该剧根据北欧剧集《The Bridge》改编，第一季为10集。故事描述英法海底隧道分界线上惊现一个法国政客的尸体，由此引发了一场席卷整个欧洲的政治危机。英法各自派出一名侦探（Stephen Dillane, Clemence Poesy）调查此事，他们发现凶手试图将现代社会「道德沦丧」的现象最大化。

当亚历克斯•莱德得知他的叔叔伊恩实际上是作为英国间谍在执行任务时被杀时，一切都变了。这个普通的少年被“部门”的负责人找到，并被要求帮助调查他叔叔的死亡。亚历克斯不情愿地采用了一个新的身份，并在一所名为“波因特·布兰科”的偏远寄宿学校进行卧底。

drama television series

Set in New York City in 1985, Act One of Millennium Approaches introduces us to the central characters . As the play opens, Louis Ironson, a neurotic , gay Jew learns his lover, WASP Prior Walter, has AIDS . As the play and Prior's illness progress, Louis becomes unable to cope and moves out. Meanwhile, closeted homosexual Mormon and Republican law clerk Joe Pitt is offered a major promotion by his mentor , the McCarthyist lawyer Roy Cohn . Joe doesn't immediately take the job because he feels he has to check with his Valium -addicted, agoraphobic wife, Harper, who is unwilling to move. Roy is himself deeply closeted , and soon discovers that he has AIDS .

As the seven-hour play progresses, Prior is visited by ghosts and an angel who proclaim him to be a prophet ; Joe finds himself struggling to reconcile his religion with his sexuality ; Louis struggles with his guilt about leaving Prior and begins a relationship with Joe; Harper's mental health deteriorates as she realizes that Joe is gay; Joe's mother, Hannah, moves to New York to attempt to look after Harper and meets Prior after a failed attempt by Prior to confront Hannah's son; Harper begins to separate from Joe whom she has depended upon and finds strength she was unaware of; and Roy finds himself in the hospital, reduced to the companionship of the ghost of Ethel Rosenberg and his nurse, Belize, a former drag queen and Prior's best friend, who meanwhile has to deal with Louis's constant demands for updates on Prior's health. The subplot involving Cohn is the most political aspect of the play. Portrayed as a self-loathing, power-hungry hypocrite, he prides himself on his political connections and influence, which he has amassed through decades of corruption. In the play, he recollects with pride his role in having Ethel Rosenberg executed for espionage . As he lies alone in the hospital, dying of AIDS, the ghost of Rosenberg sings him a Yiddish lullaby and then brings him the news that the New York State Bar Association has just disbarred him, destroying his final hope of dying as a lawyer. The play ends on a note of optimism. After his friends procure for him a stash of AZT , in 1990 Prior is still alive and is managing to live with AIDS. With his friends, he looks at the statue of an angel in Bethesda Fountain and talks of the legend of the original fountain, and how it will flow again some day. The play is deliberately performed so that the moments requiring special effects often show their theatricality. Most of the actors play multiple characters ( eg, the actor playing Prior's nurse also appears as the Angel). There are heavy Biblical references and references to American society , as well as some fantastical scenes including voyages to Antarctica and Heaven , as well as key events happening in San Francisco and at Bethesda Fountain in Central Park .

The play consists of four parts, with a monologue making up each part. The monologues are given, in order, by the faith healer, Francis (Frank) Hardy himself; his wife, Grace; his cockney manager, Teddy, and finally Hardy again.
The monologues tell the story of the faith healer himself, including an incident in a Welsh village in which he cures ten people. Teddy's monologue reveals that Grace Hardy commits suicide, while Frank ponders whether his gift is for real or not. In Frank's second monologue, it is suggested that he is killed near his home after being unable to heal a cripple. He says that he knows he will not be able to heal him and, going to face death, he feels a sense of homecoming. It is not made explicitly clear however, that Frank is actually killed; Friel leaves this up to the reader's interpretation.
The fact that the play does not end definitively typifies a main point of the play; each character gives a different recollection of the same events throughout the page.

This new play breaks through the surface of contemporary debate to explore the messy, often violent nature of desire and the fluid, complicated roles that men and women play.

Using Samuel Richardson’s novel, Pamela, as a provocation, six characters act out a dangerous game of sexual domination and resistance.

根据Anthony Horowitz同名小说改编。少年Alex Rider从小由叔叔抚养长大，当叔叔因车祸死亡后他才知道，父亲和他曾隶属于英国情/报/机/构MI-6。Alex自小时候起就被叔叔训练各种技能，被MI-6征召后成为一名少年间谍。

终于摆脱了情报部门，亚历克斯开始了一项个人任务：一劳永逸地摧毁神秘莫测的犯罪网络天蝎。而他几乎不知道的是，他与这两个组织的联系比他想象的要更深。

A modern day contemporary retelling of Greek mythology.

A modern day contemporary retelling of Greek mythology.

A modern day contemporary retelling of Greek mythology.

