The in-studio adventures of the horror-rock inspired, tattooed aspiring actor-turned storyteller/talk show host A.J. 8, featuring actor, writer, videographer and spoken word artist Mike Phelan O'Toole as A.J.'s quick-witted co-host, and the musical stylings of acoustic guitarist Dennis Roach. Guests include A.J.'s long-time friends, and other Boston, MA indie artists, such as local surrealist filmmaker/poet Mick Cusimano. The horror themed set design features A.J. 8's less talkative permanent guest; a skeleton named G.R. 8. Produced by A.J. 8, Mike Phelan O'Toole and Lawrence Hollie. Directed by Lawrence Hollie.

This comical love story follows the story of A.J. Fikry, whose life is not at all what he expected it to be. His wife has died, his bookstore is experiencing the worst sales in its history and now his prized possession, a rare edition of Poe poems, has been stolen. He’s given up on people and even the books in his store offer another reminder that the world is changing too rapidly. But when a mysterious package arrives at the store, it gives Fikry the chance to make his life over and see things anew.

夜幕降临，万籁俱寂。曼哈顿一处溜冰场刚刚结束了一场精彩的演出，作为明星演员的小企鹅引来无数人观赏演出。此时演出团队收拾好行囊，准备前往另一个城市继续表演，可是车队走得太急了，竟然将他们的小明星企鹅给忘了。小企鹅拿着包急匆匆地追上去，然而他根本跑不过车轮，路上更不慎跌倒，刚好摔在了兔八哥（梅尔·布兰科 Mel Blanc 配音）的洞口。 　　兔八哥起初因被吵醒睡眠而恼火，但看着这个眼含泪水的小家伙，他的心又软了下来。兔子查了查百科全书，发现企鹅的老家在南极，虽然路途遥远，不过他还是决定好人做到底，将小企鹅一路送回老家……

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ジャニーズJr.としては初めての全国放送のゴールデン枠（テレビ朝日制作）進出番組。放送時間は1時間である。1999年9月に番組はリニューアルされ、次番組のやったるJとなった。

ジャニーズJr.としては初めての全国放送のゴールデン枠（テレビ朝日制作）進出番組。放送時間は1時間である。1999年9月に番組はリニューアルされ、次番組のやったるJとなった。

Chelsea Jones, a Chicago-based dance instructor whose adoptive parents have long since passed, travels to the small European country of Havenshire over Christmas break in search of her heritage… and maybe even family. Discovering that the only way to get access to information she needs on her quest is via the royal family, she accepts an offer to teach a very reluctant Prince a special Waltz for the traditional Royal Christmas Ball.

After the criticisms of the 1987 show’s disproportionate focus on music - and the financial disaster of its music-only Festival Of Youth weekend concert in 1988, Amnesty returned to the original formula that had been so successful in the 1976-1981 era with a primary focus on comedy. Pat Duffy was dropped from organising any further benefit events for Amnesty and for the 1989 show, Amnesty hired producer Judith Holder.

After the criticisms of the 1987 show’s disproportionate focus on music - and the financial disaster of its music-only Festival Of Youth weekend concert in 1988, Amnesty returned to the original formula that had been so successful in the 1976-1981 era with a primary focus on comedy. Pat Duffy was dropped from organising any further benefit events for Amnesty and for the 1989 show, Amnesty hired producer Judith Holder.

When the British Amnesty shows finally resumed in 1987 after a six-year hiatus, the show format was retooled in an effort to take advantage of the growing number of rock musicians supporting Amnesty. Instead of the live show being primarily a comedy show with a few musical cameos, the event made a point of giving equal emphasis to the comedy and the music.