本尼迪克特·康伯巴奇加盟拳击题材新片《吉普赛男孩》，根据Mikey Walsh所著同名自传改编，聚焦生活在吉普赛聚集区的Walsh家族，以高超的传统吉普赛空手拳击技术而闻名，本尼将会扮演Mikey的父亲Frank，他迫使儿子(同性恋)延续家族的传统拳击事业，当Mikey成长为青少年后，他将面临极度痛苦的决定：继续拳击同时面临家人的羞辱，或者一走了之永不回头。《X+Y》导演Morgan Matthews执导，和他合作过的James Graham操刀剧本，其他主演的卡司还在筛选中，将于明年暑期开拍。

After the planes hit on 9/11, Morgan Stanley security chief Rick Rescorla put into effect plans that he had developed years before. Rick had seen the potential for an airborne suicide attack on the twin towers as part of evaluating the risk posed to his wards within their building. After the attack in 1993 Rick took it personally to prepare and avoid the chaotic scenes that came with the 93 attack. This documentary tells the story of the man who predicted the 9/11 attacks and saved thousands of lives and died in the process.

Prince Charles' Other Mistress tells the fascinating, largely unknown and ultimately tragic story about his intense relationship with Australian heiress Dale "Kanga" Tryon. For a period in the 1970s Kanga (Lady Tryon), and Camilla Parker Bowles were deadly rivals for the Prince's affections. Camilla was the consummate insider who knew how to play the royal game, Dale however was a talented amateur who committed the cardinal sin of talking about her relationship with the Prince to the press. As a consequence, she soon found herself excluded from the royal circle. Following this exclusion her mental fragility led to her being sectioned under the Mental Health Act and she died aged 49 in unusual circumstances in 1997, only months after Diana. With exclusive and previously unseen interviews with Dale herself and heartfelt contributions from friends and journalists who knew her well including Oscar-nominated actress Sarah Miles. Prince Charles' Other Mistress will shed new light on, and add a new name to, the familiar landscape of the relationship between Prince Charles, Camilla Parker Bowles and Diana, Princess of Wales.

本尼迪克特·康伯巴奇将主演经典悬疑惊悚故事《三十九级台阶》的新限定剧，改编自约翰·巴肯的同名小说，希区柯克等也曾拍成电影。
这部新剧由《荒野猎人》编剧马克·L·史密斯担任主创和写剧本，爱德华·贝尔格(《德国八三年》《梅尔罗斯》)执导，Anonymous Content等制作。被描述为一部“吸引人的、充满动作戏的阴谋惊悚剧集，将经典小说做了切合新时代的改编。讲述普通男子理查德·汉内糊里糊涂地成为了一场全球大危机里的一枚棋子，世界秩序眼看要被重启：一个名叫‘三十九级台阶’的组织想要改变世界，而汉内是唯一挡着他们路的人。”

Season 47, Episode 19.
Host Benedict Cumberbatch; Arcade Fire performs.

A night of revelation at the Chapel Theatre." At least that's what it says on the flyer. But this 1930s fashionable London audience are in for a surprise. Things are not what they seem at The Chapel Theatre and soon it dawns on them that this is no ordinary night out. For a start they can't remember how they got there, now that they've arrived, the doors to the theatre are bolted shut, they are trapped inside. As the film progresses in real time, the stage play hosts five fairy tales. In these tales a mixture of stage, film, animation, giant set pieces and natural elements playing out inside the theatre create a fantastical story telling experience. But time is short, the moment of truth is coming and the audience have just one last chance to save themselves.

Jimmy Kimmel hosts the 64th Primetime Emmy Awards, honoring the best in television.

围绕亨利·苏格的故事，讲述亨利·苏格凭借偷来的一本书能够看穿物体并预测未来。

英国广播公司 BBC 自 2010 年出品的迷你电视剧，该剧改编自阿瑟·柯南·道尔创作的侦探小说《福尔摩斯探案集》，将原著的时间背景从 19 世纪搬到了 21 世纪，讲述在繁华热闹的伦敦大都市中，时尚帅气、机敏犀利的大侦探夏洛克·福尔摩斯和他最忠实的搭档约翰·H·华生医生经受的一系列危险的、不同寻常的历险。改编遵循原著故事脉络，又辅以现代手法演绎，题目和细节之处却经过编剧精心的改良，熟悉之中又有几分新意。

If you think you know nature, think again. Experience a realm beyond human perception in #SuperNaturalSeries, from executive producer James Cameron and narrated by Benedict Cumberbatch. The all-new series is streaming September 21 only on Disney+

