Showtime's "In the 20th Century" is a millennium-related strand of feature-length documentaries in which famous directors take on major subjects of their choosing. In the third of the six films, "Yesterday's Tomorrows," filmmaker Barry Levinson delves into what we, as Americans, thought the future would be as we traveled through the 20th century. Houses and cars of the future, the promise of technology, and the other hopes and dreams of the early part of the century gave way to the fears and anxieties brought about by the atomic age and the Hollywood disaster films that followed. Soon we wondered if we could control technology, or if it would control us. This film is by turns light-hearted and thoughtful, and rare historical and archival film, produced by government and industry, alternates with on-screen interviews with people as diverse as consumer advocate Ralph Nader, cartoonist Matt Groening, futurist Alvin Toffler, comedienne Phyllis Diller, and actor Martin Mull.

Two college film students set out to make an homage to Charlie LaRue, not for art or for money. They're doing it to get a hot chick.

A deodorant company with a product called "Smell No Mo" pits two rival ad agencies in a race to come up with a campaign for a new-fangled sanitary napkin called Vorcan. The advertising satire follows the New York firm of Cranston & Co. as they fight rival Hoffman & Partners. Cranston fires his creative director which puts a young copywriter with a literature degree on the front line, even though he doesn't want to be. The contest comes down to a schmaltzy campaign by Hoffman with music by Air Supply that uses the tagline "Vorcan: your own personal air supply." or a more down to earth campaign from Cranston of "The pad ain't bad!"

A series of mysterious crimes threatens the existence of a new radio network.

A boy with an unhealthy and pathological attachment to his mother becomes increasingly jealous of the new man in her life. After his mother remarries, his rage and misery overwhelm him and he plots to kill his stepfather.

television series

Meek, owlish Felix and strident, catty Doris live in the same apartment building. His incessant typing bothers her; her gentlemen callers bother him. Felix informs the landlord of her activities, so Doris moves in on Felix. When they both get thrown out, they move in with Barney... until they drive him out! That's when Felix and Doris finally decide to put theory into practice. But do opposites attract?

Listening in on a group of famous comedians privately riff with one another is usually just a comedy fan's wildest fantasy but viewers will experience this rare event in a new six-episode, half-hour comedy series tentatively titled THE GREEN ROOM slated to premiere in 2010, it was announced today by Robert Greenblatt, President of Entertainment, Showtime Networks Inc. Hosted by comedian Paul Provenza, the director and co-producer of the behind-the-scenes comedy documentary "The Aristocrats," THE GREEN ROOM offers viewers an opportunity of a lifetime to witness the hilarious exchanges between comic legends who span several generations and for some, are meeting their own comedy idols for the first time. The comedians featured with Paul Provenza in the series include Jonathan Winters, Eddie Izzard, Roseanne Barr, Drew Carey, Robert Klein, Penn Jillette, Martin Mull, Tommy Smothers, Bob Saget, Sandra Bernhard, Andy Dick, Rain Pryor, Rick Overton, Paul Mooney, Bobby Slayton, Jim Jefferies, Patrice O'Neal, Andy Kindler, Dana Gould, Brendon Burns, Larry Miller, and Reginald D. Hunter -- as well as new, fresh faces and potential comedy stars of tomorrow.

Twenty-nine year old Caucasian Elgar Enders still lives at the estate of his parents, William and Joyce Enders, and off their vast wealth with their blessing, although his ultra-conservative father hopes that some day Elgar will have some drive and make a name for himself, much as he believes his eldest son, William Jr., has done. Elgar decides finally to move out, and buys a tenement house in Park Slope, Brooklyn, a rough neighborhood seemingly on the verge of gentrification. He plans to tear it down and build a new house for himself. Although they have no idea of his plans, the tenants of the building, exclusively black, do not welcome their young, lily-white new landlord with open arms. They believe he is just another slum white landlord who wants their money, although most of them are indeed several months behind in their rent. Despite their antagonistic beginning, Elgar, after spending time with his tenants and learning their stories, decides to be a proper landlord and fix up the building for them and for him to live in. Elgar's transition into liberal minded lover of his black brothers and sisters is not without its problems as he deals with some tenants who are indeed deadbeats, his parents who just don't understand and agree with this phase of his life, and race relations where the color of one's skin does affect how they are treated in life and in turn how they interact with others. The latter is epitomized by his relationships with Lanie, a biracial woman who he initially believed was white, and with husband and wife tenants Copee and Fanny to who he gets a little too close

Hollywood aging stuntman Sonny Hooper wants to prove that he's still got what it takes to be a great professional in this risky and under-recognized line of work.

Dedicated environmental lawyer Lucy Kelson goes to work for billionaire George Wade as part of a deal to preserve a community center. Indecisive and weak-willed George grows dependent on Lucy's guidance on everything from legal matters to clothing. Exasperated, Lucy gives notice and picks Harvard graduate June Carter as her replacement. As Lucy's time at the firm nears an end, she grows jealous of June and has second thoughts about leaving George.