Theatreland is an eight-part series following a few months in the life of the Theatre Royal Haymarket, a venerable institution located in London’s West End that dates back to 1720. During the period of time chronicled, the TRH puts on a hit Waiting For Godot starring Patrick Stewart and Ian McKellen, and prepares to launch a production of Breakfast at Tiffany’s. The star factor is intriguing enough, but what makes this documentary special is its focus on everyone that makes a show happen, from the marquee names to the housekeepers who dust the lights.

昔日电影明星伊夫·王尔德（格伦·克洛斯饰演）即将与哈洛德（帕特里克·斯图尔特饰演）举行她的第四个婚礼，然而前任丈夫劳伦斯（约翰·马尔科维奇饰演）却在婚礼前不怀好意的出现，究竟伊夫这次会遇到此生的真爱，还是身为旧爱的劳伦斯才是她最后的归属呢？一场爆笑的争夺戏码即将展开。

《第11小时》讲述了Ian Hood教授的冒险。他是政府科学委员会的特别顾问，和特别探员Rachel Young一起，处理各种危机。Rachel除了协助教授，还兼任他的保镖，因为教授因为他的工作而树敌无数。
《第11小时》的故事设定很常规，但正是这样正直的题材则会让故事显得非常压抑。Ian Hood教授以非官方的身份为英国政府解决各类科学危机，调查并应对一系列危害全人类的神秘科学事件及在背后操纵它们的科学疯子。这位神奇教授总是能在危急时刻来个最后一分钟营救，化解危机。而且本片颇关注环保题材，引人深思。
这是一部迷你科幻惊悚剧，之所以迷你，是因为制作组内部产生矛盾，导致最后拆伙各奔东西，该剧不得不临时被砍，匆匆结束。CBS重金买下其改编权，砸了四百万美金做了第一集，收视却一路直下，播了1季，最后也没逃过腰斩的命运。

平安夜，一起意外事故导致整片街区停电，六组人被困于电梯中。虽然困于电梯中，无法与外界联系，但他们每一个人都受到了在这个漫长的夜中所发生的事情的影响。欢笑，浪漫与巧合共同上演，编织出一部欢乐温馨，同时引人深思的影片。正如影片宣传所写道，你永远不知道你会和谁困在一起。或许令人担忧烦恼的意外最终会令你有意想不到的收获。

This fascinating journey of exploration of the connection of all things in the Universe is narrated by the legendary Sir Patrick Stewart. The film explores the mechanism of connection of all things in the Universe.

Dear Satan is a hilarious animated Christmas film, created by Anomaly London, about a young girl who accidentally writes a heartfelt letter to Satan, when she actually meant to send it to Santa. One little girl changes the way Christmas functions in Anomaly’s awesome film, narrated by the great Sir Patrick Stewart, with one hellacious typo.

In this documentary mini series for Canadian television, Shatner, in each of the five half an hour episodes, presents and interviews one of the people who played the five Star Trek captains before the 2009 reboot. Chris Pine interviews him.

The 24 hours of Le Mans is the most prestigious endurance motorsport event in the world. Fantelli Productions follows Great British privateer team Jota Sport, taking an intimate look at the feat of human endurance and the marvel of engineering it takes to compete in one of the most challenging races on earth. We bring to the screen the spectacle that is Le Mans, through the eyes and emotions of the men at the very heart of it. Proving with enough hard work, dedication and passion, you really can achieve anything. Journey to Le Mans is a depiction of the blood, sweat and tears we see, as we travel with the team. Our journey playing out over the season to - and during - Le Mans 2014.
- Written by Fantelli Productions Ltd

UNACO安全组织，将一枚核弹火车送往英国。不料遭世界恐怖圣战组织劫持，欲转往苏俄，其恐怖组织乃由苏俄支持。
安全组织上司派出特遣小组拦截，队长Mike Graham（Pierce Brosnan）带著精锐战友，一路拦截……

英國在2016年舉行英國脫歐公投，最後由百分之52的贊成票勝出，無強制力的公投結果也催生了《退出歐盟法案》。然而本片將探討投票反對英國脫歐、高達百分之48的民眾意見，梳理英國應該繼續留在歐盟的種種原因。

High-profile motor enthusiasts retrace the steps of Great British racing legends.

