Hong Ae-Ja works as a host at a home shopping channel. She has three accomplished daughters: Ji-Sung, In-Sung and Hee-Sung. Hong Ae-Ja's family interconnects with So Pan-Seok's family and Heo Eun-Sook's as in-laws.
Through quotes from ancient Chinese literature, CGTN brings an entirely new avenue to discover the stories behind the classics and discuss the cultural foundation of the Chinese. The series will help viewers understand the Chinese wisdom to govern an evolving nation.
Jun Hashimoto is a sci-fi novel writer, but he isn't popular at all. He lives off of his savings. One day, his editor Tateyama assigns him a job: he is to write a "love" themed short story for a web magazine oriented towards youths. At first Jun refuses, because he has never written a love story before, but Tateyama pushes him to write one. The deadline is imminent. Jun's childhood friend Keisuke Murata then appears in front of him. Jun complains to Keisuke that he can't write, but while talking to him, he comes up with an idea.
Liu Shao initially leads a carefree life of a wealthy heiress, but accidentally gets embroiled in a battle between the immortals and demons, thus unraveling the past and present romantic entanglement between her and Lu Li, a mysterious cloaked immortal.
Two-part retro-doc about how British holiday habits changed in the 1970s.
Edawakare is the driver of Sentaxi, a marvellous vehicle which is able to take a passenger back to his or her “life’s turning point”. His cool appearance is at odds with his talkative, meddlesome, sweet-toothed character. He gives advice to passengers who are flustered after failing in their life’s choice.
Mirai does nothing but plays games every day. Her brother supports and believes in his sister, and he is a researcher who develops future tools. Mirai exploits that and the whole family experiences a series of troublesome and hilarious events.
Follow the hilarious life of small town girl Mitch as she lives in the constant shadow of her rugby star brother Tama.
Imagining Indians is a 1992 documentary film produced and directed by Native American filmmaker, Victor Masayesva, Jr.. The documentary attempts to reveal the misrepresentation of Indigenous Native American culture and tradition in Classical Hollywood films by interviews with different Indigenous Native American actors and extras from various tribes throughout the United States. With an all-Indian crew, Victor Masayesva visited tribal communities in Arizona, Montana, New Mexico, South Dakota, Washington and the Amazon to produce this film. Masayesva says, "Coming from a village which became embroiled in the filming of Darkwind, a Hollywood production on the Hopi Reservation, I felt a keen responsibility as a community member, not an individual, to address these impositions on our tribal lives. Even as our communities say no, outsiders are responding to this as a challenge instead of respecting our feelings... I have come to believe that the sacred aspects of our existence which encourages the continuity and vitality of Native peoples are being manipulated by an aesthetic in which money is the most important qualification. This contradicts the values intrinsic to what's sacred and may destroy our substance. I am concerned about a tribal and community future which is reflected in my film and I hope this challenges the viewer to overcome glamorized Hollywood views of the Native American, which obscures the difficult demands of walking the spiritual road of our ancestors."