名人朗诵黑人作家的儿童书籍，以简单易懂的方式与儿童讨论同情心、平等、自爱和反种族主义话题。

我是一名年轻的公交司机，本想安稳度日，却被车队队长和老同事们以高额补助为诱饵，半推半就地接手了一条深夜开往偏远造纸厂的新线路。同事们都以家庭、孩子为由推脱，唯独单身的我成了“最佳”人选。正当我为每月多挣900块而自我安慰时，一位好心同事老郑却悄悄向我揭开了一个尘封八年的惊人秘密：这条所谓的“新”线路并非首次开通，而之前负责这条线的整整三任司机，全都离奇死亡。

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Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's "Staroye I Novoye". 　　It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls. 　　And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, "Staroye I Novoye", is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ). 　　Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with "Staroye I Novoye". The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel "ARTE", natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests. 　　And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.

Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's "Staroye I Novoye". 　　It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls. 　　And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, "Staroye I Novoye", is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ). 　　Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with "Staroye I Novoye". The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel "ARTE", natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests. 　　And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.

该剧讲述妈妈和女儿一起追踪婚礼当天逃跑的新郎而展开的追击喜剧故事。

“前科者”就像“每天转系的男人”这个副标题一样，是转系到全国各地大学的学科，体验学校和学科的真人综艺节目。不仅是传达各种学校及学科的信息，还将介绍迎接Endmic重新找回活力的校园生活的心动和“最近大学生”们的新大学文化趋势，对10多岁有益，对20多岁有共鸣，对30多岁的人将带来回忆。

“前科者”就像“每天转系的男人”这个副标题一样，是转系到全国各地大学的学科，体验学校和学科的真人综艺节目。不仅是传达各种学校及学科的信息，还将介绍迎接Endmic重新找回活力的校园生活的心动和“最近大学生”们的新大学文化趋势，对10多岁有益，对20多岁有共鸣，对30多岁的人将带来回忆。

谢明昭一心等待未婚夫魏长渊迎娶，魏长渊却为了向上爬选择退婚当驸马。谢明昭心死后，爱上默默守护她的穷书生裴瑾。魏长渊踩着长公主上位成为权臣，逼迫谢明昭重归于好，裴瑾联合长公主，帮谢明昭逃离魔爪。

在去度蜜月的路上，一对年轻夫妇发现自己被他们的司机绑架并带到了德古拉的秘密基地，被用于恶魔的仪式以保持德古拉年轻和阳刚。当新娘的父母向当地侦探寻求帮助时，警察意识到他可能确实在阳光明媚的迈阿密面对了一个现实生活中的吸血鬼。与此同时，德古拉将目光投向了一位他决心要娶她为新娘的年轻女子。