Noone
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(StarTrek:TheOriginalSeries,1966年-1969年)「原初系列」在1966年9月8日于美国天下播送公司（NBC）首播,吉恩•罗登贝瑞制造,威廉•薛特纳（WilliamShatner）!李奥纳德•尼摩伊（LeonardNimoy）!以及德佛瑞斯特•凯利（DeForestKelley）所主演。它是一个描写一艘附属于星际联邦（theUnitedFederationofPlanets）的星舰朝上进步号（Enterprise,又译为企业号/奋进号）上的航员以及他们“大胆地航向后人所未至的范畴”（Toboldlygowherenoonehasgonebefore）的冒险故事。在一开端它并不堪利,收视率低并且告白收入也不幻想。但是,当这个节目第二季模糊涌现了停播的凶兆时,忠诚影迷们开展了一场史无前例的争夺活动,压服美国天下播送公司继承制造第三季。最後一集于1969年6月3日首播。该电视系列剧在日後各台重播中遭到惊人的欢送。为了将这第一个系列与日後其余系列作一个划分,这个系列在东方被称为StarTrek:TheOriginalSeries（星际游览：原初系列,在台湾应用「星际争霸战」这个称号﹐在七十年月的香港译为「星空奇遇记」）,缩写为ST:TOS或TOS。也就是最早的ST,为了跟厥后的剧集差别开外洋Fans在其称号后加了TheOriginalSeries,以是简称TOS,一共三季,首创了汗青的经典之作,片子版的1-6能够看作TOS的连续,电视剧版原班人马。
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ThetwobrandnewserieswillpromisemorefantasticallytwistedtalesfromthebrilliantmindsofStevePembertonandReeceShearsmith.Theannouncementcomesaheadoftheseriesfivefinalethisevening(Monday9thMarch2020)onBBCTwoat10pm.SinceInsideNo.9firstlaunchedin2014,over30episodeshavenowbeenbroadcastincludingtheincrediblyambitiousliveepisodeDeadLine.Thelatestserieshasagainreceivedplauditsfromfansandcriticsalike.ReeceShearsmithandStevePembertonsaid:“LittledidweknowwhenwestartedInsideNo.9in2014thatwewouldendupwithasmanyepisodesofitasCountryfile.Wearedelightedandexhaustedinequalmeasureattheprospectoftwomoreseries-worthoftalltalesandfearsomefables.However,wewillendeavourtoshowcasetheverybestofwhattheBBCcandoineverygenrewith30minutesofstory-tellingandsomehalf-decentwigs.WemighteventryaCountryfileepisode,noonewouldexpectthat…”ShaneAllen,Controller,Controller,BBCComedyCommissioningsays:“Withover30distinctiveanddazzlingshowstodate,theirabilitytomasterandnaileverygenreofstory-tellingwithbrevity,inventionandflairisunparalleled.OscarshavebeenwonforlessthanReeceandStevemanagetoconjureupwitheachoriginalconceptforeverysingleshow.QuitesimplytheyhavethemostfertilemindsinBritishcomedyandgodknowswhatmagicthenextserieswillbring.”JoshCole,HeadofComedy,BBCStudiossays:“ReeceandStevecontinuetomakeandbreakalltherulesofcomedyinevermorespectacularandhorrifyingfashion,andwearedelightedthattheBBChavegivenustheopportunitytomaketwomoreseries.Toparaphrasetheshowitself,notsincetheescapedcowhastherebeensuchexcitement.LongliveInsideNo.9!”Seriessixandsevenwillstaytruetoshow’santhologyformatwitheachseriescontainingsixbrandnewhalfhourfilms,eachsetinadifferentlocation.Thestyleandtonechangingeachweek,combiningadifferentmixofhorror,thriller,dramaandcomedy-alwaysaimingtosurprise,delight,unnerveandamuse.Asever,ahostoftalentedactorswilljoinReeceandSteve,withseriesfiveincludingactorssuchasJennaColeman,DavidMorrissey,RalfLittle,FionnWhitehead,MaxinePeakeandPhilDavis.SeriesfivealsoincludedasurprisePsychovillecross-overepisode,DeathBeNotProud,whichsawtheunexpectedreturnoffanfavouritesDavidandMaureenSowerbuttsandMrJelly.InsideNo.9seriessixandsevenhavebeencommissionedbyShaneAllen,Controller,BBCComedyCommissioningandPatrickHolland,Controller,BBCTwo.ThecommissioningeditorfortheBBCwillbeGregorSharpandtheywillbeexecutiveproducedbyJonPlowmanwithAdamTandyasproducer.
