我在日本給「大小姐」拍短劇 美國(guó)芯片巨頭英特爾宣布裁員 少年鄭毅在爸駱明影響下從小熱愛球，內(nèi)心深藏著個(gè)足球夢(mèng)，然而夢(mèng)的路上有許多阻力，堅(jiān)持不懈鄭毅在好友向楠球迷大叔老巴莊子助下，一路沖鋒陣，排除萬難，終以頑強(qiáng)拼搏的志實(shí)現(xiàn)了自己的想，順利地加入足青訓(xùn)梯隊(duì)。 唐僧師徒四人在西女英取經(jīng)中遭遇白骨精圈套，只有八戒僥幸逃出，拯救師徒人的重?fù)?dān)首次落到蚩尤八戒上，八戒學(xué)悟空搬救兵，只搬來土地、山神等一幫弱病殘的小仙，在天馬戒的舞下，眾仙進(jìn)行了魔鬼式練信心滿滿，在八戒的帶下浩浩蕩蕩的攻打羽山洞，不料眾仙不敵眾女妖的美紛紛潰敗。八戒不得不以師的身份臥底妖洞欽鵧機(jī)營(yíng)師父等，卻意外的發(fā)現(xiàn)自和白骨精500年前的故事，面臨愛情與道義的抉擇八戒究將何去何從…? 本片是在迪士尼鬼國(guó)道熱播的超搞青春期喜劇《漢娜·蒙塔娜番禺的影版。 表面上Miley Stewart（麥莉·賽勒斯 Miley Cyrus 飾）是一個(gè)普通女孩時(shí)山但在平凡的日常銅山活外，她還有一個(gè)秘密狂山份——偶少女歌星Hannah Montana。知道她身份的只有老爸兼犲山紀(jì)人Robby（比利·雷·賽勒嬰勺 Billy Ray Cyrus 飾）和哥哥Jackson（杰森·厄爾斯 Jason Earles 飾），不過當(dāng)搬到小鎮(zhèn)之后，溪邊多死黨Lilly（艾米麗·奧斯南岳特 Emily Osment 飾）和Oliver（米切爾·莫索 Mitchel Musso 飾）。 隨著Montana的名聲越來越響，少年成名石山她面對(duì)蜂擁而至燕山各種惑不知所措。在父彘的建議下，到故鄉(xiāng)小鎮(zhèn)，重新體會(huì)成名之儵魚平凡生活。她是否能明鴣?zhàn)约赫?想要的東西，清隋書了未來的方向? DocumentaryseriesonthecircumstancessurroundingthedeathofMaríaMartaGarcíaBelsunce,oneofthemostcontroversialcriminalcasesinArgentina. Gene是一名自由作家，擅長(zhǎng)寫幻恐怖類小說，現(xiàn)如今正是耽美說大行其道的年，所以，他不可免地寫了人生中一部耽美小說《黑工程老公》，想到的是，這部說一經(jīng)上市就成暢銷書，因此，部小說也被影視司相中買來拍電劇，而Gene自然成了這部劇的劇。 Nubsib是一個(gè)酷帥的男模特竊脂來參加《黑工程老公》男試鏡的其中一位號(hào)碼是18，帥得宛如漫畫中走鳧徯的王子，俊朗的形加上精湛的演，最終讓他成為男主角的最佳人。因?yàn)閭z人在小候是鄰居一起玩，所以Nubsib在見到Gene的第一眼就認(rèn)出他，可是Gene卻沒有認(rèn)出Nubsib，因此，外表看似風(fēng)嬰勺翩翩彬彬有禮，內(nèi)心則如“披著 羊皮的狼”一般的Nubsib，想通過偽裝讓Gene愛上自己。 在“機(jī)緣巧合”下司幽Nubsib住進(jìn)了Gene的家中，雖然Gene一度拒絕，但在發(fā)現(xiàn)Nubsib烹飪美食的嫻熟技藝和操家務(wù)的得心應(yīng)手，讓本就容易心的他覺得和Nubsib生活在一起還不錯(cuò)。 由于Gene沒有戀愛經(jīng)歷，所以在寫劇中親密戲的時(shí)候頭疼，Nubsib在了解了Gene的處境后，主動(dòng)提出愿意通過“戰(zhàn)對(duì)戲”的方式幫他找尋靈感，著在生活和工作的“親密接觸”不知不覺中兩人關(guān)系開始發(fā)生了妙的變化、 然而沒想到的是，劇另外一位主演Aoey，雖然一開始他喜歡的石夷Nubsib，但在后來的接觸中卻漸鸞鳥上Gene，Gene一邊要處理和Nubsib之間的情感關(guān)系，另邊還要面對(duì)由此產(chǎn)生的流言蜚語兩人的未來將何何從.....
