PBS的 前线栏目播出的纪录片《 美利坚'分'众国》讲述奥巴马以团结美国的号召参选总统,卸任时美国更加分裂,期间发生的种种事情。 　　1 先说说译名, 真正意思是'分裂的美国',但片名DSA实际是USA的改写,这么翻译是为了切这个意思. 　　2 特朗普就是奥巴马的完全反面.他的当选正好说明这种分裂加大的结果. 　　3 2008年共和党惨败,决定采取不合作态度,才能挽回局面. 这使奥巴马步履蹒跚. 　　4 传统的共和党在党内已经不再独大. 新共和党议员为翻盘,基本选的都是茶党类似的保守派. 　　5 美国国会的夏季基层探访实际起到相当的作用. 　　6 2008年副总统候选人佩林 成为茶党领军人物. 　　7 奥巴马对医保通过向本党议员施压妥协竭尽全力,结果导致其中很多以落选作为代价. 　　8 主要法案共和党全投反对票, 使奥巴马的团结梦破灭.【水山字幕】

James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?

James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?

1975 年，詹姆斯·班宁和贝蒂·戈登驾车从东向西穿越美国，从纽约前往洛杉矶。他们于汽车后座上安装摄像机，透过挡风玻璃拍摄路过的地貌，用一系列简短的实时视频记录了这一过程，而这便成了他们合作拍摄的电影《美利坚合众国》。广播新闻、广告或流行音乐是他们公路旅行的背景音乐，而多样的风景逐渐从他们面向前方的镜头中掠过。 　　这是一部 70 年代电影的真正杰作，而如今比以往任何时候都更加引人注目。一部概念性的两百周年电影，讲述了两个旅行者、他们的汽车以及从纽约到洛杉矶的地理、政治和社会变化之间的空间和时间关系。每一帧中的空间既连续又省略。

James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?

1975 年，詹姆斯·班宁和贝蒂·戈登驾车从东向西穿越美国，从纽约前往洛杉矶。他们于汽车后座上安装摄像机，透过挡风玻璃拍摄路过的地貌，用一系列简短的实时视频记录了这一过程，而这便成了他们合作拍摄的电影《美利坚合众国》。广播新闻、广告或流行音乐是他们公路旅行的背景音乐，而多样的风景逐渐从他们面向前方的镜头中掠过。 　　这是一部 70 年代电影的真正杰作，而如今比以往任何时候都更加引人注目。一部概念性的两百周年电影，讲述了两个旅行者、他们的汽车以及从纽约到洛杉矶的地理、政治和社会变化之间的空间和时间关系。每一帧中的空间既连续又省略。

本片以朴实且富有情感的手法，记录了当代最具标志性的艺人之一泰勒·斯威夫特在人生转折阶段的生活片段。影片讲述了泰勒如何在他人的期待中探寻自我。导演拉娜·威尔逊凭借这部视角丰富且明快的电影，呈现了一位国际巨星接纳自身多重身份的过程：她不仅是词曲创作者和表演者，更是一位能用声音发挥影响力的女性。

从“reputation”巡演的幕后花絮到《reputation》专辑错失格莱美重要奖项的反应，泰勒·斯威夫特展现了身为一个平凡人的喜怒哀乐。穿着背带裤、如普通美国女孩穿着的泰勒·斯威夫特描述了自己是如何从小被教导“只会微笑”“不做让任何人说三道四”的“好女孩”。在泰勒·斯威夫特19岁到29岁期间发生了几大危机事件。面对镜头，泰勒·斯威夫特没有逐一评价这些事情，只是解释为2017年不活跃的原因。借着2017年第六张专辑《reputation》发布的机会，一个成熟的泰勒·斯威夫特归来 。2018年12月，演唱会纪录片《 泰勒·斯威夫特：“举世盛名”巡回演唱会》在流媒体上线后，泰勒·斯威夫特有了与Netflix合作拍摄纪录片的兴趣。后来，她得到了一份导演名单，拉娜·威尔森就在其中。关于专辑《 reputation》的巡演结束后，威尔森开始了《美国甜心小姐》的拍摄，并加入专辑《 Lover》的制作。该片的标题就取自《Lover》中的曲目《 Miss Americana & The Heartbreak Prince》 。《美国甜心小姐》由五位剪辑师共同完成，剧情在演唱会片段、之前的公众场合影像、后台记录、家庭录像以及跨度一年以上的坦诚访问中来回切换。片中有很多泰勒·斯威夫特与制作人Jack Antonoff及他人合作、写歌词、确定歌曲调子和层次的镜头 。

格温和霍顿还只是两个高中生，却已经登记结婚。在高中毕业前的最后时光里，他们正忙于筹备相关事宜，然而一直状况不断，来自父母，校长和同学等各方面的压力，让他们开始重新认识自己，反思过早迈入婚姻殿堂是否过于草率。

艾米·亚当斯将与亚当·麦凯继[副总统]后再度携手，拍摄关于沃尔玛集体诉讼案的Netflix现定剧《美利坚之王》(Kings of America，暂译)。该剧基于真实事件改编，并以三位女性的故事为中心，她们的生活与沃尔玛密不可分，分别是：一位沃尔玛女继承人，一位沃尔玛特立独行的女高管，一位敢于与零售巨头抗衡，促成美国史上最大集体诉讼案的沃尔玛长期女售货员&传教士。亚当斯将饰演三位女主角中的一位，但角色尚不确定。