After the gruesome events on Caprini, Sharp and his elite team of tough, witty and trigger happy space Marines must now head out to the icy planet Mezzo to investigate further Ma'har activities. What they will encounter will defy their imaginations as they tackle giant man eating snow worms, an underground city of Cyborgs, a slew of murderous alien entities and maybe, finally, the ever elusive Ma'hars.

After the gruesome events on Caprini, Sharp and his elite team of tough, witty and trigger happy space Marines must now head out to the icy planet Mezzo to investigate further Ma'har activities. What they will encounter will defy their imaginations as they tackle giant man eating snow worms, an underground city of Cyborgs, a slew of murderous alien entities and maybe, finally, the ever elusive Ma'hars.

一群邪恶的生化人从地球的未来绑架人类作为奴隶，并把过去的恐龙当作追踪者使用。他们的一个奴隶逃跑了，逃到了现在的洛杉矶。在那里，他必须击退半机器人和他们的追踪者、警察和政府，由一名妓女转变为修女，经营着一个中途宿舍。

The Airship Destroyer is playing on the ever-recurring fear of invasion. All the same, the futuristic aspect of the threat makes it very original. For that matter, this film is subject to a particular destiny. 　　Six years after being first shown, it is projected again in 1915. At that time, the terror of zeppelin air raids hangs over England. Several bombings claim very many lives in Yarmouth and King’s Lynn. London is also aimed at. It is only in 1917 that the creation of anti-airship incendiary bullets and of a special regiment in the Royal Air Force contains the deadly raids. 1,500 British subjects are victims of this modern war instrument foreshadowed in this film. 　　The airships are made using special effects. The animation and the models are the work of a master: the underestimated Walter. R. Booth. Before even contributing to the early stages of cinema, Booth exercises his creativity and exuberant imagination as an amateur magician. From 1889 on, he produces films containing “tricks” that allow him to combine traditional drawing and animation techniques. His taste for science fiction feeds on numerous inspirations, particularly on the French Georges Méliès and Jules Verne. 　　In 1906, Booth joins the Charles Urban Trading Company. This producing company favors films that cover news, travel, science and natural history. Its founder, Charles Urban, born in the United States to German emigrant parents, radically develops cinema in England. His company supports Booth who sets up his studio in his garden of Isleworth. However, after a few years, Booth gives up and takes on advertising. His work remains unfortunately ignored, as does the rest of his career. 　　The original element is a dyed print on nitrate film base, which went from a private collection to the Deutsche Kinemathek in the sixties. It was reprinted at the Studio Cine laboratory using the Desmet color restoration system in 2003.

The Airship Destroyer is playing on the ever-recurring fear of invasion. All the same, the futuristic aspect of the threat makes it very original. For that matter, this film is subject to a particular destiny. 　　Six years after being first shown, it is projected again in 1915. At that time, the terror of zeppelin air raids hangs over England. Several bombings claim very many lives in Yarmouth and King’s Lynn. London is also aimed at. It is only in 1917 that the creation of anti-airship incendiary bullets and of a special regiment in the Royal Air Force contains the deadly raids. 1,500 British subjects are victims of this modern war instrument foreshadowed in this film. 　　The airships are made using special effects. The animation and the models are the work of a master: the underestimated Walter. R. Booth. Before even contributing to the early stages of cinema, Booth exercises his creativity and exuberant imagination as an amateur magician. From 1889 on, he produces films containing “tricks” that allow him to combine traditional drawing and animation techniques. His taste for science fiction feeds on numerous inspirations, particularly on the French Georges Méliès and Jules Verne. 　　In 1906, Booth joins the Charles Urban Trading Company. This producing company favors films that cover news, travel, science and natural history. Its founder, Charles Urban, born in the United States to German emigrant parents, radically develops cinema in England. His company supports Booth who sets up his studio in his garden of Isleworth. However, after a few years, Booth gives up and takes on advertising. His work remains unfortunately ignored, as does the rest of his career. 　　The original element is a dyed print on nitrate film base, which went from a private collection to the Deutsche Kinemathek in the sixties. It was reprinted at the Studio Cine laboratory using the Desmet color restoration system in 2003.

《记忆》是一档演播室情境式讲述节目。它分为两种版型：周一至周四播出“日常版”，周五播出“周末版”。周一到周四的日常版，以主持人情境式讲述为主，辅以对相关人士的访谈。每周五播出的周末版会请来一位明星嘉宾，讲述他对以往某一年的特殊记忆，将观众带回到那一年，之后节目会讲述那一年大家共同经历的大事。

《记忆》是一档演播室情境式讲述节目。它分为两种版型：周一至周四播出“日常版”，周五播出“周末版”。周一到周四的日常版，以主持人情境式讲述为主，辅以对相关人士的访谈。每周五播出的周末版会请来一位明星嘉宾，讲述他对以往某一年的特殊记忆，将观众带回到那一年，之后节目会讲述那一年大家共同经历的大事。

北京冬奥会官方电影，讲述了中国为举办冬奥会举国上下齐心协力，全面兑现申办承诺的真实故事。 　　影片故事以“北京——铸造赛场”和“运动员——回归赛场”为主线，讲述那些怀揣梦想的“冬奥人”，在漫长的筹办、备战和等待中，用努力和坚持克服各种困难，实现突破和超越，最终圆梦冬奥的故事，在弘扬奥林匹克精神的同时，彰显人类共同合作和团结向前的重大意义。

The 'AI Realism' project uses cutting-edge AI technology, generating images from the speeches of victims and witnesses of political turmoil. It explores historical traumas like the Gulag, nuclear traumas, and more. In today's world, it empowers independent voices against misinformation. Born online during Kazakhstan's tragic events in 2022, it challenges prevailing narratives. The fusion of art and AI sparks critical conversations about memory, truth, and technology's impact on our perception of reality. 'AI Realism' is a groundbreaking force that uncovers untold stories, inviting reflection on our collective past, present, and future.

节目聚焦2022年北京冬奥会及冬残奥会筹备进展，进行冬奥及冬季项目知识普及，讲述“三亿人上冰雪”背景下参与冬季项目全民健身的故事，回顾往届冬奥经典。节目每周一18:30 - 19:30在中央电视台体育频道播出。