全新8集节目重磅回归！每一集聚焦一位加拿大凶杀案侦探，讲述其职业生涯中最为棘手的案件。这起案件不仅对侦探本人产生了深远影响，也波及到了整个所在社区。节目将通过原始案件档案资料、真实的侦探访谈以及富有戏剧性的演员演绎，展现这些侦探如何勇敢地克服重重挑战，凭借胆大心细的特质和抽丝剥茧的智慧，成功将凶犯绳之以法，以此告慰亡者及其家人。

This show delves in to true Canadian crime stories by speaking with the detectives that lead the charge and has well known Canadian actors portraying the events. It is a gripping crime drama that gives us insight into cases that grabbed our attention in the media, a must watch for any Canadian.

官方宣布第三季

「おしりたんてい」とは、トロル原作の児童書で、2017年5月現在、シリーズ累計150万部を超える大ヒットシリーズ。幼児から小学校低学年の男女を中心に爆発的人気を得ている。 内容は、顔の形が “おしり”に見える名探偵の「おしりたんてい」が、数々の難事件を「フーム、においますね。」というお決まりのセリフを言いながら、ププッと解決していく謎解き物語。キャラクターのインパクトや、犯人を追い詰める必殺技が子供たちにうけている。

暂无剧情简介

Showtime在一月头预定新剧《芝加哥故事 The Chi》，由Lena Waithe、Elwood Reid、Common、Aaron Kaplan的Kapital Entertainment公司以及Fox 21 TV Studios联合制作；本剧去年就已拍摄试映集，但後来回炉重拍才被预订，该剧在美国时间18年1月7日首播。 本剧由Lena Waithe执笔﹑Rick meijubar.net Famuyiwa执导，讲述了芝加哥南区六个相互联系的人物所呈现的特色故事。角色包括Kevin（Alex R. Hibbert饰演），他是个能在恶劣环境生活﹑自信的13岁少年，原本他的生活很简单，就是痴心班上的一个女孩﹑在邻居之间有群朋友，以及希望某天离开南区。不过他有次在错误的时间出现在错误的地方，目击谋杀现场使他改变了对日常的看法。 Brandon（Jason Mitchell饰），一个有抱负有自信的年轻人，梦想着有一天能开一家自己的饭店，但是他对于新生活的承诺和对母亲以及在南区生活的弟弟的责任，似乎成为了这个梦想道路上的障碍。Jerrika（Tiffany Boone饰演），Brandon直言不讳的伴侣，她在努力让Brandon妈妈接受自己当儿子的女朋友，不过她为Brandon的选择是明智的。在当餐厅经理的她辛勤工作，就为了让Brandon离开街头幷成为一个大厨。 Emmett及Jada，全职护士兼单亲妈妈Jada（Yolonda Ross饰演），有着一个鲁莽但有魅力的儿子Emmett（Jacob Latimore饰）；Emmett原本是位女商人的伴侣，不过现在得独自抚养他那还在襁褓的孩子，至于Jada在对新成为父亲的Emmett采取严爱时，自己也探索起成年时的烦恼。 Ronnie（Ntare Guma Mbaho Mwine饰），前军人的他被芝加哥南区的生活拖垮，他平常经常与邻里的朋友打混，不然就是照顾自己祖母。不过某天她的前女友（Ronnie视她儿子如己出）驱使他为一宗谋杀案报仇时，Ronnie为了赢回前女友的心将会走上一条错误的路。

