The 39 Steps is a melodrama adapted from the 1915 novel by John Buchan and the 1935 film by Alfred Hitchcock. Patrick Barlow wrote the adaptation, based on the original concept by Simon Corble and Nobby Dimon of a two-actor version of the play. Barlow had originally intended to portray the character of Richard Hannay, but focused solely on rewriting the original version.[1]
The play's concept calls for the entirety of the 1935 adventure film The 39 Steps to be performed with a cast of only four. One actor plays the hero, Richard Hannay, an actress (or sometimes actor) plays the three women with whom he has romantic entanglements, and two other actors play every other character in the show: heroes, villains, men, women, children and even the occasional inanimate object. This often requires lightning fast quick-changes and occasionally for them to play multiple characters at once. Thus the film's serious spy story is played mainly for laughs, and the script is full of allusions to (and puns on the titles of) other Alfred Hitchcock films, including Rear Window, Psycho, Vertigo and North by Northwest.

Jim parson(Sheldon)主演的百老汇喜剧。时长1个半小时。

Amélie captured our hearts in the five-time Oscar®-nominated film. Now she comes to the Ahmanson in a magical new musical—following a World premiere at Berkeley Repertory Theatre, which topped the Best Theatre of 2015 lists in the San Francisco Chronicle and Los Angeles Times. Embark on a mesmerizing journey with inquisitive and charmingly shy Amélie as she turns the streets of Montmartre into a world of her own imagining, while secretly orchestrating moments of joy for those around her.

In William Shakespeare's tragedy of political ambition, corruption and betrayal, Roman senators Brutus and Cassius lead a group effort to assassinate the powerful Julius Caesar, then battle with Mark Antony over control of the state.

一次悲惨的海难使孪生兄妹薇奥拉和西巴斯辛失散，然而当他们分别被海浪冲到伊利里亚的岸边时，这片被热情和一群或欢快或忧郁的多姿多彩的人物所颠覆的土地把悲剧变成了喜剧。在SRT的作品《第十二夜》中，这个充满着莎士比亚戏剧性的张冠李戴，巧妙安排和出乎意料的故事将被设定在1939年的欧洲，第二次世界大战的夜晚。抒情，动人，苦涩而甜蜜且令人捧腹，《第十二夜》是一部令人目乱睛迷的精彩作品，这其中每个人都爱着错误的对象。薇奥拉爱上了奥西诺，奥西诺爱上了奥丽维娅，而奥丽维娅爱上了薇奥拉假扮的西萨里奥！

