讲述了一群英国男孩被困在一个无人居住的热带岛屿上，随着社会习俗的消失和任何负责任的统治尝试的失败，他们逐渐陷入无政府状态的故事。

剧情围绕英国侦探托马斯·林利警官及其搭档芭芭拉·哈弗斯警官展开，他们在解决与社会问题交织的犯罪案件的过程中合作。作为第八代阿舍顿伯爵，林利出身于英国王室之外的最高贵族阶层，而哈弗斯则是一位敏锐的女性，没有显赫的家世。他们的社会地位差异常常带来有趣的对话和不同的视角，从而探讨阶级与性别的主题。

隐居孤岛的特工界黄金王牌迈克尔·梅森（杰森·斯坦森 饰）本想就此隔绝过往，一场风暴却让他救下少女杰茜（博德希·蕾·布里纳希 饰），命运的齿轮彻底反转……他们的行踪不慎暴露在严密的监控网络之下，神秘势力的追杀接踵而至，无路可退的梅森被迫重操旧业，携手少女开启生死突围之路。 面对顶尖特工小队和冷血杀手的轮番围剿，梅森一路火力全开：近身肉搏、飞车追逃、枪林弹雨，硬核爽战全程高能！随着追杀不断升级，层层阴谋被逐一揭开，互相防备的两人成为彼此唯一的依靠。当滔天阴谋席卷而来，他们能否冲破死局？这份绝境中的守护，又会成为铠甲还是软肋？

希泽基亚和亚历克是两个来自牙买加的朋友，他们发现自己被卷入了伦敦东区的犯罪活动。在这里，他们遇到了玛丽·卡尔，一个全由女性组成的犯罪团伙“四十头大象”的女王，并与犯罪头目、臭名昭著的拳击手舒格·古德森发生了冲突。

本剧聚焦2005年伦敦七七爆炸案后引发的一起震惊全球的误杀事件。当警方全力追捕恐怖袭击未遂者时，巴西籍电工让·查尔斯·德梅内塞斯被误认为嫌疑人，在斯托克韦尔地铁站遭警方枪击身亡。这起被视为英国史上重大司法不公的案件，最终导致伦敦警察厅在2007年被判有罪，局长伊恩·布莱尔引咎辞职。剧集特别邀请德梅内塞斯的父母及其他亲属担任顾问，深度还原这场悲剧背后的制度困境与人权抗争。

Plus One is a British sitcom that aired on Channel 4 from January 9 to February 6, 2009. The series stars Daniel Mays as Rob Black, a man trying to find the perfect date to outshine his ex-girlfriend on her wedding day.

　　夜深人静的英国伦敦，狡猾精明的犯罪分子雅克布·斯特恩伍德（马克·斯特朗 Mark Strong 饰）带领手下洗劫位于中心地带的银行。事成之后，他与手下驾驶摩托逃离现场，而勇猛果敢的警察麦克斯·莱温斯基（詹姆斯·麦卡沃伊 James McAvoy 饰）只身追赶，厮打过程中他被雅可布射中腿部，追捕以失败告终。三年后，藏身冰岛过着无忧无虑生活的雅可布接到一通电话，他的儿子卢恩（伊莱耶斯·加贝尔 Elyes Gabel 饰）被枪射中倒毙伦敦机场。 　　经勘查发现，射杀卢恩的与当年伤及麦克斯的系同一把枪。爱子之死，促使雅可布冒险回到伦敦，而他与老对手麦克斯将展开久违的对决…… ©豆瓣

该剧将围绕加布里埃尔·布克（加蒂斯饰）展开。这位"博学而不拘一格"的侦探通过自己那间古董书店破获各类神秘案件。

　　该剧改编自《喜鹊谋杀案》的直接续作。

　　Susan已经离开出版社，和交往多年的男友Andreas搬到了克里特岛居住，但一起谋杀案的阴影扰乱了她的美好生活。英国的一家乡村酒店在八年前发生了一起谋杀案，Alan Conway在参观了这家酒店后，根据发生的事情写了一本小说。帮助经营这家酒店的年轻女子Cecily Treherne读到了这本书，认为警方抓错了人。如今她消失了。

　　Susan能揭开书中隐藏的秘密，并在为时已晚之前找到Cecily吗？

影片改编自理查德·奥斯曼的同名畅销小说，描述四位闲不下来的退休人士认真推敲谋杀悬案解闷，却碰上了真正的命案，侦探游戏突然变成惊悚现实，而他们还得找出凶手是谁。

Celebrating the 100th anniversary of the popular romance publishing phenomenon Mills and Boon, a colourful and camp drama which charts the witty and moving stories of three very different women affected by the brand's success: co-founder Charles Boon's wife Mary, daydreaming 1970s writer Janet and modern-day literature lecturer Kirstie. (R)

1776年12月，班傑明富蘭克林因電力實驗聞名世界。但是他的情感和實力都將面臨考驗。他前往法國執行秘密任務，成敗關乎美國獨立的命運。

继收视和口碑均表现喜人的《白屋农场谋杀案》《丹斯》后，ITV预定了下一部真实罪案类剧集《约克郡开膛手 The Yorkshire Ripper》(暂定名)。

《杀死伊芙》《审讯室：英国》编剧George Kay负责剧本，《白屋农场谋杀案》导演执导。

本剧共6集，基于Michael Bilton的书籍《Wicked Beyond Belief: The Hunt for the Yorkshire Ripper》创作，将讲述世界上最臭名昭著、令人震惊的连环杀手案件之一，即对被称为"约克郡开膛手"的Peter Sutcliffe的追捕。

