Inspired by ESPN's anniversary, ESPN Films is launching 30 FOR 30, an unprecedented documentary series featuring 30 of today's finest storytellers telling thirty remarkable stories from the ESPN era. On their own, each of the films will be an intimate look at a specific story, relevant to larger themes from the modern era. Collectively, these films will be a diverse mosaic of what sports has meant to American and World culture in the last thirty years. Each storyteller will bring their passion and personal point of view to their film detailing the issues, trends, athletes, teams, rivalries, games and events that transformed the sports landscape from 1979 to 2009.

《幸运52》是一档打破娱乐类、知识竞赛类节目界限，有机地将游戏与知识普及融为一体，充分调动观众参与热情的益智节目；知识性、游戏性与竞赛性并重，是中央电视台首次以场内外互动方式开设的益智性互动性节目。

《幸运52》是一档打破娱乐类、知识竞赛类节目界限，有机地将游戏与知识普及融为一体，充分调动观众参与热情的益智节目；知识性、游戏性与竞赛性并重，是中央电视台首次以场内外互动方式开设的益智性互动性节目。

Ethan Page vs. Lio Rush Anthony Nese with So Cal Val & Andrea vs. Peter Kaasa Tracy Williams vs. Matt Riddle Caleb Konley with So Cal Val & Andrea vs. TJ Perkins Johnny Gargano vs. Drew Gulak EVOLVE Championship Match Timothy Thatcher defends vs. Drew Galloway

A comedy about the employees for the U.S. government, who work in a remote facility in the Nevada desert, which houses and hunts alien creatures.

Cornelius 于 1993 年作为小山田圭吾的个人计划开始。 　　为纪念出道30周年而筹划的“Cornelius 30周年纪念套装”将于7月7日（星期日）在东京花园剧院、7月13日（星期六）在罗姆剧院京都主厅举行。 　　此次发行包括东京演出的片段，以及约120分钟的现场视频，内容涵盖了他30年职业生涯的各种歌曲，从早期作品到最新歌曲。 　　（除了普通的观演门票外，还将出售附带电子小册子的观演门票。 　　该小册子是在会场销售的小册子基础上扩充的版本，并附加了演出后的采访和照片。）

美女总裁为救公司，在宴会上求见高人，出来的竟是自己的老公！

Loneliness: a trucker who calls out on his CB radio waiting for a reply that never comes. A ghost that haunts the deserted highways. A whale that sings at a frequency no other whale can even hear.

Loneliness: a trucker who calls out on his CB radio waiting for a reply that never comes. A ghost that haunts the deserted highways. A whale that sings at a frequency no other whale can even hear.

In his film Rua Aperana 52 Júlio Bressane describes the invention of a landscape, the topology of a corner of Rio de Janeiro. The film consists of a series of photographs taken between 1909 and 1955 by, among others, Bressane's parents at and around the address used as a title. These are interlarded with scenes from films made between 1957 and 2005, bringing the total fictional time the film covers to almost a century; one hundred years in which the winding road featured in almost every shot structures the new landscape behind the Aperana, which means 'wrong road'. Rua Aperana 52 is autobiographical, as it is a landscape from Bressane's youth, but it is also not so; it is more a multi-subjective mythology of a place seen through all those films and photographs. Bressane refers to his editing as an intuitive form of thinking aimed at evoking moods which make the viewer the new witness of the fictional landscape. A fiction about a fiction,