文學作品中的虛構菜式，大家可有推想過是甚麼味道？作者筆下的美食，味道如何，全憑讀者意會；如果要在現實中煮出來，也並非全無可能。主持請來星級廚師，從電視劇集、電玩遊戲、卡通動畫、文學名著中尋找創意靈感，發掘內裡提到的一些特色美食，並透過名廚的巧手，將這些看似不真實的菜式「還原」。究竟那些天馬行空的料理可會真的可以烹製？抑或只是創作人的幻想食物？節目引領觀眾投入虛幻、現實交織的料理世界！
Mayans M.C. follows the life of Ezekiel “EZ” Reyes, president of the Mayans M.C. charter on the Cali/Mexi border. EZ has now risen to lead his brother Angel and the Santo Padre M.C. in a bloody war against their rival Sons of Anarchy. Defending the California territory and patch begins to claim lives within the club and causes strain between EZ and Angel.
20世纪50年代的日本某个宁静小镇，染色家相泽知子（满岛光饰）和那位亦师亦友亦情人的作家小杉慎吾（小林薰饰）相守度日。新年将至，知子却因风寒病倒。敦厚但踟蹰的小杉最终没有留下来守候她，行色匆匆赶回家陪伴妻女共度除夕。几许凄凉萦绕心头，一通电话似乎排遣了知子的寂寞。电话的那头，是当年曾让知子抛弃了丈夫、女儿而选择与之私奔的青年木下凉太（绫野刚饰）。前缘未了，旧情继续。从此每当小杉返回自己家的时候，知子便沉湎于和凉太的厮守当中。这是一场危险的游戏，谁都不想输，谁都输不起。或者同归于尽，或者抽身而去……本片根据日本著名天台宗比丘尼濑户内濑户内寂听大师出家前（本名濑户内晴美）的同名自传体小说改编。
黄明亮复员回家乡后当上了一名人民邮递员。在给距离县城二十多里山路的山村农民送信的过程中，明亮所有的劳累都在乡亲们收到远方亲人来信后露出的喜悦中消失得无影无踪。一天，老乡让明亮给钓鱼台村的李翠菊捎去一个2000元钱的汇款单。通过汇款单上的留言，明亮得知李翠菊在珠海打工的丈夫炳银大哥在施工时不幸摔死。由于赶上翠菊临产，明亮在来到翠菊家时，违心地编了一个炳银大哥施工太忙的谎言。 时光荏苒，斗转星移，一晃三年过去了。三年中，翠菊靠着明亮定期送来的信和寄款，照顾着多病的婆婆和年幼的儿子木耳。时间长了，明亮那清脆的自行车铃声成了翠菊的一个念想，每到来信的日子，木耳也会早早地在村口等着明亮的到来。尽管明亮曾几次想把炳银大哥已经不在的事实告诉翠菊嫂子，但一看到翠菊辛苦支撑的一个家，明亮总是欲言又止。 有一段时间，山里连降大雨，就在乡亲们以为明亮不会再来时，明亮还是在雨中出现在村口的小路上。但从此以后的几个月里，翠菊和乡亲们再也没有见过明亮的身影，取而代之的是另外一个并不熟识的年轻邮递员。当翠菊赶到县城，从明亮孀居多年的老母亲那里得知明亮在几个月前的一个雨天，摔死在送信回来的路上。 看到明亮留给自己的信，翠菊此时才明白在长达四年的时间里，那一封封来信和一笔笔汇款都来自明亮兄弟的一片真情。从此，翠菊把明亮的娘也接到自己的家中，让木耳跪在地上喊了一声“奶奶”。
电影围绕从昏迷中醒来的徐震（麦亨利饰），发现林依娜（徐冬冬饰）等一行人均被囚禁过相同的铁箱之中展开。众人对于为何被抓至此完全摸不着头脑，带着疑惑的一群人，在面临着各种危机与异兽威胁的荒野丛林中不仅要奋力与效兽作斗争，还要拼命寻求方法离开，在逃生的过程中不断有人丧命于效兽的血盆大口中....
在《大话西游之大圣娶亲》中死在牛魔王叉下的紫霞仙子（唐嫣 饰），将会通过月光宝盒预先看到这一下场，为了避免惨剧发生，她选择回到从前不让至尊宝（韩庚 饰）爱上自己。而至尊宝又再次重逢一直在等待他的白晶晶（莫文蔚 饰）。前世今生的种种爱恨纠葛再次在九道轮回里最后一次上演。
从教12年的神山晓（香取慎吾 饰），在当今恶劣的教育环境下早已丧失了对学生的热情。此次他调任小原南中学，与副班主任河合千穗（前田敦子 饰）组成搭档，面对一群问题多多的新学生。这个看似冷淡又过于自我的男人，实际藏有一个常人难以相信的秘密。他可以看到幽灵，事实上在他租住的公寓内便有一个地缚灵小茜（杏 饰）。据说小茜当年也是一名教师，因压力过大郁郁而终。虽然唠唠叨叨，过于热情，但小茜和她的浮游灵朋友吉冈（佐藤二朗 饰）潜移默化影响着神山对学生们的态度。 也许在神山心中，依旧对当年那起事件抱有深深遗憾和不甘，才促使他在教师的神圣道路上再次奔跑……
山东青年尚晋毕业后，为了能和女友李貌“团聚”而选择留在北京，并在李貌所住的幸福里九号做了一名光荣的人民调解员。因为一次相亲大会上的调解事件，尚晋提前遭遇了李貌父母李双全和万山红，两人对这位“准女婿”似...
Paris, 1315. The Tour de Nesle, a guard tower on the banks of the Seine, has become a symbol of mystery and fear. Each morning, at its base, the bodies of handsome young aristocrats are found floating in the river, all butchered by sword or arrow. One evening, two noblemen, Buridan and Philippe d'Aulnay, find themselves in the infamous tower, lured there on the expectation of a night of unbridled passion. Little do they realise that they are to be the next victims of a woman who is determined to take revenge against all men - Margaret of Burgundy, the present Queen of France. Although Philippe is killed, Buridan escapes, and intends to blackmail the Queen. Unless she makes him her prime minister, he will expose her crimes to Philippe's brother and her husband, King Louis X. When she moves to eliminate Burdan, Margaret makes a terrible discovery... In the twilight years of his long and pretty uneven career, the great avant-garde film director Abel Gance made a number of films which, whilst not as grand and artistically inspired as his early silent masterpieces (La Roue (1923), Napoléon (1927)), still compared very favourably with the work of his contemporaries. Of these, La Tour de Nesle is a film that still stands up remarkably well today - an ambitious historical drama based on the famous 1832 play by Alexandre Dumas. It makes a nice companion piece to Gance's subsequent historical romp, Cyrano et d'Artagnan (1964). Needless to say, the film isn't to be commended on its historical accuracy. As any historian will tell you, the Alexandre Dumas version of French history is wildly fanciful, to say the least. However, this doesn't prevent La Tour de Nesle from being an entertaining and, at times, highly poignant, piece of cinema. Whilst the characterisation and dialogue leave much to be desired, the plot (a murky tale of cruel revenge and political intrigue) is gripping, and the film's artistic design is exceptional for a film of this period. Gance brings a strangely expressionistic touch to his use of colour and shade, something which adds to the darkly sinister nature of the plot, whilst imbuing the film with a striking sense of historical realism. A propos, Gance's assistant director Nelly Kaplan makes her screen début in a small role, shortly before she herself embarked on a successful film making career.