《巾帼枭雄》

剧中浅野温子饰演一位续母与老公的孩子之间发生的趣事。孩子们在一开始当然不愿意接受这个新妈妈，但温子以她特有的乐观态度来接纳孩子们。新妈妈用她诙谐逗趣的态度来化解生活中很多尴尬的事物，而最后孩子们也把这位摩登妈妈当成亲生妈妈一样，温馨又重新回到了这个家庭这是电视剧

威廉?华莱士童年时，其父、苏格兰民族英雄马索?华莱士在与英军的斗争中牺牲，他开始接受父亲好友的指导，学习苏格兰文化和武术。青年华莱士（梅尔?吉布森）学成回到故乡，向美丽的少女梅伦求婚，不想梅伦被英军抢去且遭杀害。在广大村民“英雄之后”的呼声中，华莱士率众揭竿起义，并与苏格兰贵族罗伯结成联盟，但不久他发现，苏格兰贵族考虑的只是自身的利益。英王为缓和局势，派伊莎贝拉（苏菲?玛索）前去和华莱士谈判，由于英王只想收买华莱士，根本不顾苏格兰人民的自由和平等，谈判失败，但这一切并不为伊莎贝拉所知。伊莎贝拉归国后发现事情真相，且知晓英王正策划阴招，忙送信给华莱士，而两人的爱情，也在战争与阴谋中悄然滋生。

将《奥特Q》直到《爱迪奥特曼》的怪兽与奥特曼的名战斗场面集然后再追加编集的剧场版作品，由奥特曼兄弟的老大·佐菲负责解说。本作有36只大怪兽登场。

Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, "An anti-Julia Child replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." In this performance-based work, a static camera is focused on a woman in a kitchen. On a counter before her are a variety of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the tool. In an ironic grammatology of sound and gesture, the woman and her implements enter and transgress the familiar system of everyday kitchen meanings — the securely understood signs of domestic industry and food production erupt into anger and violence. In this alphabet of kitchen implements, states Rosler, "when the woman speaks, she names her own oppression."