小册子里居然有一半篇幅印着荒唐可笑的序言、前言、导读，这样的书还值得认真对待吗？可另一方面，关于福柯学说在英美同性恋理论中的地位和影响，国内一直没有比较清晰的介绍。好歹这是第一本。最终，我想，只要其有一言可取，我们就不妨取其一言吧，至于此外的部分，干脆撕去算了。 此书最大的意义，也许还在于着重指出了女学者朱迪丝·巴特勒对福柯学说的深化和批判。巴特勒是当今性别研究和酷儿理论领域中最深刻的思想家，从某种程度上来说，她比福柯更激进，比福柯走得更远。

Chinese-speaking popular cultures have never been so queer in this digital, globalist age. The title of this pioneering volume, Boys' Love, Cosplay, and Androgynous Idols: Queer Fan Cultures in Mainland China, Hong Kong, and Taiwan already gives an idea of the colorful, multifaceted realms the fans inhabit today. Contributors to this collection situate the proliferation of (often online) queer representations, productions, fantasies, and desires as a reaction against the norms in discourses surrounding nation-states, linguistics, geopolitics, genders, and sexualities.
Moving beyond the easy polarities between general resistance and capitulation, Queer Fan Cultures explores the fans' diverse strategies in negotiating with cultural strictures and media censorship. It further outlines the performance of subjectivity, identity, and agency that cyberspace offers to female fans. Presenting a wide array of concrete case studies of queer fandoms in Chinese-speaking contexts, the essays in this volume challenge long-established Western-centric and Japanese-focused fan scholarship by highlighting the significance and specificities of Sinophone queer fan cultures and practices in a globalized world. The geographic organization of the chapters illuminates cultural differences and the other competing forces shaping geocultural intersections among fandoms based in Mainland China, Hong Kong, and Taiwan.

A troubling account of heterosexual desire in the era of #MeToo
Heterosexuality is in crisis. Reports of sexual harassment, misconduct, and rape saturate the news in the era of #MeToo. Straight men and women spend thousands of dollars every day on relationship coaches, seduction boot camps, and couple’s therapy in a search for happiness.
In The Tragedy of Heterosexuality, Jane Ward smartly explores what, exactly, is wrong with heterosexuality in the twenty-first century, and what straight people can do to fix it for good. She shows how straight women, and to a lesser extent straight men, have tried to mend a fraught patriarchal system in which intimacy, sexual fulfillment, and mutual respect are expected to coexist alongside enduring forms of inequality, alienation, and violence in straight relationships.
Ward also takes an intriguing look at the multi-billion-dollar self-help industry, which markets goods and services to help heterosexual couples without addressing the root of their problems. Ultimately, she encourages straight men and women to take a page out of queer culture, reminding them “about the human capacity to desire, fuck, and show respect at the same time.”

This book analyses queer cultural production in contemporary China to map the broad social transformations in gender, sexuality and desire. It examines queer literature and visual cultures in China's post-Mao and postsocialist era to show how these diverse cultural forms and practices not only function as context-specific and culturally sensitive forms of social activism but also produce distinct types of gender and sexual subjectivities unique to China's postsocialist conditions.

From poetry to papercutting art, from 'comrade/gay literature' to girls' love fan fiction, from lesbian films to activist documentaries, and from a drag show in Shanghai to a public performance of a same-sex wedding in Beijing, the book reveals a queer China in all its ideological complexity and creative energy. Empirically rich and methodologically eclectic, Queer China skilfully weaves together historical and archival research, textual and discourse analysis, along with interviews and ethnography.

Breaking new ground and bringing a non-Western perspective to the fore, this transdisciplinary work contributes to multiple academic fields including literary and cultural studies, media and communication studies, film and screen studies, contemporary art, theatre and performance studies, gender and sexuality studies, China/Asia and Global South studies, cultural history and cultural geography, political theory and the study of social movements.