吉姆（柯克·道格拉斯 Kirk Douglas 饰）是一位刑警，他嫉恶如仇，以铲除罪恶为己任。某日，在审讯名为西乃达（乔治·麦克雷迪 George Macready 饰）的嫌疑犯时，吉姆没有忍住怒火动了粗，他因为此行为得到了西乃达律师的警告，却也得知了一个充满了犯罪气息的名字——汤姆（杰拉德·摩尔 Gerald Mohr 饰）。 循着西乃达的律师的指点，汤姆找到了自己的妻子玛丽（埃琳诺·帕克 Eleanor Parker 饰），向她询问汤姆的踪迹。让吉姆感到震惊的是，玛丽不仅曾经和汤姆有过一段恋情，甚至还怀过汤姆的孩子。这件事情让吉姆陷入了苦恼和困惑之中，妻子隐秘的情史令他不知道该不该继续追查下去。

赤川次郎原作『探偵物語』を34年ぶり（！）に、斎藤工×二階堂ふみで映像化

"Apparently in response to the adverse audience reactions to Impatience, Dekeukeleire decided to try a new approach. After the French premiere, he told a Parisian interviewer: The tone here is a bit pompous, but Dekeukeleire did manage to accomplish his goal in his first narrative film, Histoire de détective. The film contains devices familiar from Impatience: an obsessive repetition of a small number of elements, handheld movements over landscapes, and rhythmic editing. But several new structures shape this material. The film presents itself as the record of a case made by a detective, T, who uses the motion-picture camera as his investigative tool. Aside from a few short scenes of T at work in his developing, editing, and viewing rooms, all the shot (except intertitles) purport to come from T’s work. Histoire de détective is thus a film within a film, and the intertitles tell us the story, not simply of the case, but also of T’s filming of the case. The story concerns J. Jonathan, who is in a neurasthenic state. Mme. Jonathan has, at the beginning of the film, just hired T to discover the reason for her husband’s condition. The film shows shots of Jonathan in Brussels. He then goes to Ostende to recover, but he is bored there. He sets out to return to Brussels but goes on to Luxembourg, is bored again, and goes to Bruges, where he stays for some time, making frequent trips to the seaside. Dekeukeleire inserts series of shots of Mme. Jonathan, in modernist clothes, energetically talking on the phone, listening to the gramophone, writing, and giving a speech. She is portrayed as a frenetically up-to-date woman. Finally Jonathan wanders through a hilly countryside and decides to build a factory among its picturesque ancient ruins. His wife concludes that he is now cured; T has succeeded. There is a strange tension in the presentation of these events in Histoire de détective. The images themselves convey none of the action. All we see are the two characters, and occasionally T, always in separate shots, walking, sitting, speaking into phones. There are no dialogue titles. Dekeukeleire intersperses shots of the characters with numerous shots of buildings and landscapes, often seen upside-down or rolling in extremely jerky handheld movements. He also includes shots of trivial objects—cups, books, pieces of bread—which do not enter causally into the narrative. Instead of conveying the events in accepted silent-film fashion, through as few titles as possible, Dekeukeleire inserts numerous lengthy titles. Virtually the entire narrative depends on these intertitles. The shots between seem so uninformative that they almost come to resemble found footage around which a narrative has been constructed. Histoire de détective is an experimental film which allows narrative in, only to negate it by suppressing, not just acting, but all the visual conventions which the silent cinema had built up to present story material to the spectator. Contemporary reviews consistently rebuked Dekeukeleire for depending to heavily on intertitles. Commentators had long become accustomed to praising films like Der letzte Mann for eliminating intertitles. Little in previous filmmaking could have prepared spectators for a film that deliberately made its images wholly dependent upon an extensive text for narrative meaning. The overall result of tactics like this is a film which seems almost to have an invisible narrative. The titles make the story line clear enough, but in watching the film the spectator cannot really see the narrative being worked out. The images don’t contradict what the titles present, but only occasionally do they show anything which adds to or really tallies with the verbal descriptions (except in a passive way, as with Jonathan sitting on the bridge as the titles describe him “not seeing” things). I don’t mean to suggest that the film is uninteresting—its violent camera movements and rhythmic montages tend to add some of the qualities of an abstract film. And, as one strains to discover the narrative significance of these shots, their very opacity makes them intriguing. Kristin Thompson