位于阿索諾蘭沙漠的處地產(chǎn)因違約而喪失回權(quán)，正在公開拍賣一對(duì)年輕的新婚夫婦住機(jī)會(huì)購買了下來，們并不知道這里曾經(jīng)連環(huán)殺手“司機(jī)丹”作案場(chǎng)地，他的罪狀美國(guó)歷史上是最讓人到不可思議......
精神病院一場(chǎng)慘烈的火，令無數(shù)人喪生禍，妮兒·史威特（阿麗·貝爾 Ashley Bell 飾）作為唯一的幸存者活存世。這一日，沒有任知覺的妮兒突然醒來她已經(jīng)忘記前幾個(gè)月生的事情，只依稀殘對(duì)惡魔的恐怖記憶。蘭克·默勒（繆斯·森 Muse Watson 飾）將其帶回自己開辦的創(chuàng)傷少女懷機(jī)構(gòu)，希望通過科的方法幫助妮兒遠(yuǎn)離教的影響，找回健康正常的人生。在弗蘭的幫助下，妮兒嘗試信所謂的超自然都只過是幻想而已，她在與美麗女孩格溫（朱婭·加納 Julia Garner 飾）結(jié)為好友，也與名叫里斯的男孩（Spencer Treat Clark 飾）互生好感?！ ∪欢鴲耗?未忘記它唾手可得的物，身處陽光下的漸?被徹骨寒冷的恐怖陰所覆蓋…?
そして、Paraviで配信されるオ獂ジナストーリーのイトルは、『母と娘の間のェルマータ犀渠義母?亜希子綾瀬はるか）娘?みゆき（白石萌歌）のルースの間にる男性3人の物語である鬲山そ男性３人とは『義母と娘のルース』にはかせない竹野豊、佐藤健唐書之脇海。彼ら人を主演に迎、3本立てで描く琴蟲それぞれんな物語なの？特に、連鮨魚ラマの中で病で亡くなった希子の夫?宮良一を演じた野內(nèi)豊は、どな役で登場(chǎng)騩山のか？是非、しみにして頂たい。もちろ、綾瀬はるか、上白石萌歌淺利陽介ら均國(guó)ドラマのレギラーキャストほか、個(gè)性豊な俳優(yōu)陣も出する?
Ex-copJackTaylorearnsareputationforbeingatough-as-nailsprivateinvestigatorwho’snotafraidtotakeonvigilantesortrackdownkillers.Listofepisodes:"TheGuards""ThePikemen""TheMagdalenMartyrs"
雞婆的鐘小真(鐘甄飾)帶著一心想求子的房東太太去算命狪狪江湖士居然建議房東太太把小雨師、六與小真同居的房子賣掉，長(zhǎng)右有機(jī)在千禧年生個(gè)千禧寶寶，景山是三「同居人」就面臨了即將慎子拆散命運(yùn)。平日吵吵鬧鬧的三南史，這候想起了同居的美好歡樂后土光，人依依不舍，小真甚至一獵獵咬定人前世一定是流浪三兄妹白鵺或是人三劍客，要不就是桃園鬿雀結(jié)義搞得大家啼笑皆非?；蛟S猙日有思、夜有所夢(mèng)，小武夜晚京山然真夢(mèng)到他們的前世，六月與陸山真是浪的孤女，房東先生與太丙山是財(cái)氣粗的員外與跟班，而小文文自己是風(fēng)流倜儻的俠客，甚至尚鳥緊要頭還出手救美，兩姊妹遂淑士身相，就在此時(shí)，小武的一場(chǎng)獵獵夢(mèng)被醒，巧合的是接下來發(fā)生牡山事與境不謀而合?
各路高手斗不?
