Andre Carter (Dre) a seventeen year old boy, accidently kills a man and gets away with it. A year later, after feeling guilty and remorse, Dre decides to turn himself into the police, but before doing so, he confesses to the dead man’s family. He looks for them and discovers that because of their loss, they’ve hit hard times so he decides to help them first. He helps the wife get a job, befriends his thirteen year old son and falls in love with his eighteen year old daughter. The questions is… how could he turn himself in now?

Alan and Wendy Barnet, a quiet, upper-middle-class yuppie couple, are stuck in rut romantically. After some soul-searching, they decide to spice up their sex life by placing an ad in a swingers magazine. From among the many replies they receive, they arrange a date with Jack and Louise Bauer, a young couple who seem similar to the Barnets. After a very enoyable evening of spouse-swapping, the Barnets feel they’ve broken out of their rut and are ready to return to a life of monogamy. The Bauers, unfortunately, aren’t quite so ready to let go.

Amy is Jewish, nearing 30, single, and the successful author of “Why Love Doesn’t Work,” a self-help book for women who aren’t in love. She’s also a self-described sexorexic - she hasn’t had sex with a man in four years and has never had a “mental orgasm.” She gets plenty of advice - from her publicist, from her best friends (a married couple), from her parents, and from a priest to whom she goes to confession - so there’s lots of conflicting emotion and analysis when she starts dating Matthew Starr, a good-looking playboy who’s a popular L.A. male-chauvinist-pig radio shock jock. Each of Amy’s theories and rules is put to the test - people may not change, but can love work?

At a secret Russian nuclear missile base, an ex-U.S. SEAL member(Damian Chapa) is planning to launch a missile strike on the United States, and the only way to stop him is with the best of the best. Because of a natural gas refinery leak, the newly formed team must infiltrate without conventional weapons and use a mixture of martial arts skills, swords, crossbows and unconventional arms in their top secret attack.

In this hourlong made-for-cable comedy special, taped live at the Beacon Theater in New York City, veteran comic George Carlin combines his typically dirty-mouthed observational humor — including material from his book Napalm & Silly Putty — with jokes and anecdotes of a decidedly splenetic nature. An extended introduction establishes Carlin’s New York credentials and addresses the aftermath of the World Trade Center and Pentagon attacks of September 11, 2001 (which occurred after most of the set’s material was written). Carlin then lightens the mood, poking fun at a wide range of subjects, from farts and “lip crud” to traffic accidents and Andrew Lloyd Webber. Once he’s warmed up, though, the meat of his performance consists of a list of “People Who Ought To Be Killed.” These include readers of self-help books, parents who display bumper stickers about their kids’ “minor academic achievements,” men who use hands-free cellular telephones on the street, people who wear visors, singers without surnames, folks who state the obvious on their answering machines, hot air balloonists, consumers who buy gum and other small-ticket items with their charge cards, gun enthusiasts and would-be space colonists. Over-the-top profanity and oblique social commentary lace each of these extended complaints and grievances. The final piece of material — an explanation of why the Ten Commandments should have been reduced down to the Two Commandments — brings the set full circle as Carlin vents his political and religious beliefs and makes pointed barbs at religious fanatics who kill in the name of god. George Carlin: Complaints and Grievances was broadcast live on HBO on Nov. 17, 2001. The comic’s longstanding relationship with HBO stretches back to 1977; Complaints and Grievances is his 13th special for the premium cable network.

An adventure story about a young Marco whose ancestor was the descendant of the famous historical Marco Polo, takes an exciting journey to the mythical kingdom of Xanadu. He must travel back to the land of the Kubla Khan to save it from an evil villain who is a magician, known as Foo-Ling who does not want Marco to reach Xanadu. The help of his friends and the great powers of the medallion enable Marco to chase after Foo-Ling through space and time, and one day, bring him back to justice.

Bill Bailey has always been a desirable addition to any comedy club-night. His considerable keyboard and guitar skills inevitably provide a memorable highlight to any line-up of comedians on the circuit. In short, the man has charisma; in a one-man show, however, Bailey’s a little unfocused. Filmed at the Grand Theatre, Swansea, Bill Bailey—Bewilderness Live takes too long to get going. It’s a form of self-deprecation designed to encourage endearment in his audience, but he spends so much time deconstructing his presence on stage that we begin to question the validity of him being there at all. Soon though, Bailey is comfortably installed behind his keyboard; it’s then that the entertainment starts. He doesn’t stick exclusively to songs, but makes the keyboard work for him as a box of sound effects. Bailey also throws in a few location-specific gags to make his audience feel special and gets an easy laugh with the idea of their national dish being cheese on toast.

Jumping around from musing about the disappointment of Kinder Surprise eggs to medieval porn to men’s tendency not to admit ignorance to a brilliant take-off of Chris de Burgh, which comes out of nowhere. Yes, Bailey lacks an inherent structure—unlike Harry Hill or Al Murray—so you could walk in half way through and not miss any underlying subtleties. Even without clever connections between individual set pieces, there are enough stand-alone moments of pure comic bliss that’ll have you weeping with mirth.This is a man blessed with a good face for comedy and a likeable demeanour and softness (however accidental), which inclines you towards cutting him more slack.

On November 4, 1970 on The CBS Evening News, Walter Cronkite reported on a true, horrific story that was about to rock the country. A 13-year-old girl was discovered in the small Los Angeles suburb of Arcadia who was still in diapers, barely able to walk and unable to speak. Kept in severe isolation by her parents with virtually no human contact for more than 10 years, she was confined to her bedroom, tied to her potty-chair and left to fend for herself. As Cronkite noted, it was one of the most horrendous cases of child abuse ever to surface. Much like an animal, the girl spat, sniffed and clawed. She had none of the traits or characteristics of conventional human behavior, nor could she comprehend such modern societal conveniences as silverware or bathroom etiquette. Her emotional development was practically non-existent, and she could not speak. With this heartbreaking story, the world was being introduced to a fragile, beautiful teenager who seemed and behaved like an infant, or Wild Child.

The annual British Hairdressing Championship comes to Keighley, a town where Phil and son Brian run a barbershop and Phil’s ex-wife Shelly and her lover Sandra run a beauty salon. Phil and Shelly haven’t talked in ten years, since she bolted; she’s just found out her cancer is terminal; and, Ray Roberts, the reigning hairdressing champion, blows into town taunting Phil for retreating from competitive styling into barbering. Roberts also brings his daughter, Christina, who remembers Brian from when she was a little kid. Everything’s set: Brian decides to enter the competition with his mom and Sandra; will Phil join in? Ray wants to win at any cost; will Christina go along?

A child of a middle class home with solid moral values is lured into a world of crime and corruption.