在1975年10月至1981年1月期间，警方进行了英国犯罪史上最大规模的搜捕行动。对Sutcliffe的搜寻持续了五年，有超过一千名警员参与，彻底改变了英国警方的工作方式。

该剧不会仅仅着墨于警方的工作，还会聚焦受害者和他们的家属，以及那些被袭击却不被他人相信、生活被永久改变的人们。编剧George Kay表示："这不是一个讲述约克郡开膛手的故事，而是约克郡如何被撕裂的故事。"

　　吉姆·哈弗金斯（Toby Regbo 饰）与母亲（Shirley Henderson 饰）在乡下经营一家小旅。某天，旅馆接收一名惶恐嗜酒的海盗水手比利（David Harewood 饰），他曾是臭名昭著的海盗头子福林特船长（Donald Sutherland 饰）的手下。福林特凶残贪婪，手中握有一份藏宝图的地图。在他死之后，最为忠诚的比利似乎掌握了地图，而他也成为所有海盗急于找到的目标。吉姆从死去的比利身上找到藏宝图，借着和当地的伙伴乘船前往那个堆满了无数宝贝的金银岛。与此同时，邪恶的海盗乔装打扮登上他们的船，随时准备攫取令人垂涎欲滴的宝藏…… 　　本片根据英国作家罗伯特·路易斯·史蒂文森（Robert Louis Stevenson）的同名原著改编。

故事围绕编辑Susan Ryeland展开，她拿到了作家Alan Conway最新小说未完成的手稿，毫不知情这将改变她的生活。这是一次对侦探小说的真正颠覆；一场阿加莎•克里斯蒂式的谋杀盛宴；一首神秘童谣，幻化成一曲夺命交响；两个互为镜像的平行世界，衍生出双倍的邪恶；是书中混乱的字符跃进了现实？还是现实早已写好宿命的剧本？

Set entirely within the seedy Atlantic club, Silver Johnny - a young and talented performer on the road to fame and fortune - is held back by his jealous and protective manager Ezra, owner of the nightclub and father to a psychotic unloved son, Baby. As Silver Johnny progresses up the ladder to stardom, local gangster/entrepreneur Sam Ross begins to take an interest, and the only way to remove opposition (Ezra) appears to be sawing him in half, kidnapping Silver Johnny and leaving the club's fate in a state of limbo.

Ezra is discovered the next morning by his second-in-command, the highly ambitious Mickey, who announces that Ross intends to take over the Atlantic Club, setting the stage for a major power struggle; "He's been fucking cut in half. He's in two bins..."

Terrified by the potential threat of extermination by Ross and his gang, associates of the now deceased Ezra, (Potts, Sweets, Skinny and Baby) begin to lose their nerve, and try to convince themselves it's Mickey's idea of a joke; "It's Mickey's joke, it's Mickey's morning joke!" When this turns out to be false, the Atlantic Club gang prepare for what could be their final night. With just an ancient cutlass and an old Derringer as defence, the group starts to argue amongst themselves and even considers joining Ross, or simply leaving.

As the day wears on, people begin to gather outside the club waiting for the doors to open, oblivious to the situation. Sweating it out inside, the small group of four have to break the tragic news of Ezra's grisly death to Baby, who takes the news in a dreamlike, distant manner. Uneasy about Baby's mental stability, the Atlantic gang begins to become restless - especially about their catering. Arguments break out over frivolous matters (Uncle Tommy), and the group finally settles to consider just what its rivals are doing at that very moment.

In the climax to the fast-paced story, Sweets checks downstairs to see if the coast is clear for the gang to have a little space, rather than being cooped up in a single room, and finds Silver Johnny hanging from the ceiling. In sheer panic, Sweets calls for help, and is joined by the others. Baby reveals that by saving Silver Johnny he killed Mr Ross and discovered that Micky had betrayed them all for a share in the business. Skinny arrives and insults Baby, who responds by shooting him in the head with the Derringer. Mickey, Potts and Sweets attempt to cover the wound and to calm Skinny down, while Baby wanders around aimlessly. Silver Johnny is lowered to the floor and, tragically, Skinny dies. Unable to save Skinny's life, Mickey's authority and status break down, and he kneels beside his friend's body.

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).

TV series

　　剧集翻拍自挪威剧《绝命医师》，讲述外科医生丹尼尔(斯特朗饰)在悲剧命运的驱使下来到了一家伦敦的地下诊所，这家诊所愿意接治任何付钱的病人。在一位心怀不满的运输工(梅斯饰)和一位内疚的医学研究员(侯登饰)帮助下，他们接治了各种极度绝望与危险的病人。卢克·斯奈林(《相对无言》)执导，巴尼·莱兹(《黑镜》)担任制作人，马克·奥罗([男孩A])操刀剧本。剧集将于今年秋季播出。