早餐大陆第1季

简介：《探索新境 第2季》王一博的独家未公开花絮

简介：　　因为一场联姻擢选，来自天南海北的女孩们齐聚新川。韬光养晦的新川六少主尹峥（白敬亭饰），与只想努力落选、在老家安逸度日的李薇（田曦薇饰）意外结缘，共同开启了一段状况百出却又相映成趣的新生活。随着尹峥开府、上朝，二人逐渐口味相投、心意相通，携手共度三餐四季，并与其他性格命运各异的兄弟姐妹们相伴成长，一起书写着新川大家庭的温暖日常。　　剧集改编自多木木多小说《清穿日常》。

简介：冰雪奇缘 音乐剧

简介：1990年1月29日晚上，智利民主过渡时期开始前不久，数十名政治犯从圣地亚哥的监狱中逃脱，24名激进分子途经曼努埃尔·罗德里格斯爱国阵线时，花了18个月的时间挖一个隧道。他们用勺子，叉子和一把螺丝刀，足足挖了80多米长，并将55吨泥垢藏在监狱中。 无论是附近牢房里的普通囚犯，还是每天看守监狱的狱警，都没有发现这49名囚犯的计划——这是智利犯罪史上最令人惊讶和壮观的越狱事件之一。

简介：讲述了云南大山深处的一个村寨里，一对千里寻母的小姐妹为了各自的梦想，克服重重困难成立了一支屋顶足球队。在追梦的途中，她们手握光芒，勇搏命运的出口，最终逆风成长的故事。

简介：《探月吧，少年！》是一部面向青少年科普航天知识的轻综艺纪录片短视频，关注航天科技，关注科学家本身，关注中国航天精神。我们希望这样一部多元化的视频系列，不仅是一部严肃精准的航天科教片，更是一部能以精彩内容打动市场，尤其是在青年一代中打响的高级作品。希望能借此引发中国青少年的好奇心，燃起年轻一代的“航天梦”。

简介：The last time Britain was a major force in world cinema was in the 1960s; a documentary of a few years back on the subject was entitled 'Hollywood UK'. This was the era of the Kitchen Sink, social realism, angry young men; above all, the theatrical. And yet, ironically, the best British films of the decade were made by two Americans, Richard Lester and Joseph Losey, who largely stayed clear of the period's more typical subject matter, which, like all attempts at greater realism, now seems curiously archaic. 'King and Country', though, seems to be the Losey film that tries to belong to its era. Like 'Look Back in Anger' and 'A Taste of Honey', it is based on a play, and often seems cumbersomely theatrical. Like 'Loneliness of the long distance runner', its hero is an exploited, reluctantly transgressive working class lad played by Tom Courtenay. Like (the admittedly brilliant) 'Charge of the Light Brigade', it is a horrified, near-farcical (though humourless) look at the horrors of war, most particularly its gaping class injustices. Private Hamp is a young volunteer soldier at Pachendaele, having served three years at the front, who is court-martialled for desertion. Increasingly terrorised by the inhuman pointlessness of trench warfare, the speedy, grisly, violent deaths of his comrades and the medieval, rat-infested conditions of his trench, he claims to have emerged dazed from one gruesome attack and decided to walk home, to England. He is defended by the archetypal British officer, Captain Hargreaves, who professes disdain for the man's cowardice, but must do his duty. He attempts to spin a defence on the grounds of madness, but the upper-crust officers have heard it all before. This is a very nice, duly horrifying, liberal-handwringing, middle-class play. It panders to all the cliches of the Great War - the disgraceful working-class massacre, while the officers sup whiskey (Haig!) - figured in some charmingly obvious symbolism: Hargreaves throwing a dying cigarette in the mud; Hamp hysterically playing blind man's buff. The sets are picturesquely grim, medieval, a modern inferno, as these men lie trapped in a never-ending, subterranean labyrinth, lit by hellish fires, with rats for company and the constant sound of shells and gunfire reminding them of the outside world. The play, in a very middle-class way, is not really about the working class at all - Hamp is more of a symbol, an essence, lying in the dark, desolately playing his harmonica, a note of humanity in a score of inhumanity. He doesn't develop as a character. The play is really about Hargreaves, his realisation of the shabby inadequacy of notions like duty. He develops. This realisation sends him to drink (tastier than dying!). Like his prole subordinates, he falls in the mud, just as Hamp is said to have done; he even says to his superior 'We are all murderers'. This is all very effective, if not much of a development of RC Sherriff's creaky 'Journey's End', filmed by James Whale in 1930. Its earnestness and verbosity may seem a little stilted in the age of 'Paths of Glory' and 'Dr. Strangelove'; we may feel that 'Blackadder goes forth' is a truer representation of the Great War. But what I have described is not the film Losey has made. He is too sophisticated and canny an intellectual for that. The film opens with a lingering pan over one of those monumental War memorials you see all over Britain (and presumably Europe), as if to say Losey is going to question the received ideas of this statue, the human cost. But what he's really questioning is this play, and its woeful inadequacy to represent the manifold complexities of the War. This is Brechtian filmmaking at its most subtle. We are constantly made aware of the artifice of the film, the theatrical - the stilted dialogue is spoken with deliberate stiffness; theatrical rituals are emphasised (the initial interrogation; the court scene, where actors literally tread the boards, enunciating the predictable speeches; the mirror-play put on by the hysterical soldiers and the rats; the religious ceremony; the horrible farce of the execution). Proscenium arches are made prominent, audiences observe events. This is a play that would seek to contain, humanise, explain the Great War. This is a hopeless task, as Losey's provisional apparatus explains, 'real' photographs of harrowing detritus fading from the screen as if even these are not enough to convey the War, never mind a well-made, bourgeois play. Losey's vision may be apocalyptic - it questions the possibility of representation at all - the various tags of poetry quoted make no impact on hard men men who rattled them off when young; the Shakespearean duality of 'noble' drama commented on by 'low' comedy, effects no transcendence, no greater insight. Losey's camerawork and composition repeatedly breaks our involvement with the drama, any wish we might have for manly sentimentality; in one remarkable scene an officer takes an Aubrey Beardsley book from the cameraman! This idea of the theatrical evidently mirrors the rigid class 'roles' played by the main characters (Hamp's father and grandfather were cobblers too; presumably Hargreaves' were always Sandhurst cadets). Losey also takes a sideswipe at the kitchen sink project, by using its tools - history has borne him out.

