Giant is a 2010 South Korean television series starring Lee Beom-soo, Park Jin-hee, Joo Sang-wook, Hwang Jung-eum, Park Sang-min, and Jeong Bo-seok. It aired on SBS from May 10 to December 7, 2010 on Mondays and Tuesdays at 21:55 for 60 episodes. Giant is a sprawling period drama about three siblings' quest for revenge during the economic boom of 1970-80s Korea. Tragically separated during childhood, the three reunite as adults and set out to avenge their parents' deaths, their fates playing out against a larger tide of power, money, politics, and the growth of a city.

Follows Hamed from his humble beginnings on the tough working-class streets of Sheffield and his discovery by Ingle, himself a steel industry worker turned boxing trainer. Their unlikely partnership, Naz’s unorthodox style, cocky persona, and sheer dominance in the ring propelled them to the top of boxing’s elite and unprecedented levels of global superstardom, all in the face of the rampant Islamophobia and racism of ’80s and 90’s Britain.

剧集于今年夏天播放时，平均收视率有15.9%，成为该季最高收视的剧集，首集更有高达21.2%的收视，创下同时段剧集的最高收视纪录。特别版中，五名主要角色会再次聚首。铁路上发生脱轨意外而反转，多名乘客死伤，直升机急救队奉召到场，展开急救行动。监制增本淳称特别版的主题为“离别”，藉此表达出人与人之间的连系。

Human Giant is a sketch comedy show on MTV, starring writer/performers Aziz Ansari, Rob Huebel, Paul Scheer and directed primarily by Jason Woliner.The show ran for two seasons. In interviews, the group has mentioned that they were offered a third season by MTV but were unable to complete it due to Ansari's commitments to the hit NBC show Parks and Recreation. However, the group has stated that MTV has left the door open for the group to complete a third season at a later date or to produce a special for the network. In 2010, Ansari, Huebel and Scheer reunited to do a skit for the 2010 MTV Movie Awards.In November 2008, The Hollywood Reporter noted the group is currently developing a feature film with Red Hour Productions, the production company run by Ben Stiller and producer Stuart Cornfeld.

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A boy with an alcoholic father befriends a jazz musician.

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An elite assassin for a covert Government agency is marked for death after aborting an assignment to take out a journalist who could expose the corruption of the very institution that trained her as their weapon of choice.

Queens Supreme is an American courtroom dramedy television series which aired on CBS in January 2003. The series starred Oliver Platt in his first major television role as New York judge Jack Moran who, with his equally eccentric and colorful as colleagues, preside over court cases as the real-life Queens Supreme Court in Long Island City, Queens. The series had a strong cast and considerable financial backing, especially from Julia Roberts's Shoelace Productions, Spelling Television and Revolution Studios, however poor ratings forced its cancellation after three episodes.The idea for the series came about when two New York attorneys, twin brothers Dan and Peter Thomas, were discussing courtroom stories based on their shared experiences in Queens while on a plane flight to California in 2001. One of the passengers, a Hollywood producer, was sitting next to them and mentioned that they could be the basis for a television series. Indeed, the producer brought the idea to screenwriter Kevin Fox who later successfully pitched it to CBS. Fox was initially hesitant in becoming involved, feeling there were too many courtroom dramas already, but agreed after spending time at the New York Supreme Court himself.

