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　　Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor

　　五百年前仙妖大战，师尊紫华与天帝携手灭了狐妖一族 ， 五百年后 师尊救下正在逃命的九尾狐妖小九，小九报恩拜紫华 为师，紫华用混元铃 铛封印其妖气留在身边。小九对师父紫华感情深重， 在紫华寿辰之时将威 霆将军的坐 骑跨海神兽的尾巴做成皮鞭赠予紫华，不料威霆将军上报天帝 天帝下令捉拿狐妖小九，紫华为救小九断其一尾。 自断七情六欲下凡渡劫，第二世小九凭借混元铃铛寻找师父紫华转世 却错认凡人花将军为师父 。为了留在花将军身旁， 小九将刘生杀害，刘 生死后，小九的回忆归来。 恢复记忆的小九痛苦不已 ， 原来自己一直寻找之人竟然被自己亲手 杀掉。而另一边花容因为刘生的死亡，最终郁郁而终。

　　自称为爱情专家的雷仁, 为痴情男女制定恋爱危机解决方案, 不料，一直自信的情场达人遇到了不信爱情和男人的高冷女，两人从斗智斗勇到身陷情网，一对欢喜鸳鸯在是非曲折中花开并蒂，其中牵动了亲情，考验了友情，历练了爱情，尽偿人生百味，充分表达了爱的伟大与虔诚。

　　大聪哥决定带着两个小弟去泰国看看真正的人妖才算是不枉此生。于是很有气势的甩出银行卡，交给小五去订机票，他们也要来一场说走就走的旅行。　　飞机上，大聪坐在位置上手中紧握着箱子，箱子里是几人所有的现金，由于第一次坐飞机内心即兴奋，又紧张，经过了飞机的不适应，飞机降落在了香港中转，大聪抱 着箱子就冲下了飞机，二愣子和小五也跟随其后，空姐想去阻拦却失败。大聪因为紧张过度，突然尿急，冲进洗手间，把手中的箱子放在了地上。此时的大聪并不知道一直有两个人在尾随着他们。大聪发现自己的箱子被偷，三人意识到事情的严重性，开始四处寻找。跟随人流上了一辆大巴车，来到香港街头。　　本以为到了泰国的三个人在街上用蹩脚的泰语和英语和人打招呼，却被路人当成神经病，落跑的三人无意间发现自己竟然在香港，三人身无分文，饥寒交迫，被迫街头卖艺，却不被人理睬。无意中发现坤哥等人代人转送的箱子和自己的一样，从坤哥处抢回了箱子，经过一系列误会的发生和解决，最终发现坤哥的箱子不是自己的箱子，义气使然大聪还回坤哥的箱子，并合坤哥结为兄弟，最终坤哥帮大聪找回了箱子。

　　因祖父过世而回家继承遗产的Home决定出售房子，才被告知房子被传说是鬼屋，他找到了能看到鬼的Peach，要求他们一起帮忙驱灵捉鬼！！

　　三名成为孤儿的武术家与一名美国缉毒局探员以及一名墨西哥联邦警官联手行动，誓要为他们死去的敬爱导师复仇。

　　该剧是《生活大爆炸》派生的番外前传剧，主要讲述童年时期的谢尔顿·库珀跟家人一同在德克萨斯州生活的故事。

　　2015年10月21日，英国银色之门媒体公司宣布将与中国中央电视台联合开发全球知名儿童海洋探险动画《海底小纵队》第五季。签字仪式于当天下午在英国文化部举行。中国中央电视台副总编辑李挺作为代表与英国银色之门媒体公司副主席威廉·阿斯特签署了动画片《海底小纵队》第五季联合制作谅解备忘录。英国文化、媒体和体育部政务大臣艾德·韦泽主持并见证了签约仪式。这是中央电视台首次与西方动画公司合作开发一部学龄前儿童作品，银色之门媒体公司将提供动画剧本和音乐创作，制作部分则由中央电视台全权负责。　　目前已制作出第六季，将在腾讯少儿首页首播。