根据玛丽·洛夫尔的传记《米特福德女孩》。

　　Pryce Cahill是一位已过壮年的前职业高尔夫球手，他的职业生涯在20年前过早脱轨。在婚姻破裂并被印第安纳州一家体育用品店解雇后，Pryce将赌注和未来完全押在了一位名叫Santi的17岁高尔夫天才身上。 本剧是一部发自内心、令人感觉良好的体育题材喜剧，前所未有地呈现了一个在高尔夫世界中建立起来的家庭和这个家庭成员之间的关系。

The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R. 

这部真人秀剧集全方位聚集一群才华横溢的创作人，看他们如何为乐坛巨星创作大热金曲，一睹创意与自负的精彩碰撞。

　　kbs最新推出的亲子综艺（快乐星期天），内容为父亲带着孩子，在没有妈妈的情况下度过48小时现4位父子。　　参演艺人：　　为秋成勋与女儿　　tablo与女儿　　张铉诚的儿子们　　李辉才的双胞胎儿子　　收视率分布：　　131103 KBS2 超人回来了　 　7.2%(首播收视)　　131110 KBS2 超人回来了　 　7.9%(+0.7%)　　131117 KBS2 超人回来了 8.4%(+0.5%)　　131124 KBS2 超人回来了　 6.8%(-1.6%)　　131201 KBS2 超人回来了　 7.4%(+0.6%)　　131208 KBS2 超人回来了　 7.5%(+0.1%)　　131215 KBS2 超人回来了　 8.8%(+1.3%)　　131222 KBS2超人回来了 9.1 (+0.3%)　　131229 KBS2 超人回来了　 8.2%(-0.9%)　　140105 KBS2 超人回来了 8.5%(+0.3%)　　140112 KBS2 超人回来了　 8.2%(-0.3%)

Kongthup作品。《敲敲男孩》和《隔壁怪兽》的制作人已经准备好了他们的下一个项目。该项目是改编自I'm Mynt写的两部大学爱情小说《长衫与齿轮》(长衫与齿轮Gown and Gearเมียวิศวะมัน(ส์)ดี หรือหมอจะลอง)和《走读生Extern》(走读生พี่หมอครับ！รับเกียร์แล้วเป็นเมียกูที)的综合。

西元709年，外星人凯坦（James Caviezel 饰）驾驶的飞船坠毁在挪威境内，同伴重伤死亡，飞船损毁，沉入湖底。凯坦凭借随身携带的先进机器掌握了地球的知识和当地的语言，在森林内游荡之际，他遇到了维京人乌弗里克（Jack Huston 杰克•休斯顿 饰），并随之回到了村庄。

一位能看见鬼魂的兼职灵媒被迫加入灵异调查小队，只为了帮一个酗酒成性、宿醉到连自己怎么死都记不清的派对鬼调查谋杀案。

Hailey Freeman and her family are the last descendants of African American farmers who settled in 1875 in rural Canada after the first Civil War. In a famine-decimated future they struggle to make their last stand against those intent on taking their home.