故事发生在公元前480年，精明强悍的波斯士兵在波斯国王薛西斯一世（大卫·法拉尔 David Farrar 饰）的带领下正来势汹汹地朝希腊进军，斯巴达城国王列奥尼达斯（理查德·伊甘 Richard Egan 饰）带领三百勇士和四千联军镇守最前线温泉关。叛徒的出卖让列奥尼达斯的军队成为了瓮中之鳖，情急之下，列奥尼达斯命令联军撤退，自己带领着三百勇士孤军奋战，死守温泉关。
面对敌方无边无际的列队，列奥尼达斯和他的勇士们早已经知道了此战的结局，然而，他们并没有胆怯，反而因为势单力敌而燃起了格外高涨的气势。经过两天两夜的殊死搏斗，波斯大军伤亡惨重，而斯巴达三百勇士亦长眠于温泉关之中。

An ordinary man, while vigorously asserting the impossibility of miracles, suddenly discovers that he can perform them.

War and women were his passions... and no island fortress could cage his lust for power!
1815. A soldier becomes the governor of St. Helena and jailer of Napoleon. High brow.

费弗森将军因儿子哈瑞，幼年只喜好诗词，怕有辱家族声誉，托好友苏顿大夫照应。
将军死后，哈瑞要求解除军职，因英埃联军将对苏丹用兵，被同伴视为懦夫，寄白羽毛羞辱他，但英军对苏丹用兵并不顺利，哈瑞赴埃及要求医生改容为当地土著，潜入前线，起原军团被回民打败，同伴非殉职即被俘入狱，哈瑞救好友杜伦斯上尉回英国阵地而被捕，旋即逃狱到哈土木营救同伴，英军终来到哈土木，哈瑞策动监狱暴动，控制一边城墙，英军收复哈土木，哈瑞成为大英雄。

Experimental aircraft of several countries are mysteriously vanishing during test flights over the sea. The latest is British, and Hammond of the Secret Service, comical but competent, investigates undercover. Also interested is waitress Kay, a disguised reporter...and Hammond's sister. The government and plane manufacturer Barrett think the whole business is just coincidence, but the 'Viking,' ostensible salvage ship controlled by a Foreign Power, has much to do with it...

一個表面美滿的五人家庭，各人背後均有著不可告人的秘密。
在女兒訂婚的晚上，身份神秘的探員突然到訪調查一宗年輕女子的自殺事件。這宗案件在這家庭翻起巨浪，令各人陷入精神崩潰狀態。

一個表面美滿的五人家庭，各人背後均有著不可告人的秘密。
在女兒訂婚的晚上，身份神秘的探員突然到訪調查一宗年輕女子的自殺事件。這宗案件在這家庭翻起巨浪，令各人陷入精神崩潰狀態。

The first act opens with Hirst's offering a drink to Spooner: "As it is?" – that is, neat (UK) or straight (U.S.) – and Spooner's reply: "As it is, yes please, absolutely as it is" (15). During the first act, Spooner claims to be a fellow poet and to have known his more illustrious literary host and mutual acquaintances and relationships in the past. Toward the end of act one, Hirst's keepers (quasi-body guards) "vagabond cock" Foster and Briggs seek to fend off the self-insinuating Spooner, leading Hirst "out of the room (52) and away from him. The act ends with a "Blackout" – visually demonstrating Foster's taunt: "Listen. You know what it's like when you're in a room with the light on and then suddenly the light goes out? I'll show you. It's like this. ... He turns the light out" (53).
During Act Two, in his increasingly inebriated state, Hirst may mistake or feign recognition of Spooner as an Oxbridge classmate from the 1930s, an apparently false impression which Spooner nevertheless encourages (68–78), leading both of them into a series of increasingly questionable reminiscences, which Hirst finally and abruptly undercuts: "This is outrageous! Who are you? What are you doing in my house?" going on to accuse Spooner of being an impostor: "You are clearly a lout. The Charles Wetherby I knew was a gentleman. I see a figure reduced. I am sorry for you. Where is the moral ardour that sustained you once? Gone down the hatch." – allusively and both wistfully and comically combining the clichés "Gone with the wind" and "Down the hatch," after which, Briggs "enters, pours whisky and soda, gives it to" Hirst, who "looks at it" and then says, "Down the hatch. Right down the hatch. (He drinks.)" (78). Hirst proclaims, "Let us change the subject. Pause. For the last time." (91), but immediately asks, "What have I said?" That leads the characters to debate what Hirst's phrase for the last time precisely "means" (91–94), leaving all of them, according to Spooner, "in no man's land. Which never moves, which never changes, which never grows older, but which remains forever icy and silent." Following the illustrative "Silence", Hirst utters the play's final words and provides its final action: "I'll drink to that" (95): "He drinks," paralleling the opening words of the first act ("As it comes?"), and the play ends, ambiguously, with a "SLOW FADE" of lights (95).

