《祛魅》由《辛普森一家》的创作者马特·格罗宁执导，这是一部成人动画喜剧奇幻系列，讲述了一位酗酒的公主、她活泼的小精灵伴侣和她的私人恶魔的不幸遭遇。第五部分将是《祛魅》的最后一季，也是最重要的一季。为了从达格玛女王的愤怒中拯救梦乡，豆子公主必须打败她的母亲，逃离预言，预言她会杀死她爱的人……每一个决定。每一个胜利。每一次失败，都导致了这样的结局。所以骑上马鞍，喝完。比恩最后的不幸将是所有不幸中最大的一次。

　　动画《高分少女Extra Stage》是TV版动画《高分少女》后续的第13至15话。这几话并未在电视台播出，动画还会增加两名新角色，井泽诗织将为ニコタマ配音，三宅健太将为ザンギエフ配音。

　　昆仑之虚，掩于山海之中，滋养了无数生灵。这里的昆仑医馆医术精湛，但却有一种病千百年来无药可医——黑灵。医师白泽致力对抗黑灵，却自以为是毁了整个大岛，被逐出医馆。　　七年后，白泽的医术突飞猛进却受人白眼无法行医，想借医馆选举一雪前耻，却在阴差阳错之下，与自卑的麒麟男孩羿一起踏上了荒芜的大岛，进行一场救赎之旅。　　黑灵爆发危机在即，他们能否解开黑灵背后的秘密，拯救万物天地，又是否能点亮昆仑众生心中的那束光？

　　《'Allo 'Allo》是BBC在1980年代到90年代期间拍摄的一套著名电视喜剧系列片，从1982年到1992年在BBC电视台播放，共85集。　　这部电视剧的背景是二战期间纳粹德国占领下的一个法国小村庄上，围绕着一家小餐馆写的故事。中心人物是咖啡馆老板René Artois。纳粹占领军抢劫了村子里所有的有价值的艺术品。　　其中包括一幅号称是名家范•克洛普的油画《The Fallen Madonna with the Big Boobies》。当地德军指挥官决定把这幅画归为己有，强迫Rene把画藏在他的咖啡馆里。可是，纳粹德国领袖希特勒也想得到这幅画，派了一个盖世太保军官前去寻找这幅画，而这个盖世太保也想自己猫腻这幅画。与此同时，出现了若干这幅油画的赝品。于是，一场场好戏和闹剧就这样展开了。　　这部电视剧的另一条主线是两个被迫降落在该地的英国飞行员躲在René的咖啡馆里。当地全女性法国抵抗组织设法把这两位英国飞行员安全送回英国。但是，计划屡屡出漏子，也闹出了不少笑话。　　似乎这一切还不够乱，René是个花心男人。跟咖啡馆里的两个女招待私下偷情，千方百计要瞒过自己的老婆。锦上添花，或雪上加霜的是，抵抗组织的女首领似乎爱上了René！另外，一个有点同性恋倾向的德国军官也看上了这位咖啡馆老板，总是向他暗送秋波。　　《'Allo 'Allo》的情节错综复杂，笑料百出，而该剧最精彩的因素之一是它的语言。　　在这部电视剧里，不仅有法国人、德国人、英国人，另外还有意大利人。如何解决语言问题呢？电视剧的制作人想出了绝妙的方法 – 所有角色都说英语，但是都带上浓重的本国口音。这些不同的角色，说着不同口音的英语，使得整出剧更加令人发笑和多姿多彩。

　　今年是《相棒》诞生的第20年，杉下右京和他的搭档冠城亘会有怎么样精彩的表现呢？

　　讲述的是1997年金融风暴时，生意失败的一家之主尚勋（崔成国 饰）与高利贷业者（李准赫 饰）之间惊人的债务关系与令人哭笑不得的人生喜剧故事，

　　“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.

　　故事讲述了在一个异次元空间，各种不同动漫中的功夫高手因为各种原因齐聚一堂，为了决出谁才是真正的天下第一而陷入了激烈的争斗，没想到这一切其实都是一个巨大的阴谋……

　　（转自IMDB）Pierre is a shy man whose sole focus in life is studying astrology in solitude, which is often difficult since he still lives at and studies in his parent's house. His parent's would rather he date and get married. He takes on this task with verve. Not knowing how to approach women in a romantic way, he watches how other men operate and tries to emulate them, most often without success. He ends up attracting the one woman he doesn't really want, a fun loving woman named Laurence who lives next door, but he becomes obsessed with Stella, a singer he sees on television. He believes her love song is being sung directly to him. As Pierre tries to get away from Laurence while pursuing Stella, he may miss the perfect match who may be right under his nose. Written by Huggo

　　一名叫达尔的走失男孩被小镇人们发现，由于没人认领，他被带到福利院。经过检查，医生发现他身体各项机能正常，而且智商很高，只是失去了一部分的记忆。　　达尔被安排暂时居住在安迪家。安迪和妻子乔依斯一直希望能够领养一个孩子，达尔的到来令他们异常兴奋。在相处的过程中，达尔和邻居家的小男孩特塔成为了非常要好的朋友，他们一起上学、一起玩耍、一起为安迪的棒球队赢得了胜利，大家都觉得达尔是个非常聪明而且惹人喜爱的男孩。　　忽然有一天，两个自称是达尔父母的人来接走了达尔，这令安迪全家和特塔非常伤心。达尔也对他们产生了深厚的感情，恋恋不舍地离开了安迪家。　　事实上达尔是一个在大脑中被植入芯片的机器人，但他现在具备了一个正常孩子的一切生理机能。来接他的也并非他的父母，而是制造他的博士。博士被达尔和安迪他们的深厚情感所感动，他希望达尔能像正常孩子一样生活，但国家的高级官员却要求摧毁达尔。博士在同事的配合下，将达尔带出试验基地，遭到警察的追击，途中博士为了掩护达尔中弹身亡。　　达尔潜入空军基地，开着战斗机向安迪家的方向飞去。空军基地地面遥控飞机在飞行过程中自动摧毁，达尔弹出飞机，降落在安迪家旁边的湖中。达尔终于回到了属于他的“家”中。