Mozart and Da Ponte use the theme of "fiancée swapping", which dates back to the 13th century; notable earlier versions are found in Boccaccio's Decameron and Shakespeare's play Cymbeline. Elements from Shakespeare's The Taming of the Shrew are also present. Furthermore, it incorporates elements of the myth of Procris as found in Ovid's Metamorphoses, vii.
Place: Naples
Time: the 18th century
Act 1
Scene 1: A coffeehouse
In a cafe, Ferrando and Guglielmo (two officers) express certainty that their fiancées (Dorabella and Fiordiligi, respectively) will be eternally faithful. Don Alfonso expresses skepticism and claims that there is no such thing as a faithful woman. He lays a wager with the two officers, claiming he can prove in a day's time that those two, like all women, are fickle. The wager is accepted: the two officers will pretend to have been called off to war; soon thereafter they will return in disguise and each attempt to seduce the other's lover. The scene shifts to the two women, who are praising their men (duet: "Ah guarda sorella"—"Ah look sister"). Alfonso arrives to announce the bad news: the officers have been called off to war. Ferrando and Guglielmo arrive, brokenhearted, and bid farewell (quintet: "Sento, o Dio, che questo piede è restio"—"I feel, oh God, that my foot is reluctant"). As the boat with the men sails off to sea, Alfonso and the sisters wish them safe travel (trio: "Soave sia il vento"—"May the wind be gentle"). Alfonso, left alone, gloatingly predicts that the women (like all women) will prove unfaithful (arioso: "Oh, poverini, per femmina giocare cento zecchini?"—"Oh, poor little ones, to wager 100 sequins on a woman").
Scene 2: A room in the sisters' home
Despina, the maid, arrives and asks what is wrong. Dorabella bemoans the torment of having been left alone (aria: "Smanie implacabili"—"Torments implacable"). Despina mocks the sisters, advising them to take new lovers while their betrotheds are away (aria: "In uomini, in soldati, sperare fedeltà?"—"In men, in soldiers, you hope for faithfulness?"). After they leave, Alfonso arrives. He fears Despina will recognize the men through their disguises, so he bribes her into helping him to win the bet. The two men then arrive, dressed as mustachioed Albanians (sextet: "Alla bella Despinetta"—"Meet the pretty Despinetta"). The sisters enter and are alarmed by the presence of strange men in their home. The "Albanians" tell the sisters that they were led by love to them (the sisters). However, the sisters refuse to give in. Fiordiligi asks the "Albanians" to leave and pledges to remain faithful (aria: "Come scoglio"—"Like a rock"). The "Albanians" continue the attempt to win over the sisters' hearts, Guglielmo going so far as to point out all of his manly attributes (aria: "Non siate ritrosi"—"Don't be shy"), but to no avail. Ferrando, left alone and sensing victory, praises his love (aria: "Un'aura amorosa"—"A loving breath").
Scene 3: A garden
The sisters are still pining. Despina has asked Don Alfonso to let her take over the seduction plan. Suddenly, the "Albanians" burst in the scene and threaten to poison themselves if they are not allowed the chance to woo the sisters. As Alfonso tries to calm them, they drink the "poison" and pretend to pass out. Soon thereafter, a "doctor" (Despina in disguise) arrives on the scene and, using magnet therapy, is able to revive the "Albanians". The men, pretending to hallucinate, demand a kiss from Dorabella and Fiordiligi (whom the "Albanians" call goddesses) who stand before them. The sisters refuse, even as Alfonso and the doctor (Despina) urge them to acquiesce.
Act 2
Scene 1: The sisters' bedroom
Despina urges them to succumb to the "Albanians"' overtures (aria: "Una donna a quindici anni"—"A fifteen year old woman"). After she leaves, Dorabella confesses to Fiordiligi that she is tempted, and the two agree that a mere flirtation will do no harm and will help them pass the time while they wait for their lovers to return (duet: "Prenderò quel brunettino"—"I will take the brunette one").
Scene 2: The garden
Dorabella and the disguised Guglielmo pair off, as do the other two. The conversation is haltingly uncomfortable, and Ferrando departs with Fiordiligi. Now alone, Guglielmo attempts to woo Dorabella. She does not resist strongly, and soon she has given him a medallion (with Ferrando's portrait inside) in exchange for a heart-shaped locket (duet: "Il core vi dono"—"I give you my heart"). Ferrando is less successful with Fiordiligi (Ferrando's aria: "Ah, lo veggio"—"Ah, I see it" and Fiordiligi's aria: "Per pietà, ben mio, perdona"—"Please, my beloved, forgive"), so he is enraged when he later finds out from Guglielmo that the medallion with his portrait has been so quickly given away to a new lover. Guglielmo at first sympathises with Ferrando (aria: "Donne mie, la fate a tanti"—"My ladies, you do it to so many"), but then gloats, because his betrothed is faithful.
Scene 3: The sisters' room
Dorabella admits her indiscretion to Fiordiligi ("È amore un ladroncello"—"Love is a little thief"). Fiordiligi, upset by this development, decides to go to the army and find her betrothed. Before she can leave, though, Ferrando arrives and continues his attempted seduction. Fiordiligi finally succumbs and falls into his arms (duet: "Fra gli amplessi"—"In the embraces"). Guglielmo is distraught while Ferrando turns Guglielmo's earlier gloating back on him. Alfonso, winner of the wager, tells the men to forgive their fiancées. After all: "Così fan tutte"—"All women are like that".
Scene 4:
The scene begins as a double wedding for the sisters and their "Albanian" grooms. Despina, in disguise as a notary, presents the marriage contract, which all sign. Directly thereafter, military music is heard in the distance, indicating the return of the officers. Alfonso confirms the sisters' fears: Ferrando and Guglielmo are on their way to the house. The "Albanians" hurry off to hide (actually, to change out of their disguises). They return as the officers, professing their love. Alfonso drops the marriage contract in front of the officers, and, when they read it, they become enraged. They then depart and return moments later, half in Albanian disguise, half as officers. Despina has been revealed to be the notary, and the sisters realize they have been duped. All is ultimately forgiven, as the entire group praises the ability to accept life's unavoidable good times and bad times.