美国网路电视剧集

　　《星际迷航：下一代》（原名：Star Trek: The Next Generation，简称为ST:TNG或TNG）是一出背景设定在《星际迷航》时空的科幻电视系列剧，它也是1966年至1969年间的《星际迷航：原初》电视剧的第一个真人演出的电视续篇。《下一代》的时间设定在《原初》约一个世纪之后，描述的是一艘新的星舰和新的航员组的故事。

　　电视剧的构想来自《星际迷航》的原创人吉恩·罗登伯里，他也担任了制作人的工作。它于1987年9月28日首播第一集，两小时长的试播章节“远点遭遇战”，之后持续播映七季，最后一集是于1994年5月29日首播的“曲终人散”，而该剧亦于台湾台视（但遭腰斩）与香港无线电视播出。电视剧在播映期间吸引了许多追随者，而且跟它的前辈一样，在世界各地重播。

故事描述英国来的主持人兼媒体大亨Walter Blunt试图征服美国的有线电视新闻市场。他通过一档夜间访谈节目来宣传自己的理念，为美国人提供有关「生活方式、思想方式和行为方式」的建议和指导。他遭到电视网老板、功能紊乱的新团队、多名前妻和年龄结构各不相同的子女的「围攻」，唯一能信任的人就是他从英国带到洛杉矶的男仆……只可惜此人是个酒鬼，大部分时间头脑都不清醒。当本剧开始的时候，Blunt刚刚做了一些重大决定，但却好心办坏事，在荧屏内外同时引发了糟糕的后果。

罗马大将军泰特斯•安德洛尼克斯征战哥特人十年凯旋而归，并俘虏了哥特人皇后塔摩拉及她的儿子们。泰特斯把塔摩拉的长子当作祭品以慰他在战事中死去的十多位儿子。塔摩拉苦苦哀求却无法求得泰特斯的慈悲。自此，她对泰特斯恨之入骨。命运难料，罗马帝王取塔摩拉为后，得势的塔摩拉在嬖奴阿伦的帮助下，开始了对泰特斯的血腥报复。这出被称为莎士比亚最血腥的复仇悲剧，为我们呈现了以侮辱残杀为乐的人们，带给我们关于性、家族和社会的本质思考。
英国《旗帜晚报》为《泰特斯•安德洛尼克斯》打出了五星好评：“尖锐、自信、充满想象力的现代版解读”，女导演布兰奇•麦金泰尔对当下世界将何去何从做出了自己的注解；《泰晤士报》则称赞大卫•特劳顿的表演“非常完美，这出黑色戏剧你永不会忘记”。

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).

On a bare country road Vladimir and his friend Estragon wait in hope of salvation from a man called Godot. Their hope of salvation lies in Godot's arrival. While waiting they play games, entertain one another with vaudevillian tricks, question whether Godot will arrive and how they will benefit when he does. They are interrupted by the arrival of Pozzo (a land owner) and Lucky (Pozzo's slave). Pozzo questions their reasoning for waiting. Lucky performs a staggering burst of a monologue. Pozzo and Lucky exit, night falls and a young boy arrives and tells Vladimir and Estragon that "Mr Godot won’t come here today but he'll surely arrive tomorrow.” In Act two Pozzo returns but he is blind and Lucky is mute. Vladimir and Estragon continue waiting. Still determining to go, the tramps do not move.

“I cannot express how much this show means to me,” writes artistic director, Peter Reid. “It is undoubtedly the greatest show of the 20th Century and has revolutionised the fabric of theatre.”

