In Season 2, after Jesse accidentally discovered that God is absent from Heaven, the three of them set out on a road trip to find Him, all while being hunted by the Saint of Killers, an unstoppable, mythical killer from Hell. The trio’s pursuit led them to New Orleans, where they dodged local gangsters, dangerous agents, and other unimaginable mayhem on their way to uncovering an even bigger secret. Now, with Tulip’s life and Cassidy’s friendship in the balance, Jesse must rely on a mysterious figure from his past in order to save his friends and continue on with his mission.

台灣青年女作家邱妙津二十年前在巴黎蒙馬特區自盡，遺作《蒙馬特遺書》於2014年由美國紐約書評叢書出版英譯本，此自傳體小說使她在西方文壇揚名立萬，迅速被譯為多種歐洲文字。 邱妙津堪稱是華語文學史上，第一位公開同志身分，並以此為題材創作的女小說家；其首作《鱷魚手記》成為是臺灣女同界的「聖經」，並令邱妙津進而變為中港台的地下文學經典。 本片鏡頭穿梭台灣、巴黎、紐約，追溯這位只享身後名的文壇彗星的生平，並探討她的文學地位──受訪者包括台灣知名小說家駱以軍、紀大衛、賴香吟，邱妙津著作的外語譯者、出版人、推崇她的歐美名家等。影片以尊重持平的態度討論同志文化、女同文學，而值得任何對華語文學在國際文壇的成就感到好奇的觀眾欣賞。

这是一部幻想类剧集，而且是标准的诗选剧集，每集故事都是完全独立的，在某种程度上类似英国的《黑镜》（Black Mirror）。故事灵感来源于互联网上臭名昭著的「404」错误代码，主题为「一切怪事都可能在网上发生」。据称该剧混合了科幻、动作冒险、恐怖喜剧等多重流派的特点——当你深夜三点钟还在泡网时，你可能会遇到网络的黑暗面……看到一些无法用现实社会的观点来解释的古怪内容。例如：一段晦涩的卡通片可能包含着时间旅行的秘密，能量饮料可能引发世界末日，美国航天局的顶级分析师其实是个体型庞大的、无所不知的、有感知的「立方肉块」（而且名字叫做Bob）。

2016 film directed by James Gray

2017 film by Carla Simón

To protect the woman he loves, a white collar worker unintentionally becomes involved in a murder case and is from then on a suspect. In the blink of an eye, his quiet and boring life gets completely shaken up as he suddenly is both being chased by the police as well as gangsters.

Recut archival footage depicting the culture and struggles of the African-American community.

华裔版生活大爆炸在澳播出。錢信伊（Ronny Chieng）创作的情景喜剧《国际留学生》本周在澳大利亚ABC电视台开播。錢信伊是马来华裔演员，2016年10月他在#崔那娃每日秀#上回应福克斯新闻台辱华视频而走红华人网络。本剧灵感来自他在澳洲墨尔本的留学经历

Journalist, tech blogger and director of The Centre For The Analysis Of Social Media Jamie Bartlett - author of several books on technology and politics - explores the reality behind Silicon Valley's glittering promise to build a better world.

Frank Lloyd Wright is America's greatest-ever architect. However, few people know about the Welsh roots that shaped his life and world-famous buildings. Now, leading Welsh architect Jonathan Adams sets off across America to explore Frank Lloyd Wright's masterpieces for himself. Along the way, he uncovers the tempestuous life story of the man behind them and the significance of his radical family background. In a career spanning seven decades, Frank Lloyd Wright built over 500 buildings, and changed the face of modern architecture: Fallingwater, the house over the waterfall, has been called the greatest house of the 20th century; the spiralling Guggenheim Museum in New York reinvented the art museum; the concrete Unity Temple was the first truly modern building in the world. But the underlying philosophy that links all Wright's buildings is as important as anything he built. Those ideas were rooted in the Unitarian religion of Frank Lloyd Wright's mother. Anna Lloyd Jones was born and raised near Llandysul in west Wales and migrated to America with her family in 1844, most likely to escape religious persecution. Her son, Frank, was raised in a Unitarian community in Wisconsin, a small piece of Wales in America. The values he absorbed there were based on the sanctity of nature, the importance of hard work, and the need to question convention and defy it where necessary. Wright's architecture was shaped by, and expressed, these beliefs. Frank Lloyd Wright set out to create a new American architecture for a new country. He built his own lifelong home in the valley he was raised in, and he named it after an ancient Welsh bard called Taliesin. It was the scene of many adventures - and a horrific crime. In 1914, a servant at Taliesin ran amok and killed seven people including Wright's partner, Mamah Cheney, and her two young children. Wright rebuilt his home and went on to marry a Montenegrin woman, Olgivanna Milanoff, some 30 years younger than him. It was Olgivanna who struck upon the idea that saved Wright's career after the Wall Street Crash and personal scandal laid it low. She decided that her husband should take on apprentices and that the apprentices should pay for the privilege. The Taliesin Fellowship had a hands-on approach, with apprentices often building extensions to Wright's own houses, labouring and cooking for him. Somehow it worked, lasting for decades and nurturing hundreds of young talents. Frank Lloyd Wright died in 1959 aged 91 while working on his final masterpiece, New York's incomparable Guggenheim Museum. He had been born in the wake of the American civil war, the son of a pioneer, and died a television celebrity, in the space age. He is buried in the shadow of Taliesin, alongside his Welsh ancestors. A 150 years after his birth, Jonathan Adams argues that Frank Lloyd Wright is now a vitally important figure who can teach us how to build for a better world. Wright believed in what he called organic architecture; buildings that grace the landscape, express an idea of how to live and respond to individual needs. This bespoke approach - a philosophy, not a style - puts him at the heart of modern architectural thinking.