The first act opens with Hirst's offering a drink to Spooner: "As it is?" – that is, neat (UK) or straight (U.S.) – and Spooner's reply: "As it is, yes please, absolutely as it is" (15). During the first act, Spooner claims to be a fellow poet and to have known his more illustrious literary host and mutual acquaintances and relationships in the past. Toward the end of act one, Hirst's keepers (quasi-body guards) "vagabond cock" Foster and Briggs seek to fend off the self-insinuating Spooner, leading Hirst "out of the room (52) and away from him. The act ends with a "Blackout" – visually demonstrating Foster's taunt: "Listen. You know what it's like when you're in a room with the light on and then suddenly the light goes out? I'll show you. It's like this. ... He turns the light out" (53).
During Act Two, in his increasingly inebriated state, Hirst may mistake or feign recognition of Spooner as an Oxbridge classmate from the 1930s, an apparently false impression which Spooner nevertheless encourages (68–78), leading both of them into a series of increasingly questionable reminiscences, which Hirst finally and abruptly undercuts: "This is outrageous! Who are you? What are you doing in my house?" going on to accuse Spooner of being an impostor: "You are clearly a lout. The Charles Wetherby I knew was a gentleman. I see a figure reduced. I am sorry for you. Where is the moral ardour that sustained you once? Gone down the hatch." – allusively and both wistfully and comically combining the clichés "Gone with the wind" and "Down the hatch," after which, Briggs "enters, pours whisky and soda, gives it to" Hirst, who "looks at it" and then says, "Down the hatch. Right down the hatch. (He drinks.)" (78). Hirst proclaims, "Let us change the subject. Pause. For the last time." (91), but immediately asks, "What have I said?" That leads the characters to debate what Hirst's phrase for the last time precisely "means" (91–94), leaving all of them, according to Spooner, "in no man's land. Which never moves, which never changes, which never grows older, but which remains forever icy and silent." Following the illustrative "Silence", Hirst utters the play's final words and provides its final action: "I'll drink to that" (95): "He drinks," paralleling the opening words of the first act ("As it comes?"), and the play ends, ambiguously, with a "SLOW FADE" of lights (95).

1952 film by George More O'Ferrall

　　历史上最受争议的短篇电视连续剧之一，当导演佛朗哥.泽菲雷里公开宣布他在本片中是把耶稣当作一般人、而不是宗教偶像来描写时，电视剧遭到了有关方面的仔细检查并引起争议。宗教激进分子们甚至在电视剧于1977年4月3日在电视台首播之前就开始表示强烈的抗议，尽管很多赞助商表示不 再支持这部电视剧，但NBC还是决定如期播放它，结果取得了出人意料的效果，使得本片成为有史以来最成功的电视剧之一

婴儿约翰·克莱顿父母双亡，被母猿卡拉抱走。在卡拉抚养下，婴儿长大成人，视卡拉如生身母亲，取名泰山，泰山在猿类语言中是“白皮肤”的意思。泰山成为人猿之王。人类对森林袭击，卡拉丧生，泰山偶然救了比利时船长菲力普·达诺特。船长根据泰山颈上的项链，发现他原来是格雷斯托伯爵庄园的合法继承人，就把他带回英国。泰山逐渐学会了绅士应有的仪表风度，并与简·波特小姐订婚。泰山对博物馆中的动物标本感到震惊，他目睹自己的人猿“父亲”被人开枪打死，不愿再在文明社会中生活下去。最后，泰山告别心爱的未婚妻和好友达诺特船长，重新回到他的家园非洲丛林。

It is pouring with rain at one minute to midnight on Friday the thirteenth, and the driver of a London bus is peering through his blurred windscreen as his vehicle sails down an empty road. Suddenly, lightning strikes, and a vast crane above topples into the path of the oncoming bus... Then Big Ben begins to wind backwards. Time recedes. And we discover the lives of all the passengers and the events that brought them to that late-night bus journey, from the con-man with a hundred-pound cheque to the businessman's distraught and elderly wife. Time flows on, inevitably, to the crash -- and past it, as some live and some die.