20世纪之初，高尔夫球还只是英国贵族和绅士们的游戏，底层人民没有资格染指其中，它无疑是身份和权力的象征。少年弗朗西斯·奥密特出身平民家庭，读书之余他经常担任球童贴补家用。在这一过程中，对高尔夫球的热爱悄悄在他的心中生根发芽。他勤奋努力，且天资聪颖，渐渐成长为一名出色的业余选手。1913年，弗朗西斯有幸参加绅士云集的公开赛，它不仅有机会与自己的偶像哈里·瓦顿正面对决，还将成为改写高尔夫球史的重要人物……

约翰·亚当斯是托马斯·杰斐逊组成的《独立宣言》起草委员会的成员，是美国第一任副总统，后来又当选为总统（1797－1801），曾被誉为"美国独立的巨人"。由于他体型较为矮胖，因此有 "圆胖先生" 的称号。约翰·亚当斯任职期间在内政、外交方面均无明显成就，1800年竞选总统时被托马斯·杰斐逊击败。他和杰斐逊都是在美国独立五十周年纪念日──1826年7月4日去世的。其子约翰·昆西·亚当斯是美国第六任总统。 HBO推出的这部7集长的《约翰·亚当斯》，根据获得普利策大奖的同名畅销书改编，此书也是美国历史上最受欢迎的传记文学之一。该剧描绘了约翰·亚当斯波澜壮阔的一生（相对于美国人而言），特别是约翰·亚当斯对美国的立国之道及社会基础的贡献。美国所奉行的所谓 "自由" 、"民主"、"人权" 等基本政治理念，均萌芽于约翰·亚当斯执政时期。此外，该剧还集中介绍了约翰·亚当斯和他的妻子艾比盖尔的爱情故事。艾比盖尔不仅是约翰·亚当斯的爱人，也是他坚定的政治盟友和支撑亚当斯家族的主心骨，她和丈夫的爱情曾被美国人认为是 "美国历史上最感人的爱情故事之一"。

Setting: London in 1982

Act I



In the first scene the coldly witty Max correctly accuses his distant and travelling wife, Charlotte, of infidelity. She leaves embarrassed and angry.



The second scene appears to follow directly after the first, but Charlotte's personality has changed completely, and she is now married to a playwright named Henry. Gradually the audience realises that Charlotte is an actress, and the first scene was her performance in a play that Henry, her husband, wrote. She is unhappy with the play, believing that Henry gives short shrift to the female character in order to show off his own wit through the mouth of Max.



Max and his wife Annie drop by for a visit to Charlotte and Henry. Without the benefit of Henry's dialogue, Max turns out to be a likeable but negligible fellow, and Annie is, according to the script, "very much like the woman Charlotte has ceased to be." Annie is a devoted activist on behalf of an imprisoned vandal, Brodie, and Henry mocks her as a sentimental do-gooder, giving offence to Max. But when Annie and Henry are left alone, it's revealed that their fight was also a performance: they are having an affair, and she agrees to meet him later on the pretext of visiting Brodie in prison.



Max discovers the affair, and Annie leaves him to be with Henry. Soon, Henry is reduced to writing television scripts in order to pay alimony to Charlotte. He struggles to write a play about his love for Annie, but finds it difficult to find the right language to express sincere emotion: he is more comfortable with comedy.

Act II



Two years later, Henry's play about Annie remains unwritten. Annie asks him to ghost-write a play by the prisoner Brodie, whom she continues to visit. Brodie's incoherent anarchist politics, anti-intellectualism , and lack of ability for writing are the antithesis of everything Henry values. Annie discounts this in favour of the intention behind the writing. Henry defends the importance of beauty in language and skill in writing using an analogy with a cricket bat: good writing is like hitting a ball with a cricket bat (ie something that has been carefully designed to hit balls in the best manner possible); bad writing is like hitting it with a plank of wood (ie, something that has the same composition as a cricket bat, and bears it some resemblance, but is ultimately random and inferior).



When Annie is cast in a production of 'Tis Pity She's a Whore in Glasgow, she must be away from Henry for some time, and Henry visits Charlotte and their daughter Debbie. The teenage Debbie declares that monogamy is a thing of the past, a form of colonisation. Henry gently cautions the girl against his own vice of making clever phrases for their own sake, but he is shaken by her cynicism nevertheless. For her part, Charlotte breezily admits to multiple affairs during their marriage, and tells him that his affair with Annie only caused trouble because he treated it romantically instead of as a source of fun.



Henry returns home in a frenzy of jealousy and ransacks his and Annie's apartment searching for evidence of infidelity. His confrontation with Annie echoes the scene from the play he wrote that was performed in the first act of The Real Thing , but Annie has more to say than his imaginary wife did. She admits that she is having an affair with her young co-star Billy, but refuses to either give Billy up or leave Henry: both romances have a moral claim on her, and Henry will just have to accept it. With pain, he does.