Even though the 1992 Los Angeles riots took place long before the spread of camera phones, they were captured on video from the beginning, or at least from the event that lit the spark: the beating of Rodney G. King by Los Angeles police officers. “LA 92,” one of several documentaries being released to commemorate the riots’ 25th anniversary, takes advantage of the wealth of broadcast and helicopter footage available to assemble a chronological account with a present-tense feel. The movie, which opens theatrically on Friday and airs on the National Geographic channel on Sunday, begins and ends by drawing a parallel with the 1965 Watts riots, which the news media addressed in strikingly similar language. Apart from overbearing music — the lead-in to the first day of the riots is scored with an orchestra tuning up — the film mostly lets the archival footage speak for itself.

Over the past few decades there has been a revolution in terms of who controls knowledge and information. This rapid change has imperiled the way we think. Without pausing to consider the cost, the world has rushed to embrace the products and services of four titanic corporations. We shop with Amazon; socialize on Facebook; turn to Apple for entertainment; and rely on Google for information. These firms sell their efficiency and purport to make the world a better place, but what they have done instead is to enable an intoxicating level of daily convenience. As these companies have expanded, marketing themselves as champions of individuality and pluralism, their algorithms have pressed us into conformity and laid waste to privacy. They have produced an unstable and narrow culture of misinformation, and put us on a path to a world without private contemplation, autonomous thought, or solitary introspection—a world without mind. In order to restore our inner lives, we must avoid being coopted by these gigantic companies, and understand the ideas that underpin their success. Elegantly tracing the intellectual history of computer science—from Descartes and the enlightenment to Alan Turing to Stuart Brand and the hippie origins of today’s Silicon Valley—Foer exposes the dark underpinnings of our most idealistic dreams for technology. The corporate ambitions of Google, Facebook, Apple, and Amazon, he argues, are trampling longstanding liberal values, especially intellectual property and privacy. This is a nascent stage in the total automation and homogenization of social, political, and intellectual life. By reclaiming our private authority over how we intellectually engage with the world, we have the power to stem the tide. At stake is nothing less than who we are, and what we will become. There have been monopolists in the past but today’s corporate giants have far more nefarious aims. They’re monopolists who want access to every facet of our identities and influence over every corner of our decision-making. Until now few have grasped the sheer scale of the threat. Foer explains not just the looming existential crisis but the imperative of resistance.

总督察Roz Huntley刚刚侦破一起连环谋杀案，成功抓获一名连环凶手。然而法医官Tim Ifield却找到反腐小组AC-12，提出Roz在侦破过程中刻意忽略了对嫌疑人有利的证据，这起案件可能是一起冤案。于是AC-12的成员们展开了调查……

“科幻鬼才”菲利普•迪克成长于西方科技文明创造出的崭新辉煌的时代。彼时，人类进入了太空，登上了月球，成功制造出第一台工业用机器人……科技的蓬勃发展也催生出主流科幻小说对人类创造力的无比自信，克拉克、阿西莫夫和海因莱因撑起了西方科幻的黄金时代。可是，迪克却反其道而行之，他的主人公迷惘于亦真亦假的世界上，挣扎于文明的陷落中，充满了对生命的依恋和对人性的追求。 《尤比克》是菲利普•迪克最深奥复杂的作品，《时代》周刊“1923年来百部经典”之一。迪克在小说中发明了一种设定：人死后都冰冻在“亡灵馆”里，访问者可以用一种基于光相子的技术手段，激发“中阴身人”的思维，让他们与活人对话。但是每对谈一次，那中阴身人就随着能量的消耗，滑向真正的死亡。而尤比克则是一种防止衰败的喷雾剂，防止人堕入彻底死亡。迪克创造了一个隐晦而闭塞、不停滑向死亡的宇宙，同往常一样，通过对生存本质的探讨，进入了对本体论的拷问。 乔•奇普为格伦•朗西特的反超能咨询公司工作，保护人们免受通灵师和先知的心灵窥探。在一次前往月球执行任务的过程中，朗西特的行动组遭遇埋伏，朗西特身亡。行动组成员迅速将朗西特的遗体送往苏黎世亡灵馆冰冻冷藏，并试图与他的大脑取得联系。然而，不仅没有成功联系上朗西特，行动组成员还发现，钱币、香烟等物品均在发生退转，时光似乎在倒流。究竟发生了什么事？