设定在1990年，主角为加菲饰演的Jon，一个年轻、雄心勃勃的音乐剧作曲家。他在纽约一边当侍者，一边写一部叫《Superbia》的音乐剧，希望能平步青云，开启事业。但他从女友Susan那里感受到了压力，对方已经厌倦了任男友的职业前途牵制自己的人生；同时，Jon的室友Michael也放弃了创作梦想，做了一份高收入的广告业工作。快30岁的Jon非常焦虑：自己的梦想是否值得继续拼搏？

一段不寻常的友谊，一位失而复现的旧爱，一桩处在转折点上的婚姻，一场可能不是约会的约会，一个不因循守旧的新家庭——八篇纽约小品，九段“摩登情爱”，演绎当代生活中爱之纷繁复杂，将个中滋味向我们娓娓道来。
剧集改编自《纽约时报》同名专栏“摩登情爱”，“探索当代人复杂的感情生活，以及爱的痛苦与欢愉。”

纽约唐人街一家社区银行2015年被联邦检察官起诉，成为2008年美国金融危机后唯一一家被起诉的银行。这个故事拍成了一部纪录片。2008年美国金融危机有个关键词叫“大不能倒” (Too Big to Fail)，指的是因滥发房屋次级贷款导致危机的美国大金融机构太大而不能倒 闭。实际上危机过后没有一家大金融机构或个人对那次危机承担法律责任。
一部最近公映的由独立制片人制作的纪录片，记录了金融危机后联邦政府起诉的唯一一家银行——由华人移民创办的纽约唐人街社区银行——国宝银行，以及它的创办人孙启诚和他家人赢得官司的过程。相对于“大不能倒”，记录片取名“小须入狱” (Small Enough to Jail)。
2012年5月31日，总部在纽约唐人街的国宝银行连同两名贷款主管，被纽约曼哈顿地区检察官办公室起诉，罪名从伪造商业记录、民用贷款欺诈、严重盗窃、串谋等共182项。纽约曼哈顿地区检察官万斯:“我认为这是长时期系统性欺诈，把风险转移到不知情的第三者身上。”检察官:“被告国宝银行涉入一起正在进行的贷款欺诈阴谋，他们不断篡改和伪造贷款文件，然后欺骗联邦国民抵押贷款协会，众所周知的房利美。”
国宝银行创办人孙启诚 : “这个话对我们来讲就荒唐了。为什么？第一我们根本没有次级贷款。而且我们没有倒账（坏账）。国宝银行的律师普瓦洛斯基：“在被指控的5年时间里，国宝总共卖了3000个贷款给房利美，3000个里只有9个有问题。”余启斌，一名被国宝银行开除的问题员工成为检察官办公室的主要污点证人，指控国宝银行贷款部伪造文件骗取贷款。但他的证词受到法官的质疑，最终也没有被陪审团采信。
影片导演詹姆斯在案件还在审理的时候就开始了拍摄。他说，他相信国宝银行是清白的。《小须入狱》导演詹姆斯：“认识了这个家庭，了解了他们的为人，我不相信他们有罪。不过我告诉他们，如果我们真的要讲这个故事，我们也要看另一方，如果有过硬的证据，证明你们有罪，那会包括在影片中，我们会直接面对你们。但我从未感到检察官的起诉具有说服力。”
孙启诚：“2015年6月5日，纽约时报报道，经过一个月的审理，陪审团认定两名被告和国宝银行无罪。”但对孙启诚来说，他们全家，他的妻子和4位女儿，经历了长达5年的煎熬，银行贷款业务完全停摆；官司花费总共超过1000万美元。孙启诚：“所以说，我在官司打完时，有一句话我说，公理是看你能付出多大代价，到底你能够承担多少？这个道理我说我懂了。”
孙启诚说，国宝银行的官司虽然赢了，但已认罪的10名员工罪名依然成立；而不愿认罪的9名女员工加两名男主管，在5月31日起诉那天，受到了侮辱性对待。孙启诚： “检察官很容易地选了华人，为什么呢，因为我们华人不投票，没有政治力量，冤枉你们是没事情的，没有后果的。”82岁的孙启诚，1952年从香港移民美国，年轻时就立志要当律师、办银行，为华人服务。1984年他创办了国宝银行。
孙启诚说，这次官司给他最大的教训是华人要参政，要运用投票权，要显示力量，不能自顾自。他说这个话是有原因的，因为从始至终，甚至在他赢了官司后，都没有得到社区民选官员对他，或至少对国宝银行受侮辱员工的支持。他认为，如果这场官司能唤起华人参政的热情，那么他和他的家庭所付出的代价也就算值了。
by @Bonnae

