每集半小时被拆成了两段。 　　前半段的主角是希斯。希斯是只家猫，聪明又能打架（狗都打不过它～），总是在食品店里抢吃的，野猫似的在街道上乱窜。 　　后半段的主角是利夫。利夫是只野猫，聪明的它是一个四人（猫）组的头头，还有个白白的女朋友。利夫和它的朋友们住在垃圾场的一部破轿车里（那部轿车能飞的），过着极其拟人化的生活，且颇有小资的感觉。貌似它的生活比希斯更像家猫一点。。 　　Aired: 1984 - 2012 　　Show Type: Animated 　　Country of Origin: US 　　Show Summary: A practical joker and career trouble maker, Heathcliff struts through life in search of new ways to torment Spike, the neighborhood bulldog, or to woo Sonja, his beloved fancy feline girlfriend. At home, he is the bane of Grandpa's existence but adored by Grandma and Iggy Nutmeg, his human owners. Joined with Heathcliff is The Catillac Cats, a band of junkyard cats with their leader Riff Raff, a short cat with a tall sexy feline girlfriend named Cleo, and a Cadillac car that can change into almost anything. Riff Raff's get-rich-quick schemes and search for good eats have the rest of the gang (Hector, Mugo, and Wordsworth) constantly in and out of trouble and adventures 　　US Theatrical Release Date: January 17, 1986 　　MPAA: 　　Production Company: Atlantic Releasing Corp., Audiovisuel Syndicate, DiC Enterprises, LBS Communications Inc., McNaught Syndicate 　　Cast 演员 　　Mel Blanc as Heathcliff/Spike, Donna Christie as Iggy, Peter Cullen, Jeannie Elias as Marcy, Stan Jones as Wordsworth, Marilyn Lightstone as Sonja/Grandma, Danny Mann as Hector/Fish Market Proprietor, Derek McGrath, Marilyn Schreffler, Danny Wells, Ted Zeigler as Grandpa/Mungo, Mel Blanc as Heathcliff/Spike, Donna Christie as Iggy, Peter Cullen, Jeannie Elias as Marcy, Stan Jones as Wordsworth, Marilyn Lightstone as Sonja/Grandma, Danny Mann as Hector/Fish Market Proprietor, Derek McGrath, Marilyn Schreffler, Danny Wells... 　　主题曲歌词the theme song 　　Heathcliff, Heathcliff, no one should 　　Terrify their neighborhood 　　But Heathcliff just won't be undone 　　Playing pranks on everyone 　　There's a race to be on top 　　The competition doesn't stop 　　Mixing with the ladies fair 　　Being charming, debonair 　　The gang will reign supreme 　　And no one can deny 　　They'll make 'em history 　　And always have an alibi 　　So join in the jubilee 　　The cats are great they'll all agree 　　They'll find in each calamity 　　The cats superiority 　　Heathcliff, Heathcliff, no one should 　　Terrify their neighborhood 　　But Heathcliff just won't be undone 　　You should realize he can win it with you ( more )

故事改编自英国真实发生的一件事：2008年一个叫Shannon Matthews的9岁女孩失踪，后来经过调查发现，是她的妈妈和妈妈男友的叔叔，为了骗取高额的悬赏金，一起合谋假造了这起儿童绑架失踪案。

《法尔比克》（Farrebique ou les quatre saisons，乔治·鲁吉埃，1946年|92分钟|35毫米|黑白|有声）以搬演的手法记录了法国南部普罗旺斯地区一户农民的生活。在一个叫固特兰的村子里，法勒比克一家筹划着如何过冬。他们讨论是否修缮年久失修的祖屋，年迈的父亲固执己见，坚持不要破坏祖屋的完整性。从这个简单而富有戏剧性的家庭争论开始，通过四季的更迭，影片展现了法国一户普通农民的日常生活（本片的完整片名为“法尔比克或四季”）。本片导演乔治·鲁吉埃（Georges Rouquier，1909—1989）生于本片所描绘的法国南部，在这部向故乡致敬的影片里，他通过非职业演员的表演重现了法国南部乡村生活，呈现给观众的真实并非严格意义上的纪录电影的真实，而是更加内在富有诗意的真实。本片可以说是法国版的《北方的纳努克》，鲁吉埃拍摄本片时曾经受到美国纪录片大师罗伯特·弗拉哈迪的启发。本片荣获1946 年戛纳电影节评委会大奖和法国电影大奖。38年后，鲁吉埃重游故地重访故人，拍摄了本片的续集《比克法尔》（Biquefarre，即将原片名的两个音节颠倒过来，本片又名《38年后》，荣获1983年威尼斯电影节评委会大奖）。此外，鲁吉埃还当过演员，在科斯塔—加夫拉斯导演的影片《Z》中扮演总检察官。

夜幕降临，一架四引擎飞机在机场着陆，走下飞机的是唯一的乘客乔•法尔什——作为法尔什犹太家族最后的幸存者，自从他1938年离开柏林，至今已有四十个年头。在机场到达大厅里等待着乔的，是包括父母、姐妹、兄弟等在集中营丧命的死去的家族以及乔之前所深爱、最终在柏林的轰炸中丧命的纳粹分子的女儿莉莉。一场跨越生死世界的庆典与邂逅就此展开。本片是比利时著名导演组合达内兄弟的剧情片处女作。（小易甫字幕组）

