剧中将会描述当时究竟发生了甚么引致这事故，而且当年勇敢的众人是如何牺牲自己拯救处于灾难中的欧洲

创作灵感来自真实事件，Hereward是一个生存在充满暴力、血腥和杀戮的世界的修道士。他的职责是护送Holy Gospel of Lindisfarne安全到达 Lona
修道院，而此时正有一名海盗堵截他。在他去往修道院的途中，他遇到了一位愿意用生命保护他护送这本书的顶尖剑客。在他们前行的道路上要面对的准
备杀死他们夺走那本书的海盗。

这部史诗剧改编自戴安娜·盖伯顿的畅销奇幻浪漫小说系列，讲述了两位时空交错的恋人之间发生的曲折故事。

Act I

A night in winter

[Scene 1]

Aston has invited Davies, a homeless man, into his apartment after rescuing him from a bar fight (7–9). Davies comments on the apartment and criticizes the fact that it is cluttered and badly kept. Aston attempts to find a pair of shoes for Davies but Davies rejects all the offers. Once he turns down a pair that doesn’t fit well enough and another that has the wrong colour laces. Early on, Davies reveals to Aston that his real name is not "Bernard Jenkins", his "assumed name", but really "Mac Davies" (19–20, 25). He claims that his papers validating this fact are in Sidcup and that he must and will return there to retrieve them just as soon as he has a good pair of shoes. Aston and Davies discuss where he will sleep and the problem of the "bucket" attached to the ceiling to catch dripping rain water from the leaky roof (20–21) and Davies "gets into bed" while "ASTON sits, poking his [electrical] plug (21).

[Scene 2]
The LIGHTS FADE OUT. Darkness.

LIGHTS UP. Morning. (21) As Aston dresses for the day, Davies awakes with a start, and Aston informs Davies that he was kept up all night by Davies muttering in his sleep. Davies denies that he made any noise and blames the racket on the neighbors, revealing his fear of foreigners: "I tell you what, maybe it were them Blacks" (23). Aston informs Davies that he is going out but invites him to stay if he likes, indicating that he trusts him (23–24), something unexpected by Davies; for, as soon as Aston does leave the room (27), Davies begins rummaging through Aston's "stuff" (27–28) but he is interrupted when Mick, Aston’s brother, unexpectedly arrives, "moves upstage, silently," "slides across the room" and then suddenly "seizes Davies' "arm and forces it up his back," in response to which "DAVIES screams," and they engage in a minutely-choreographed struggle, which Mick wins (28–29), ending Act One with the "Curtain" line, "What's the game?" (29).
Act II

[Scene 1]
A few seconds later

Mick demands to know Davies' name, which the latter gives as "Jenkins" (30), interrogates him about how well he slept the night before (30), wonders whether or not Davies is actually "a foreigner"—to which Davies retorts that he "was" indeed (in Mick's phrase) "Born and bred in the British Isles" (33)—going on to accuse Davies of being "an old robber […] an old skate" who is "stinking the place out" (35), and spinning a verbal web full of banking jargon designed to confuse Davies, while stating, hyperbolically, that his brother Aston is "a number one decorator" (36), either an outright lie or self-deceptive wishful thinking on his part. Just as Mick reaches the climactic line of his diatribe geared to put the old tramp off balance—"Who do you bank with?" (36), Aston enters with a "bag" ostensibly for Davies, and the brothers debate how to fix the leaking roof and Davies interrupts to inject the more practical question: "What do you do . . . when that bucket's full?" (37) and Aston simply says, "Empty it" (37). The three battle over the "bag" that Aston has brought Davies, one of the most comic and often-cited Beckettian routines in the play (38–39). After Mick leaves, and Davies recognises him to be "a real joker, that lad" (40), they discuss Mick's work in "the building trade" and Davies ultimately discloses that the bag they have fought over and that he was so determined to hold on to "ain't my bag" at all (41). Aston offers Davies the job of Caretaker, (42–43), leading to Davies' various assorted animadversions about the dangers that he faces for "going under an assumed name" and possibly being found out by anyone who might "ring the bell called Caretaker" (44).

