Rick Stein has been a top chef for more than fifty years and has realised the United Kingdom is a mouth-watering melting pot. Here, Rick Stein tucks into the nation's cook book, savouring the UK's favourite food. From farm to fork, he explores age-old traditions and modern tastes.

The perplexing behaviors of cats have often raised the question of whether humans ever really domesticated felines.

The perplexing behaviors of cats have often raised the question of whether humans ever really domesticated felines.

《叔．叔》是有关两个老年男人的爱情故事。柏（70岁）与海（65岁）是躲在柜里多年的男同志。能令他们自豪的，是他们努力建立的家庭。的士司机柏，年轻时由国内移居来港，努力工作，他与清（65岁）结婚超过40载，养有一子一女。柏和清是上一代香港人勤奋向上的传统幸福家庭典范。海是已退休的单亲爸爸，太太早年离他而去，与儿子永相依为命。海的秘密造成他与儿子的鸿沟，他虽然与儿子一家同住，但没有家的感觉。想不到在人生最后这一段路上，海和柏还能遇上对方。身处爱情诱惑与传统道德压力的拉扯中，柏和海必须从他们内心真正的渴望与传统被社会接受的“快乐家庭生活”中作出抉择，到底哪一种生活才是他们人生最终需要的生活？

《叔．叔》是有关两个老年男人的爱情故事。柏（70岁）与海（65岁）是躲在柜里多年的男同志。能令他们自豪的，是他们努力建立的家庭。的士司机柏，年轻时由国内移居来港，努力工作，他与清（65岁）结婚超过40载，养有一子一女。柏和清是上一代香港人勤奋向上的传统幸福家庭典范。海是已退休的单亲爸爸，太太早年离他而去，与儿子永相依为命。海的秘密造成他与儿子的鸿沟，他虽然与儿子一家同住，但没有家的感觉。想不到在人生最后这一段路上，海和柏还能遇上对方。身处爱情诱惑与传统道德压力的拉扯中，柏和海必须从他们内心真正的渴望与传统被社会接受的“快乐家庭生活”中作出抉择，到底哪一种生活才是他们人生最终需要的生活？

Explore the history and flavors of regional Indian cuisine, from traditional Kashmiri feasts to the vegetarian dishes of Gujarat.

Explore the history and flavors of regional Indian cuisine, from traditional Kashmiri feasts to the vegetarian dishes of Gujarat.

The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. 　　Alexander Kluge: The Power of Feeling 　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. 　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. 　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. 　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.

The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. 　　Alexander Kluge: The Power of Feeling 　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. 　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. 　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. 　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.

胡琳初恋男友杜峰在他们热恋时不辞而别，选择了出国，两人各自结婚，之后杜峰回来找胡琳，并错手杀了胡琳的丈夫，胡琳为了杜峰的前途自己认了罪。现在杜峰又继续纠缠，并不择手段，阻止胡琳和现男友秦越在一起，杜峰妻子了解情况后，公然让胡琳在公司出丑，甚至陷害秦越。