故事发生在第二次世界大战之后，残酷的战争摧毁了不计其数的城市和村庄，无数原本幸福的家庭面临如今家破人亡的惨状，然而，即便如此，人们依然没有放弃修复和重建的希望，在满目疮痍之中，新的秩序正在逐渐建立。
在还未消散殆尽的硝烟之中，海伦（克莱尔·福伊 Claire Foy 饰）和薇薇（茱蒂·惠特克 Jodie Whittaker 饰）经营着一家婚姻介绍所，让身处乱世的男女们依然能够享受爱情的美好。可是，在牵起一根根红线之时，海伦和薇薇依然要面对各自生活中的黑暗面。与此同时，一个惊人的秘密折磨着薇薇的弟弟唐肯（哈里·崔德威 Harry Treadaway 饰），这个秘密的揭开无疑又将引起一场巨大的灾难。

2个英国士兵，一个是牙医，上士，一个是普通士兵，级别是列兵。在看到前线的战报后，决定去炸掉德国的2艘战舰，于是一段搞笑的经历开始了。
彼得警官是军团里的牙医，他对于打仗来说是有些老了。另一个士兵莱斯里是军团里的机修工新兵。他们充满热情地投身于战争之中。他们身上只带有两把手枪和一打手榴弹。彼得警官说服了莱斯里，加入了一个军团要占领法国。在一封给邱吉尔的信当中，彼得解释他们的意图是进入法国并且和德国作战。在几次失败的尝试后，他们最终到达了一个德国的雷达站并成功地爆炸了主要的操作房间。但不久他们因为化合物和炮火的意外爆炸而被迫地逃亡。后来在德国的一个海峡处，他们被抓住，被当作间谍审问。经鉴别把他们当作逃亡者，被送回了他们的兵营，将由军事法庭审判。十一小时之后，彼得警官和莱斯里被默顿所救。他们的信已经被默顿收到，并确证了他们的英雄故事。不过彼得警官和莱斯里的行为被法院申斥了一顿。但他们接到了一个在怀特霍尔的邀请。这部电影虽然没有《虎口脱险》的幽默搞笑，但是也是关于2战片中一部不错的作品。尤其是在法庭上的那句“他们炸了德国人的厨房”。

第一集中，少女克莉斯蒂的家庭遭受魔鬼赛诺贝斯的摧残，亲人相继死亡，她本人也被送入精神病院治疗。除了医生助手凯尔外，没人相信克莉斯蒂的离奇故事。当疯狂的医生菲利普•切诺德从助手口中得知少女的经历后，他决定将恶魔重新带回人间。业已死亡的继母朱莉（Clare Higgins 饰），在这个变态狂人的喂养下再次复活…

　　爱丽丝（Keeley Hawes饰）和她相伴20年的伴侣哈里（Harry）搬入了他们梦寐以求的新家，哈里却不幸意外从楼梯滚落身亡。在他死后，爱丽丝相继发现了若干男人——包括她故去的前任——的种种秘密，而哈里似乎是所有人当中最卑劣的…… 　　本剧将以黑色喜剧的方式向观众如实呈现爱丽丝在伴侣去世后所经历的一段充满悲伤与爱的人生旅程。男人们往往喜欢把他们不愿意面对的东西塞进角落里藏起来，因此，在伴侣去世后，爱丽丝震惊的发现自己陷入了一场生死攸关的、充满欺骗与混乱的迷局中。

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).

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。

善良淳朴的农家姑娘苔丝（杰玛·阿特登 Gemma Arterton 饰），为了改变家人窘迫不堪的生活，在家人的劝说下去攀附有钱的亲戚德伯家族。被心性险恶的“堂哥”少爷亚历克（汉斯·麦瑟逊 Hans Matheson 饰）在密林里奸污怀孕。怀有身孕的苔丝回到父母的身边，生下的小孩却在不久后夭折，失去贞洁的苔丝在周围人的嘲笑和议论中艰难度日，心灵和肉体都遭受着巨大的伤害。南部奶牛场辛苦的劳作生活让苔丝痛苦的人生有了一个崭新的开始，并结识了英俊正直的安奇尔（埃迪·雷德梅恩 Eddie Redmayne 饰），与之相爱。新婚之夜苔丝向安奇尔坦白了自己的过去，原本企图获得原谅。生于基督教家庭的安奇尔无法接受事实，离开了苔丝。痛苦的苔丝又陷入了被过往的回忆折磨的绝望生活中。而伪善的亚力克此时又再度纠缠上了她… 改编自英国著名小说家和诗人托马斯·哈代的同名小说《德伯家的苔丝》。迷你剧，共四集。

