洛洛，一个十一岁的男孩，他最好的朋友们正在帮助他理解他们的性向认知和自我认知。

Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor

《晚秋》根据李满熙导演1966年的同名电影改编而成，影片以美国西雅图为背景，讲述两名男女在异国他乡的爱情故事。本在监狱服刑的安娜（汤唯 Wei Tang 饰）因母亲过世获得三天假期，七年来首次踏上归家之路，并于长途汽车上邂逅了勋（玄彬 Bin Hyeon 饰）。不够车钱的勋用手表做抵押借了安娜的钱，约定到西雅图再见。一个是弑夫假释的女犯，一个是专门“吃软饭”的情场骗子，两个互相隐瞒了身份的陌生人就这样在邂逅中渐生情愫，在短短三天内谈了一场浪漫恋爱。

胆小怕事、身体羸弱的马文·曼格（罗伯·施奈德 Rob Schneider 饰）却一心想成为父亲那样勇猛威武的警察，不过由于性格原因，他充其量只能在警察局证物科担当管理员。生活中他得不到任何尊重，同侪嘲笑，小孩戏弄，甚至连邻居家的狗也欺负他。　　某天，独自在警察局值班的马文接到报警电话，可是所有警察都去球场尽情玩乐。万般无奈之下，马文独自驾车出警，却遭遇一场严重的车祸，命悬一线。危难之时，他被一个神秘之人搭救，醒来时发现自己毫发无损。然而此后马文却显露出许多动物特有的习性，原来神秘人为其移植了动物器官。马文的生活由此发生巨大转变……

恐怖片《墓地邂逅》在追求刺激的年轻人中间引起不小轰动，这些人中，就读于某大学电影学院的埃里克斯·怀特（理查德·哈蒙 Richard Harmon 饰）对其推崇备至，他志愿拍出一部同样经典且超级恐怖的影片。2011年万圣节后，埃里克斯根据YouTube上某个用户留下的信息，尝试追索纪录关于《墓地邂逅》拍摄背后的一切，却惊讶地发现这部影片其实是一部真实的纪录片，而剧组成员早就死于那场灾难。　　为此他不惜暂时停下手头工作，与好友兼剧组成员特雷夫·汤普森（迪兰·普雷菲尔 Dylan Playfair 饰）、女主角特莎·海米尔（斯蒂芬妮·班尼特 Stephanie Bennett 饰）和摄影师杰瑞·李（Howie Lai 饰）驱车前往那间位于加拿大某处的精神病院。等待他们的将是……

全新綜藝節目《Grand 住去台北》，由4月6日開始，逢周六晚九點翡翠台播映，節目由拍攝旅遊節目經驗豐富的黃翠如及周奕瑋（Jarvis），夥拍名嘴兼「綜藝大腦」C君齊齊擔任主持，以「相愛相殺」的搞笑互寸方式，帶領觀眾體驗香港人最愛旅遊熱點之一的台北的不一樣豪華體驗，是次除了是三人首度合作外，亦是三人首度體驗包機外遊滋味。

Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor

When two couples with mixed feelings about having kids hatch a plan to share one baby, it seems like the perfect compromise-until things spiral out of control.

任职于广告公司的尼克（蒂姆•罗宾斯 Tim Robbins 饰）深爱自己的妻子，时常为工作拖累而不能陪伴妻子感到内疚，这天客户取消了约会使尼克可以提前回家，然而他看到的却是妻子正和自己的上司偷情，万念俱灰的尼克一言不发开车离家，劫匪泰伦斯（马丁•劳伦斯 Martin Lawrence 饰）半路冲上了尼克的车打劫，可身材矮小的泰伦斯根本无法唬住狂暴状态的尼克，尼克驾车一路狂奔，将泰伦斯带到了亚利桑那。身无分文的两人很快开始为钱担忧，在泰伦斯的示范下，尼克很快也学起了行劫，并且计划偷窃上司的巨额现金。初出茅庐的尼克二人组被拥有当地“犯罪专属权”的另一对儿匪徒痛打，侥幸逃脱后尼克与泰伦斯开始执行盗窃计划，而他们的犯罪行为很快遭遇了一系列变故……

任职于广告公司的尼克（蒂姆•罗宾斯 Tim Robbins 饰）深爱自己的妻子，时常为工作拖累而不能陪伴妻子感到内疚，这天客户取消了约会使尼克可以提前回家，然而他看到的却是妻子正和自己的上司偷情，万念俱灰的尼克一言不发开车离家，劫匪泰伦斯（马丁•劳伦斯 Martin Lawrence 饰）半路冲上了尼克的车打劫，可身材矮小的泰伦斯根本无法唬住狂暴状态的尼克，尼克驾车一路狂奔，将泰伦斯带到了亚利桑那。身无分文的两人很快开始为钱担忧，在泰伦斯的示范下，尼克很快也学起了行劫，并且计划偷窃上司的巨额现金。初出茅庐的尼克二人组被拥有当地“犯罪专属权”的另一对儿匪徒痛打，侥幸逃脱后尼克与泰伦斯开始执行盗窃计划，而他们的犯罪行为很快遭遇了一系列变故……

《晚秋》根据李满熙导演1966年的同名电影改编而成，影片以美国西雅图为背景，讲述两名男女在异国他乡的爱情故事。本在监狱服刑的安娜（汤唯 Wei Tang 饰）因母亲过世获得三天假期，七年来首次踏上归家之路，并于长途汽车上邂逅了勋（玄彬 Bin Hyeon 饰）。不够车钱的勋用手表做抵押借了安娜的钱，约定到西雅图再见。一个是弑夫假释的女犯，一个是专门“吃软饭”的情场骗子，两个互相隐瞒了身份的陌生人就这样在邂逅中渐生情愫，在短短三天内谈了一场浪漫恋爱。

SCRUBS是一部由NBC在2001年出品的医务类喜剧,中文名叫做 .　　剧情主要讲述在圣心教学医院里,一群年轻的实习医生与其他医务人员在工作中发生的种种遭遇和他们在生活,感情和工作上的困惑与成长. 主人公J.D.是一个心思细腻,甚至有些软弱的人, 无厘头搞怪和自言自语,爱做白日梦是他的天性.　　SCRUBS作为一部以医院为背景的喜剧,其最大亮点就在于随着剧情的发展,和人物的互动,里面的笑料层出不穷,足以让人笑到喷饭. 无厘头的程度让你绝对确信有美版星爷存在, 而每每到了一集的结尾,一个个看透事实真象的道理感人至深,又足以让眼泪不值钱的观众们看到眼泪打转.　　SCRUBS从2001年秋季上映的,至今已播出至第7季,每季约22至24集. SCRUBS编剧本来只打算写一季就结束,但是没想到观众反映很热烈,收视率节节收高. 于是续写再续写,才有了今天的7年联播. 在这一百多集中, 且不说每集里不少明星的客串和经典的配乐层出不穷,精彩突出的单集更是数不胜数, 里面不乏很多该剧中原创的音乐元素. 拿第六季第六集来讲, 不少fans将这集MY MUSICAL我的音乐剧 看作是SCRUBS编剧才华横溢的标志并笑谈此集足以去角逐奥斯卡最佳影片. YOUTUBE里更是充斥着S6E6中出现的经典大合唱,联唱与对唱片段.