The story of a whimsical and beautiful experience that 38-year-old Woojoo goes through after moving back to her hometown to after moxia.cc the death of her mother. Having given up on her dreams of being an artist after an unexpected pregnancy Woojoo finds her past rushing back to her. She is taken aback when she happens upon two women -- 19- and 26-years-old, both named Sung Woo-Joo and going through life events identical to her experiences. Now she is faced with a chance to reflect and possibly affect her own life regrets with Christmas just around the corner.

跟随柯南·奥布莱恩拜访他通过播客《柯南·奥布莱恩需要一个朋友》（2018）结识的新朋友，与来自全国和全球的观众进行深入讨论。　　柯南在给粉丝带来惊喜的同时，也领略了当地的文化、美食和景点。

故事从1967年开始。这一年，新加坡有了自己的第一套钞票；这一年，新加坡有了自己的国民服役军队；这一年，出现了“出租假睫毛，一天4块钱”的行业；这一年，鸡蛋价格暴跌，全国发起“杀鸡减蛋运动”；这一年，“越南玫瑰”登陆新加坡，寻芳客闻之丧胆；这一年，樱花和凌云的“新挑花江”红遍大街小巷…　　在小坡一条横街内，住了三户6家人，热闹非常。其中，有6个年龄相距不远的年轻人。林小杯是林裁缝的独生子，打架闹事，天天闯祸，街坊无不头痛，唯独一人能压制得住他，就是与他一起成长的姚剑虹。剑虹自幼辍学，小小年纪就随父亲“打拳卖膏药”，闯荡“江湖”多年，她性格直爽，行事干净利落，很有男孩之风。林小杯喜欢她，她也喜欢林小杯，但对小杯的放荡不羁很不满，她希望小杯能脚踏实地，继承父亲的衣钵，小杯却不甘被困在小裁缝店里，他想闯荡世界，与天比高。　　与林小杯一起成长的，还有整天异想天开，一下想当赛车手，一下想当摔跤王的“泰山”黄志豪。二人有时是死对头，有时是战友；有难，谁也不会撇下对方；有福，也不会独享，只要缺了其中一人，就好像一双筷子缺了一根。　　喜欢林小杯的，不止剑虹一人，还有“泰山”的妹妹黄金好。她思想单纯，爱美如命、贪慕虚荣，虽得不到小杯的爱，但对他有情有义。剑虹的双胞胎哥哥姚无忌胆小如鼠，只敢把对金好的爱慕深埋心底。这几个年轻人中，唯有秦慧敏受高深教育。她虽体弱多病，却靠意志力克服重重困难，成功当上律师。这几家人的上下两代，经历了30年的变化，交织着爱、恨、怨、嫉妒、宽容、谅解…那是他们的故事，也是我们的故事，因为，我们也同样走过那段岁月…　　新加坡人拥有许多共同记忆：60年代建国初期的艰辛，70年代的石油危机，80年代的股灾，新加坡人都一起挨过来了，欢笑和眼泪，点滴在心头。金融海啸来袭，我们再次面临考验。这时候，让我们回首过去，看我们如何一步一脚印地走来，是别有意义的。

此剧集讲述关于爱恨缠绵的感情故事，属于亚视大电影系列之一情在亦舒。共四集，分别为《珍珠》、《玉梨魂》、《星之碎片》、《独身女人》。《珍珠》中梦幻情缘，飘忽无踪，激情缠绵心中永念。《玉梨魂》中爱怨交织，情怀缱绻。《星之碎片》中闪烁星光，照射爱情路；缘分凝聚，神情扣动心扉，缘分飘散，爱念回荡心田。《独身女人》中，她追求醉心痴恋的一段情，她盼望全心奉献的一个他。

正雄自從五年前第一次見到朋友申介母親開始就一直暗戀她。她既年輕又性感，使得正雄對她的感情和慾望抑發高漲。當申介離家出遠門，正雄決定要跟申介的母親坦承所有想對她做的事

该影片改编自日本作家高野和明的小说《六小时后你会死》，电影主人公“俊宇”由NCT成员郑在玹担任。 　　影片讲述了在违背预见的未来和“命运”的短短6个小时旅程中发生的意想不到的事件，是一部跨越现实和非现实的新类型的悬疑惊悚片。

由获奖导演霍华德·J·福特为科维德19号拍摄的全球“禁闭期”。街上空无一人，没有人和机器的活动，利用这一前所未有的时间的不仅仅是大自然——灵魂可以自由漫游——有些是无害的，有些是带有邪恶意图的——特别是一个幽灵，一个臭名昭著的连环杀手死而复生，由于潜在的受害者比以往任何时候都多——超自然专家和侦探们能否拼凑出办法，防止更多在禁闭期间被孤立和孤独的年轻女性成为另一个被禁闭困扰的受害者？

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.

潛水，被世人定義為高危活動之一；節目為了打破大家固有觀念，邀請了一般人認為他們不會去潛水的人士，包括：細膽的、身體肥胖的、沒有自信的，甚至是殘障的，由零開始去學習，過程之中看著他們互相扶持，如何克服自己的弱點，完成指定目標。

金盛瑾（郑在泳 饰）因公司重组而失去了工作，同时债台高筑，妻子也离他而去，对人生彻底失望的金盛瑾爬上了汉江的大桥，纵身一跃…… 然而金盛瑾醒转过来之后，发现自己漂流到了汉江的江心小岛上，短暂的脱身努力失败后，金盛瑾在城市的边缘陷入了鲁宾孙一般的境地，回想起现代生活的局促忙碌，金盛瑾放弃了自杀的念头，开始依靠小岛上的各种废品过起了化外人生。与此同时，在城市高楼中，一位有自闭症的金小姐（郑丽媛 饰）恰巧用相机目睹了金盛瑾自杀的情形，这个一年中只在演习时窥探大街的女孩生活中自此闯入了一个外星人般的都市鲁宾孙。金小姐在夜晚时分进入对她来说危机四伏的街道，以便给金先生送出自己的信号，而金盛瑾则用沙滩上的大字来回应，这对儿奇妙的笔友慢慢维系着这份情谊，但是在纷乱的都市中，这段关系会走向何方呢？