两位母亲对失败的婚姻已然幻灭，她们联手为孩子们的未来保驾护航。然而，她们那一代的Z世代孩子却有着自己的打算，这引发了一场意志的碰撞和代际分歧。

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七岁的沙努（Shanu）和他的父亲西德汉特（Sidhant），沙努在社会挑战中努力进行自我探索，而西德汉特作为一位试图理解自己孩子的单亲父亲，要应对悲痛和社会压力。

Jane has an eating problem. She has bought and prepared a feast for an unseen date who calls in sick and sends her spiraling round London, visiting friends and revisiting old habits.

Corrupt record company executives kill a singing sensation with a drug overdose rather than letting her leave their label and join another company. They then frame her cousin/manager for the murder forcing him to go on the run and to try to get the goods on the real killers.

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At an Irani café, seasoned hitman Vicky tests his protégé Wasim’s hunger for the trade by assigning him his first task—one that leaves Wasim shaken to his core.

Shin and Pongkwan have a cute daughter. which corresponds to that of Grandfather Or Shin's father had hoped for it. because of Shin's brothers They all had sons, but Shin still had some anger with his father. therefore refused to return home Still living with his girlfriend Pongkwan. Even though the father has already forgiven Causing the father to decide to send people to take his granddaughter The chaos in this battle has begun.

With Jam, the TV follow-up to his Radio 1 series Blue Jam, Chris Morris focuses more on unease more than the satire of Brass Eye. Indeed, it's a moot point whether Jam can actually be categorised as comedy at all. Each sketch is steeped in a heavy brine of dark, ambient music (including Bark Psychosis, David Sylvian and Brian Eno), grainy imagery, fast-cut editing and slo-motion. Its mirthless, Kafka-esque scenarios feel like an attempt to morph into some new species of post-comedy that is more like the stuff of nightmares. The credits, in which Morris stalks the moving camera, uttering Lear-esque words of foreboding immediately announce that this "sketch show" is a galaxy apart from The Two Ronnies. The appalled look on actor Kevin Eldon's face in the opening sketch of the series, as a young couple invite him to endure being buggered by a mutual acquaintance ("I need a break"), sets the tone. Rape, chemotherapy, wanton urination--as a naked "Robert Kilroy-Silk" goes insane in a sketch full of detestation for the oleaginous TV presenter--and recurring sketches involving callously authoritarian NHS doctors, all go to make up these annals of the bizarre and perverse. Ultimately, Jam doesn't quite work, not on TV anyway. The repetition of the same, small cast over and over, broken up too briefly by Morris' own appearances (as a "country gentleman" living outside his house, for instance), coupled with the gruelling treatment of the sketch material makes for a psyche-probing, jaw-dropping experience--but in parts also a nullifying and strangely predictable one. Morris's "failures" are far more interesting than most people's successes. --David Stubbs

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