洪水泛滥将低地吞噬，城市毁灭，恍若末世来临。天昏地暗之际，被命名为泽布的宝宝在混乱中降生。年轻夫妇小心呵护他们的新生儿，紧急开车前往北方山丘上家人的住屋避难。然而，安稳的日子稍纵即逝，物粮渐渐短缺，公婆与丈夫企图开车往外觅食，独留母子看家。一场不可挽回的悲剧，让年轻夫妻失散，迫使妻子独自抱着襁褓中的婴儿找寻漫漫出路。

Ionesco’s iconic satire on mindlessness and conformity is given its first major UK revival since its Royal Court premiere in 1960, which was directed by Orson Welles starring Laurence Olivier.
It happens inexplicably: One by one, a man's friends and neighbors turn into rhinoceroses, reducing the town to a perilous wasteland. In this brilliant restaging of Eugène Ionesco's absurdist allegory Rhinoceros, loneliness and horror consume the individual who resists a popular movement in which civilians succumb to the collective in its most monstrous, destructive form. Spare, physical, and haunting, celebrated French director Emmanuel Demarcy—Mota's internationally acclaimed staging teases out the archetypal quality of this classic work, whose fierce indictment of 20th-century totalitarianism retains its sting amid today's ideological climate.

Ionesco’s iconic satire on mindlessness and conformity is given its first major UK revival since its Royal Court premiere in 1960, which was directed by Orson Welles starring Laurence Olivier.
It happens inexplicably: One by one, a man's friends and neighbors turn into rhinoceroses, reducing the town to a perilous wasteland. In this brilliant restaging of Eugène Ionesco's absurdist allegory Rhinoceros, loneliness and horror consume the individual who resists a popular movement in which civilians succumb to the collective in its most monstrous, destructive form. Spare, physical, and haunting, celebrated French director Emmanuel Demarcy—Mota's internationally acclaimed staging teases out the archetypal quality of this classic work, whose fierce indictment of 20th-century totalitarianism retains its sting amid today's ideological climate.

From the stage of the Royal Shakespeare Theatre in Stratford-upon-Avon, hosts David Tennant and Catherine Tate are joined by Benedict Cumberbatch, Judi Dench, Ian McKellen, Dame Helen Mirren, Meera Syal, David Suchet, Rufus Wainwright, Tim Minchin, Gregory Porter, Joseph Fiennes, English National Opera, The Royal Ballet and Akala for a very special evening.

Together, they mark the life and work of William Shakespeare on the 400th anniversary of the playwright's death. This unique event takes place in the presence of Their Royal Highnesses the Prince of Wales and the Duchess of Cornwall, and celebrates Shakespeare's extraordinary legacy and his enduring influence on all performance art forms - from opera to jazz, dance to musicals.

As a country arms itself for war, a family tears itself apart. Forced to avenge his father’s death but paralysed by the task ahead, Hamlet rages against the impossibility of his predicament, threatening both his sanity and the security of the state.

Hedda Gabler, daughter of an aristocratic general, has just returned to her villa in Kristiania (now Oslo) from her honeymoon. Her husband is Jørgen Tesman, an aspiring, young, reliable (but not brilliant) academic who has combined research with their honeymoon. It becomes clear in the course of the play that she has never loved him but has married him for reasons pertaining to the boring nature of her life. It is also suggested that she may be pregnant.
The reappearance of Tesman's academic rival, Ejlert Løvborg, throws their lives into disarray. Løvborg, a writer, is also a recovered alcoholic who has wasted his talent until now. Thanks to a relationship with Hedda's old schoolmate Thea Elvsted (who has left her husband for him), Løvborg shows signs of rehabilitation and has just completed a bestseller in the same field as Tesman.
The critical success of his recently published work transforms Løvborg into a threat to Tesman, as Løvborg becomes a competitor for the university professorship Tesman had been counting on. Tesman and Gabler are financially overstretched, and Tesman tells Hedda that he will not be able to finance the regular entertaining or luxurious housekeeping that Gabler had been expecting. Upon meeting Løvborg, however, the couple discover that he has no intention of competing for the professorship, but rather has spent the last few years labouring with Mrs. Elvsted over what he considers to be his masterpiece, the "sequel" to his recently published work.
Apparently jealous of Mrs. Elvsted's influence over Løvborg, Gabler hopes to come between them. She provokes Løvborg to get drunk and go to a party. Tesman returns home from the party and reveals that he found the manuscript of Løvborg's great work, which the latter has lost while drunk. When Gabler next sees Løvborg, he confesses to her, despairingly, that he has lost the manuscript. Instead of telling him that the manuscript has been found, Gabler encourages him to commit suicide, giving him a pistol. She then burns the manuscript and tells Tesman she has destroyed it to secure their future.
When the news comes that Løvborg has indeed killed himself, Tesman and Mrs. Elvsted are determined to try to reconstruct his book from Løvborg's notes, which Mrs. Elvsted has kept. Gabler is shocked to discover from Judge Brack (a friend of Tesman's), that Løvborg's death, in a brothel, was messy and probably accidental (this "ridiculous and vile" death contrasts with the "beautiful and free" one that Gabler had imagined for him). Worse, Brack knows the origins of the pistol. He tells Gabler that if he reveals what he knows, a scandal will likely arise due to her role in giving Løvborg the pistol. Gabler realizes that this places Brack in a position of power over her. Leaving the others, she goes into her smaller room and shoots herself in the head. The others in the room assume that Gabler is simply firing shots, and they follow the sound to investigate. The play ends with Tesman, Brack, and Mrs. Elvsted discovering her body.

