综艺大集合

《综艺大集合》是台湾的综艺节目，于2001年11月11日在民视首播。主持人为胡瓜、董至成、浩角翔起、谢忻、小娴。开播之初，播出时间为周日晚间八点至晚间九点十分；而后逐步延长至十点。于2011年4月24日起，提前至周日晚间七点三十分至九点四十分播出。　　节目更换型态后，改成外景录影节目,由胡瓜领军主持的民视综艺强档，该节目是一个乡土类节目，录影地点是台湾各乡镇。内容是介绍并体验台湾各个角落的人文、美食、特产等。主持群以及艺人来宾在节目里面跟群众玩游戏，送奖金，与民同乐。

我的时髦公主之灰姑娘篇

我的野蛮公主灰姑娘篇

路考

表现对青年汽车司机的教育 培养的故事。

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.

湾畔倾情第三季

故事发生在马里兰州切萨皮克湾（Chesapeake Shores）沿岸地区的一座小镇，O’Brien三兄弟亲手设计并创立了这座小镇，这个爱尔兰裔美国家庭也因此成为当地最重要的势力。然而因为内部矛盾加剧，这个家庭最终四分五裂。多年之后，一家人再次团聚，但他们不得不回忆过去的痛苦经历，同时面对难以确定的未来。他们很快发现，学会融洽相处是一件非常重要的事情。

少林英雄粤语

魏晋南北朝时代，政局混乱，民不聊生，为人君主者均笃信佛学，百姓亦逃避现实，寄情 佛教。 　　 　　杂耍小子杨无名(江华)被卷入一宗土匪抢玉佛的漩涡，义父被杀，自己被追杀，走投 无路，落发为僧，巧遇达摩。 　　 　　杨无名於少林期间，虽涉入土匪洪亦之及富家千金穆影 彤(麦翠娴)的三角恋爱中，但受达摩感化，避开私情，最後更率众僧合力保护皇帝，令少林 英雄受到赞扬。

少年阿虎

温柔美丽的韩藉华侨金美娇（金贤珠饰）为逃避感情创伤，只身来到香港。希望过一段安静生活的美娇，碰巧受到前大学同学的邀请，当上大学暑假班韩文教师。第一堂课上，她便遇上了反叛不羁的学生于建邦（吴建豪饰）。这个沉默寡言、在课堂上一直打瞌睡的学生，并没有给美娇留下好印象，两人互相敌对对方。 　　慢慢地，美娇开始对这个执着并倔强的男孩有了好感，建邦对于拳击的热爱也深深感染了美娇，两人竟渐渐产生了微妙的爱的感觉。建邦一直梦想能与顶级拳手阿TANK（安志杰饰）在擂台上一决高下，便开始努力争取出赛资格。然而一波三折，建邦圆梦无望。与此同时，美娇的旧情人来到香港，她竟要重回旧情人的怀抱。

乱世豪杰

一个奄奄一息的小八路敲开了村长家的门，临死之前托付给村长一个东西一个伪装八路的日本特务，去村里打探一个对八路和日本人都很重要的东西不慎被铁蛋三人设置的捕兽夹夹伤，被村民发现误以为是八路，给救走，特务得知了东西的消息。村长让铁蛋三人照顾特务，在此期间产生了一系列乌龙事件。

追随我舞步

桑德拉发现同床共枕40年的丈夫竟然和自己最好的朋友有了外遇，于是决定离家出走到伦敦投奔她的妹妹碧芙。两姐妹的性格和状态有天壤之别，桑德拉心灰意冷保守内敛，而碧芙则热情似火自由开放。然而桑德拉现在最需要的就是改变自己，她跟着碧芙去上跳舞课，由此渐渐找到了自己的舞步，也找到了新的爱情和重新开始的勇气。

古巴新娘

克莱蒙一个人生活很多年了，从古巴旅游回来后，他并不是一个人回来的他遇见了一位也在那边度假的比他小25岁的导游，艾斯佩兰萨。他们彼此相爱了，并打算结婚。而克莱蒙的孩子们想尽办法想要阻止这场婚姻。他们很肯定这个女人只是贪图克莱蒙的财产。气氛如决堤的大坝，积压多年的情绪喷薄而出，现在所有的事情都摆到了台面上。晚，但又为时不晚，他们都面临着究竟什么是爱的问题。所有的人，包括克莱蒙，发现对彼此并没有足够的了解。

社交心慌慌

《SOCIAL DEATH VOTE》的故事展开是这样的，现在使用社交媒体的青少年们在Facebook上创建了粉丝专页，设为名“SEX VOTE”，直言就是关于性感的投票，并邀请所有人来参与，并且很快...

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