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Setinthe24thcenturyanddecadesaftertheadventuresoftheoriginalcrewofthestarshipEnterprise,thisnewseriesisthelong-awaitedsuccessortotheoriginal"StarTrek"(1966).UnderthecommandofCaptainJean-LucPicard,theallnewEnterpriseNCC1701-Dtravelsouttodistantplanetstoseekoutnewlifeandtoboldlygowherenoonehasgonebefore.
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Setinthe24thcenturyanddecadesaftertheadventuresoftheoriginalcrewofthestarshipEnterprise,thisnewseriesisthelong-awaitedsuccessortotheoriginal"StarTrek"(1966).UnderthecommandofCaptainJean-LucPicard,theallnewEnterpriseNCC1701-Dtravelsouttodistantplanetstoseekoutnewlifeandtoboldlygowherenoonehasgonebefore.
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马丁·丹尼斯
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Inthesecondseries,AdamgoesonadatewithagirlwhosmellslikeMum,Jonnystartsgoingoutwithamucholderwoman,Mumisforcedoutofthehousebyamouse,Dadstartsdryingfishinthedownstairsmingtian6.comcupboard,neighbourJimmakesabirthdaycakeforhisdogWilson,Grandmagetsanewboyfriendwhonoonelikes,andwemeetDad’smother-’HorribleGrandma’.
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彼得·穆兰
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20世纪60年代，在自由开放的大环境下，古老的爱尔兰仍保持着古板和保守的风气。在这里，所有被认为堕落的女孩都要被送入玛德莲女子学院接受感化，而等待他们的不是和风细雨，而是无尽的黑暗与绝望。玛格丽特（Anne-MarieDuff饰）在家族婚礼上被堂兄奸污，这件事在婚礼现场口耳相传，她的委屈并未得到伸张，反而被作为“不洁的女孩”送走；活泼漂亮的伯纳黛特（Nora-JaneNoone饰）是男孩们追逐的对象，她为了自己的“轻佻”付出了代价；罗丝（DorothyDuffy饰）未婚先孕，为了所谓的前途被迫放弃了自己的孩子。三个女孩来到了玛德莲女子学院，她们还不知道，这是一个有来无回的绝望之地……
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TERMINATOR:THESARAHCONNORCHRONICLESpicksupitssecondseasonwithSARAHCONNOR(LenaHeadey)huntingthefutureinpresentdayLosAngeles,hopingtostoptheimpendingapocalypseandchangefateforhersonJOHN(ThomasDekker).Whiletheever-evolvingtechnologicalenemygrowsstronger,16-year-oldJohnbeginstakingthestepsnecessarytoembracehisdestinyasthesaviorofmankind.Johnfindshimselfcaughtbetweenhisfearlessprotector,thebeautifulbutpotentiallydangerouscyborg,CAMERON(SummerGlau),andhisnewfriend,RILEY(LevenRambin),whorepresentsfreedombutalsoapotentialrisktohissafety.John’suncle,DEREKREESE(BrianAustinGreen),continuestofightalongsidetheConnors,buthasheoverstayedhiswelcome?AfterCROMARTIE(GarretDillahunt),theT-888sentfromthefuture,sparedFBIAgentJAMESELLISON’s(RichardT.Jones)life,Ellisonhasbecomeabeliever,acceptingthat"nooneiseversafe."AgentEllisonisnowbentonunderstandinghisroleandhispurpose.CATHERINEWEAVER(ShirleyManson),CEOofZeiraCorp,mayjustknowwheretofindtheanswersEllisonislookingfor.InSeasonTwo,lifefortheConnorsintensifiesastheirrelationshipsarechallengedandthepresentandthefuturebegintobecomeone.HowlongcanCameronprotectthembeforethey’rediscoveredbySkynet?HowwilltheConnorskeeptheirfamilyintact?============================================《终结者外传》第二季还将继续着上一季的故事，SarahConnor（LenaHeadey饰）将在今天的洛杉矶为人类的未来而战，期望着能阻止不久就将来到的审判日以及改变自己儿子John（ThomasDekker饰）的命运。随着终结者机器人的不断进化和强化，16岁的John也逐渐开始接受自己作为人类救世主的命运。同时，他还发现自己陷入了两个女孩的中间——一个是被送来保护他的Cameron（SummerGlau饰），漂亮但却可能对John的安全有潜在威胁，毕竟Cameron也是一个终结者；而另一个是John的新朋友Riley（LevenRambin饰），她的出现似乎象征了John所追求的自由，但同样也可能给John带来威胁。而John的叔叔DerekReese（BrianAustinGreen饰）则继续和他们两母子并肩作战，但似乎Derek已经不那么受欢迎了。另一方面，在和T-888型终结者Cromartie（GarretDillahunt饰）面对面并且逃过一命之后，FBI探员JamesEllison（RichardT.Jones）开始深信Sarah的那句话：“没有人是绝对安全的。”Ellison探员现在明确了自己的目标，而CatherineWeaver（ShirleyManson饰），一个神秘公司的CEO，很有可能知道在哪里能找到Ellison追求的目标。在第二季，Sarah一家人的生活越来越惊险，因为随着时间的推进，“现在”和“未来”在逐渐的合而为一。在“天网”发现John的行踪之前，Cameron还能保护他们多久？而John一家人能安全无恙么？《终结者外传》第二季将呈现更多的精彩。
