Decadence is a cyclical circumstance moving with the turns of the centuries. Following a four-season study of glamour in the millennial age, the Spring-Summer 2019 Artisanal collection marks a new investigation for Maison Margiela. Observing the excess and artifice engendered by the digital world, creative director John Galliano ventures into a new era of decadence. The overstimulation of computer-generated imagery alters reality and degenerates the truth. Chaotic and unsettling, it is a confusion of the senses rooted in an over-satiation that inevitably overspills. For the generations born around the millennium, it breeds a spirit of le malaise de la fin du siècle. Revolution: a desire for change. Maison Margiela renders the decadence of our time and examines if inverted excess could lead to a new appetite for restraint.

The Coachella concert series is examined through the lens of rare footage, interviews, and performances from some of the most famous performers who ever graced the venue.

Martin is going on a blinddate and in his internal government the ministers are preparing for a routine State visit. But then Nora is revealed and tactics need to be changed. Fast! Nora is not interested in foreign political smalltalk, she is after government secrets. The ridiculed Home Secretary is slowly coming to life, but in his way stands a paranoid Defense Secretary. Only a coup can save Martin now!

When a troubled ventriloquist arrives late to his own performance, he must contend with his unruly dummy, the disdain of his stage manager, and the threat of the theatre being burned down, all while striving to keep his sinister act together.

An intimate examination of a contemporary artist couple, whose living and working patterns are threatened by the imminent sale of their home.

We Margiela tells the untold and intimate story of the enigmatic and singular fashion house Maison Martin Margiela. For the first time co-founder Jenny Meirens and members of the creative team that formed the heart of the house speak about the creative processes and unique philosophy of Margiela. Their stories, told through detailed and intimate interviews, give unprecedented insight in the genesis of one of the most influential fashion houses of our time. The film investigates the legacy of Margiela and its relevance for fashion and authorship today. The unique innovations of the house, such as anonymity, re-usage, 'we' versus 'I,' and replica versus copy, turn out to be central concepts of our time. As the history of the house is told in parallel to the creative development and financial growth of Maison Martin Margiela, the film unravels notions of creativity, authorship, and financial return in our neoliberal times. However, the insights of We Margiela are not self-evident. Interviews will reveal that many, now iconic images and notions of the Maison came into existence by coincidence and intuition, not preconceived concepts. The house was managed by strong gut-feelings and a deep pleasure in taking creative risks. As co-founder, Meirens states: 'When you want to please others and everyone, you will get nowhere. I think you have to diversify yourself from others. In the long run, it will give you the freedom not to answer to the system.' Ultimately, Maison Martin Margiela, was one of the earliest contemporary avant-garde fashion houses to succumb to the pressure of financial growth. After the selling of the house, the founders retired almost immediately from public life. Both employees and aficionados were left disillusioned. Meirens and Margiela never spoke to one another again.

Yagami comes to Maison Ikkoku, not knowing of Godai's and Kyoko's wedding, stating that she is now an adult, which she is, not knowing how to tell her, they panic, but she finds out in the end, and is heart broken.

Martin visits a professor of Islamic Studies to tell him about an attack he has initiated. Can the professor show Martin a passage from the Quran that says it’s wrong to kill people with bombs? If not, Martin’s bomb will kill many people. The professor has no other weapons other than the word of God itself.

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