陳百強(Danny)縱已逝世三十年，其歌曲仍然是家傳戶曉，新一代歌手們持續傳唱，電影、劇集、舞台劇、廣告亦不時引用他的金曲，足證其作品歷久不衰。2023年10月25日適逢是Danny離世三十年的日子，特備節目《永遠深愛 陳百強》於糖妹的聲音導航下，重溫其多首經典作品，訪問曾和他合作的前廣播人夏妙然。特輯亦透過剪輯片段，回望Danny豐盛多彩的音樂人生，跟萬千樂迷共同懷念這位情歌王子。

“在这座城市里拥有爱情，我配么？”这也许是每一个“漂一族”的自我怀疑。

“在这座城市里拥有爱情，我配么？”这也许是每一个“漂一族”的自我怀疑。一次交通意外，让王惜月（王智 饰）陷入了一场从未预想的“一见钟情”；同为…

The series is a complex story of destinies that intersect when they assassinate a media mogul on their wedding day, at the same time that an assassin in the United States is executed in the electric chair. The tycoon's soul is reincarnated in the body of the hit man and, in turn, the killer's soul ends up in the body of a professor of anthropology. Now, every man will not only have to deal with a new body, but also adapt to a new spirit.

The series is a complex story of destinies that intersect when they assassinate a media mogul on their wedding day, at the same time that an assassin in the United States is executed in the electric chair. The tycoon's soul is reincarnated in the body of the hit man and, in turn, the killer's soul ends up in the body of a professor of anthropology. Now, every man will not only have to deal with a new body, but also adapt to a new spirit.

“Deep love has finally happened in Ukraine.” 　　Perhaps the most prominent and radical figure in Ukrainian animation, Lyskov (b. 1983) crafts a surreal portrait of his home city Dnipro. Documenting how the people of the riverine metropolis weathered post-USSR storms of social upheaval, this colourful exercise in urban surrealism is a non-verbal phantasmagoria in which entities absurdly and oneirically intermingle. Essentially empathetic and humane, it explores the idea of “Kohannia”—defined by Lyskov as “a feeling that arises in the soul and has a connection with the transcendental and divine… which I do not see around me nowadays.” (N.Y.)

“Deep love has finally happened in Ukraine.” 　　Perhaps the most prominent and radical figure in Ukrainian animation, Lyskov (b. 1983) crafts a surreal portrait of his home city Dnipro. Documenting how the people of the riverine metropolis weathered post-USSR storms of social upheaval, this colourful exercise in urban surrealism is a non-verbal phantasmagoria in which entities absurdly and oneirically intermingle. Essentially empathetic and humane, it explores the idea of “Kohannia”—defined by Lyskov as “a feeling that arises in the soul and has a connection with the transcendental and divine… which I do not see around me nowadays.” (N.Y.)