In 1960 Jane Jacobs’s book The Death and Life of Great American Cities sent shockwaves through the architecture and planning worlds, with its exploration of the consequences of modern planners’ and architects’ reconfiguration of cities. Jacobs was also an activist, who was involved in many fights in mid-century New York, to stop “master builder” Robert Moses from running roughshod over the city. This film retraces the battles for the city as personified by Jacobs and Moses, as urbanization moves to the very front of the global agenda. Many of the clues for formulating solutions to the dizzying array of urban issues can be found in Jacobs’s prescient text, and a close second look at her thinking and writing about cities is very much in order. This film sets out to examine the city of today though the lens of one of its greatest champions.

As cities have gentrified, educated urbanites have come to prize what they regard as "authentic" urban life: aging buildings, art galleries, small boutiques, upscale food markets, neighborhood old-timers, funky ethnic restaurants, and old, family-owned shops. These signify a place's authenticity, in contrast to the bland standardization of the suburbs and exurbs. But as Sharon Zukin shows in Naked City, the rapid and pervasive demand for authenticity--evident in escalating real estate prices, expensive stores, and closely monitored urban streetscapes--has helped drive out the very people who first lent a neighborhood its authentic aura: immigrants, the working class, and artists. Zukin traces this economic and social evolution in six archetypal New York areas--Williamsburg, Harlem, the East Village, Union Square, Red Hook, and the city's community gardens--and travels to both the city's first IKEA store and the World Trade Center site. She shows that for followers of Jane Jacobs, this transformation is a perversion of what was supposed to happen. Indeed, Naked City is a sobering update of Jacobs' legendary 1962 book, The Death and Life of Great American Cities. Like Jacobs, Zukin looks at what gives neighborhoods a sense of place, but argues that over time, the emphasis on neighborhood distinctiveness has become a tool of economic elites to drive up real estate values and effectively force out the neighborhood "characters" that Jacobs so evocatively idealized. With a journalist's eye and the understanding of a longtime critic and observer, Zukin's panoramic survey of contemporary New York explains how our desire to consume authentic experience has become a central force in making cities more exclusive.

