本系列纪录片深入塞伦盖蒂内人迹罕至的角落，追踪最具代表性的非洲草原动物，成功捕捉到戏剧般的动物生活日常和情感时刻。雌狮被逐出家族后孤立无援，热情的狒狒渴望赢回被首领抢走的爱人，厚脸皮且贪玩的猫鼬在寻找免费的午餐… 充满幽默与悬念的故事情节让人大呼过瘾。《塞伦盖蒂》采用突破性的拍摄技术和充满创造力的音乐，为观众呈现一场身临其境般的视听盛宴。通过讲述非洲草原上动物家族们的传奇成长故事，带你走进真实又富含戏剧性的动物世界。

　　Rapture stares directly into the bright light that hip hop culture shines on the world and doesn't blink. Throughout 8 episodes Rapture dives into artists' lives with their families and friends, to sitting front row in the studio and grinding on tour, to experiencing the ecstatic power of moving the crowd. Written by Netflix　　Netflix纪录片《Rapture》共八集，介绍 Nas, T.I., Logic, G-Eazy, 2 Chainz, A-Boogie, Dave East, Rapsody, Just Blaze 等人台前台后的生活

　　<Rescue me>一剧的创意来自Leary和Peter Tolan，这二人也是制片人和主要编剧。另一名制片人是Jim Serpico。本剧由Leary&Serpico制片公司Apostle，The Cloudland公司、梦工厂电视公司和索尼电视公司联合出品。　　第四季一开篇，Tommy Gavin一如既往地陷入麻烦之中。Sheila要求他从FDNY退休，跟她一起去海边，在那栋她用911遗孀抚恤金买的豪宅中享受二人世界，但Tommy拒绝了。恼羞成怒的Sheila对Tommy下了迷奸药，然后放火把房子夷为平地。醒来后的Tommy记不清当时的状况，再加上他的暴力、酗酒、酒后短暂失忆等前科，使得保险公司将他作为纵火嫌疑犯进行调查。一时间，关于Tommy的流言蜚语遍布了FDNY，甚至惊动了FDNY的高层，他们决定从内部调查Tommy。Tommy的饭碗和人身自由都处于不保的境地。　　还好Janet终于生下了孩子，这让Tommy感到一丝慰藉－－好歹有了件顺心的事－－家里添了男丁，意味着Gavin家族消防员事业的接力火炬又可以传承下去了。编剧当然不会让事情那么简单－－孩子的父亲有可能是他刚被枪杀的弟弟Johnny－－Janet与Tommy分居后跟Johnny好过。编剧更狠的是，让Janet患上了产后抑郁症，只要她一抱孩子，孩子就哭个不停，结果抑郁症更加严重了。　　自从Franco和Natalie的恋情稳定之后，那种花花公子夜夜笙歌的日子离他远去了，他甚至跟Natalie的弟弟Richie成了铁哥们儿。但被Alicia拐走了女儿这件事，仍然是他的心病，如果处理不好过去，他就没有未来。　　Jerry正在尽力从第三季末的罢工中恢复出来，他决定努力健身减肥，希望能通过体测，回到FDNY的伙伴中去。Sean很快就发现，自己与Maggie结婚根本就是踏入了雷区，因为Maggie脾气倔，很少妥协。而Maggie正跟自己酗酒的毛病做斗争。　　Mike想尽量忘却偷情的事，可随着家里有人去世，一些家庭内部的秘密慢慢浮出水面，即将众人皆知。　　Lou终于知道如何跟他那"前修女"女友Theresa“神圣”地谈相处了。他们搬到了一起住，结果Lou受尽性欲旺盛的Theresa的肉体折磨。　　（转载自謦灵风软1000fr.com）

　　

　　每周一早晨Twitter上惯例发布的插图系列《星期一的硕果》，在原作者比村奇石的协力下制作成动画了。郁闷的周一早上，来一口会动会说话的“硕果”吧！

　　OVA一共5集。　　私立莉莉安女子学院：　　创立于明治34年，拥有很长历史传统，校风优雅的女子私立学校之名门。在武藏野辽阔富饶的土地上，坐落着此学院的幼儿园，小学，中学，高中，大学（文学部和家政部），研究生院。这个学校的传统就是贯彻淑女教育，培育谨慎谦恭，学识丰富，教养好的淑女。　在莉莉安女子学院，每一个一年级的新生都会被一个二年级的学姐选为“妹妹”，而这个学姐也会以“姐姐”的身份照顾选中的学妹，不管是学习还是生活上。这其实是一种一对一的监护人制度，而这种制度不但可以让新生更好的适应学院生活，同时也能促进不同年纪学生的交流，使学院更团结。当然，其中也有一些宗教的因素。在莉莉安女子学院中，学生会“山百合会”是由红、白、黄三个玫瑰家族掌控，因此玫瑰家族中每一个成员都是学生中的表率，也是其他学生崇拜的对象。而本作的主角福沢祐巳开始只是个平凡的新生，但却在阴差阳错之下被她一直崇拜的学姐，红玫瑰家族二年级的小笠原祥子选为妹妹，因此也展开了她不平凡的校园生活。在深入“山百合会”的同时，把一个个感人的故事带到了我们面前。本作的主题是女孩子们之间的感情，因此推荐给喜欢的朋友。