皇家邮轮卢西塔尼亚号（RMS Lusitania），是一艘英国豪华客船，1915年5月7日在爱尔兰外海被德国潜艇U-20击沉，造成共1198人死亡。由於伤亡者中包括大量美国人，卢西塔尼亚号的沉没同齐默曼电报事件一道成为美国参加一战的导火索。
卢西塔尼亚号(1907---1915)，长239.8米，宽26.9米，载客2165人，隶属于英国卡纳德航运公司。
由来: 美国历史上最著名的富翁，朱利厄斯·皮尔庞特·摩根，在20世纪初产生了垄断横渡大西洋航线的念头。他组织了一条“国际商船队”（IMM），一家一家地购买感兴趣的轮船公司。1902年，他出资买下了英国最大的白星轮船公司。英国国会感到这是大英帝国的耻辱，决定捍卫另外一家大公司——卡纳德轮船公司。同年，英国政府与卡纳德公司签定了为期20年的合同，每年向卡纳德提供15万英镑的资助。并且鼓励卡纳德建造两艘当时世界上最大的邮船。(图中人物为朱利厄斯·皮尔庞特·摩根)
1903年，32000吨级的卢西塔尼亚号在苏格兰克莱德班克的约翰·布朗船厂开工。1904年，毛里塔尼亚号开工。1907年8月,卢西塔尼亚号顺利下水. 卢西塔尼亚号两姐妹开创了大西洋邮船的新纪元。从她们之后，大型邮船纷纷把速度和豪华同时作为追求的目标。这是卢西塔尼亚号的头等餐厅。其豪华程度可见一斑。一战爆发后，英国政府计划把卢西塔尼亚号和毛里塔尼亚号改装成武装的辅助巡洋舰。毛里塔尼亚号和卡纳德公司的新船阿奎坦尼亚号被征用了，后来改装成医院船。卢西塔尼亚号则被允许继续从事客运业务，以方便美国和英国的战时交流。它不挂任何旗帜，船名也被遮盖掉了. 战时被称做“大西洋快犬”的卢西塔尼亚号，其速度可以摆脱所有的德国潜艇追击。
1915年5月1日，德国大使馆在美国报纸上登出声明，称任何乘坐悬挂英国旗帜的商船的美国旅客，其生命安全都得不到保障。但是卢西塔尼亚号的乘客并不把这消息放在心上。卢西塔尼亚号有足够的速度，可以逃脱德国潜艇的袭击。于是,满载着1959名乘客（大部分是美国人）和船员，卢西塔尼亚号从美国纽约出发了。 结果:5月7日，她航行到了爱尔兰外海。在那里她遭遇到了大雾。威廉·特纳船长命令把速度减慢到18节。到了11点30分，大雾逐渐消散。正在附近游弋的U20号潜艇发现了卢西塔尼亚号。卢西塔尼亚的航海生涯就要结束了。下午2：12分，第一枚鱼雷从舰桥下面击中了她的船身。紧接着，第二枚鱼雷击中了煤舱。弥漫的煤炭粉尘引起了猛烈的爆炸。船上的旅客在惊慌失措中拥上了救生艇甲板。秩序极为混乱，而且因为煤舱爆炸炸开了一个大口子，船身急速倾斜，只有右舷的救生艇可以使用。 20分钟后，卢西塔尼亚号带着她的1195名乘客和船员（许多还没来得及跑出船舱）沉入了大海。 不过比起两年前沉没的泰坦尼克号来，幸运的是那些还来得及跳船的乘客被迅速赶来的爱尔兰渔船救了起来，不至于在海水中冻死。
卢西塔尼亚号的沉没在大西洋两岸引起了极度的震惊。美国和英国纷纷指责这是一场残酷的谋杀，德国的报纸则声称卢西塔尼亚号是一艘军火船，否则不会这么快沉没。美国国内“立刻对德国宣战”的呼吁声嚣日上。德国迫于舆论谴责的压力，宣布取消对客船和中立国船只的无限制潜艇战。直到1917年，由于西线战局的不利，才告恢复（德国恢复无限制潜艇战，直接导致美国向其宣战）。德国的凶残形象，在美国已经深入人心，所以1917年威尔逊政府向德国宣战的决议，得到了美国人民的支持。 卢西塔尼亚号长达239米。在1915年5月7日下午2点被鱼雷击中后只坚持了18分钟便倾则沉没。由与船被划分为多层，阻慢了海水灌入的速度。18分钟是完全没有可能把整条卢西塔尼亚号变为一条水船，即使整条船全进了海，船舱还会有少量的空气存在，就像当年T船船尾沉没过快，而船舱内还有空气而导致内外压力不均而爆炸一样，卢号很可能也会出现相同情况。再加上煤舱粉尘爆炸,引起船上武器的连锁反应。卢号变成现在这个样子也不足为奇了。

