2023年09月17日 英超联赛 纽卡斯尔联vs布伦特福德

梦魇绝镇第二季

内详

扎职

1997年，用功读书且孝敬寡母的阿霆（陈伟霆 饰）和早早便混社会的阿祥（曾国祥 饰）、阿栋（徐伟栋 饰）是自幼长大的好朋友。因做小生意的霆母被人欺负，阿祥等人叫来大哥耀文（谭耀文 饰）相助。文哥是黑道响当当的人物，当年曾一夜之间横扫油麻地，但却甘心经营一家小水果摊。见识了文哥的义气，阿霆决心拜入其门下，希望早日赚大钱孝敬父母。经过多年的打拼历练，阿霆逐渐成长为足以独当一面的少壮派人物。他代大老板王波（卢海鹏 饰）收账，由此与富家千金Michelle （诗雅 饰）相识相恋。 　　风光无限的阿霆惹到同门前辈火爆明（林利 饰），不仅遭到残酷毒打，连恋情也出现转机。这一事件促使他的内心世界以及黑道格局发生天翻地覆的变化……

瓦舍之素舞遥

　　宋朝瓦舍兴盛，从小耳濡目染的大小姐周遥最喜素舞，可惜周家突遭变故，周遥被卷入一起离奇案件并成为主要嫌疑人。昔日大小姐的情感之路将何去何从，她又将如何拯救受困女性，找寻幕后之人……

隐藏在女尸背后的恐怖传说#无名女尸

奥斯丁（埃米尔·赫斯基 Emile Hirsch 饰）和父亲汤米（布莱恩·考克斯 Brian Cox 饰）同为镇上的验尸官，某天晚上，刑警谢尔顿（迈克尔·麦克埃尔哈顿 Michael McElhatton 饰）送来了一具无名女尸，希望汤米和奥斯丁能够在天亮之前弄清楚她身上的秘密。                                                                    奇怪的是，这具女尸身上没有任何的淤青或伤口，然而她的内脏和骨骼却伤痕累累，很显然生

欲望都市第三季

AiredonHBO,TBSandCWfrom4June2000to15October2000

欧洲的某个地方

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.

11月19日 23-24赛季NBA常规赛 尼克斯VS黄蜂

秩序和道德

1988年4月，（法属）新喀里多尼亚的乌维阿岛。30名警察被卡纳克人要求独立的组织挟持为人质。法国派出300名军人去恢复秩序。2个男人面对面：法国国家宪兵特勤队的队长菲利普·勒高裘和挟持人质的首脑阿尔方斯·迪亚努。通过两人共同的价值观，他们尝试着通过对话来解决问题。但当时正值总统大选，当关键挑战都是政治方面时，秩序并不总是由道德来支配……

落魄总裁

贫穷的齐尘遇见因为和父亲发生矛盾的隐藏富二代赵凌凌，在赵凌凌的帮助下，齐尘获得赵凌凌父亲赵巡的投资，一跃成为公司总裁，但是，有钱之后，开始变得嫌弃赵凌凌，迷恋小三方雪，在经历公司倒闭，众叛亲离之后，终于悔悟，在小乞丐的帮助下，穿越到破产之前，但是，在幕后黑手乔子雯的阴谋下，齐尘再次一无所有......

只走花路吧

讲述的是生活在婆家的热血主妇姜汝媛和披荆斩棘度过人生的奉天东之间的爱情故事。

保姆俱乐部第一季

讲述了克里斯蒂·托马斯（索菲·格雷斯饰）、玛丽-安·斯皮尔（马莉娅·贝克饰）、克劳迪娅·岸（莫莫纳·塔马达饰）、史黛西·麦吉尔（谢伊·鲁道夫饰）和道恩·谢弗（克索基特尔·戈麦斯饰）之间的情谊，以及身为中学生的她们在康涅狄格州斯托尼布鲁克镇当保姆创业的冒险经历。一些优秀演员的加入令整个演员阵容更加熠熠生辉：艾丽西亚·希尔维斯通饰演克里斯蒂·托马斯无私的单身母亲伊丽莎白·托马斯-布鲁尔，她喜欢马克·费厄斯坦饰演的好男人沃森·布鲁尔。安·M·马丁是这部新剧集备受喜爱的作者和制片人，她是第一个构思出这个故事的人，这些有着不同背景、性格和观点的年轻女孩，通过一次创业项目聚到了一起，并结下了难忘的友谊。这部当代剧情喜剧的改编版继续歌颂友谊、女性赋权和创业精神，