科学家们为解决环境污染危机，设计了一种将收集到的垃圾通过⽕箭飞船送⼊太空的方法。垃圾因之降落在外星球上，怒不可遏的外星人前往地球展开报复。冒险王沙基尔及其家人须尽全力保护地球免于外星人的破坏。

Ah, Jules Verne's imagination! Abseiling down volcanoes, going around the world in 80 days. If you look closely, don't you think there are some similarities with Ida Pfeiffer's adventures?

网飞于宣布，将重启知名儿童节目《天线宝宝》系列，将讲述色彩丰富的朋友（colorful friends），即Tinky Winky、Dipsy、Laa-Laa和Po，在21世纪全新版本中展开的神奇冒险。该重启系列将于11月14日上线。同时，该重启节目将由曾出演过《我本坚强》的美国黑人演员 泰塔斯·伯吉斯 （Tituss Burgess）将担任旁白主持人/画外音。

人人都爱寄居蟹贝泥，源于法国著名无对白搞笑系列《鲨鱼哥和美人鱼》最耀眼的2号人物！可怜的寄居蟹沉落到了深海之底，再也无法享受阳光沙滩美好之日。它必须想办法重回到海滩……它的精神支柱当然来源于其最佳拍档鬣狗，贝泥期待和鬣狗重逢的一天！寄居蟹贝泥以智慧、无私以及充满创造性著称，这一次它要做自己的英雄。而回归之路艰难坎坷，充满挑战：剧中时常出现一只章鱼小紫怪与寄居蟹作对，章鱼喜欢抢走寄居蟹引以为傲的宝藏工具，使得它的回家之路更加困难。另外还有迷人自负的海螺以及喜欢收集贝壳的深海潜水人，可能会把贝泥的计划有意无意地扰乱。贝泥不再是一只小小被别人踩在脚下的贝壳了，它是真正的主角英雄！

　　Mavka - a beautiful forest nymph and soul of the Forest - faces an impossible choice between love and her duty as guardian to the Heart of the Forest, when she falls in love with a human - the talented young musician Lukash. Our story is about the magical power of love. That kind of love that enables human nature to find the magic within and reveals abilities and qualities that empower a person to reach beyond possible and to hold against evil and human vice.

　　A megalith rises from a sandy desert – or rather, a scale model of such a landscape. “I am the archive”, says a young female voice while ominous string music nails viewers to their seats. This opening sets the stage for the narrative and figurative language of Rithy Panh’s dense mnemonic essay which uses stunning dioramas to tell a twenty-first century dystopian story. After a century of genocidal ideologies and destructive speciesism, animals have enslaved humans and taken over the world. In a wave of hope, the statues of the past have been removed but new ones are being erected to suppress the will of the people. This is now a planet of apes, boars and lions, and a zoological revolution is reversing and recreating the atrocities of the 20th century. As animal figures watch the film archives of our world, it feels as if Lumière has been transported into a film by Méliès or Willis H. O’Brien. We are all well aware that history repeats itself first as tragedy, then as a farce. The time has now come for this farce, in which “political language inhabits our dreams and consumes us”, to allow the possibility of a “graceful and tender insubordination” to emerge.