1974 film directed by Clive Donner

　　影片以见证人、叙述者查理斯·赖德的视角讲述了二战爆发前的英国，伦敦近郊布赖兹赫德庄园的兴盛与沉沦，描写了这个天主教家庭的生活与命运。牛津大学，查理斯结交了贵族出身身份显赫的纨绔子弟圣巴斯蒂安·弗雷特。圣巴斯蒂安严苛的母亲马奇曼侯爵夫人掌管着布赖兹赫德庄园，庄园上下都是虔诚的天主教徒。然而父亲抛弃妻子与情妇久居威尼斯的丑闻，给子女从小就留下了耻辱的印记，扭曲了他们的天性。日日饮酒作乐纸醉金迷的圣巴斯蒂安，邀请查理斯到庄园参加他的家族晚宴。查理斯对圣巴斯蒂安的妹妹朱莉娅一见倾心。三人间扑朔迷离、暧昧不清的感情纠葛从此展开，跨越数十载，那些爱与生活，痛苦与信仰，都经不住物是人非。

故事发生在位于英国的一座地处偏远的小镇里，女孩珍妮特（夏洛特·科曼 Charlotte Coleman 饰）出生成长在一个信奉新教的家庭之中。珍妮特的母亲（杰拉尔丁·麦克伊万 Geraldine McEwan 饰）是一位非常虔诚而又极端的教徒，在她的眼中，世界上只有两种人，一种是和她信仰同一种宗教的战友，剩下的则都是敌人。

　　在偏执的母亲的影响下，珍妮特慢慢学会了压抑内心里真实的声音，实际上，珍妮特是一名同性恋者，但这个秘密是绝对不能够被其他人知道的。要命的是，一个正中珍妮特红心的女孩出现在了她的生活里，这个女孩的存在让珍妮特再也无法忍受心惊胆战躲躲藏藏的日子了，她和母亲之间最激烈的战争爆发了。

《白公主》是获得金球与艾美奖提名的原创剧集《白王后》的续集，改编自菲利帕·格里高利（Philippa Gregory）同名畅销小说。《白公主》讲述了一个权力、家庭、爱情、背叛与死亡的故事，约克王朝公主伊丽莎白与亨利七世的婚姻表面上将英格兰统一，但他们的私人与政治纠葛以及引发的战争再次令英国陷入分裂的危险。

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。

　　《勇士》全系列共分六集，每集将透过历史上一起重大事件，揭开青史留名的著名将领的复杂性格，其中包括领导英明却优柔寡断的斯巴达克斯，集天才与精神变态于一身的匈奴王阿提拉，引爆内战动摇阿兹特克帝国的西班牙探险家赫曼·考梯斯，除此之外，也将重现历史上的知名战役，包括史上最大型的武士战争，十六万名士兵为了日本的前途而战；还有狮心理查率领各地基督徒组成的军队，从海上突袭雅法港，痛击库德战士萨拉丁。

　　这些英勇善战、充满魅力的人物各自在历史上赢得了一席之地，这是因为他们不惜为信仰而死--无论是为了上帝或黄金、追求权力或自由，或是追寻崇高的理想。这些人有军事将领、政治权谋家、残酷暴君、侠义骑士，也有艰困年代的生存者。他们甘心为了远征、财富、地位与名声付出一切，不达目的绝不终止。