节目旨在传扬中国美食文化，寻找中国百姓之间共鸣的味道。过去一年，世界经历了一场历练，在持续的隔离和分别之间，美食将断层的世界重新连接起来。再远的距离也阻隔不了因它而生的笑脸和感动。美食作为人类共通的“语言”、重启生活的密钥，让相隔四海的心灵产生共振，将“味道”和内心深处的记忆关联，让我们畅游回忆，在一帧帧定格的画面中重新感受生活的温度。
本美术片为木偶片，改编自高玉宝同名小说。“旧社会”，地主阶层剥削农民的花招可谓应有尽有，其中半夜学鸡叫是其中一种。眼看就要过年，地主周扒皮为了辞退辛苦一年的长工，不让他们拿到应得的工钱，想出半夜学鸡叫的鬼招。劳累一天的长工刚躺下，他就蹑手蹑脚地走进鸡窝，学两声鸡叫引起公鸡的啼鸣，然后，在他的催促下，长工不得不勉力爬起下地干活，他心里盘算着，长工如此折腾下去身体很快就会吃不消，到时就有了充足的理由辞退他们。但他的诡计并没有得逞。
CBS制作“ADELE只在今夜”，黄金时段特别企划将为你呈现精彩的现场表演，包括Adele六年以来新专辑中的内容以及她的打榜单曲。本次特别企划还包括奥普拉·温弗瑞在她的私人处所“玫瑰园”对Adele的独家访谈。这是Adele首次在电视访谈中谈及她的新专辑，歌曲创作的幕后故事，离婚后的生活，减重以及抚养她儿子。
灵气浓郁的未来异世界里，热情开朗的小胖子王宝乐，在名校“缥缈道院”的入学考试中识破了老师们打造的幻境，用出色的表现赢得高分，取得“法兵系”特招学子的名额，从此披荆斩棘，开启了自己的升级之路。在修仙打怪的过程中，他结交了一大批至交好友，并由此展开了一系列爆笑冒险故事。
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.
TV动画《#擅长捉弄人的高木同学#》第三季＆新剧场版，将于2022年播出！
马特·卢卡斯主演的叫弗兰克的家伙不小心杀死了自己的房东，而他必须想尽办法来藏尸，这听起来似乎又是一个愚蠢的罪犯故事，而所谓的笑料也必然穿插在掩饰罪行的整个过程中。但是这个故事显然并不想按想照常规路线走，弗郭兰阴差阳错地开始了一次旅程，而在这次旅程中，他竟然邂逅了无数幸运…
这是一个青春、搞笑、轻快的校园故事。女主角卢瑞希（ELLA饰）因为崇拜跳高选手左以泉（吴尊饰），不惜从美国转校回来并女扮男装混进男校樱开学院就读。幸运的是，她不但与泉同在一个班级，还成为了室友。不幸的是，第二天就被泉发现她是女生。但泉却没有戳穿这个谎言。保健室的校医梅田老师（唐治平饰）在一次治疗中意外的发现瑞希是女生，身为同性恋的他却选择替瑞希保守这个秘密，并经常帮这个鲁莽的小丫头出主意。而同是瑞希和泉的同学的金秀伊（汪东城饰）在与瑞希的朝夕相处中竟逐渐爱上了她。然而不知情的秀伊却在为自己的这段“同性恋”而深深苦恼着。《花样少年少女》的故事就在这样搞笑又富有青春气息的氛围中展开。与此同时，女扮男装的瑞希也面临着各种各样的挑战。到底最后，执着的瑞希能否实现自己的愿望呢？
故事发生在一个架空的世界之中，邪龙“达钢索德”的频繁现身令整个世界都陷入了危机，魔导士们挺身而出，想要将邪龙封印。锡洛（松冈祯丞 配音）的父母便是其中的两位，不幸的是，封印任务失败了，锡洛就此成为孤儿。这段悲惨的遭遇让锡洛更加坚定了继承双亲遗志的决心，在16岁那一年，他踏上旅途，目标只有一个，就是封印邪龙为父母报仇。 一路上，锡洛遇见了形形色色的伙伴们。身世成迷的单纯少女萨拉特（市道真央 配音）、身手矫健特立独行的盗贼艾琳（内田真礼 配音）、成熟稳重身体强壮的麒鲁（楠大典 配音），在这些伙伴们的帮助和支持之下，锡洛在不断的成长着。
1930年，在列强统治瓜分的大都会旧上海。为了追寻音乐的梦想，年轻人聂守信告别故乡云南来到上海求学，为了生计，他干着最底层的工作，但是随着国民党反动派压迫的日益加深，守信失业……
桑德拉·惠勒([托尼·厄德曼])将加盟新片[该死的歌德3]。该系列讲述了痞子泽基(埃利亚斯·穆巴里克饰)出狱后混入学校伪装成代课老师的故事。据悉，桑德拉将扮演一个机智的新教练，她将与埃利亚斯·穆巴里克扮演的伪代课老师和问题学生们斗智斗勇。该片将在今年春天开拍，预计于10月上映。