学园都市乌兹西奥学园发生了异变，学校的游泳池被破坏了。 　　近期经常发生有关超能力的怪异事件！这些事件的背后存在着谜一样的应用——超能力APP「AICis」

学园都市乌兹西奥学园发生了异变，学校的游泳池被破坏了。 　　近期经常发生有关超能力的怪异事件！这些事件的背后存在着谜一样的应用——超能力APP「AICis」

1996年，英國獨立電視台播放了一套90分鐘長的紀錄片，講述希斯堡慘劇的發生。紀錄片由利物浦享譽編劇　Jimmy McGovern 所寫，在之前他亦主編過熱門片集如Cracker等。在第二輯 Cracker 中，開場故事 To Be A Somebody 亦都以希斯堡慘劇為主。 　　這套稱為希斯堡（Hillsborough）的紀錄片由獨立電視臺旗下的格拉納達電視所製作，主角 Trevor Hicks 的故事由明星 Christopher Eccleston 飾演。Hicks 在慘劇之中失去了他兩名年輕女兒，事件後他參與加爭取更安全球場運動、同時亦都協助籌組希斯堡家屬支援組（Hillsborough Families Support Group）。 　　由於緊慎地處理了不少主觀內容以及對死難者的尊重，紀錄片得到了很多讚賞。在1997年，片集同時獲得英國電影電視藝術學院（BAFTA）以及皇家電視學會的最佳單一電視片集。英國電影學院在2000年出版的100套最偉大英國電視節目中，紀錄片希斯堡亦成為其中的第54套。 　　這套片集亦都啟發狂街傳教士（Manic Street Preachers）創出收錄在專輯This Is My Truth Tell Me Yours的歌「S.Y.M.M. (South Yorkshire Mass Murderer)」。

Falcón is a brilliant detective whose personal and professional life is compromised by dark secrets from the past.

In an episode that occurs halfway through Tarrafal, Cape Verdean immigrant José Alberto, having just received his expulsion notice, encounters the elderly, displaced Fonthainas resident Ventura waiting on the side of a dirt road as his friend, Alfredo tries in vain to catch rabbits by thrashing random bushes with a wooden club. In a way, the idea of silent, enduring landscapes as figurative intersections for other unfolding - and often converging - human stories (a recurring theme in José Luis Guerín's cinema as well) may be seen as a metaphor for Pedro Costa's densely layered themes of dislocation and statelessness. As subsequently revealed in The Rabbit Hunters, Alfredo, too, is homeless, resorting to a life in the streets after having been thrown out of the apartment by his wife. In Tarrafal, this converging image of forced - and implicitly traumatic - displacement and exile is established in the opening images of José Alberto's ironic inquiries to his mother over the derelict conditions of their ancestral houses in Cape Verde from his own ramshackle home in the slums. As the conversation morphs from the neglect and inhabitability of their beloved, deserted homes that recalls the reclamation of abandoned ghost houses in In Vanda's Room, to the strange tales of a blood-sucking phantasm who foretells a person's hour of death by surreptitiously leaving letters in the most mundane of hiding places to be subsequently retrieved at the time of their immutable appointment - an impersonal, life-altering communication that alludes to the state's arbitrary dispensation of deportation and eviction notices in modern day Portugal - Costa illustrates a sense of anonymous interchangeability among the transitory, drifting souls of Tarrafal. Visually, this sense of surrogacy and transplantation is reflected in the repeating angular doorway view of José Alberto's house: first, in the solitary image of José Alberto facing away from the camera as he sits on a wooden plank to smoke, then subsequently, in a reframed shot of Ventura and Alfredo seated on the same plank looking out into the neighboring town, commenting on the profound transformation of the once desolate landscape (note Alfredo's humorous misidentification of stray cats as rabbits that further reinforces their seeming interchangeability). Moreover, intrinsic in José Alberto's sad tale of requesting a work release to single-handedly bury his estranged father, and the rabbit hunters' conversation over their mistreatment and death at the hands of authorities is the specter of Tarrafal's unreconciled history as a prison camp where inmates were tortured and relegated to die a slow death. Composed as skewed, frame within frame stationary shots that evoke the acute angles and distanced address of Straub/Huillet, these parallel testimonies of dislocation, separation, entrapment, and fatedness unfold through supplanted images of interchangeable, moribund, drifting ghosts that integrally reflect their own erasure and social invisibility.

这是一部非常风格化的作品，主角是一名年轻的威尔士骑士，他来到一处神秘的古堡，在那里他见到了圣杯的幻像，但他自己却没有意识到；次日清晨，古堡人去楼空，骑士继续出行，当他猛然醒悟到自己看到了圣杯再回去时，古堡已经消失，于是他只能继续他的圣杯寻访之旅。影片完全在摄影棚内拍摄，布景故意做得很“假”，而且台词和动作多有重复，颇有一点曲艺的效果。