美国WB电视台几年前推出《Smallville》点用新人Tom Welling饰演少年超人被怀疑过于“冒险”，不料如今节目受欢迎，Tom也成为深受少女喜爱、炙手可热的年轻男星；今早WB台宣布将制作推出一部为同名DC漫画角色量身定做的新剧集《Aquaman》(水人)，再次大胆安排了新人Will Toale饰演男主角Aquaman，可谓十分自信,不过后来男主角换了Justin Hartley. 虽然这部剧的播出时间还不明晰,但是主角Justin Hartley将会以另一个漫画人物Green Arrow(绿箭)的身份,出现在()第六季中,扮演一个叫Oliver Queen的角色. 　　A.C. (Aquaman的名字)拥有和在“Smallville” 里一样的超能力,但是这部剧中他的背景更复杂.他在水中游的速度和超人在陆地上跑的速度一样快.他一旦接触水,就可以用意无比巨大的能量. 　　WB今早宣布将推出的新剧《Aquaman》应当感谢好好“老前辈”《Smallville》。《Smallville》去年10月播出的某一集中首次引入Aquaman这个角色，当时的扮演者是前《American Idol》选手Alan Ritchson；虽然当时该演员的表演备受质疑，但Aquaman这个新角色的设定，还是让《Smallville》收视率报出红盘，相信这，也是WB电视台此次决定为Aquaman单独开剧的重要考量之一。 　　根据WB电视台公告，新剧《Aquaman》将由《Smallville》执行制作人Miles Millar和Alfred Gough担任制作，节目讲述居住在深洋底的主角Aquaman如何领导着海洋生物朋友们和犯罪斗争的故事。

老母亲叫得开儿子的门，却叫不回儿子的心，她该不该把存折给这个儿子呢？

n the 20th century, no artistic medium in North America with so much potential for creative expression has had a more turbulent history plagued with less respect than comic books. Through animated montages, readings and interviews, this film guides us through the history of the medium from the late 1930s and 1940s with the first explosion of popularity with the superheroes created by great talents like Jack Kirby and hitting its first artistic zenith with Will Eisner's "Spirit". It then shifts to the post war comics world with the rising popularity of crime and horror comics, especially those published by EC Comics under the editorshiop of William B. Gaines until it came crashing down the rise of censorship with the imposition of the Comics Code. In its wake of the devastation of the medium's creative freedom, we also explore EC's defiant survival with the creation of the singular "Mad Magazine" by Harvey Kurtzman. We then move to the resurgence of the superheroes in the late 1950's and 1960's typified with the rise of the dramatically innovative Marvel Comics edited by Stan Lee. Still more important is the rise of the the gleefully uninhibited underground comics created by eccentric talents like Robert Crumb and Dan O'Neill. These leads to profiles of creaters like Harvey Pekar who take the medium into new directions of expression. In the late 1970s and '80s we see the rise of alternative comics with such bold talents like Jaime Hernández for "Love and Rockets, Sue Coe for How to Commit Suicide in South Africa and especially for Art Spiegelman for his searing Pulitizer Prize winning Holocaust account, Maus. Finally, we learn of the medium's superhero mythos' revitalizing moment with the creation of Frank Miller's ferocious min-series "Batman: The Dark Knight Returns". Taken together, the film makes its arguement that the medium is far more than the stereotype of juvenile trash but rather it is an artform with a wild history and an exciting future.

n the 20th century, no artistic medium in North America with so much potential for creative expression has had a more turbulent history plagued with less respect than comic books. Through animated montages, readings and interviews, this film guides us through the history of the medium from the late 1930s and 1940s with the first explosion of popularity with the superheroes created by great talents like Jack Kirby and hitting its first artistic zenith with Will Eisner's "Spirit". It then shifts to the post war comics world with the rising popularity of crime and horror comics, especially those published by EC Comics under the editorshiop of William B. Gaines until it came crashing down the rise of censorship with the imposition of the Comics Code. In its wake of the devastation of the medium's creative freedom, we also explore EC's defiant survival with the creation of the singular "Mad Magazine" by Harvey Kurtzman. We then move to the resurgence of the superheroes in the late 1950's and 1960's typified with the rise of the dramatically innovative Marvel Comics edited by Stan Lee. Still more important is the rise of the the gleefully uninhibited underground comics created by eccentric talents like Robert Crumb and Dan O'Neill. These leads to profiles of creaters like Harvey Pekar who take the medium into new directions of expression. In the late 1970s and '80s we see the rise of alternative comics with such bold talents like Jaime Hernández for "Love and Rockets, Sue Coe for How to Commit Suicide in South Africa and especially for Art Spiegelman for his searing Pulitizer Prize winning Holocaust account, Maus. Finally, we learn of the medium's superhero mythos' revitalizing moment with the creation of Frank Miller's ferocious min-series "Batman: The Dark Knight Returns". Taken together, the film makes its arguement that the medium is far more than the stereotype of juvenile trash but rather it is an artform with a wild history and an exciting future.

