本剧改编自6集播客《WeCrashed: The Rise and Fall of WeWork》，由Lee Eisenberg和Drew Crevello编剧，讲述共享办公室公司WeWork的崛起以及衰落。在不到十年内，WeWork从一个共享办公空间发展成为一个470亿美元的全球品牌。然后又在短短的一年之内，损失了400亿美元。到底发生了什么事？
此部动作冒险片，带有「印地安纳琼斯」系列电影的风格。洁西（莎朗史东 饰）的父亲是一名考古学家，在一次前往非洲的考古探险中，被一名土耳其人（约翰雷斯戴维斯 饰）与一名德国上校（赫伯隆姆 饰）绑架，他们俩企图从顽固的考古学家的口中，逼问出所罗门王宝藏的藏匿地点。为了找回失踪父亲的下落，洁西向冒险家艾伦（李察张伯伦 饰，）求助，于是两人启程前往未知的非洲大陆。接下来，他们要面对的不仅是凶猛的鳄鱼、狮子，还有一群心狠手辣的人类…此部带有异国风味的冒险电影，是动作片名导杰李汤姆逊的作品，他另有「六壮士」、「恐怖角」等代表作。
在第二季中，三位好友莫里茨、莱尼和丹想搞明白如何更快在网上卖迷幻药。他们的业务呈指数级增长，仅三个人难以满足市场的需求。他们的私人生活也出现转变。丽莎开始怀疑莫里茨的古怪行为，丹决心向他的父亲证明自己可以自食其力，莱尼则偶然与名为“xKira7”的神秘程序员展开了一场网恋。莫里茨单枪匹马在荷兰做生意并深陷谎言，他还面临着首次恋爱危机和高中毕业，并试图找到工作与生活的平衡，他的荷兰合作伙伴实际上是腐败的黑帮。事实证明，不仅警察对布巴的死感兴趣，他异常古怪的家人也开始询问各种问题。
姜大年和庞边（许知剑饰）二人无意中被卷入到一场关于“毒品”的事件中，兰州的“大哥”发出“江湖追杀令”命令全城的社团找到二人。正当二人一夜之间快要跑遍全兰州时，才发现原来这一切都是庞边安排好的。因为姜大年从台北来到兰州后，开始沉迷于酒色财气的生活。于是，庞边找到了自己的练手（兰州话“兄弟”的意思），决定一起演一出戏，让姜大年在经历的过程中学到什么是责任，什么是担当，什么是爱，最终姜大年懂得了生活的意义，离开兰州，回到台北找回了自己心中最爱的女人。
Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
总统的保卫机关将纽约著名的精神病专家西尼选为总统的精神病医生。西尼和女友南被迫到华盛顿定居，严格的保密规定还不允许他同任何谈论这件事。无法忍受的西尼决定逃跑，他借一个机会离开了华盛顿，但特工人员却化装成各种人物一直跟踪着他。西尼混到一群嬉皮士中成功地甩掉特工，但没想到加拿大特工又盯上了他，正在他们企图绑架他时，一个叫克罗波特金的俄国特工将他解救出来，于是他们一起前往华盛顿。电话公司的保安人员企图控制全国、要挟总统，他们将西尼劫走，克罗波特金捣毁了电话公司的保安总部，将西尼救出。
《海滨帝国》再现了美国禁酒令时期（1920-1933年）大西洋城这个海滨小城阴暗面的生存状况。《海滨帝国》的编剧是《黑道家族》的编剧特伦斯·温特，该剧根据作家Nelson Johnson的原著《海滨帝国：大西洋城的诞生，鼎盛以及堕落》(Boardwalk Empire:The Birth, High Times and Corruption of Atlantic City)改编。
ある日、勤め先の有明製薬の合併を機に、リストラ候補へ一気に転落してしまう青柳誠一。一方、妻と娘には突如、家を出て行かれてしまう。真面目に誠実に生きてきたはずなのに、一体何がいけなかったのか???？ 会社で起死回生のチャンスとして上司から与えられたミッションは、有明製薬が資金援助しているバレエ団の年末公演『白鳥の湖』の興行を成功させることだった－。不可能に近い挑戦を成功させるべく青柳は、妻の残した『バレエ日記』を唯一の手がかりにして未知のバレエの世界に立ち向かっていく。
故事讲述上世纪90年代初，穷小子小宝追随同村“发小儿”二哥，一路从贫穷朴实的东北农村来到了经济飞速发展的深圳。期间，两人无意中收留了一个嗷嗷待哺的婴儿，生活困窘的小宝和二哥该如何将孩子抚养长大？当小宝和二哥与同在深圳打拼的创业女青年马露“狭路相逢”，三人之间又将发生哪些令人捧腹的爆笑故事？一段笑泪参半、起伏跌宕的小人物奋斗史就此展开……
此剧讲述于孤儿院出身的男主角，于濒临死亡后改名换姓成另一身份向阳地集团復仇，和嫁入阳地集团找寻男主角死亡真相与报復的女主角多年后重逢的故事。
该剧由著名喜剧演员、午夜谈话节目主持人Jimmy Fallon制片，故事描述三个三十多岁的父亲希望抓住正在消逝的青春，同时抓住刚刚出生的孩子的小手。这听起来很容易，对吧？
3月13日 21-22赛季法甲第28轮 蒙彼利埃VS尼斯