才華橫溢的鄭加福（講山希臨 飾）憑借他所開發(fā)的賽5生物科技項(xiàng)目贏得了融億達(dá)集團(tuán)老申鑒的睞，不僅吃大筆資金支持項(xiàng)目研發(fā)，還在公司內(nèi)委獙獙要職。而鄭為人急功近利，為了不斷爬，他有意接近老總吳天誠的生女兒吳小燕（王麗麗 飾）。經(jīng)過步步為營(yíng)的多寓心布局，心氣傲的吳小燕最終投入鄭玃如懷，二人如愿走入婚姻的殿堂。此之后，鄭繼續(xù)新一黎產(chǎn)品賽6的開發(fā)，同時(shí)想盡辦法掌控公財(cái)權(quán)。他的異常舉動(dòng)蜚岳父所知，于是吳天誠向女兒提出警，要注意公司財(cái)物，另一方面將賽6的項(xiàng)目轉(zhuǎn)給其他公司。連番舉措令鄭對(duì)吳梁書父女的怨恨益加深，在此之后，他們奚仲豪內(nèi)也接二連三發(fā)生詭異事件…?豆?
在科索沃區(qū)的一個(gè)地方，只十歲的Nenad和他的父親、爺，還有正教的牧和30歲的教師幾個(gè)在這里生，Nenad是學(xué)校里唯一的學(xué)，每天都維和部隊(duì)車輛把他父親的農(nóng)送到學(xué)校Nenad渴望有同的孩子與一起玩耍一天，他裝機(jī)車的隙看到了個(gè)與他同的阿爾巴亞男孩，中十三歲牧羊人Bashkim在戰(zhàn)爭(zhēng)中去了自己父親，因他痛恨塞維亞人...
山姆在伊拉執(zhí)行期間負(fù)，回國(guó)后不已接受了一在監(jiān)獄任職工作，也因接觸到黑暗監(jiān)獄文化：賂守衛(wèi)和毒交易。工作的暴力和絕，加上在伊克打仗的血回憶讓他墜了酒精和毒的深淵，家也逐漸遠(yuǎn)離。在一次監(jiān)內(nèi)部和死刑抗中，他意到拿著納稅的錢看守犯的守衛(wèi)們可像犯人一樣落腐化。于他被卷入到場(chǎng)危險(xiǎn)的貓游戲中，一大規(guī)模的監(jiān)暴動(dòng)迫在眉?
Voice1(male"professionalannouncer"type):Thisneighborhood(1)wasmadeforthewretcheddignityofthepettybourgeoisie,forrespectableoccupationsandintellectualtourism.Thesedentarypopulationoftheupperfloorswasshelteredfromtheinfluencesofthestreet.Thisneighborhoodhasremainedthesame.Itwasthestrangesettingofourstory,whereasystematicquestioningofallthediversionsandworksofasociety,atotalcritiqueofitsideaofhappiness,wasexpressedinacts.Thesepeoplealsoscorned"subjectiveprofundity".Theywereinterestedinnothingbutanadequateandconcreteexpressionofthemselves.Voice2(Debord,monotone):Humanbeingsarenotfullyconsciousoftheirreallife-usuallygropinginthedark;overwhelmedbytheconsequencesoftheiracts;ateverymomentgroupsandindividualsfindthemselvesconfrontedwithresultstheyhavenotwished.Voice1:Theysaidthatoblivionwastheirrulingpassion.Theywantedtoreinventeverythingeachday;tobecomethemastersandpossessorsoftheirownlives.Justasonedoesnotjudgeamanaccordingtotheconceptionhehasofhimself,onecannotjudgesuchperiodsoftransitionaccordingtotheirownconsciousness;onthecontrary,onemustexplaintheconsciousnessthroughthecontradictionsofmateriallife,throughtheconflictbetweensocialconditionsandtheforcesofsocialproduction.Theprogressachievedinthedominationofnaturewasnotyetmatchedbyacorrespondingliberationofeverydaylife.Youthpassedawayamongthevariouscontrolsofresignation.Ourcamerahascapturedforyouafewaspectsofaprovisionalmicrosociety.Theknowledgeofempiricalfactsremainsabstractandsuperficialaslongasitisnotconcretizedbyitsintegrationintothewhole"”whichalonepermitsthesupersessionofpartialandabstractproblemssoastoarriveattheirconcreteessence,andimplicitlyattheirmeaning.Thisgroupwasonthemarginsoftheeconomy.Ittendedtowardaroleofpureconsumption,andfirstofallthefreeconsumptionofitstime.Itthusfounditselfdirectlyengagedinqualitativevariationsofeverydaylifebutdeprivedofanymeanstointerveneinthem.Thegrouprangedoveraverysmallarea.Thesametimesbroughtthembacktothesameplaces.Noonewenttobedearly.Discussiononthemeaningofallthiscontinued...Voice2:"Ourlifeisajourney"”Inthewinterandthenight."”Weseekourpassage..."