片围绕三个男性角色展开，其它内容保密。

片围绕三个男性角色展开，其它内容保密。

迈克尔·B·乔丹加盟动画剧集《情报：锁定》(gen:LOCK)，为主角Julian Chase配音。剧中地球上最后一个自由社会因饱受全球战争的摧残而濒临崩溃，政府招募了一支由年轻飞行员组成的多样化团队来控制新一代的机械巨人——被武器化的机器人。战斗机飞行员Chase抛弃了原先的生活，成为第一个加盟的人，随后发现自己将面临严峻考验。乔丹的制片公司Outlier Productions参与制作，将在Rooster Teeth上播出。

在帝都电视台工作的稻叶里佳（新垣结衣 饰）曾被认为是有前途新人，但因为工作态度过于强硬，采访时引发不少争执，被投闲置散成为非黄金时段的导演。因被命令做制服特集，前往自卫队幕僚参谋部公关室进行采访，遇上曾是战斗机飞行员的空井大佑（绫野刚 饰）。因为醉驾车祸脚部受伤，只能转到公关部工作。稻叶认为能在空井身上发掘出爆炸性新闻，成为她回到电视台一线工作的契机，但她的强硬态度绝惹来空井反感。公关部还有一群性格古怪的人：爱跟风的室长鹭坂正司（柴田恭兵 饰），美女柚木典子（水野美纪 饰），鹭坂头号粉丝槙博己（高桥努 饰），二号粉丝片山（要润 饰），空井的教官比嘉。在这些人的包围下，稻叶和空井是否可以通过这次采访，能否走出困局，再次向梦想挑战？

在帝都电视台工作的稻叶里佳（新垣结衣 饰）曾被认为是有前途新人，但因为工作态度过于强硬，采访时引发不少争执，被投闲置散成为非黄金时段的导演。因被命令做制服特集，前往自卫队幕僚参谋部公关室进行采访，遇上曾是战斗机飞行员的空井大佑（绫野刚 饰）。因为醉驾车祸脚部受伤，只能转到公关部工作。稻叶认为能在空井身上发掘出爆炸性新闻，成为她回到电视台一线工作的契机，但她的强硬态度绝惹来空井反感。公关部还有一群性格古怪的人：爱跟风的室长鹭坂正司（柴田恭兵 饰），美女柚木典子（水野美纪 饰），鹭坂头号粉丝槙博己（高桥努 饰），二号粉丝片山（要润 饰），空井的教官比嘉。在这些人的包围下，稻叶和空井是否可以通过这次采访，能否走出困局，再次向梦想挑战？

麦玲玲这个名字，观众想必并不陌生。她身兼风水师与演员双重身份，涉足生意、演艺、算命等多个不同领域，接触过社会各阶层民众，见识过形形色色、大大小小的奇人异事，她所认知的现实生活常常比电视剧还要富有戏剧性！正因如此，玲玲姐看待事情和人的角度也有所不同，她的想法和思路，绝对与普通人不一样，甚至超出大家的想象！原来旅行并非是那样的玩法、笋盘并非是那样去识别、治病并非是那样的方式，那究竟应该是怎样的呢？那就一同紧跟J2，听听玲玲姐以及各路嘉宾的独特见解！

Showtime以剧集预订协议开发一部以现实事件来改编的间谍惊悚剧《情报战 Intelligence》，由奥斯卡得奖者Mark Boal负责执笔及导演（他是《拆弹部队 The Hurt Locker》﹑《猎杀本·拉登 Zero Dark Thirty》及《底特律 Detroit》的编剧）。Alan Poul与Jason Horwitch会担任执行制片。 诗选剧《情报战》将会探索权力的核心运作，当中有间谍活动﹑政治﹑金融﹑媒体及硅谷的多项要素。首季会讲述2016年美国总统大选，以戏剧化方式拍出它的幕后历史。

麥玲玲這個名字，觀眾想必不感陌生，她既是風水師，也是演員，在生意、演藝、算命等不同領域都有涉獵，接觸過各階層民眾，見盡光怪陸離、大大小小的奇人異事，認知的現實生活往往比電視劇更戲劇化！也因如此，玲玲姐看事看人的角度亦會有所不同，其想法、思路，絕對與凡人不一樣，甚至超出大家想像！原來旅行並非咁樣玩、筍盤唔係咁樣識、醫病唔係咁樣醫，咁應該係點？一於齊齊緊貼J2，聽聽玲玲姐及各路嘉賓的獨特見解！

在温哥华的毒品走私者获得了当地的缉毒队的敏感信息，并试图达成协议为自己后，间谍丑闻爆发。

As with much of their later work, it's impossible to provide a coherent synopsis of the earliest surviving film by the Brothers Quay, as Nocturna Artificialia defies attempts at verbal encapsulation at every turn. The Quays themselves acknowledged this when they said "as for what is called the scenario, at most we have only a limited musical sense of its trajectory, and we tend to be permanently open to vast uncertainties, mistakes, disorientations, as though lying in wait to trap the slightest fugitive 'encounter'." 　　It consists of impressions of a man, a tram and an unidentified city at night (the opening titles identify a specific Brussels street, but the ambience seems East European). Much of it seems to be the man's dream, deriving from a fixation with specific objects relating to the tram (notably its pantograph) and a more general evocation of the streets at night, but even when he appears to awaken at the end after experiencing a some kind of revelation, he finds tramlines running through the middle of his room. 　　Everything is glimpsed or half-heard: light and shade seem as tangible as the more solidified reality (a spellbinding sequence sees his arm caressed by passing shadows, a brief Bartókian musical motif sounding as they touch). Tension is created not through narrative but through movement (by tram and camera, in parallel or in opposition), shifting focus, shadows moving across inanimate objects to bring them briefly into eerie life. 　　There's occasional recourse to religious imagery: at one point the tram passes through the interior of a cathedral, and then down a street named after the Crucifixion, but these elements seem as half-awake and half-remembered as everything else. Despite being presented in multiple languages, the eight intertitles are calculatedly cryptic ("Through gradually tightening avenues, I felt the ecstasy of something nameless"). It's a Surrealist film in the term's original sense - in that its imaginary landscape is equally populated by conscious and unconscious elements and little distinction is drawn between them. 　　Shot on 16mm and funded by the British Film Institute's Production Board, Nocturna Artificialia is a remarkably confident piece of work, the Quays surmounting obvious technical and budgetary limitations to create a private universe entirely out of their own recurring obsessions. Their later films may be more assured, but their roots are clearly visible here.