Like the art cinema of David Lynch or Luis Bunuel (not to mention Harrington's most immediate influence/mentor, the long-venerated celluloid poet Maya Deren, whose 1943 short Meshes of an Afternoon clearly turned the budding filmmaker Harrington on to the medium's wider-than-imagined possibilities), Harrington's films aren't abstract so much as they, very much like a dream (the closest experience to cinema real life offers, and offered long before movies ever existed), consist of narratives with recognizable, "real" human figures and places where some kind of story is happening, except with a disconcerting adherence to their own unpredictable, irrational internal logic and sign systems. In 1946's 13-minute Fragment of Seeking, his first completed work as a mature filmmaker, a twentysomething Harrington himself appears as the bespectacled, fedora'd, trenchcoat-clad, faintly androgynous (he resembles Truman Capote a bit) young man who, when he enters through an imposing gate into the courtyard of a beautiful old ivy-covered L.A. apartment building, is captivated and led ever deeper into a mysterious realm (like Alice down the rabbit hole) by a girl who, with her Veronica Lake blonde tresses, is ravishing enough to be a starlet. As he watches and pursues her through the walkways and corridors around and inside of the building, what at first looks like voyeuristic flirtation becomes a journey into the young man's own deepest fears and desires -- a gorgeous and terrifying pulling back of the veil of surface reality for a glimpse of both his true self and that too-close-for-comfort Freudian link between sex and death. Like all of this early work, the film is more or less silent-with-score (by Ernest Gold, whose music is fantastically cinematic and integral to setting the mood of many of these these moody pictures), and Harrington uses no effects any more special than the skilled, inspired manipulation of shadow and light and a very finely honed intuitiveness at the editing table to create a world as convincing and vivid as it is removed from realism -- one with a lush, eerie atmosphere fraught with allure, suspense, danger, and dread.

节目从数学的基础概念出发，带领观众进入一个充满挑战与思考的概率世界。

探员sarah lund 有了新的合作搭档，这次案件涉及到军队 、恐怖组织、 伊斯兰宗教， 十分紧张刺激，结局也十分反转出乎意料，而我们的sarah与新搭档又会擦出什么新的火花呢？

探员sarah lund 有了新的合作搭档，这次案件涉及到军队 、恐怖组织、 伊斯兰宗教， 十分紧张刺激，结局也十分反转出乎意料，而我们的sarah与新搭档又会擦出什么新的火花呢？

Upon discovery of the Phantom Zone projector in his ship, Superman makes contact with and releases a prisoner whose sentence is completed.

"在这一季中，超人面临来自强大敌人的新威胁，同时深入探寻自己的氪星遗产。他不仅要对抗地球上的超级罪犯，还要面对外星势力的侵袭，尤其是来自强大的天启星领主——达克赛德。超人发现了“幻影区”并释放了氪星叛军玛拉，但她背叛了他，并释放了更强大的贾克斯-乌尔。超人不得不与这两位同族敌人对抗，并最终将他们重新封印。超人对战诸多新旧反派，包括：闪电侠联手战斗：与闪电侠合作阻止天气巫师的破坏。电击女崛起：电台主持人莱斯莉·威利斯变成电击女，成为超人新的电能对手。 超人与蝙蝠侠合作 —— 小丑与莱克斯·卢瑟联手，计划利用氪石对付超人。达克赛德全面入侵 —— 达克赛德对地球发动战争，在大都会制造大规模破坏，并亲手杀害了超人的朋友丹·特平。超人最终击退了天启星的军队，但深感自己的力量仍然无法彻底阻止达克赛德的威胁。超级少女登场 —— 超人发现了一名来自氪星殖民地阿尔戈星的幸存者卡拉，她成为了超级少女。卡拉迅速适应地球生活，并帮助超人对抗天启星的威胁。 这一季不仅展现了超人面对强敌时的智慧与力量，还塑造了他在正义与道德选择中的挣扎。随着剧情的发展，天启星的威胁逐渐升级，而超人与地球的联……

一位家庭主妇的丈夫因卷入贪腐和性丑闻而锒铛入狱，她不得不独自扛起整个家庭的重担。

一位家庭主妇的丈夫因卷入贪腐和性丑闻而锒铛入狱，她不得不独自扛起整个家庭的重担。

平庆（龟梨和也 饰）是一位极其富有才华的现代舞舞者，然而，在攀上了事业小小高峰之后，他的人生一路走低。之后，平庆决定重整旗鼓，从德国回到了东京，可是，在这里等待着他的却并非柳暗花明，而是残酷的现实。为了维持生计，平庆四处奔波，生活的不顺亦让他的舞蹈事业陷入了瓶颈。 　　一次偶然中，平庆结识了名叫西原结唯（深田恭子 饰）的女子。西原是高中里的化学老师，年岁渐长，老母亲开始为她的终身大事发愁，然而西原却并没有结婚的打算，与此同时，她和同事高柳太郎（生濑胜久 饰）之间一直维持着肉体关系。平庆的出现让西原的生活产生了翻天覆地的变化，这一对个性和身份都截然不同的恋人最终能否走到一起？