“败金女”文佳佳（汤唯 饰）曾经是美食杂志编辑，对爱情充满了像电影《西雅图夜未眠》一样的浪漫幻想。而在现实中，为了给自己的孩子一个“美利坚公民”的身份，她不远万里只身来到西雅图的月子中心待产生子。
在月子中心，文佳佳炫富的作风引发了房东（金燕玲 饰）和其他孕妇周逸（海清 饰）、陈悦（买红妹 饰）的反感，倍感孤独的她只能向司机郝志Frank（吴秀波 饰）倾诉心声。而看上去木讷老实的“落魄叔”Frank并不是一个平庸的男子，他在中国曾是一位一流的心血管疾病方面的名医。在相处中，Frank的体贴包容渐渐融化着文佳佳的刁蛮任性。当文佳佳的富豪男友突然失踪后，一夜之间变成穷人的文佳佳得到了Frank无微不至的照顾，跟Frank和他的女儿Julie（宋美曼 & 宋美慧 饰）一起生活的这段日子，让文佳佳找到了家的温暖。
当经历了变故的文佳佳，生下了孩子，就要结束她在西雅图的颠沛之旅时，她与Frank之间已经产生了微妙的化学变化，这时的她才发现自己真正追求的爱情是什么。离开西雅图并不代表结束，离开是下一次相遇的开始……

里昂（让·雷诺饰）是名孤独的职业杀手，受人雇佣。一天，邻居家小姑娘马蒂尔达（纳塔丽·波特曼饰)敲开他的房门，要求在他那里暂避杀身之祸。原来邻居家的主人是警方缉毒组的眼线，只因贪污了一小包毒品而遭恶警（加里·奥德曼饰）杀害全家的惩罚。马蒂尔达得到里昂的留救，幸免于难，并留在里昂那里。里昂教小女孩使枪，她教里昂法文，两人关系日趋亲密，相处融洽。
女孩想着去报仇，反倒被抓，里昂及时赶到，将女孩救回。混杂着哀怨情仇的正邪之战渐次升级，更大的冲突在所难免……

索菲（米凯·萨姆纳 Mickey Sumner 饰）是弗朗西斯（格蕾塔·葛韦格 Greta Gerwig 饰）最要好的朋友兼室友，两人整日里出双入对，关系俨然比情侣要亲密的多。然而某日，索菲忽然告诉弗朗西斯，自己要搬到城中和另一个女孩同住。虽然索菲万般保证两人还是朋友，但弗朗西斯的内心依旧十分失落。
无法独自负担房租的弗朗西斯只得另觅住处，索菲的朋友列夫（亚当·德赖弗 Adam Driver 饰）在关键时刻助了弗朗西斯一臂之力，就这样，弗朗西斯开始了和列夫以及列夫的室友本吉（迈克尔·泽根 Michael Zegen 饰）一起的同居生活，并承诺会在圣诞节的舞蹈演出后付齐房租。糟糕的是，没过多久，弗朗西斯便丢掉了工作。一时之间，她不知道自己究竟该何去何从。

Jasmine(凯特·布兰切特 Cate Blanchett 饰）的丈夫Hal因为商业诈骗罪被捕入狱并在狱中结束了自己的生命，一贫如洗的她只能离开纽约来到旧金山投靠她的妹妹Ginger（莎莉·霍金斯 Sally Hawkins 饰）。从挥金如土的生活瞬间回到普通人的世界，Jasmine精神崩溃了，她经常自言自语，并沉浸在对往日的回忆中，和周围的人格格不入。她不喜欢Ginger的前夫Aguie，更不喜欢Ginger现在的男朋友Chill。Jasmine在一个牙医诊所找到了份工作，同时回到学校上课，但她的生活仍旧一团糟。直到在一个派对上，她邂逅了一个公务员，他风趣英俊又有钱，很快就赢得了Jasmine的心。Jasmine的生活似乎回到了正轨，就在他们准备购买结婚戒指的时候，Ginger前夫Augie的出现又让她的世界昏天暗地......

这本书是陈丹青纽约生涯的结账，初事写作的开端……他的生活因这本书从此转向，出现新地带。和其它几本书相比，陈丹青说“这本书不越界、没脾气，聊聊纽约、谈谈艺术，自然显得雅，而久在域外，所谓生活积累比较厚，要论写作的闲静与专注，也确是这本书”。初版分为两册，下册多是访谈、杂稿，修订版全部删除。