そして、2023年7月、“再”をテーマに新たな都市伝説をお届けする十一期の放送が決定した。脚本は、闇芝居シリーズを数多く手掛けてきた熊本浩武、佐々木充郭、初参加となる吉川兆二、テレビ東京の山川典夫らが担当します。作画は、武藤聖馬、日暮桃花、海老原優、にしやまひろし＆りえ、jimmyらが担当します。演出は、前シリーズから引き続き船田晃が担当します。
讲述的是都市职场女性爱情、生活、事业的故事。三个女人为了抢夺能改变自己命运的男人，展开“斗艳”攻势。她们由曾经的单纯青涩，一步步变为攻于心计的都市“厉人”。 女主角利用她的单纯朴实成功吸引男主角的目光，夺得男主角芳心；也正因此导致昔日无话不谈的闺蜜反目成仇。正当大家都羡慕丑小鸭终于凭借她的努力飞上枝头的同时，女主角爆出惊人内幕，令众人大跌眼镜。究竟她的身上藏有什么秘密？居心何在？ 这是一场女人的斗艳之战！ 究竟谁能成为蜂巢的皇后成为影片最大的悬念！
聪明的教授的寡妇绊倒了他的一个发明，能够记录和发挥一个人的记忆。
有“警察中的警察”之称的监察官，职责是管制警察内部的一切不正之风，是警察最忌讳的职务。其中，有一名监察官，不仅是警察，连事件调查也作为监察对象。这个人就是“被讨厌的监察官”音无一六（小日向文世饰）。在警视厅警务部部长千住辽子（田中美佐子饰）的指示下，音无一六坚持自己的正义，无论如何被人讨厌也要尽好自己的职责，以敏锐的观察力，挑战无数的疑难案件。@哦撸马（阿点）
剧情介绍淞沪会战后，上海沦陷，孤岛时间的上海租借地却出现了意想不到的畸形繁荣景象，一种用于对抗轴心国的新型武器蓝图被日本人获得，一支由多国成员组成的行动队夺回武器蓝图逃入租界，日本人无法将触角伸向租借，便借助一个名为“书院”的民间暗杀组织，深入租界抢夺武器蓝图。特别行动队受到了“书院”组织伏击，队员伤亡惨重。小分队逃脱追杀后，一名成员叛变，得到武器蓝图，此人正是阿祥，可武器蓝图是假...
Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
美丽的大学校园里，大梦乐队主唱曾浩兵（沈建宏 饰）和篮球社社长张荒（陈向熙 饰），因为各自学生社团招新以及活动的场地问题产生了冲突。本来胜券在握的曾浩兵却被拳击系女生莫乱（卓文萱 饰）的突然出现打乱了阵脚。为了“招安”对方，身为艺术才子的曾浩兵想尽了一切泡妞大法，却对性格直爽的莫乱毫无吸引力，然而不经意间他发现了莫乱内心深处的泪水。曾浩兵的陪伴帮助莫乱走出了心中的阴霾，也在对方的支持下重拾了自己深藏多年的音乐梦想。
一男一女相爱，准备订婚。但是男的受了一个坏女人的欺骗，被迫与坏女人结婚。女的也嫁给了一个她不爱的人。男女主角各自结婚后，还在默默想着对方，最后终于再次相遇。
台湾南部小镇上，有个女子乐队，每天为婚丧嫁娶演奏，收入甚微队员桂枝貌美聪慧，因家境贫困，到乐队吹奏乐器。乐队队长老猴子暗恋着她。乐队老板娘的侄子阿郎，长得英俊潇洒，不务正业，被不少女人追逐。他常到乐队与女队员厮混。老板娘不喜欢他，桂枝也瞧不起他。一次，桂枝看到阿郎为维护自己做人的尊严，将一个女人送给他的汽车和衣物退还，遂改变了对阿郎的看法，两人开始恋爱而且有了孩子。但终因阿郎的不负责任，桂枝在伤心之余只好答应五十多岁的老猴子的求婚。老猴子为桂枝还清其父母借老板娘两万余元的债务。不料一次桂枝偶遇阿郎，又重新燃起恋情，两人相偕到高雄谋生。阿郎开始洗心革面，力图负起养家的责任，但苦于无—技之长。为了糊口，他摆起了西瓜摊，却被取缔。一气之下，他把西瓜摊砸个稀烂。几经波折，婚姻陷于绝境。最后他找到一份驾驶货车运猪的工作，日夜冒着生命危险开车赚钱。桂枝担心他的生命安全，以离开他作威胁，要他辞掉运猪的工作。阿郎不肯。
彝族小女孩咪依噜父母意外车祸遭遇不幸，从未见过面的外公罗老爹接她回彝族小镇共同生活，陌生的环境使咪依噜更加思念妈妈，老师让同学们给自己最亲的人写封信，咪依噜写给了妈妈并寄到了原来的家，新住户美国女孩萨娜被咪依噜的思念感动，不知真相的她开始给咪依噜回信，直到咪依噜跑来找妈妈，萨娜才了解妈妈在天堂萨娜到了彝族小镇被彝族文化和彝族人的纯朴与真诚深深触动，毅然决定辞去白领工作到彝族小镇去支教。