《别人家的公司》是由今日头条、西瓜视频、泰洋川禾联合出品、papitube独家承制，papi酱（姜逸磊）首次参与制作的职场探秘节目，每期节目将有一位职场体验官深入到一家所有人都向往的“别人家的公司”，通过实地探访为你揭开这些公司的神秘面纱，同时papi酱还会开设职场小课堂，传授“别人家的职场宝典”5月25日起每周六晚8点，在今日头条＆西瓜视频全网独播。

《别人家的公司》是由今日头条、西瓜视频、泰洋川禾联合出品、papitube独家承制，papi酱（姜逸磊）首次参与制作的职场探秘节目，每期节目将有一位职场体验官深入到一家所有人都向往的“别人家的公司”，通过实地探访为你揭开这些公司的神秘面纱，同时papi酱还会开设职场小课堂，传授“别人家的职场宝典”5月25日起每周六晚8点，在今日头条＆西瓜视频全网独播。

Rachel a 40 ans, pas d'enfant. Elle aime sa vie : ses élèves du lycée, ses amis, ses ex, ses cours de guitare. En tombant amoureuse d’Ali, elle s’attache à Leila, sa fille de 4 ans. Elle la borde, la soigne, et l’aime comme la sienne. Mais aimer les enfants des autres, c’est un risque à prendre…

Rachel a 40 ans, pas d'enfant. Elle aime sa vie : ses élèves du lycée, ses amis, ses ex, ses cours de guitare. En tombant amoureuse d’Ali, elle s’attache à Leila, sa fille de 4 ans. Elle la borde, la soigne, et l’aime comme la sienne. Mais aimer les enfants des autres, c’est un risque à prendre…

Two siblings meet a kind woman who they think would be the perfect new mother for them. But ultimately the decision is with their father, who is still in love with his last girlfriend… who did not get on well with the children. 　　The 1950s were a period of unseen creative growth in the USSR: all over the empire, even in republics that had underdeveloped film production capabilities, young talents made their visions and ambitions seen and heard. The Georgian SSR had already a rich heritage in film, so it was not astonishing that it became a vanguard of the Soviet Union’s new cinema. Its most astonishing new voice was Tengiz Abuladze whose particular sense of realism connected smoothly with similar tendencies in Italy, France or Great Britain. 　　Abuladze’s early works focused on children. Here, it’s two youngsters who feel neglected by their single father and so spend a lot of time on the streets where they meet a kind, young woman who starts to take care of them. When she meets the kids’ father they make it clear what they see in her: a potential new mother. Now, here’s the problem: the father feels still attached to a woman who couldn’t deal with the children… A stylishly shot, gentle masterpiece ripe for re-discovery!

Two siblings meet a kind woman who they think would be the perfect new mother for them. But ultimately the decision is with their father, who is still in love with his last girlfriend… who did not get on well with the children. 　　The 1950s were a period of unseen creative growth in the USSR: all over the empire, even in republics that had underdeveloped film production capabilities, young talents made their visions and ambitions seen and heard. The Georgian SSR had already a rich heritage in film, so it was not astonishing that it became a vanguard of the Soviet Union’s new cinema. Its most astonishing new voice was Tengiz Abuladze whose particular sense of realism connected smoothly with similar tendencies in Italy, France or Great Britain. 　　Abuladze’s early works focused on children. Here, it’s two youngsters who feel neglected by their single father and so spend a lot of time on the streets where they meet a kind, young woman who starts to take care of them. When she meets the kids’ father they make it clear what they see in her: a potential new mother. Now, here’s the problem: the father feels still attached to a woman who couldn’t deal with the children… A stylishly shot, gentle masterpiece ripe for re-discovery!

In The Child of Another (Muna Moto), Cameroonian tradition faces the onslaught of materialism, where dowry and bloodline become the sole remnants of family values. The story centers on Mbongo, a man with four wives yet no children. When Mbongo learns of his impoverished stepson's marital intentions, he sees an opportunity to capitalize. This leading melodrama follows the young lovers Ngando and Ndomé and unfolds with a blend of tenderness and humor. The camera intimately explores the dark interiors of rural huts, meanders along the jungle's narrow paths, and partakes in lively street processions, inviting viewers into the characters' world. However, the film boldly critiques social norms, particularly the oppression of women striving for autonomy in a rigid societal framework. The storytelling reveals the narrative in reverse, as a drumbeat at a ceremony triggers a cascade of memories. The film also resonates personally for the director, who was adopted by his mother's second husband. He reflects, It is related to my childhood, existence, and life experience. I am a muna moto myself. Dikongué-Pipa's commitment to this project spanned eight years, and during filming, he resorted to fishing and hunting to sustain the unpaid crew.

《我家的熊孩子》是一档韩国脱口秀节目，聚焦家长与孩子间的问题。你对自己的孩子了解几何？孩子今日和何人碰面，又经历了怎样的故事？孩子为何今日满脸愁容，又因何突然食欲大增？通过这档节目，家长能对这些问题展开更深入的思索。

《我家的熊孩子》是一档韩国脱口秀节目。节目主要关注家长与孩子之间的问题。你对孩子了解多少？今天孩子和谁见面了，又发生了什么样的故事？孩子今天怎么满面愁容，又为什么食欲突然增加？通过这个节目家长对这些问题会有更深的思考。

石橋先生が、東京・吉祥寺本町小学校5年3組の担任になる。クラスの子供達は、遊びや塾に忙しい。子供達は世相を反映し、世間に流されやすく、拝金的で、噂話に余念がない。毎回1人の生徒の視点を中心に展開する。 　　パート1の約半年後に、次の学年の5年3組を舞台としてパート2が放送された。番組の挿入歌はチェッカーズが歌っていた。