[Scene 2]

THE LIGHTS FADE TO BLACKOUT.
THEN UP TO DIM LIGHT THROUGH THE WINDOW.
A door bangs.
Sound of a key in the door of the room.
DAVIES enters, closes the door, and tries the light switch, on, off, on, off.

It appears to Davies that "the damn light's gone now," but, it becomes clear that Mick has sneaked back into the room in the dark and removed the bulb; he starts up "the electrolux" and scares Davies almost witless before claiming "I was just doing some spring cleaning" and returning the bulb to its socket (45). After a discussion with Davies about the place being his "responsibility" and his ambitions to fix it up, Mick also offers Davies the job of "caretaker" (46–50), but pushes his luck with Mick when he observes negative things about Aston, like the idea that he "doesn't like work" or is "a bit of a funny bloke" for "Not liking work" (Davies' camouflage of what he really is referring to), leading Mick to observe that Davies is "getting hypocritical" and "too glib" (50), and they turn to the absurd details of "a small financial agreement" relating to Davies' possibly doing "a bit of caretaking" or "looking after the place" for Mick (51), and then back to the inevitable call for "references" and the perpetually-necessary trip to Sidcup to get Davies' identity "papers" (51–52).

[Scene 3]
Morning

Davies wakes up and complains to Aston about how badly he slept. He blames various aspects of the apartment's set up. Aston suggests adjustments but Davies proves to be callous and inflexible. Aston tells the story of how he was checked into a mental hospital and given electric shock therapy, but when he tried to escape from the hospital he was shocked while standing, leaving him with permanent brain damage; he ends by saying, "I've often thought of going back and trying to find the man who did that to me. But I want to do something first. I want to build that shed out in the garden" (54–57). Critics regard Aston's monologue, the longest of the play, as the "climax" of the plot.[3] In dramaturgical terms, what follows is part of the plot's "falling action".
Act III

[Scene 1]
Two weeks later [… ]Afternoon.

Davies and Mick discuss the apartment. Mick relates "(ruminatively)" in great detail what he would do to redecorate it (60). When asked who "would live there," Mick's response "My brother and me" leads Davies to complain about Aston's inability to be social and just about every other aspect of Aston's behaviour (61–63). Though initially invited to be a "caretaker," first by Aston and then by Mick, he begins to ingratiate himself with Mick, who acts as if he were an unwitting accomplice in Davies' eventual conspiracy to take over and fix up the apartment without Aston's involvement (64) an outright betrayal of the brother who actually took him in and attempted to find his "belongings"; but just then Aston enters and gives Davies yet another pair of shoes which he grudgingly accepts, speaking of "going down to Sidcup" in order "to get" his "papers" again (65–66).

[Scene 2]
That night

Davies brings up his plan when talking to Aston, whom he insults by throwing back in his face the details of his treatment in the mental institution (66–67), leading Aston, in a vast understatement, to respond: "I . . . I think it's about time you found somewhere else. I don't think we're hitting it off" (68). When finally threatened by Davies pointing a knife at him, Aston tells Davies to leave: "Get your stuff" (69). Davies, outraged, claims that Mick will take his side and kick Aston out instead and leaves in a fury, concluding (mistakenly): "Now I know who I can trust" (69).

[Scene 3]
Later

Davies reenters with Mick explaining the fight that occurred earlier and complaining still more bitterly about Mick's brother, Aston (70–71). Eventually, Mick takes Aston's side, beginning with the observation "You get a bit out of your depth sometimes, don't you?" (71). Mick forces Davies to disclose that his "real name" is Davies and his "assumed name" is "Jenkins" and, after Davies calls Aston "nutty", Mick appears to take offense at what he terms Davies' "impertinent thing to say," concludes, "I'm compelled to pay you off for your caretaking work. Here's half a dollar," and stresses his need to turn back to his own "business" affairs (74). When Aston comes back into the apartment, the brothers face each other," "They look at each other. Both are smiling, faintly" (75). Using the excuse of having returned for his "pipe" (given to him earlier through the generosity of Aston), Davies turns to beg Aston to let him stay (75–77). But Aston rebuffs each of Davies' rationalisations of his past complaints (75–76). The play ends with a "Long silence" as Aston, who "remains still, his back to him [Davies], at the window, apparently unrelenting as he gazes at his garden and makes no response at all to Davies' futile plea, which is sprinkled with many dots (". . .") of elliptical hesitations (77–78).