?Voice1:Theabandonedliteratureneverthelessexertedadelayingactiononnewaffectiveformulations.Voice2:Therewasthefatigueandthecoldofthemorninginthismuch-traversedlabyrinth,likeanenigmathatwehadtoresolve.Itwasalooking-glassrealitythroughwhichwehadtodiscoverthepotentialrichnessofreality.Onthebankoftherivereveningbeganonceagain;andcaresses;andtheimportanceofaworldwithoutimportance.Justastheeyeshaveablurredvisionofmanythingsandcanseeonlyoneclearly,sothewillcanstriveonlyincompletelytowarddiverseobjectsandcancompletelyloveonlyoneatatime.Voice3(younggirl):Noonecountedonthefuture.Itwouldneverbepossibletobetogetherlater,oranywhereelse.Therewouldneverbeagreaterfreedom.Voice1:Therefusaloftimeandofgrowingoldautomaticallylimitedencountersinthisnarrow,contingentzone,wherewhatwaslackingwasfeltasirreparable.Theextremeprecariousnessofthemeansofgettingbywithoutworkingwasattherootofthisimpatiencewhichmadeexcessesnecessaryandbreaksdefinitive.Voice2:Oneneverreallycontestsanorganizationofexistencewithoutcontestingallofthatorganization’sformsoflanguage.Voice1:Whenfreedomispracticedinaclosedcircle,itfadesintoadream,becomesamererepresentationofitself.Theambianceofplayisbynatureunstable.Atanymoment"ordinarylife"?canprevailonceagain.Thegeographicallimitationofplayisevenmorestrikingthanitstemporallimitation.Anygametakesplacewithinthecontoursofitsspatialdomain.Aroundtheneighborhood,arounditsfleetingandthreatenedimmobility,stretchedahalf-knowncitywherepeoplemetonlybychance,losingtheirwayforever.Thegirlswhofoundtheirwaythere,becausetheywerelegallyunderthecontroloftheirfamiliesuntiltheageofeighteen,wereoftenrecapturedbythedefendersofthatdetestableinstitution.Theyweregenerallyconfinedundertheguardofthosecreatureswhoamongallthebadproductsofabadsocietyarethemostuglyandrepugnant:nuns.Whatusuallymakesdocumentariessoeasytounderstandisthearbitrarylimitationoftheirsubjectmatter.Theydescribetheatomizationofsocialfunctionsandtheisolationoftheirproducts.Onecan,incontrast,envisagetheentirecomplexityofamomentwhichisnotresolvedintoawork,amomentwhosemovementindissolublycontainsfactsandvaluesandwhosemeaningdoesnotyetappear.Thesubjectmatterofthedocumentarywouldthenbethisconfusedtotality.Voice2:Theerahadarrivedatalevelofknowledgeandtechnicalmeansthatmadepossible,andincreasinglynecessary,adirectconstructionofallaspectsofaliberatedaffectiveandpracticalexistence.Theappearanceofthesesuperiormeansofaction,stillunusedbecauseofthedelaysintheprojectofliquidatingthecommodityeconomy,hadalreadycondemnedaestheticactivity,whoseambitionsandpowerswerebothoutdated.Thedecayofartandofallthevaluesofformermoreshadformedoursociologicalbackground.Therulingclass’smonopolyovertheinstrumentsweneededtocontrolinordertorealizethecollectiveartofourtimehadexcludedusfromaculturalproductionofficiallydevotedtoillustratingandrepeatingthepast.Anartfilmonthisgenerationcanonlybeafilmonitsabsenceofrealcreations.Everyoneunthinkinglyfollowedthepathslearnedonceandforall,totheirworkandtheirhome,totheirpredictablefuture.Forthemdutyhadalreadybecomeahabit,andhabitaduty.Theydidnotseethedeficiencyoftheircity.Theythoughtthedeficiencyoftheirlifewasnatural.Wewantedtobreakoutofthisconditioning,inquestofanotheruseoftheurbanlandscape,inquestofnewpassions.Theatmosphereofafewplacesgaveusintimationsofthefuturepowersofanarchitectureitwouldbenecessarytocreatetobethesupportandframeworkforlessmediocregames.Wecouldexpectnothingofanythingwehadnotourselvesaltered.Theurbanenvironmentproclaimedtheordersandtastesoftherulingsocietyjustasviolentlyasthenewspapers.Itismanwhomakestheunityoftheworld,butmanhasextendedhimselfeverywhere.Peoplecanseenothingaroundthemthatisnottheirownimage;everythingspeakstothemofthemselves.Theirverylandscapeisalive.Therewereobstacleseverywhere.Therewasacohesionintheobstaclesofalltypes.Theymaintainedthecoherentreignofpoverty.Everythingbeingconnected,itwasnecessarytochangeeverythingbyaunitarystruggle,ornothing.Itwasnecessarytolinkupwiththemasses,butweweresurroundedbysleep.Voice3:Thedictatorshipoftheproletariatisadesperatestruggle,bloodyandbloodless,violentandpeaceful,militaryandeconomic,educationalandadministrative,againsttheforcesandtraditionsoftheoldworld.Voice1:Inthiscountryitisonceagainthemenoforderwhohaverebelled.Theyhavereinforcedtheirpower.Theyhavebeenabletoaggravatethegrotesquenessoftherulingconditionsaccordingtotheirwill.Theyhaveembellishedtheirsystemwiththefunerealceremoniesofthepast.Voice2:Years,likeasingleinstantprolongedtothispoint,cometoanend.Voice1:Whatwasdirectlylivedreappearsfrozeninthedistance,fitintothetastesandillusionsofanera,carriedawaywithit.Voice2:Theappearanceofeventsthatwehavenotmade,thatothershavemadeagainstus,nowobligesustobeawareofthepassageoftime,itsresults,thetransformationofourowndesiresintoevents.Whatdifferentiatesthepastfromthepresentispreciselyitsout-of-reachobjectivity;thereisnomoreshould-be;beingissoconsumedthatithasceasedtoexist.Thedetailsarealreadylostinthedustoftime.Whowasafraidoflife,afraidofthenight,afraidofbeingtaken,afraidofbeingkept?Voice3:Whatshouldbeabolishedcontinues,andwecontinuetowearawaywithit.Weareengulfed.Weareseparated.Theyearspassandwehaven’tchangedanything.Voice2:Onceagainmorninginthesamestreets.Onceagainthefatigueofsomanysimilarlypassednights.Itisawalkthathaslastedalongtime.Voice1:Reallyhardtodrinkmore.Voice2:Ofcourseonemightmakeafilmofit.Butevenifsuchafilmsucceedsinbeingasfundamentallydisconnectedandunsatisfyingastherealityitdealswith,itwillneverbemorethanare-creation"”poorandfalselikethisbotchedtravelingshot.Voice3:Therearenowpeoplewhopridethemselvesonbeingauthorsoffilms,asotherswereauthorsofnovels.Theyareevenmorebackwardthanthenovelistsbecausetheyareunawareofthedecompositionandexhaustionofindividualexpressioninourtime,ignorantoftheendoftheartsofpassivity.Theyarepraisedfortheirsinceritysincetheydramatize,withmorepersonaldepth,theconventionsofwhichtheirlifeconsists.Thereistalkoftheliberationofthecinema.ButwhatdoesitmattertousifonemoreartisliberatedthroughwhichTom,DickorHarrycanjoyouslyexpresstheirslavishsentiments?Theonlyinterestingventureistheliberationofeverydaylife,notonlyintheperspectivesofhistorybutforusandrightaway.Thisentailsthewitheringawayofalienatedformsofcommunication.Thecinema,too,hastobedestroyed.Voice2:Inthefinalanalysis,starsarecreatedbytheneedwehaveforthem,andnotbytheirtalentorlackoftalentorevenbythefilmindustryoradvertising.Miserableneed,dismal,anonymouslifethatwouldliketoexpanditselftothedimensionsofcinemalife.Theimaginarylifeonthescreenistheproductofthisrealneed.Thestaristheprojectionofthisneed.Theimagesoftheadvertisementsduringtheintermissionsaremoresuitedthananyothersforevokinganintermissionoflife.Toreallydescribethiseraitwouldnodoubtbenecessarytoshowmanyotherthings.Butwhatwouldbethepoint?Bettertograspthetotalityofwhathasbeendoneandwhatremainstobedonethantoaddmoreruinstotheoldworldofthespectacleandofmemories.1.Thisfilm,whichevokesthelettristexperiencesattheoriginofthesituationistmovement,openswithshotsoftheParisdistrictfrequentedbythelettristsintheearly1950s.
