A powerful dynasty, headed by a charismatic, manipulative father, falls when he decides to hand over his criminal empire to his three corrupt and power-hungry daughters. Kath runs a brothel down by the docks, Tracy owns a soccer team and Jo, a former junkie--and prostitute--rejects her inheritance, pitting sisters Kath and Tracy against each other.

Shaw characterised Saint Joan as "A Chronicle Play in 6 Scenes and an Epilogue". Joan, a simple peasant girl, hears voices which she claims to be those of Saint Margaret, Saint Catherine, and the archangel Michael, sent by God to guide her conduct.
Scene 1 begins with Robert de Baudricourt complaining about the inability of the hens on his farm to produce eggs. Joan claims that her voices are telling her to raise a siege against Orléans, and to allow her several of his men for this purpose. Joan also says that she will eventually crown the Dauphin in Rheims cathedral. de Baudricourt ridicules Joan, but his servant feels inspired by her words. de Baudricourt eventually begins to feel the same sense of inspiration, and gives his consent to Joan. The servant enters at the end of the scene to exclaim that the hens have begun to lay eggs again. de Baudricourt interprets this as a sign from God of Joan's divine inspiration.
In Scene 2 (8 March 1429), Joan talks her way into being received at the court of the weak and vain Dauphin. There, she tells him that her voices have commanded her to help him become a true king by rallying his troops to drive out the English occupiers and restore France to greatness. Joan succeeds in doing this through her excellent powers of flattery, negotiation, leadership, and skill on the battlefield.
In Scene 3 (29 April 1429), Dunois and his page are waiting for the wind to turn so that he and his forces can lay siege to Orléans. Joan and Dunois commiserate, and Dunois attempts to explain to her more pragmatic realities of an attack, without the wind at their back. Her replies eventually inspire Dunois to rally the forces, and at the scene's end, the wind turns in their favour.
Ultimately she is betrayed, and captured by the English at the siege of Compiègne. Scene 6 (30 May 1431) deals with her trial. John de Stogumber is adamant that she be executed at once. The Inquisitor, the Bishop of Beauvais, and the Church officials on both sides of the trial have a long discussion on the nature of her heresy. Joan is brought to the court, and continues to assert that her voices speak to her directly from God and that she has no need of the Church's officials. This outrages de Stogumber. She acquiesces to the pressure of torture at the hands of her oppressors, and agrees to sign a confession relinquishing the truth behind her voices, so that she can live a life in permanent confinement without hope of parole. Upon hearing this, Joan changes her mind:
Joan: "You think that life is nothing but not being dead? It is not the bread and water I fear. I can live on bread. It is no hardship to drink water if the water be clean. But to shut me from the light of the sky and the sight of the fields and flowers; to chain my feet so that I can never again climb the hills. To make me breathe foul damp darkness, without these things I cannot live. And by your wanting to take them away from me, or from any human creature, I know that your council is of the devil."
Joan accepts the ultimate punishment of death at the stake as preferable to such an imprisoned existence. de Stogumber vehemently demands that Joan then be taken to the stake for immediate execution. The Inquisitor and the Bishop of Beauvais excommunicate her and deliver her into the hands of the English. The Inquisitor asserts that Joan was fundamentally innocent, in the sense that she was sincere and had no understanding of the church and the law. de Stogumber re-enters, screaming and severely shaken emotionally after seeing Joan die in the flames, the first time that he has witnessed such a death, and realising that he has not understood what it means to burn a person at the stake until he has actually seen it happen. A soldier had given Joan two sticks tied together in a cross before the moment of her death. Bishop Martin Ladvenu also reports that when he approached with a cross to let her see the cross before she died, and he approached too close to the flames, she had warned him of the danger from the stake, which convinced him that she could not have been under the inspiration of the devil.
In the Epilogue, 25 years after Joan's execution, a new trial has cleared her of heresy. Brother Martin brings the news to the now-King Charles. Charles then has a dream in which Joan appears to him. She begins conversing cheerfully not only with Charles, but with her old enemies, who also materialise in the King's bedroom. An emissary from the present day (at the time of the play, the 1920s) brings news that the Catholic Church is to canonise her, in the year 1920. Joan says that saints can work miracles, and asks if she can be resurrected. At this, all the characters desert her one by one, asserting that the world is not prepared to receive a saint such as her. The last to leave is the English soldier, who is about to engage in a conversation with Joan before he is summoned back to hell at the end of his 24-hour respite. The play ends with Joan ultimately despairing that mankind will never accept its saints:
O God that madest this beautiful earth, when will it be ready to accept thy saints? How long, O Lord, how long?

《建筑大师》讲述了一位毁灭性的天才——索尔尼斯的故事。一场神秘的大火成就了他成为建筑大师的梦想，功成名就的他在晚年渴望登上巅峰。超常的活力、不羁的魅力吸引了年轻女子簇拥在他身边；年迈的大师行走在道德的边缘，对青春无限向往，但又惧怕青春的威胁。惹人艳羡的声誉背后，索尔尼斯的生活并不快乐。

妻子艾琳始终无法摆脱大火带给她的创伤，家庭中的气氛也因她而变得沉闷压抑。年轻女助手开雅被索尔尼斯所吸引，和他关系暧昧。绘图员瑞格纳逐渐展露出建筑设计才华，令大师倍感压力。瑞格纳也因未婚妻开雅迷恋索尔尼斯而对他怀有敌意。瑞格纳的父亲当年是索尔尼斯的老板，但后来变成他的下属，临终前只希望儿子能有一个出头的机会。十年前跟大师有着秘密约定的希尔达突然出现，她是天使?是烈焰?是猎食的鹰?还是梦想与欲望的化身?大师心中沉睡多年的国度被唤醒，深藏已久的秘密被揭开，他正一步步走向生命的巅峰……

1985 television film directed by Paul Wendkos

本片由导演伍迪·艾伦亲自出演，全片以章回的形式共提出了七个问题，分别触及了七个敏感而又令人尴尬的性的话题。依次分别是：“要春药吗？”、“何谓兽奸？”、“女人性冷感之迷中”、“同性恋异装癖”、“什么叫性异常”、“性学博士的实验可信吗？”、“射精时会怎样”。虽然不像武林秘笈中的某某宝典一样，传授的是不二法门的独家心法，但这部宝典还是力争做到百科全书一样的全面和权威。全片以章回的形式共提出了七个问题，也自然而然地分成了七段，它们分别触及了七个敏感而又令人尴尬的性的话题。