剧中将会描述当时究竟发生了甚么引致这事故，而且当年勇敢的众人是如何牺牲自己拯救处于灾难中的欧洲

2001 miniseries by Uli Edel

《贪婪》和《难得幸福》的Steve Coogan确认出演BBC1台的剧情剧《清算》（The Reckoning），挑战一个充满争议的“丑闻型”故事。 　　这个项目从2020年10月确认开发时就曾经遭到质疑，但如今随着Steve将领衔主演的选角确认，该剧依然在轨道上保持运行。 　　剧集聚焦了Jimmy Savile的故事，作为初代唱片骑师、资深音乐节目主持的电视名人，Jimmy曾经享受了许多成就，也获得过大英帝国勋章的表彰；但在2011年于84岁去世之后，2012年一个纪录片展开的调查却揭开了更丑陋的事实：从上世纪六十年代起，他开始有对未成年人进行不当接触的行为。而BBC的默许以及彼时糟糕的业态文化，让他更加肆无忌惮，将魔爪伸向了更多的年轻女性，甚至是75岁的精神障碍患者；超过450人就其的行为展开了投诉与报告。而2016年的一次调查显示，有11位受害者甚至年龄小于12岁。 　　曾经与Steve在《斯坦和奥利》合作过、也同样担任本剧主创的编剧Jeff Pope，认为这是个值得重述的故事。它不仅仅关于恶行，也会去审视为何Jimmy能够在生前相干无事。BBC的戏剧部门也提到了此次剧作化的意义，表示这将会是一个回顾自身的机会，也要让更多人的声音可以被听到。

在德里斯科尔一家中，一场激烈的权力斗争将他们逼至绝境，迫使他们不得不离开那个他们称之为家的国家。

Dal y Mellt（威尔士语，意为“捕捉闪电”）改编自同名小说。故事讲述了卡波陷入困境的故事，他陷入了一个充满不法行为、谎言、秘密和盗窃的世界。

今年是一战爆发100周年，BBC推出了多个纪念节目，本片即为其中之一；《战前37天》主要讲述了战争爆发前37天的政治博弈。

讲述Chad Cutler(迈克尔·法斯宾德)想要脱离自己的黑帮家族的故事。

杰森是古希腊王国的王位继承人，但小小年纪的他亲眼目睹了亲叔叔珀利阿斯如何为了王位残忍地谋害了父亲。侥幸逃命之后，杰森远离了故土。20年后，杰森回国要讨回王位，奸王珀利阿斯宣布判处杰森死刑。为了活命，杰森答应给叔叔献上众神的礼物——金羊毛，于是他跟一群勇敢的水手们一起踏上了寻找金羊毛的惊险旅程。杰森历经千难万险终于得到金羊毛，夺回王位并与美狄亚缔结良缘。

Smart, capable and by the book Grace Narayan was flying high as an inner-city police sergeant before being forced into a 'punishment posting' on the small, antiquated island of St. Jory. Confronted by the forgotten and unsolved case of missing teenage boy Cai, Grace quickly discovers that she must overcome scarce evidence, extraordinary local characters, and the island's strange cult history to uncover the truth.

　　故事聚焦英国沿海一个与世隔绝的神秘岛屿，裘花饰演的Sam遭遇秘密居住在岛上的居民，见识了他们奇怪的风俗，进入了这个奇异的世界。此后，Sam脑海中的现实和幻想开始模糊了边界，也被激发了过去的创伤，他与岛民发生了冲突。

一位农民面对着渗入其农村社区的黑暗势力，由此引发了对县界贩毒集团的调查。