In New York City in 1980, Dexter Mitchell plays half-willing big brother to his neighbors, a trio of exchange students from the People's Republic of China.

Han-kook starts to work as an apprentice chef at a Chinese restauraunt belonging to his father's friend, but rather than follow the painstaking process of preparing the food by hand, Han-kook begins to use pre-processed ingredients.

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Based on real-life events, the film recounts the efforts of the Wuhan medical staff as they attempt to deal with the rising cases of Covid-19.

A Chinese-American teenager attends Chinese classes on weekends with his friend Monica. He falls in love with Abigail, a very religious girl, which leads him to question his identity and values.

The film follows the life of a successful film star, revealing her increasing alienation in a role both glamorized and patronized by society. After being forced into show business by her family, she spends her time between studios and disastrous love affairs, and feels more and more dissatisfied.

Lines scrawled on white paper with a ballpoint pen. Everything looks like a hastily drawn scribble – a sketch of ideas rather than a finished film, possibly only a quick storyboard. The jerkily connected images show a food stall somewhere in the middle of nowhere. Something extraordinary happens here: Two filmmakers – brother and sister – hire the chef as the leading actor of their project. They are planning a biopic about their father. The fast-food expert is not only the spitting image of the famous man, he is just like him! The casting could not be more apt, the film business newcomer lets them convince him. But the task turns out to be difficult. Though the cook does everything to do justice to this demanding role, he seems less and less suited for the job every day. Completely engrossed in the preparations for the part, he becomes increasingly distant from his own children. The boundaries between the film and the single father’s real life begin to blur. Is it possible that shooting has already begun?

Average teenager Jin Wang juggles his high school social life with his immigrant home life. When he meets a new foreign student on the first day of the school year, even more worlds collide as Jin is unwittingly entangled in a battle of Chinese mythological gods.

Larry is an unqualified, unemployable, inebriated prankster who rides a tide of booze onto the glorious shores of an undiscriminating Quick-Lube. Taking a part-time job vacuuming and washing windshields, Larry finds himself mixed up with hostile co-workers and unsatisfied customers, while also finding himself smitten with his lovely boss, Lupe Torrez. Will Larry keep it together long enough to win the girl, provide for man's best friend (his dog Arrow), and do his grandmother proud?

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.