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居伊·德波
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内详
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Voice1(male"professionalannouncer"type):Thisneighborhood(1)wasmadeforthewretcheddignityofthepettybourgeoisie,forrespectableoccupationsandintellectualtourism.Thesedentarypopulationoftheupperfloorswasshelteredfromtheinfluencesofthestreet.Thisneighborhoodhasremainedthesame.Itwasthestrangesettingofourstory,whereasystematicquestioningofallthediversionsandworksofasociety,atotalcritiqueofitsideaofhappiness,wasexpressedinacts.Thesepeoplealsoscorned"subjectiveprofundity".Theywereinterestedinnothingbutanadequateandconcreteexpressionofthemselves.Voice2(Debord,monotone):Humanbeingsarenotfullyconsciousoftheirreallife-usuallygropinginthedark;overwhelmedbytheconsequencesoftheiracts;ateverymomentgroupsandindividualsfindthemselvesconfrontedwithresultstheyhavenotwished.Voice1 - Theysaidthatoblivionwastheirrulingpassion.Theywantedtoreinventeverythingeachday;tobecomethemastersandpossessorsoftheirownlives.Justasonedoesnotjudgeamanaccordingtotheconceptionhehasofhimself,onecannotjudgesuchperiodsoftransitionaccordingtotheirownconsciousness;onthecontrary,onemustexplaintheconsciousnessthroughthecontradictionsofmateriallife,throughtheconflictbetweensocialconditionsandtheforcesofsocialproduction.Theprogressachievedinthedominationofnaturewasnotyetmatchedbyacorrespondingliberationofeverydaylife.Youthpassedawayamongthevariouscontrolsofresignation.Ourcamerahascapturedforyouafewaspectsofaprovisionalmicrosociety.Theknowledgeofempiricalfactsremainsabstractandsuperficialaslongasitisnotconcretizedbyitsintegrationintothewhole"”whichalonepermitsthesupersessionofpartialandabstractproblemssoastoarriveattheirconcreteessence,andimplicitlyattheirmeaning.Thisgroupwasonthemarginsoftheeconomy.Ittendedtowardaroleofpureconsumption,andfirstofallthefreeconsumptionofitstime.Itthusfounditselfdirectlyengagedinqualitativevariationsofeverydaylifebutdeprivedofanymeanstointerveneinthem.Thegrouprangedoveraverysmallarea.Thesametimesbroughtthembacktothesameplaces.Noonewenttobedearly.Discussiononthemeaningofallthiscontinued...Voice2 - "Ourlifeisajourney"”Inthewinterandthenight."”Weseekourpassage..."�Voice1 - Theabandonedliteratureneverthelessexertedadelayingactiononnewaffectiveformulations.Voice2 - Therewasthefatigueandthecoldofthemorninginthismuch-traversedlabyrinth,likeanenigmathatwehadtoresolve.Itwasalooking-glassrealitythroughwhichwehadtodiscoverthepotentialrichnessofreality.Onthebankoftherivereveningbeganonceagain;andcaresses;andtheimportanceofaworldwithoutimportance.Justastheeyeshaveablurredvisionofmanythingsandcanseeonlyoneclearly,sothewillcanstriveonlyincompletelytowarddiver搜索引擎优化bjectsandcancompletelyloveonlyoneatatime.Voice3(younggirl):Noonecountedonthefuture.Itwouldneverbepossibletobetogetherlater,oranywhereelse.Therewouldneverbeagreaterfreedom.Voice1 - Therefusaloftimeandofgrowingoldautomaticallylimitedencountersinthisnarrow,contingentzone,wherewhatwaslackingwasfeltasirreparable.Theextremeprecariousnessofthemeansofgettingbywithoutworkingwasattherootofthisimpatiencewhichmadeexcessesnecessaryandbreaksdefinitive.Voice2 - Oneneverreallycontestsanorganizationofexistencewithoutcontestingallofthatorganization’sformsoflanguage.Voice1 - Whenfreedomispracticedinaclosedcircle,itfadesintoadream,becomesamererepresentationofitself.Theambianceofplayisbynatureunstable.Atanymoment"ordinarylife"�canprevailonceagain.Thegeographicallimitationofplayisevenmorestrikingthanitstemporallimitation.Anygametakesplacewithinthecontoursofitsspatialdomain.Aroundtheneighborhood,arounditsfleetingandthreatenedimmobility,stretchedahalf-knowncitywherepeoplemetonlybychance,losingtheirwayforever.Thegirlswhofoundtheirwaythere,becausetheywerelegallyunderthecontroloftheirfamiliesuntiltheageofeighteen,wereoftenrecapturedbythedefendersofthatdetestableinstitution.Theyweregenerallyconfinedundertheguardofthosecreatureswhoamongallthebadproductsofabadsocietyarethemostuglyandrepugnant:nuns.Whatusuallymakesdocumentariessoeasytounderstandisthearbitrarylimitationoftheirsubjectmatter.Theydescribetheatomizationofsocialfunctionsandtheisolationoftheirproducts.Onecan,incontrast,envisagetheentirecomplexityofamomentwhichisnotresolvedintoawork,amomentwhosemovementindissolublycontainsfactsandvaluesandwhosemeaningdoesnotyetappear.Thesubjectmatterofthedocumentarywouldthenbethisconfusedtotality.Voice2 - Theerahadarrivedatalevelofknowledgeandtechnicalmeansthatmadepossible,andincreasinglynecessary,adirectconstructionofallaspectsofaliberatedaffectiveandpracticalexistence.Theappearanceofthesesuperiormeansofaction,stillunusedbecau搜索引擎优化fthedelaysintheprojectofliquidatingthecommodityeconomy,hadalreadycondemnedaestheticactivity,whoseambitionsandpowerswerebothoutdated.Thedecayofartandofallthevaluesofformermoreshadformedoursociologicalbackground.Therulingclass’smonopolyovertheinstrumentsweneededtocontrolinordertorealizethecollectiveartofourtimehadexcludedusfromaculturalproductionofficiallydevotedtoillustratingandrepeatingthepast.Anartfilmonthisgenerationcanonlybeafilmonitsabsenceofrealcreations.Everyoneunthinkinglyfollowedthepathslearnedonceandforall,totheirworkandtheirhome,totheirpredictablefuture.Forthemdutyhadalreadybecomeahabit,andhabitaduty.Theydidnotseethedeficiencyoftheircity.Theythoughtthedeficiencyoftheirlifewasnatural.Wewantedtobreakoutofthisconditioning,inquestofanotheru搜索引擎优化ftheurbanlandscape,inquestofnewpassions.Theatmosphereofafewplacesgaveusintimationsofthefuturepowersofanarchitectureitwouldbenecessarytocreatetobethesupportandframeworkforlessmediocregames.Wecouldexpectnothingofanythingwehadnotourselvesaltered.Theurbanenvironmentproclaimedtheordersandtastesoftherulingsocietyjustasviolentlyasthenewspapers.Itismanwhomakestheunityoftheworld,butmanhasextendedhimselfeverywhere.Peoplecanseenothingaroundthemthatisnottheirownimage;everythingspeakstothemofthemselves.Theirverylandscapeisalive.Therewereobstacleseverywhere.Therewasacohesionintheobstaclesofalltypes.Theymaintainedthecoherentreignofpoverty.Everythingbeingconnected,itwasnecessarytochangeeverythingbyaunitarystruggle,ornothing.Itwasnecessarytolinkupwiththemasses,butweweresurroundedbysleep.Voice3 - Thedictatorshipoftheproletariatisadesperatestruggle,bloodyandbloodless,violentandpeaceful,militaryandeconomic,educationalandadministrative,againsttheforcesandtraditionsoftheoldworld.Voice1 - Inthiscountryitisonceagainthemenoforderwhohaverebelled.Theyhavereinforcedtheirpower.Theyhavebeenabletoaggravatethegrotesquenessoftherulingconditionsaccordingtotheirwill.Theyhaveembellishedtheirsystemwiththefunerealceremoniesofthepast.Voice2 - Years,likeasingleinstantprolongedtothispoint,cometoanend.Voice1 - Whatwasdirectlylivedreappearsfrozeninthedistance,fitintothetastesandillusionsofanera,carriedawaywithit.Voice2 - Theappearanceofeventsthatwehavenotmade,thatothershavemadeagainstus,nowobligesustobeawareofthepassageoftime,itsresults,thetransformationofourowndesiresintoevents.Whatdifferentiatesthepastfromthepresentispreciselyitsout-of-reachobjectivity;thereisnomoreshould-be;beingissoconsumedthatithasceasedtoexist.Thedetailsarealreadylostinthedustoftime.Whowasafraidoflife,afraidofthenight,afraidofbeingtaken,afraidofbeingkept?Voice3 - Whatshouldbeabolishedcontinues,andwecontinuetowearawaywithit.Weareengulfed.Weareseparated.Theyearspassandwehaven’tchangedanything.Voice2 - Onceagainmorninginthesamestreets.Onceagainthefatigueofsomanysimilarlypassednights.Itisawalkthathaslastedalongtime.Voice1 - Reallyhardtodrinkmore.Voice2 - Ofcour搜索引擎优化nemightmakeafilmofit.Butevenifsuchafilmsucceedsinbeingasfundamentallydisconnectedandunsatisfyingastherealityitdealswith,itwillneverbemorethanare-creation"”poorandfalselikethisbotchedtravelingshot.Voice3 - Therearenowpeoplewhopridethemselvesonbeingauthorsoffilms,asotherswereauthorsofnovels.Theyareevenmorebackwardthanthenovelistsbecausetheyareunawareofthedecompositionandexhaustionofindividualexpressioninourtime,ignorantoftheendoftheartsofpassivity.Theyarepraisedfortheirsinceritysincetheydramatize,withmorepersonaldepth,theconventionsofwhichtheirlifeconsists.Thereistalkoftheliberationofthecinema.ButwhatdoesitmattertousifonemoreartisliberatedthroughwhichTom,DickorHarrycanjoyouslyexpresstheirslavishsentiments?Theonlyinterestingventureistheliberationofeverydaylife,notonlyintheperspectivesofhistorybutforusandrightaway.Thisentailsthewitheringawayofalienatedformsofcommunication.Thecinema,too,hastobedestroyed.Voice2 - Inthefinalanalysis,starsarecreatedbytheneedwehaveforthem,andnotbytheirtalentorlackoftalentorevenbythefilmindustryoradvertising.Miserableneed,dismal,anonymouslifethatwouldliketoexpanditselftothedimensionsofcinemalife.Theimaginarylifeonthescreenistheproductofthisrealneed.Thestaristheprojectionofthisneed.Theimagesoftheadvertisementsduringtheintermissionsaremoresuitedthananyothersforevokinganintermissionoflife.Toreallydescribethiseraitwouldnodoubtbenecessarytoshowmanyotherthings.Butwhatwouldbethepoint?Bettertograspthetotalityofwhathasbeendoneandwhatremainstobedonethantoaddmoreruinstotheoldworldofthespectacleandofmemories.1.Thisfilm,whichevokesthelettristexperiencesattheoriginofthesituationistmovement,openswithshotsoftheParisdistrictfrequentedbythelettristsintheearly1950s.
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罗伯·格兰特
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WhenhisgirlfriendSashaandbestfriendEliasgivehotheadRichardaharpoonforhisbirthday,hewantstotrythisnewtoyoutrightaway.Sothethreeofthemsetoutforadaytriponaboat,butsuspicionandjealousysoonstarttogettheupperhand.Beforelong,thetensionhasbecomeunbearable.Tomakemattersworse,theboat’senginefailsandthenitturnsouttheylefttheirsuppliesonshore:anerve-wrackingstruggleforsurvivalensuesthatsparesnoone’ssecrets–orblood.Thispost-modernadaptationofastorybyEdgarAllanPoeinwhichthreeshipwreckedsailorsdrawlotstoseewhohastosacrificehimselfasacannibalisticsnack,isabloodthirstythrillerthatleavessufficientspaceforlaughs.It’spainfullyobviousfrom(nautical)milesawaythatthistriangularrelationshipisnotgoingtoendwell.
