作为“城中村希望”的方学与从重点院校退学的卫来一同来到香江中学，成了欢喜冤家的两人却组成了学习小组一同再战高考，并与性格五花八门的逗趣伙伴挥洒汗水，跨过成年的第一道坎......
讲述拥有特异功能小人物“冷钢”赶走西方列强，一路成长的故事。
在美国旧金山有一座名为“阿尔卡特拉兹”的监狱，在那里，关押着来自世界各地的冷酷凶残的重刑犯。尽管有最坚固的墙壁和最先进的监控系统，但越狱和暴乱的危机依然时刻笼罩在监狱的上空，对于守卫人员来说，每一天的工作都意味着巨大的压力和危险，只要有零星的一丁点儿火星出现，就有可能酿成无法挽回的悲剧。 最近，一个“新朋友”的到来引起了大伙儿的注意，不过，大家更感兴趣的，是这位朋友究竟将他抢劫来的巨额黄金藏在了什么地方。萨沙（史蒂文·席格 Steven Seagal 饰）是一名FBI密探，他被安插在监狱中，时刻追踪黄金的动向。在一个充满了罪犯的封闭空间里，一场恶战即将拉开帷幕。
高一生涯结束，野猫队的所有成员都准备好迎接美妙的暑假。暗恋特洛伊（扎克·埃夫隆 Zac Efron饰）已久的夏培（阿什丽·提斯代尔 Ashley Tisdale 饰）利用她父亲的影响力帮特洛伊在自家经营的豪华俱乐部中弄到一份工作，和藉机让他获得大学篮球奖学金的机会。而条件是特洛伊必须放弃野猫队,并和夏培搭档参加俱乐部一年一度的才艺比赛。同时，这也是夏培让特洛伊远离女朋友盖比瑞拉（瓦妮莎·哈金斯 Vanessa Hudgens饰）的计谋。可特洛伊让盖比瑞拉被同时被俱乐部录用，让夏培十分气愤。夏培的弟弟莱恩和没了特洛伊的野猫队合作，排练曲目参加比赛。不料被夏培知道，强行取消了他们的资格。盖比瑞拉伤心地从俱乐部辞了职，并开始与特洛伊产生裂痕，野猫队的成员也开始把特洛伊排除在外。 这一次特洛伊到底该选择哪一边的阵营？这个夏天到底会有怎样不一样的抉择？
暂无简介
Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
节目历经三季，本季继续聚焦长沙解放西繁华商圈的警察工作日常，展现繁华都市的守护者群像。第四季节目将迎来全新的守护者联盟，由新任所长带领新一批的“三高”民警，同交警组、水警法医组、特巡警组等，不分时段、不分地域、不分人群，全力维护着城市秩序，保护着每一个人，共同守护解放西的繁荣和安全。
刘雅历是一名广告公司高层，女友碧姬与他分手了本来就沉默寡言的雅历更加孤寂伤痛了。后来他在一个合唱团里认识了一位极有天分的女孩巫慧敏，本来打算对她多加照顾培训，却遭到慧敏母亲朱丽娥的不满，以为雅历对自己的女儿动了歪念。经多次的交往之后，朱丽娥才发现自己误会了雅历。丽娥本来就是个离婚妇人，遇到了同样感情空虚的雅历，两人之间很快便滋长了爱情。这时，雅历的前女友碧姬却回来要求复合
从小，戴思挂的父母就教育他，男人要先有事业再考虑家庭，于是他一直遵循着父母的教诲，如今总算在事业上取得了些成绩，却发现自己已经年过半百。这次被香港总公司派来北京工作，看到北京巨大的变化，还有街头朝气蓬勃的年轻人，戴思挂的心里掀起了小小的涟漪，他暗自祈祷着能在这遇到自己的真爱。戴思挂和原本在这里的阿发做了工作交接，阿发用自己付过租金的房子抵了当初欠戴思挂的钱后便匆匆离开了。雨夜，戴思挂搬着行李来到了阿发租的房子，却发现里面住着宋美美和她的儿子毛豆。原来美美是阿发在北京的女朋友，几年前和丈夫离婚后，独自带着儿子生活的她希望找到一个真心爱她的人，可几次恋爱都以失败收场，这次本以为阿发能带着她们母子去香港，谁知他竟然不辞而别，还把共同租的房子转让给了眼前这个不讨人喜欢的胖男人。还沉浸在痛苦之中的美美把气都撒在了戴思挂的身上，戴思挂也不干示弱，两人最终虽然达成协议共同使用这套房子，可矛盾冲突在之后的生活中还是屡屡发生。两个对爱情都无限向往的人各自寻觅着自己的真爱，闹出了不少笑话，也经历了不少打击，最终两个“失恋专业户”结成联盟，成就了一段欢喜姻缘。
生活在南方小城的老钟在街上开着一家中药铺子，老钟与儿女们之间似乎有着难以言说的隔阂。独居的黄姨，无人倾述的老人之间有一种顺理成章的同病相怜。老钟有一块祖传的沉香，慕名而来的药材商让人们知道了沉香的价值的故事。