《歐洲甦醒》是為2006年台北雙年展：（限制級）瑜珈所創作的作品。創作的概念從靜照開始發想出發，運用我多年前在歐洲五國旅行所拍攝的幻燈片為主，讓這些幻燈片與各種不同規格的電影膠捲（十六釐米、標準八釐米 、超八釐米等）重新拼貼於三十五釐米的電影膠捲上，使靜態的影像進入一秒二十四格的動態電影的時間性中。我在異國經歷的各種風景已成為現成的影像資料，我用手工的方式將這些影像資料與我成長的生活照交替整合在一起，然後在數位技術的動態處理中再度產生細微的變化與瞬間的凝結，因而打破靜照與電影兩者之間的界限與原有的關係，創造出不同時間與空間的對話，激起我對自我身份與文化的異想，企圖同時喚醒電影創作者與觀眾內心深處的記憶。 　　德國電影導演荷索曾經在電影的拍攝過程中想去觸摸電影感光的過程，這樣的觸摸從來沒有在荷索拍電影的過程中發生過，而他這樣的衝動也沒有在他的影片上留下痕跡。在電影的拍攝中，雖然是人按下攝影機的快門，但電影的影像感光卻是由機械所操作與控制的。我希望在實驗電影的創作與探索中使這種不可能的電影夢想成真，在我的創作過程中留下這種觸摸與痕跡。 　　《歐洲甦醒》的影像主要由三十五釐米靜照的幻燈片與負片，以及部份十六釐米、標準八釐米 、超八釐米的電影膠卷所拼貼構成。我將利用現成的靜照影像，把過去多年來在歐洲五國旅行時所拍得幻燈片重新整理，以國家－歐洲（奧地利、匈牙利、捷克、德國與義大利）為單位穿插編排；同時穿插我成長時所拍的自拍照與生活合照，為了要讓這些靜態的幻燈片與負片跨越與超越自身的規格限制，必須作適度的改變而經過裁剪，與十六釐米、標準八釐米 、超八釐米的電影舊片被精細地排列黏貼整合在三十五釐米透明導片上。所使用的影像素材橫跨三十年：有70年代的八釐米色情影片、80年代在我個人底片簿的最初幾頁中的底片，從青春期到當兵退伍的成長速寫與家庭合照（家庭合照的底片一般會被父母長輩所收藏，而自己的底片簿通常是自己建構自我影像的開始。）、90年代遊歷歐洲五國所拍下的城市風景幻燈片、2000年以來個人十六釐米電影製作過程的工作拷貝，以及從電影後製公司所取得的三十五釐米商業電影的字幕片。 　　《歐洲甦醒》是人/影像創作者以手的觸摸與手工的方式重新付予各種影像新的呈像與生命，而不再只是受到機械的操控。企圖在不同的影像規格之間相互跨越與整合，讓影像超越靜態與動態的界限，從靜態到動態，進入電影的時間裡；再透過數位化與2D特效改變動態的影像的速度與節奏感，瞬間的凝結中讓動態的影像回到靜態，使影像能夠不斷地自由遊走在新的規格裡。一段段不同規格的電影底片與靜態影像層層交疊，我希望在這部作品中打破靜照與電影原有的時間性，過去我的家庭相簿裡影像將重新喚起記憶，在新的影像狀態中漸漸變得模糊而不確定。 　　《歐洲甦醒》是自我的甦醒；記憶的甦醒，但同時也是一種觀看的甦醒。我個人觀看的記憶與他人觀看的記憶透過手工製作的方式，顛覆觀眾過去觀看的方式，喚起觀眾觀看的欲望。當觀眾觀看時，觀眾便開始將私人的記憶與我的記憶混雜在一起，透過這種觀看的互動，讓觀眾察覺到自己在觀看，進而使觀眾產生一種不同以往的觀看方式。我試圖探討影像存在的狀態與限制，也試圖討論觀看的方式。尋找另一種觀看的方式，由觀看進到另一個空間，干預觀者穩定的觀看方式與狀態，從一種觀看再延伸至另一種觀看的可能。 　　Werner Herzog once thought about ‘touching’ the emulsion process during filmmaking. That ‘touch’ never happened in Herzog’s films. In the making of a film, though it takes a human being to push the button of a camera, it is the camera/machine that controls and operates the emulsion process of the film. 　　Initiated from the experiment on stilled images, “Europe Resurrection” was originally created for the 2006 Taipei Biennale – Dirty Yoga. “Europe Resurrection” is a collage composition made of 35mm slides and negatives, and of film negatives and prints in 16mm, Super-8mm, and Regular 8mm. Using found still images, I rearrange those slides taken during several trips to Europe over the years, and categorize them by countries—Austria, Hungry, Czech Republic, Germany and Italy; aside from these slides, I edit in self-portraits and family photos. In order to transcend/overcome the limitation of formats and textures of these still images, it is necessary to undertake certain transformation and editing which help to integrate them with 16mm, Super-8mm, and 8mm footages on clear 35mm film leader. Created with a human being/visual artist’s touch by hand and handmade processes that revive the inner spirit of variant imagery, “Europe Resurrection” is a film that is no longer monopolized by machinery maneuvers. It is a work that aims to transcend and integrate different film formats and visual styles, and that allows imagery to surpass the borderline between still and moving images—it may go from static to fluid, and from fluid back to static again—to travel freely in this new form. Overlapping layers of stills and moving images, the European landscape reincarnates in this new-born moving image that blurs and obscures. “Europe Resurrection” challenges the linear physical timeline of images and mental timeline of memories. 　　“Europe Resurrection” is an awakening call to self, to memory, and to perception. It explores the limitation of the state of being of image, and discourses ways of viewing. It looks for alternatives of the viewing experience by taking viewers into multiple times and spaces, and by further intervening the conventional ways of seeing and perceiving. It is a search for new possibilities of interacting with/reacting to the world of visual image.