罗䁐锡的啰嗦啰嗦

知名综艺导演罗英石PD在YouTube上的个频道因出众的罗PD节目风格而备受大众喜爱。此次，罗PD将日常生活场景公开，以微综艺形式，为观众带来好友闲聊的家庭酒局《罗pd和认识的哥哥一起》。演员李瑞镇作为罗PD好友代表促成了此次节目，平日里他总会来到罗PD团队的企划室，作为秘密基地，喝酒聊天，罗PD便将这样的场景公开，为观众带来明星的休闲日常。

捐精大丈夫

翻拍自《星爸客》，讲了文斯·沃恩扮演的精子捐献者，其精子贡献了533个孩子，而这些孩子们现在要起诉他。与《星爸客》展现奇葩囧事的着力点不同，本片更侧重于后期诉讼和这位爸爸真的想要走出来面对一切的部分。

武动乾坤第二季

林家倚靠阳元矿石的买卖在炎城慢慢稳定了下来，然而一场突如其来的风波却又让他们损失惨重。林动虽然勉强掩护家人逃离，但是他深知只有自己能力真正的提升才能更好的保护家人。                                                                            妹妹青檀忍受寒毒折磨，为了不让哥哥林动担心，仍然表面保持着乐观，并对林动隐瞒寒毒的实情。                                            

妙警贼探第六季

USA正式确定

爆笑女警第二季

本剧的主人公是有着10年经验的资深警员Angie Tribeca（Rashida Jones）。Angie是一头「独狼」，说话太直率，因此很难与人相处。她的顶头上司、严肃认真的老警长Chet Atkins（Jere Burns）要求每名警察都必须有一个搭档，Angie对此颇为反感……但她必须接受，于是她的新搭档（Hayes Macarthur）来了。

青叶家的食光

夢想進入美術學校的優子，利用暑假到外地進修短期繪畫課，因而借住母親知世的老友青葉春子家中，認識了春子的兒子利久、春子的朋友明子及其男友空夫。雖家庭成員不太尋常，但青葉家餐桌上的美食佳餚，使他們親如一家人。知世是位才華洋溢的電視知名主廚，優子亟欲證明自己也是特別的，才能擺脫母親的陰影。她很快地就在美術學校結交了新朋友，並邂逅心儀的男生。她和利久都喜歡同一個獨立樂團，甚至加入他的業餘樂團。在探索自我價值及未來的同時，也得知春子和母親因長久的心結已失聯20年。在優子的影響下，春子鼓起勇氣前去拜訪老友知世並重修舊好⋯⋯。新銳導演松本壯史，以美食、音樂、友情和愛情，交織出一則清新脫俗的夏日成長篇章。由西田尚美主演，以兩代之間的關係對比出人際之間共通的微妙情感，如同一桌精心烹煮的美味餐點，各種人生滋味都盡嚐在心中。

奇葩胖嫂

胖嫂凭一纸合约不赡养公公爹，从而引发村民非议。受胖嫂影响，儿子的婚姻成了老大难。为此，胖嫂十分着急，她搞歪门邪道贿赂村民，以求评个文明家庭好媳妇，不料事情败露，落了个竹篮子打水一场空。胖嫂执迷不悟又求黄雀算卦，结果陷入骗婚全套，闹出一串串笑话。村主任和潇潇顺势利导，帮胖嫂转变，但公爹不相信她会变好。无奈之下胖嫂想了个匪夷所思的计谋。

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.

烈火战车

　　安东尼麦凯将主演游戏改编动作喜剧剧集《烈火战车》(Twisted Metal)，同时担任执行制作人，索尼电视部和PlayStation Production出品。 　　麦凯饰演无名氏，一个对过去毫无记忆的送奶工，他得到了一个过上更好生活的机会将一个神秘的包裹运送到后末世世界的荒原上。 　　他和跟班一个好战的偷车贼在这条道路上面临各种威胁：野蛮的掠夺者、精神错乱开冰激凌卡车的小丑等。 　　该剧灵感来自《死侍》《僵尸之地》编剧搭档Rhett ReesePaul Wernick，迈克尔乔纳森史密斯(《眼镜蛇》)任编剧和执行制作人

你在哪

一个普通小城发生多起拐卖儿童重案，危机四伏，丢失孩子的年轻妈妈王楠独自深入人贩子组织寻找女儿小鱼，与此同时当地警察霍岩也获得多起拐卖案件的犯罪线索，千里寻子追凶的故事就此展开。

单挑荒野第四季

在这一季里，埃德·斯塔福德去了戈壁、危地马拉、纳米比亚、巴塔哥尼亚、菲律宾和挪威。

五十而立

玛莉·法兰辛遭到丈夫抛弃，工作也丢了。被迫在50岁这年，搬去和父母同住。他们把她当作小孩，还帮她开了一家电子烟店让她管理。在那里，她邂逅了米格尔，是一名大厨，和她有相似遭遇却不敢承认。迈入中年后，要保有年轻的心相当不容易，但玛莉·法兰辛证明了50岁也能活出新人生。