影片改编自Nicholas Hogg2015年的小说《东京无名氏》（Tokyo Nobody）。 　　美国社会心理学家本-门罗（Ben Monroe）在调查柏林当地一个与令人不安的事件有关的邪教组织，他沉浸在自己的工作中时，他叛逆的女儿马兹（Mazzy）却被一个神秘的当地男孩接触，这个男孩将她带入了这座城市的地下世界。当他们的两个世界走向危险的交汇点时，本需要争分夺秒地拯救女儿……

影片改编自Nicholas Hogg2015年的小说《东京无名氏》（Tokyo Nobody）。 　　美国社会心理学家本-门罗（Ben Monroe）在调查柏林当地一个与令人不安的事件有关的邪教组织，他沉浸在自己的工作中时，他叛逆的女儿马兹（Mazzy）却被一个神秘的当地男孩接触，这个男孩将她带入了这座城市的地下世界。当他们的两个世界走向危险的交汇点时，本需要争分夺秒地拯救女儿……

克林多斯的一名牧羊人将一个遭人遗弃的婴儿救下后，将他献给了没有子女的国王，时光荏苒，婴儿长大成人，被唤名俄狄浦斯（佛朗哥•齐蒂）。某天，女巫将阿波罗神话讲给俄狄浦斯听，说他将来会亲手杀死生父并和生母结婚，听后，俄狄浦斯决定外出流浪。 　　途中，他与一群人发生殴斗，失手将一名老者打死，其人正是他的生父。接着，他继续流浪到了提北国，将那里的人面兽身怪物打死后，与王妃依娃卡丝蒂（西尔瓦娜•曼诺迦）成亲成为该国新国王，而该王妃正是他的生母，阿波罗神话灵验。遂即，提北国开始蔓延一种疾病，为了消灭这种病，该国人民四处寻找杀死老国王的凶手，俄狄浦斯终于知晓所有真相。

The WB及UPN（后来这两家合并成现在的CW）曾播出3季科幻青春剧《罗斯威尔 Roswell》，而本年度CW表示要开发该剧的重启版。《罗斯威尔》新版跟旧版一样，…

进入书中的故事，成为不被爱的小公主，冒名顶替的假公主备受宠爱，而我只想着怎么活下去，我认识了命运的女神，发现了父皇的双胞胎兄弟，皇家的秘密在我眼前展开，世界的命运也被我攥在手中，原来成为祭品才是我活下去的关键。

波斯王国拯救战　　公元6世纪，古波斯王国与古印度帝国的战争爆发。当强大的波斯王国沉浸在胜利的喜悦之时，包括王子达斯坦（杰克·吉伦哈尔饰）在内的…

Nel Regno di Napoli, Schroeter's own voyage to Italy, has the appearance of something much more straightforward, hewing closely to a postwar timeline (actually marked and measured by emblematic intertitle cut-ins announcing the year, accompanied by radio bulletin-like narration updating us on the historical/social/political context) as it tells the story of little Vittoria (played as an adult by Cristina Donadino), born to a poor family in a rough neighborhood of Naples at the end of the war, whose fate, as she grows from impoverished girlhood to "success" as an airline stewardess in the 1970s, provides our dramatic compass through a living, clear-eyed history book, encompassing a whole microcosm of Neapolitan life in the turbulent, industrializing decades after the war: A brother, Massimo (Antonio Orlando) earnestly and diligently devoted to the promise of a better, fairer future for the oppressed workers held out by the Communist Party; a pretty, naïve, ill-fated French prostitute; the Spanish War veteran who becomes their local C.P. leader, and his wife, more pragmatic and lurking in the ideological gray area by buying rationed necessities on the ultra-capitalist black market; the turncoat bourgeois attorney who sells out his working-class neighbors for his tacky, impossible dreams of the good life; and the operatically evil heiress/factory boss lady (Ida Di Benedetto) whose clutches Massimo fights to neutralize, but whom Vittoria ultimately just wants to escape any ideologically-impure way she can.

Nel Regno di Napoli, Schroeter's own voyage to Italy, has the appearance of something much more straightforward, hewing closely to a postwar timeline (actually marked and measured by emblematic intertitle cut-ins announcing the year, accompanied by radio bulletin-like narration updating us on the historical/social/political context) as it tells the story of little Vittoria (played as an adult by Cristina Donadino), born to a poor family in a rough neighborhood of Naples at the end of the war, whose fate, as she grows from impoverished girlhood to "success" as an airline stewardess in the 1970s, provides our dramatic compass through a living, clear-eyed history book, encompassing a whole microcosm of Neapolitan life in the turbulent, industrializing decades after the war: A brother, Massimo (Antonio Orlando) earnestly and diligently devoted to the promise of a better, fairer future for the oppressed workers held out by the Communist Party; a pretty, naïve, ill-fated French prostitute; the Spanish War veteran who becomes their local C.P. leader, and his wife, more pragmatic and lurking in the ideological gray area by buying rationed necessities on the ultra-capitalist black market; the turncoat bourgeois attorney who sells out his working-class neighbors for his tacky, impossible dreams of the good life; and the operatically evil heiress/factory boss lady (Ida Di Benedetto) whose clutches Massimo fights to neutralize, but whom Vittoria ultimately just wants to escape any ideologically-impure way she can.