《一周的偶像 第三季》在2020年2月12日播出“我是Trot歌手”特辑后，将再一次迎来改版。曹世镐与南昶熙将从节目中下车，留下光熙一人主持《一周的偶像》，未来一段时间内《一周的偶像》将会以特别MC体制进行。 特别MC 【2020】 2月19日（银赫 ） 2月26日（李伊庚） 3月4日（孝定&胜熙 (OH MY GIRL)） 3月11日（洪贤姬） 3月18日（申奉仙） 3月25日、4月1日（朴智宣、朴载正） 4月8日（李玟爀 & 柳基现 (MONSTA X)） 4月15日（许卿焕）
讲述了主角方平重生地球，却发现身边的人物没变，而现实却是高武模板的地球。武者有着常人没有的特权，使得世人羡慕，并挖空心思想成为武者。全不知真实的武者都在“阴影”下守护着普通人的安宁。
内详
香广男（黄子华饰）是公关公司的创意总监，人称“教主”的他打扮潮流、为人风流，一身“艺术家脾气”，活儿要顺心的才肯接，公司老板对此相当不满。在一次派对上，香广男误打误撞认识了盛花蕾（徐子珊饰），随后发现她是公司新聘请过来的专门对付广男的“武器”。香广男因为过去的经历，很同情城中与恋爱无缘的、无法找到真爱的“盛女”们。他在工作之余，替剩女们出谋划策，解决她们最切身的问题，重新包装，帮她们找到大好姻缘。各式各样的“盛女”轮番登场，广男会如何改造？身边的盛花蕾，又会和他碰撞出怎样的火花？
在樱花烂漫的季节里，无忧无虑的草帽海贼团尽情享受快乐时光。途中乔巴救上了一个魁梧健硕的家伙，最引人注目的是他的右腕装配了用海楼石做成的机械手腕，凡是触碰过手腕的人均能力尽失。原来此人便是曾经培养出无数优秀弟子的原海军大将Z（大冢芳忠 配音）。苏醒后的Z得知路飞（田中真弓 配音）等人的身份后反目成仇，与随后赶来的下属艾伊（筱原凉子 配音）和宾兹（香川照之 配音）对草帽海贼团予以残酷无情的重创。原来Z因某件往事而对海贼极度憎恨，此时他正酝酿一项恐怖计划，势要带领“NEO海军”将新世界的海贼一举歼灭。他的行动引起海军本部的忌惮，而惨败的路飞等人也将向这个前所未有的敌人展开新的挑战…… 本片为同名漫画改编的剧场版动画，原著作者尾田荣一郎担任制作总指挥，艾薇儿演唱主题歌《How You Remind Me》和《Bad Reputation》。
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.
十六世纪后半叶，法国处于“胡格诺战争”时期，天主教和新教残酷战争不断。而宫廷内部也奢华淫靡，腐败不堪。为了平息连年内战，信仰天主教的法国宫廷决定将玛格丽特公主（Isabelle Adjani 伊莎贝尔·阿佳妮 饰）嫁给新教徒的首领纳瓦尔国王亨利（Daniel Auteu il 丹尼尔·奥德耶 饰）。
影片改编自D.H.劳伦斯的同名小说。 查泰莱夫人（艾玛·科林 饰）对丈夫（马修·达克特 饰）的爱消磨殆尽，转而与庄园的猎场看守人（杰克·奥康奈尔 饰）展开一段炽烈恋情。
蟹釜ジョーの作品「SEIKAの空」は、桃地が愛する“SF野菜スペクタクル冒険譚”だ。舞台は野菜の国・セイカ王国。魔王ヤオーヤと廃棄野菜の恨みから生まれた怪人たちの恐怖から民衆を守るべく立ち上がった勇者たちの闘いが描かれる。
里奇（肖恩•克里斯汀森Shawn Christensen 饰）是一个早就对生命失去了全部热情的抑郁男子，终于，他再也无法忍受精神上的重负，决定自杀。然而，就在他割了腕，徘徊在死亡线上的这个节骨眼，很久都没有联系的姐姐玛姬（埃米•罗森Emmy Rossum 饰）突然打来了电话，请求里奇去照顾她的小女儿索菲亚（法蒂玛•普泰西克 Fatima Ptacek 饰），一番天人交战之后，里奇决定先将自杀的事情放一放。 就这样，里奇见到了索菲亚，这个早熟的小姑娘给予了他很深的影响，随着时间的推移，索菲亚和里奇之间建立了信任，可惜的是，索菲亚的依赖并不能够让里奇放弃自杀，他的下一个自杀计划已经提上了日程。
重大革命历史题材电视剧《建国大业》