Today is a daily American morning television show that airs on NBC. The program debuted on January 14, 1952. It was the first of its genre on American television and in the world, and is the fifth-longest running American television series. Originally a two-hour program on weekdays, it expanded to Sundays in 1987 and Saturdays in 1992. The weekday broadcast expanded to three hours in 2000, and to four hours in 2007.Today's dominance was virtually unchallenged by the other networks until the late 1980s, when it was overtaken by ABC's Good Morning America. Today retook the Nielsen ratings lead the week of December 11, 1995, and held onto that position for 852 consecutive weeks until the week of April 9, 2012, when it was beaten by Good Morning America yet again. In 2002, Today was ranked #17 on TV Guide's 50 Greatest Television Shows of All Time.

Today is a daily American morning television show that airs on NBC. The program debuted on January 14, 1952. It was the first of its genre on American television and in the world, and is the fifth-longest running American television series. Originally a two-hour program on weekdays, it expanded to Sundays in 1987 and Saturdays in 1992. The weekday broadcast expanded to three hours in 2000, and to four hours in 2007.Today's dominance was virtually unchallenged by the other networks until the late 1980s, when it was overtaken by ABC's Good Morning America. Today retook the Nielsen ratings lead the week of December 11, 1995, and held onto that position for 852 consecutive weeks until the week of April 9, 2012, when it was beaten by Good Morning America yet again. In 2002, Today was ranked #17 on TV Guide's 50 Greatest Television Shows of All Time.

Small time grifter, Charlie holds himself responsible for the death of his son. Trying to right his wrongs, he collides with a well meaning loser named Tommy G, a wanna-be actor who thinks he looks like Tom Hardy. They rob a liquor store to pay a gambling debt to a frightening mob boss, Big Angie, only to find out the store is owned by the mobster. The more they try to fix it, the more it unravels.

A drama about a woman who finally becomes a part of a family after re-adoption and man who chooses love over family.

These families are nothing like a normal family. In one story, a father and a son do not even say hello to each other once they take a step out of the house. In another story, three siblings try to make kimchi.

At the New Jersey shore, young Julie Peterson (Scout Taylor-Compton) saves the life of a drifter who's on the skids. Going one further, Julie resolves to save him emotionally, too, by instilling the gift of hope. But first, she has to contend with a local sheriff who wants the drifter gone and an admirer who's jealous of Julie's relationship with her new "project." Soon, a chain of events is set in motion that will change everyone's lives.

A family drama about a generation of young people who have their own concerns relating to employment and school fees, and three sets of couples who are hometown friends who wonder about the meaning of life.

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Arriving in the US with a background in abstract art, opera, and film—including work with German director Werner Schroeter—Vogl began making Super8 films in New York that stripped away the stylistic markers of Hollywood, New Wave cinema of the 1960s and ’70s, and classic avant-garde film, leaving only traces of their generic conventions. For the first hour of OK Today Tomorrow, he stages a series of fraught encounters around the city between four gentrified New Yorkers before abandoning his vague narrative of youthful angst altogether in favor of documenting the urban landscape itself. The dusk-to-dawn “city symphony” that ends the film resembles similar Super8 social studies by Vogl’s uptown contemporary John Ahearn; both recorded the daily lives of working-class black and immigrant communities on the streets of a city on the verge of the corporate takeover and sweeping gentrification that followed in the 1980s and ’90s. Preserved by The Museum of Modern Art, New York.

A brilliantly funny and pointed parody of aggressive TV journalism. Full of completely farcical, fictional news stories told in sharply realistic melodramatic TV News style. Plus a mockery of weather reports, sports journalism and the American reporters too. Features Steve Coogan's helmet-haired TV debut as Alan Partridge behind the Sports desk. Contains the complete series.