A diva of the Paris stage transforms her mousy daughter-in-law into an attractive ingenue to spite her hated son, away on military service.

An accomplished TV travel host is gifted a heart-shaped hourglass which gives her a second chance to revisit her past. She eventually has to choose between a new life or the life she knows before the sands of the hourglass run out.

Six part series filmed around Manchester all looking at 6 different relationships. From the women who desperately wants a baby, to a couple who fantasise. Some excellent acting and intriguing stories. All episodes have discreet humour in them, and make gripping watching.

Six part series filmed around Manchester all looking at 6 different relationships. From the women who desperately wants a baby, to a couple who fantasise. Some excellent acting and intriguing stories. All episodes have discreet humour in them, and make gripping watching.

Two Canadas from the 12th century: one real, one imaginary.

A struggling artist visits his family on their Montana ranch and finds that his former flame, daughter of a family foe, is now married to an old friend.

The Early Show is an American morning television show which was broadcast by CBS from New York City from 1999 to 2012. The program aired live from 7 to 9 a.m. Eastern Time Monday through Friday in the Eastern time zone; most affiliates in the Central, Mountain, and Pacific time zones aired the show on tape-delay from 7 to 9 a.m. local time. The Saturday edition aired live from 7 to 9 a.m. Eastern Time as well, but a number of affiliates did not carry it or aired it later on tape-delay. It premiered on November 1, 1999, and was the newest of the major networks' morning shows, although CBS has made several attempts to program in the morning slot since 1954. The show aired as a division of CBS News.The Early Show, like many of its predecessors, traditionally ran last in the ratings to its rivals, NBC's Today and ABC's Good Morning America. Much like NBC's The Today Show and The Tonight Show, the title The Early Show was analogous to that of CBS's late-night talk show, The Late Show.

The Early Show is an American morning television show which was broadcast by CBS from New York City from 1999 to 2012. The program aired live from 7 to 9 a.m. Eastern Time Monday through Friday in the Eastern time zone; most affiliates in the Central, Mountain, and Pacific time zones aired the show on tape-delay from 7 to 9 a.m. local time. The Saturday edition aired live from 7 to 9 a.m. Eastern Time as well, but a number of affiliates did not carry it or aired it later on tape-delay. It premiered on November 1, 1999, and was the newest of the major networks' morning shows, although CBS has made several attempts to program in the morning slot since 1954. The show aired as a division of CBS News.The Early Show, like many of its predecessors, traditionally ran last in the ratings to its rivals, NBC's Today and ABC's Good Morning America. Much like NBC's The Today Show and The Tonight Show, the title The Early Show was analogous to that of CBS's late-night talk show, The Late Show.

Series looking at the revolution in 20th century music. 　　Wrecking Ball 　　It begins by examining the shift in the language and sound of music from the melodies and harmonies of giants such as Mozart, Haydn and Brahms into the fragmented, abstract, discordant sound of the most radical composers of the new century - Schoenberg, Webern, Stravinsky and beyond. It examines how this new music was a response to the huge upheaval in the world at the start of the 20th century, with its developments in technology, science, modern art and the tumult of the First World War. Featuring performances of some of the key works of the period, performed by the London Sinfonietta, members of the Aurora Orchestra and composer and pianist Timothy Andres, the story of this episode in music history is brought to life through the contributions of the biggest names in modern classical music, among them Steve Reich, John Adams, Michael Tilson Thomas, Pierre Boulez, George Benjamin and Alex Ross, music critic of the New Yorker. 　　Free for All 　　Part 2 examines how the freewheeling modernism that had shocked audiences in the first two decades of the century came under state control. Initially, many practitioners thought the totalitarian regimes would be good for music and the arts. What followed in Germany was a ban on music written by Jews, African-Americans and communists, while in the Soviet Union there was a prohibition on music the workers were unable to hum. After the cataclysm of the 1940s, a new generation of composers - Boulez, Stockhausen, Xenakis, Nono, Ligeti - turned their back on what they saw as the discredited music of the past and tried to reinvent it from scratch. Or, at least, from serialism, which became as much of a straitjacket as totalitarianism's strictures had been. But from this period of avant-garde experimentation, which many listeners found baffling and terrifying, came some of the most influential and radical musical innovations of the century. 　　Easy Listening 　　Series concludes with the focus shifting to the United States in the post-war years of the 1950s and beyond. Beginning with arguably the most notorious work of 20th century classical music, John Cage's 'silent' composition 4'33", it looks at how a series of maverick Americans re-invented the sound of classical music into a more simple form, bringing back harmonies and rhythms that made it increasingly popular with audiences across the world. It also examines how this music found its way into a spiritual realm, with the strain of pared-down religious composition that came to be known as 'holy minimalism'. From the Maverick concert hall in Woodstock, New York to an Orthodox cathedral in Estonia to a car park in Peckham, south London, the story is told by a stellar line-up of contributors including Philip Glass, Steve Reich, John Adams, Arvo Pärt and John Tavener.

Series looking at the revolution in 20th century music. 　　Wrecking Ball 　　It begins by examining the shift in the language and sound of music from the melodies and harmonies of giants such as Mozart, Haydn and Brahms into the fragmented, abstract, discordant sound of the most radical composers of the new century - Schoenberg, Webern, Stravinsky and beyond. It examines how this new music was a response to the huge upheaval in the world at the start of the 20th century, with its developments in technology, science, modern art and the tumult of the First World War. Featuring performances of some of the key works of the period, performed by the London Sinfonietta, members of the Aurora Orchestra and composer and pianist Timothy Andres, the story of this episode in music history is brought to life through the contributions of the biggest names in modern classical music, among them Steve Reich, John Adams, Michael Tilson Thomas, Pierre Boulez, George Benjamin and Alex Ross, music critic of the New Yorker. 　　Free for All 　　Part 2 examines how the freewheeling modernism that had shocked audiences in the first two decades of the century came under state control. Initially, many practitioners thought the totalitarian regimes would be good for music and the arts. What followed in Germany was a ban on music written by Jews, African-Americans and communists, while in the Soviet Union there was a prohibition on music the workers were unable to hum. After the cataclysm of the 1940s, a new generation of composers - Boulez, Stockhausen, Xenakis, Nono, Ligeti - turned their back on what they saw as the discredited music of the past and tried to reinvent it from scratch. Or, at least, from serialism, which became as much of a straitjacket as totalitarianism's strictures had been. But from this period of avant-garde experimentation, which many listeners found baffling and terrifying, came some of the most influential and radical musical innovations of the century. 　　Easy Listening 　　Series concludes with the focus shifting to the United States in the post-war years of the 1950s and beyond. Beginning with arguably the most notorious work of 20th century classical music, John Cage's 'silent' composition 4'33", it looks at how a series of maverick Americans re-invented the sound of classical music into a more simple form, bringing back harmonies and rhythms that made it increasingly popular with audiences across the world. It also examines how this music found its way into a spiritual realm, with the strain of pared-down religious composition that came to be known as 'holy minimalism'. From the Maverick concert hall in Woodstock, New York to an Orthodox cathedral in Estonia to a car park in Peckham, south London, the story is told by a stellar line-up of contributors including Philip Glass, Steve Reich, John Adams, Arvo Pärt and John Tavener.