　　这是 一家开了三代的小餐馆，规模不大，但是固定客人不少。Bob对汉堡、调味品和肋肉了如指掌，但是对客户服务和商业管理一窍不通。尽管他的柜台总是油腻腻的，店里总是声音嘈杂，食物偶尔质量不好，Bob坚信自己的汉堡「独具特色」，能够开创一个品牌。　　尽管生意不忙，但Bob的家人总是到店里来帮忙。不管发生什么情况，Bob的妻子Linda（John Roberts配音）一直支持丈夫实现理想。大女儿Tina（Dan Mintz配音）只有13岁，满脑子都是不切实际的浪漫，没有一 [2]  点社交经验。排行老二的孩子Gene（Eugene Mirman配音）很有音乐潜力，他在店里传递的笑话远比汉堡包多。年纪最轻的Louise（Kristen Schaal扮演）对老爸的汉堡生意最热心。但是她过剩的精力和无法自控的幽默感，往往令她变成厨房里最碍手碍脚的人。　　这部动画剧的场景非常丰富：「开心汉堡店」的隔壁是一家带火葬场的殡仪馆；街道尽头是旅游码头；几个街区外是市属中学，Bob和Linda的孩子们就在那里读书；街对面是Bob的竞争对手Jimmy Pesto开设的披萨饼店，匹萨对汉堡的大战每天都在上演

　　史蒂芬（科林·法瑞尔 饰）是名优秀的心脏科权威，和同为医生的太太安娜（妮可·基德曼 饰）育有两个孩子，家庭十分富裕美满，史蒂芬最近和一名十六岁的少年马丁成为好友，两人无话不谈，十分亲近宛如父子，也时常邀请他来家裡作客，希望常常看起来有心事的马丁能跟孩子们成为朋友，让他打起精神来。然而，理当和睦的日常生活，却因为马丁的走入而产生变卦，一连串怪事和找不出病因的疾病接连发生，一股说不出的诡谲及恐惧开始笼罩着这一家，究竟马丁的真面目是什么？史蒂芬该如何挽救这逐渐被侵蚀的家庭生活？

　　彭振东（金圣柱 饰）曾经拥有一个十分美满的家庭，然而，一场邮轮爆炸事故毁掉了一切，他的妻子谢佳欣（林心如 饰）亦丧生于车祸之中。彭振东成为了唯一活下来的那一个人，活在悲伤和痛苦之中，一晃眼十年过去，彭振东改头换面隐姓埋名，只希望能够调查曾经发生的事故的真相。　　一次偶然之中，彭振东获得了一架拥有特异功能的相机，能够带他穿越回十年之前。在一次又一次的穿越之中，彭振东结识了名为宋乔乔（徐璐 饰）的女子，尽管最初的相遇并不美好，但随着时间的推移，彭振东发现活泼天真的宋乔乔渐渐占据了他的心房。时光的倒流令彭振东重拾了对于妻子的情感，他开始希望，能够通过时光倒流，拯救妻子的性命。

　　“比家美”旅店的经理二子（陈佩斯 饰）经历一番风雨，终于将旅店搞得有声有色。不料二虎的一根筋却令他处处不讨好，一次听音乐会时遇到工商局的老齐没有票却不懂得让票，张大菊趁机让票讨好。没几天，张大菊的“菊香”旅店在“比家美”对面开张了，“菊香”旅店利用一批美貌妖艳的女子吸引顾客，“比家美”生意大幅下跌。二子为了对抗“菊香”，借钱重新装修旅店，岂料麻烦一个接一个……

　　Voice 1 (male "professional announcer" type): This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.　　These people also scorned "subjective profundity". They were interested in nothing but an adequate and concrete expression of themselves.　　Voice 2 (Debord, monotone): Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.　　Voice 1: They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.　　Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.　　The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.　　Our camera has captured for you a few aspects of a provisional microsociety.　　The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole "” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.　　This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.　　The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...　　Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."�　　Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations.　　Voice 2: There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.　　On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.　　Voice 3 (young girl): No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.　　Voice 1: The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.　　Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language.　　Voice 1: When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment "ordinary life"� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.　　The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant: nuns.　　What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.　　Voice 2: The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.　　Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.　　Voice 3: The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.　　Voice 1: In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.　　Voice 2: Years, like a single instant prolonged to this point, come to an end.　　Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.　　Voice 2: The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept?　　Voice 3: What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.　　Voice 2: Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.　　Voice 1: Really hard to drink more.　　Voice 2: Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation "” poor and false like this botched traveling shot.　　Voice 3: There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments? The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.　　Voice 2: In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.　　The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.　　To really describe this era it would no doubt be necessary to show many other things. But what would be the point?　　Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.　　1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.

　　一个好友请求彻底改变了 Kirat 的生活，当她与鲍比在网上的关系慢慢转变成恋情时，她永远也想不到鲍比并非表面上看起来那么简单。