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东方卫视《极限挑战》国庆期间带来番外篇。10月5日晚22:00播出的节目中，黄渤、黄磊、孙红雷、罗志祥、王迅、张艺兴六位“男人帮”成员首度迎来“极限团体战”，对抗由徐峥带领的“港囧队”。 、番外篇中，极限男人帮收到了来自《港囧》导演徐峥的挑战。在“放风筝大战”中，徐峥、苑琼丹、林雪、李璨琛、赵英俊等人组成的“天水围队”，输给挑战极限男人帮组成的“甘水围队”。徐峥队的李璨琛受到“石榴姐”苑琼林的“指使”，偷偷“潜伏”到极限男人帮身边，打算实施捣乱计划，“军师”黄磊派遣队里的两位“实力坏叔叔”孙红雷、黄渤前去反击，男人帮们全体玩嗨……。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.。