對勝利無比執著的籃球教練魏國錚（魏翔 飾），因違規受罰被迫進入一所特殊的學校支教。當奉行“打球就是為了贏”的自負教練，遇上一群熱愛籃球但“能力值為負”的球員，在雞同鴨講式的日常相處和不停陷入中斷的籃球訓練中，瀕臨崩潰的魏教練會有奇招延續自己的不敗神話嗎？他們又能否一起負負得正，在即將到來的聯賽上一路高歌猛進、披荊斬棘、勇奪冠軍？ 電影改編自西班牙電影《籃球冠軍》。
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The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown. Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath. The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. L?nborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus (The Church Is an Old House), which was distributed to the members of the committee for their comments. In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merl?se Church. On 4 July, Dreyer went in advance to Ringk?bing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast. Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive. The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.
《快樂大本營》是本土制造的綜藝先鋒，以“清新、青春、快樂、激情、八卦、生活”的娛樂風格在中國電視娛樂版圖迅速卡位，其帶動的明星效應和倡導的快樂理念至今生命力不減，十幾年來已融為中國青少年文化的一部分，并為湖南衛視打造成中國第一電視娛樂品牌定下基調。不僅是湖南衛視一直保持至今的品牌節目，也是中國電視界綜藝娛樂節目的領頭羊；同時也是中國最有影響力的娛樂節目之一甚至成為中國億萬觀眾娛樂生活的一部分。娛樂圈內的知名藝人幾乎都曾經登上過《快樂大本營》的舞臺，留下屬于他們的精彩瞬間。《快樂大本營》新創意的主題性綜藝節目，為普通觀眾或草根團體及組合打造了一個展現個性的“全民娛樂”平臺和分享快樂的機會，同時也極力為電視機前的觀眾推介時尚、新奇的文藝表演形式，傳遞“快樂至上”的娛樂精神，突出了以觀眾為主體的“娛樂天下”的節目理念。
以新久千映的同名漫畫為基礎創作的《和歌子酒》系列，講述了OL村崎和歌子在各種酒場流浪，一個人盡情喝酒的故事。本作中加入了安康魚和赤貝等冬季的味覺，還有初次體驗的町壽司和蒙古料理等眾多美食登場。此外，也
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