简介：吕雉、慈禧、孝庄、武则天等女性是封建社会中最强大的女性代表，在男尊女卑的封建社会中，她们的政治抱负通过自己的努力和选择得以实现，但在她们走向顶峰的过程中，难免要受到世俗的限制，也会遇到很多阻力和障碍，但她们的成功有目共睹，那么她们到底是怎么走上政治舞台的呢？

简介：本片作为电视剧《去有风的地方》同主题纪录片，讲述了现实生活中三个关于逃离困境和寻找生命意义的故事。三个故事虽然各有特点，但是每个逃离者都在追寻生活的意义和自身的价值，逃离的目的地都是心灵的方向。

简介：抗日战争期间，日本帝国主义人为破坏抗战经济，发行大量伪币，导致物价飞涨，军需奇缺。经济学出身的高捷成临危受命，利用金融学知识制定了对抗伪币和国民党货币的有效策略，为中共地下党开辟了一条重要的经济战线。本节目将带你走进高捷成短短的34年人生，结合民国时期的政治经济环境，细细品读这位红色金融家短暂却辉煌的一生。

简介：奇奇是个机灵又顽皮的孩子，他经常趁当魔术师的父母外出演出之际，在家观看他心爱的录像片《罐中迷》，对身怀绝技的明代卖艺女红杏佩服得五体投地。有天，屏幕上走大绳的红杏然接住了奇奇投向屏幕的苹果。同时，荧屏中的恶少孙福带领众家丁喝散人群，逼迫红杏父女随他回府变出金银财宝。情势危急，恰在此时，爸妈回来了，奇奇只得佯装睡觉，心里惦记着红杏的命运。 次日，奇奇将奇遇告诉同学，同学们都笑他异想天开。唯有邻居女孩甜甜半信半疑，两个相约再看一次录像。荧屏上，孙福明抢不成，又绑架红杏。奇奇急中生智，用魔术手枪对屏幕，红杏被奇迹般地救到家中。孙福尾随其后，追出荧屏。红杏与奇奇联手，将孙福反锁房中。邻居老奶奶报了警，扣押审讯孙福。在奇奇家中，红杏得到了现代人间的温暖。便她思念父亲，执意回到明朝去。没料红杏回去后，孙福也溜之大吉，并与县令狼狈为奸，将红杏父女置于死地。奇奇毅然只身冲进屏幕，终因力量悬殊，与红杏父女被押往法场。奇奇忙叫荧屏前的甜甜按下暂停，刽子手的刀在空中嘎然滞留。红杏父女终于脱险，奇奇也回到了现代社会。