As if their relationship were not under enough strain, Brodie is released from prison and stops by for a visit. He turns out to be a prize oaf, with all of Henry's arrogance and elitism, but none of the genuine skill or eloquence to back it up. At last, Annie pushes a bowl of dip in his face and throws him out of the house, and peace between her and Henry is restored. The play ends with a phone call from Max, who tells Henry that he has become engaged.

Setting: London in 1982

Act I



In the first scene the coldly witty Max correctly accuses his distant and travelling wife, Charlotte, of infidelity. She leaves embarrassed and angry.



The second scene appears to follow directly after the first, but Charlotte's personality has changed completely, and she is now married to a playwright named Henry. Gradually the audience realises that Charlotte is an actress, and the first scene was her performance in a play that Henry, her husband, wrote. She is unhappy with the play, believing that Henry gives short shrift to the female character in order to show off his own wit through the mouth of Max.



Max and his wife Annie drop by for a visit to Charlotte and Henry. Without the benefit of Henry's dialogue, Max turns out to be a likeable but negligible fellow, and Annie is, according to the script, "very much like the woman Charlotte has ceased to be." Annie is a devoted activist on behalf of an imprisoned vandal, Brodie, and Henry mocks her as a sentimental do-gooder, giving offence to Max. But when Annie and Henry are left alone, it's revealed that their fight was also a performance: they are having an affair, and she agrees to meet him later on the pretext of visiting Brodie in prison.



Max discovers the affair, and Annie leaves him to be with Henry. Soon, Henry is reduced to writing television scripts in order to pay alimony to Charlotte. He struggles to write a play about his love for Annie, but finds it difficult to find the right language to express sincere emotion: he is more comfortable with comedy.

Act II



Two years later, Henry's play about Annie remains unwritten. Annie asks him to ghost-write a play by the prisoner Brodie, whom she continues to visit. Brodie's incoherent anarchist politics, anti-intellectualism , and lack of ability for writing are the antithesis of everything Henry values. Annie discounts this in favour of the intention behind the writing. Henry defends the importance of beauty in language and skill in writing using an analogy with a cricket bat: good writing is like hitting a ball with a cricket bat (ie something that has been carefully designed to hit balls in the best manner possible); bad writing is like hitting it with a plank of wood (ie, something that has the same composition as a cricket bat, and bears it some resemblance, but is ultimately random and inferior).



When Annie is cast in a production of 'Tis Pity She's a Whore in Glasgow, she must be away from Henry for some time, and Henry visits Charlotte and their daughter Debbie. The teenage Debbie declares that monogamy is a thing of the past, a form of colonisation. Henry gently cautions the girl against his own vice of making clever phrases for their own sake, but he is shaken by her cynicism nevertheless. For her part, Charlotte breezily admits to multiple affairs during their marriage, and tells him that his affair with Annie only caused trouble because he treated it romantically instead of as a source of fun.



Henry returns home in a frenzy of jealousy and ransacks his and Annie's apartment searching for evidence of infidelity. His confrontation with Annie echoes the scene from the play he wrote that was performed in the first act of The Real Thing , but Annie has more to say than his imaginary wife did. She admits that she is having an affair with her young co-star Billy, but refuses to either give Billy up or leave Henry: both romances have a moral claim on her, and Henry will just have to accept it. With pain, he does.



As if their relationship were not under enough strain, Brodie is released from prison and stops by for a visit. He turns out to be a prize oaf, with all of Henry's arrogance and elitism, but none of the genuine skill or eloquence to back it up. At last, Annie pushes a bowl of dip in his face and throws him out of the house, and peace between her and Henry is restored. The play ends with a phone call from Max, who tells Henry that he has become engaged.

The first episode of this IMAX screening takes place entirely at The Wall with the Night’s Watch (S4 EP9) hopelessly outnumbered as they attempt to defend Castle Black from the Wildings and features one the fiercest and most intense battle scenes ever filmed for television. The second episode (S4 EP10), features Dany coming to grips with the realities of ruling a kingdom, Bran learning the startling reality of his destiny and Tyrion facing the truth of his unfortunate situation.

Sound supersedes sight in Stanley Schtinter’s austere anti-fairy tale Schneewittchen, an English-language remake of João César Monteiro’s Branca de Neve (2000), made largely of an audio performance of Robert Walser’s titular play set to a black screen, occasionally relieved by shots of passing clouds. In Walser’s radical reworking of the Grimm fable, a resurrected Snow White reconciles with the Evil Queen, denying any foul play and even seeking forgiveness for provoking her jealousy.

影片改编自塞缪尔・贝克特最后⼀部长篇小说，亦是其最鲜为人知的作品之⼀。故事发生在一片无边无际的荒野中：⼀位无名叙述者匍匐前行，在途中遇见了另⼀位流浪者——皮姆，两⼈之间逐渐形成⼀段既荒诞又充满张力的关系。最终，皮姆选择逃离，叙述者再次回到孤独之中。