睦悟郎是个热爱动物、心地善良的青年,却总是遭遇不幸 公司倒闭、弄丢钱包、连走在路上都会撞到招牌…彷彿全世界的霉运都降临在他身上!某日,睦悟郎巧遇一个占卜师,人生从此由黑白变彩色! 当睦悟郎回到家里,竟然有三个可爱的美少女迎接他!这三名自称为小兰、小翼与久留美的女孩,其实是悟郎过去饲养的金鱼、鸚鵡和黄金鼠。牠们在死后为了报恩,以人类的姿态现身,成为悟郎的守护天使,也开始了悟郎另一种苦难日子……
故事聚焦惹人爱的废柴风筝人,他和新女友金色滑翔者兼职充当罪犯,以支持他们愚蠢的购买项目——哥谭最乌烟瘴气的廉价酒吧Noonan’s。在Lex Luthor的“末日军团”阴影下开一家酒吧,让风筝人和金色滑翔者的关系进入到了下一个阶段。没有人说过在阿卡姆疯人院之外为最危险的恶棍们提供啤酒会很容易,但有时候你会想去一个人人都知道你名字、人人都知道如何藏尸的地方。
大家最喜欢的小猎犬回来了!
这是一个全民直播的时代,流量即金钱,弱鸡刘明浩误打误撞通过“打架”视频走红网络,开始了直播之路。为了赚钱还清欠款,需要足够“抗揍”,为此,他点开了一个神秘的账号,这个账号专门上传格斗技巧的教学视频。今天也励志成为不挨打又能赚钱的主播~
这一季中,西蒙仍然是我们所知道和喜爱的那个超级精力充沛、超级有魅力和超级淘气的小兔子!西蒙的生活经常是阳光明媚的,就算偶尔天空中有雨云,你都知道西蒙是这样说的:“雨后总是阳光明媚!”。新故事中,西蒙和他的家人们同学们好朋友们…一起探索了更多新奇的地方(美丽的风景区,在小乡村,在山上,在海边,一起进行实地考察),他也会花更多的时间陪在爷爷奶奶身边,和父母一起外出度假,主动结识新朋友,像一个真正的大哥哥一样保护并教导他的小弟弟,和他一起快乐的成长。而且经历了两季的成长,西蒙的领导力明显提升了,他的性格和价值观,更为独立、更为成熟了。所以这一季中,西蒙当然更加棒了!(《超人兔 第三季》) 制作:GO-N Productions
妹控小说家‧羽岛伊月,随时有一群充满个性的人聚集在他的身旁。 爱与才能都是重量级,高阶的缺憾系美少女‧可儿那由多。 对恋爱迷惘对友情迷惘对梦想迷惘的青春三冠王‧白川京。 鬼畜税金拯救者‧大野艾希莉。 天才插画家‧屁桃。 伊月等人各自心怀迷惘与烦恼,有时一起打电动,有时结 伴旅行,有时埋首工作,每天都过着热热闹闹的日子。 总是温柔地在旁守护,如完美超人般的弟弟‧千寻其实怀有重大的秘密──
New York, same mission.
《蛋神Ⅱ》讲述的是来自冻龄世界的布鲁塔和巴克尔,企图征服地球,统治人类,他们要让地球上的大人变小,小朋友不再长大。而在这个危机时刻,小朋友玩具陀螺的蛋神觉醒了,热血小孩石牧龙,天才小科学家司想,善良体贴的代家乐,完美女孩上官映雪,四个性格迥异的小朋友因蛋神结缘,它们一起和暗黑势力斗智斗勇。在这个过程中,自称是冻龄世界第二聪明的人,其实却是愚蠢无比的巴克尔,利用女王布鲁塔发明的各种新型“武器”,誓要抢到蛋神。小朋友在和巴克尔的斗争中,建立了深厚的友谊,同时也在相互的帮助下克服了自身的缺点,收获了勇敢、诚实、自信、坚强等优秀品质,懂得了亲情、友情、团结的重要性。
Five days after successfully rescuing Quinn Ergon from her prison, Gary Goodspeed, the Team Squad, and Bolo find themselves trapped within t he horrific dimension of Final Space, with everything being only a question of survival. Pursued relentlessly by Invictus, the newly resurrected Lord Commander, and the Titans, all determined to capture Mooncake to become even more powerful, the Team Squad's only hope is to ally themselves with Earth's last survivor before it's too late. --Final Space Wiki
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.