The first act opens with Hirst's offering a drink to Spooner: "As it is?" – that is, neat (UK) or straight (U.S.) – and Spooner's reply: "As it is, yes please, absolutely as it is" (15). During the first act, Spooner claims to be a fellow poet and to have known his more illustrious literary host and mutual acquaintances and relationships in the past. Toward the end of act one, Hirst's keepers (quasi-body guards) "vagabond cock" Foster and Briggs seek to fend off the self-insinuating Spooner, leading Hirst "out of the room (52) and away from him. The act ends with a "Blackout" – visually demonstrating Foster's taunt: "Listen. You know what it's like when you're in a room with the light on and then suddenly the light goes out? I'll show you. It's like this. ... He turns the light out" (53).
During Act Two, in his increasingly inebriated state, Hirst may mistake or feign recognition of Spooner as an Oxbridge classmate from the 1930s, an apparently false impression which Spooner nevertheless encourages (68–78), leading both of them into a series of increasingly questionable reminiscences, which Hirst finally and abruptly undercuts: "This is outrageous! Who are you? What are you doing in my house?" going on to accuse Spooner of being an impostor: "You are clearly a lout. The Charles Wetherby I knew was a gentleman. I see a figure reduced. I am sorry for you. Where is the moral ardour that sustained you once? Gone down the hatch." – allusively and both wistfully and comically combining the clichés "Gone with the wind" and "Down the hatch," after which, Briggs "enters, pours whisky and soda, gives it to" Hirst, who "looks at it" and then says, "Down the hatch. Right down the hatch. (He drinks.)" (78). Hirst proclaims, "Let us change the subject. Pause. For the last time." (91), but immediately asks, "What have I said?" That leads the characters to debate what Hirst's phrase for the last time precisely "means" (91–94), leaving all of them, according to Spooner, "in no man's land. Which never moves, which never changes, which never grows older, but which remains forever icy and silent." Following the illustrative "Silence", Hirst utters the play's final words and provides its final action: "I'll drink to that" (95): "He drinks," paralleling the opening words of the first act ("As it comes?"), and the play ends, ambiguously, with a "SLOW FADE" of lights (95).

The play's central character is Lyman Felt, an insurance agent and bigamist who maintains families in New York City and Elmira in upstate New York. When he is hospitalized following a nearly fatal car crash on an icy mountain road, both wives—the prim and proper Theo, to whom he's been wed for more than thirty years, and the younger, more assertive Leah, whom he married nine years earlier—show up at his bedside. When confronted with his duplicity, Felt states that the two options in life are to be true to others (and to what he deems a hypocritical society) or to himself, and that he has chosen the latter. He justifies his actions to both shocked women by explaining he has given them good lives, has supported them financially and emotionally, and has been a good father. He goes on to say that the two women have been happier with this arrangement than they would have been if they had been the only wife. As reasons for this he cites domestic boredom, routine, and the angst of being trapped in the same relationship forever. The play uses flashbacks to take us to previous situations both families have lived.

咱们走吧。

　　咱们不能。

　　为什么不能？

　　咱们在等待戈多。

　　第一幕：黄昏时分，两个流浪汉戈戈和狄狄，迷离恍惚，浑浑噩噩，他们在乡间小道上等待着从来没有见过的戈多，但戈多迟迟不来，等来的却是波卓和幸运儿。波卓随意虐待幸运儿，幸运儿也惟命是从。波卓吃饱喝足，逼幸运儿为他们跳了一通舞后才牵着幸运儿和流浪汉告别。天将黑时，戈多的信使小男孩来到，他传达戈多的旨意：今天不来了，明天一定来。

　　第二幕：次日黄昏，还是同样的小路，同样的流浪汉，同样的目的──等待戈多。等待得无聊至极，彼此争吵谩骂，但仍不见戈多来。以至于烦闷得想到自杀。总算等到了人，却是眼瞎了的波卓，哑巴的幸运儿。接着还是信使小男孩来，宣布戈多今天不来了，明天一定来。两个无望的流浪汉又想起了上吊，解下裤带子，但一拉就断了。死又死不成，只好明天再等，再等……。