格里戈是含着金汤匙出生的大少爷，从小就过着娇生惯养、养尊处优的日子，在蜜糖罐里泡大的格里戈自然培养出了蛮横娇纵不学无术的摆烂个性，并且因为他的横行霸道，惹出了种种的麻烦要他老爸给他擦屁股。终于，在又一次闯祸之后，格里戈的老爸忍无可忍，他决定好好的教育一下自己的儿子。 　　格里戈的老爸和他的好友——一位精神病学家一起盘下了一座废弃多年的村庄，将它重新修整成为了19世纪的模样，之后，两人策划了一场车祸，当格里戈从昏迷中醒来后，震惊的发现自己“穿越”回了19世纪，成为了当时的一位有钱人家的奴隶。

格里戈（米洛斯·比柯维奇 Milos Bikovic 饰）是衔着金汤匙出生的千金大少爷，从小就过着娇生惯养、养尊处优的日子，在蜜糖罐里泡大的格里戈自然培养出了蛮横娇纵不学无术的摆烂个性，并且因为他的横行霸道，惹出了种种的麻烦要他老爸给他擦屁股。终于，在又一次闯祸之后，格里戈的老爸忍无可忍，他决定好好的教育一下自己的儿子。 　　格里戈的老爸和他的好友——一位精神病学家一起盘下了一座废弃多年的村庄，将它重新修整成为了19世纪的模样，之后，两人策划了一场车祸，当格里戈从昏迷中醒来后，震惊的发现自己“穿越”回了19世纪，成为了当时的一位有钱人家的奴隶。

格里戈（米洛斯·比柯维奇 Milos Bikovic 饰）是衔着金汤匙出生的千金大少爷，从小就过着娇生惯养、养尊处优的日子，在蜜糖罐里泡大的格里戈自然培养出了蛮横娇纵不学无术的摆烂个性，并且因为他的横行霸道，惹出了种种的麻烦要他老爸给他擦屁股。终于，在又一次闯祸之后，格里戈的老爸忍无可忍，他决定好好的教育一下自己的儿子。 　　格里戈的老爸和他的好友——一位精神病学家一起盘下了一座废弃多年的村庄，将它重新修整成为了19世纪的模样，之后，两人策划了一场车祸，当格里戈从昏迷中醒来后，震惊的发现自己“穿越”回了19世纪，成为了当时的一位有钱人家的奴隶。

故事描述一名开音像店的亿万富翁Johnny Rose（Eugene Levy）和他的肥皂剧明星妻子Moira（Catherine O’Hara）、嬉皮士儿子David（Daniel Levy）、交际花女儿Alexis（Annie Murphy）在一夜之间破产。这家人不得不离开已经习惯了的奢华生活，回到乡下去「从零开始」。好在他们还有一点私人领地：当年他们抱着好玩的心态在最偏僻的角落里买下一座几乎没有人烟的小镇（镇名即本剧标题「施米特湾」），现在这里成了他们仅存的落脚点。他们必须尽快适应新的贫穷生活，找到家庭的真谛……但这个穷乡僻壤的地方让他们感觉「限制」太多！

Brassic: 源自考克尼俚语 boracic lint (硼酸棉) 的发音，形容人身无分文、一穷二白——“穷卵子打板凳响”。《穷卵打板》聚焦一个形影不离的兰开夏盗窃团伙——温尼，迪伦，卡迪/心停，阿什 ，汤莫和 JJ——尽管一直以来无视规则潇洒度日，这群家伙即将尝到他们嚣张犯罪带来的苦果。与此同时，迪伦一而再再而三地令女友艾琳失望，使其萌生搬到别处为自己和孩子谋求更好生活的念头，这让迪伦必须在女友和基友间做出人生中最艰难的抉择。

20世纪30年代的印度，妇女没有人权和自由，她们不过是作为男性的附庸而存在。8岁的小女孩楚娅（Sarala 饰）早早变成了寡妇，她只能被迫剃掉头发，在一个专门为寡妇准备的庭院中度过余下的漫长人生。在这个院子里，生活着恍如天上仙子的年轻女性，也有黄土半埋的枯槁老人，更有处心积虑赚取不义之财的刁蛮之妇。 　　楚娅的明天会怎样？苦命女人的未来又将如何？ 　　本片为印度女导演迪帕•梅赫塔（Deepa Mehta）“要素三部曲”的第三部，分别荣获2006年曼谷国际电影节最佳影片；2006年加拿大吉尼金像奖最佳摄影、最佳配乐和最佳女主角（Seema Biswas）三项大奖；2006年美国国家影评奖最佳表现奖；2005年瓦雅多丽国际电影节青年评委会大奖；2006年温哥华影评人协会奖最佳女主角（Lisa Ray）和最佳导演奖；2007年青年艺术家奖最佳青年演员奖（Sarala）。