From Rosencrantz and Guildenstern Are Dead to The History Boys, from The Mysteries to Angels in America, from Guys and Dolls to London Road – join us for a thrilling evening of live performance and rare glimpses from the archive, featuring many of the most celebrated actors who have performed on our stages over the past five decades and directed by Nicholas Hytner.

该剧改编自由英国诗人雪莱的妻子玛丽-雪莱于1818年创作的同名科幻小说，主人公维克多·弗兰肯斯坦是一个疯狂的科学家，他用捡来的碎尸块拼接成一个“人”，并用电将其激活，创造出一个丑陋无比的怪物，起初他心地善良，后来却因屡屡遭受人们的嫌恶而变得扭曲，对人充满仇恨，滥杀无辜。最后，这个怪物与他的创造者一起走向了毁灭。
舞台剧《弗兰肯斯坦》由编剧尼克·蒂尔改编之后，从“怪物”的角度来讲述这个在西方世界家喻户晓的科幻故事。本尼迪克特·康伯巴奇和约翰·李·米勒轮流饰演科学家“弗兰肯斯坦”和他造出的“科学怪人”。 [3] 戏剧的结尾更引人深思——一切尽失、行尸走肉般的弗兰肯斯坦最终成为了他制造的恐怖怪物的“奴隶” ，他们穿越欧洲大陆去往北极探索更多的未知。
伦敦奥运会开幕式导演丹尼•博伊尔说，此次开幕式多处借鉴了他的舞台剧新作《弗兰肯斯坦》。熟悉他的人并不奇怪，因为奥运开幕式的舞美、服装、道具、音乐设计全部用了《弗兰肯斯坦》的原班人马。不久前，这部戏的摄录版经拿督黄纪达基金会的引进在北京进行了点映，大获好评。
去年春天，《弗兰肯斯坦》一剧尚未首演便成了伦敦城里大街小巷热议的话题，原因无非是宣传海报上金字闪闪的主创名单：两位主演一个是因扮演BBC热播的新版“福尔摩斯”而红得发紫、外号“卷福”的本尼迪克特·康博巴奇，一个是《猜火车》里的瘾君子、与安吉丽娜·朱莉有过婚姻史的约翰尼·李·米勒，音乐来自《猜火车》的原班人马Underworld组合，而导演则是2008年凭《贫民窟的百万富翁》获得奥斯卡金像奖的丹尼·博伊尔。很显然，他在主流电影界奋战15年大获全胜后，又想重返舞台剧界了。
矜持的英国评论家对这些明星的荣誉称号并不买账，他们甚至怀有戒心：《弗兰肯斯坦》会不会因此变成一部喧嚣而媚俗的所谓“大制作”？尤其是，丹尼?博伊尔一早就宣布，两位主演将在戏中交换角色，每隔一晚轮番扮演弗兰肯斯坦和他制造出来的怪物。这会造成什么样的戏剧效果？如今人们能够记起来的最近的成功案例要追溯到1935年，劳伦斯·奥利弗和当时最有名的莎剧演员约翰·吉尔古德在《罗密欧与朱丽叶》一剧中交换扮演了罗密欧和罗密欧的好友茂丘西奥。互换角色的手法在舞台上并不常见，这如同公开照镜子一样令人尴尬，对一个演员来说，隔天在舞台上看一次自己的对手扮演自己（的角色），是什么感觉？而对观众来说，他们该买哪个版本的戏票呢？这会不会是制作方的营销手段？