Set in the year 2029 after a decade long pandemic kills over four billion people worldwide, SARS-29 is a fictional documentary that explores how the world has changed through the stories of thirty survivors.
Set in the year 2029 after a decade long pandemic kills over four billion people worldwide, SARS-29 is a fictional documentary that explores how the world has changed through the stories of thirty survivors.
Brian Jones, Jimi Hendrix, Janis Joplin and Jim Morrison all died at the age of 27 between 1969 and 1971. At the time, the coincidence gave rise to some comment, but it was not until the death of Kurt Cobain, about two and a half decades later, that the idea of a “27 Club” began to catch on in public perception, reignited with the death of Amy Winehouse in 2011. Through interviews with people who knew them, such as music stars, critics, medical experts and unseen footage, the lives, music, and artistry of those who died at 27 are investigated with a bid to find answers.
A disease that turns people into zombies has been cured. The once-infected zombies are discriminated against by society and their own families, which causes social issues to arise. This leads to militant government interference.
After Janie accidentally murders her husband during disputed infidelity over a stripper, her husband’s brother introduces her to an Aztec spell that resurrects him from the dead; Unfortunately, he returns to take revenge.
National Geographic explores the fatal series of avoidable human errors that sent Titanic to her watery grave.
Physics prodigy Stillman (Butterfield) is destined for great things, only to be derailed when his girlfriend, Debbie (Turner) suddenly dumps him. But Stillman isn’t beaten, he does what any heartbroken genius would do – he invents a time machine to get a second chance at love.
An unlikely heir to a Mexican fast-food franchise goes ‘cuisine’ hunting for the next culinary big thing, and finds himself in a small, dusty New Mexican town where foodies come from all over to salivate over the culinary treats of a local, authentic, and feisty female chef.
Hall of Famer, Nat ‘Sweetwater’ Clifton, makes history as the first African American to sign an NBA contract, forever changing how the game of basketball is played.
For many years, young Molly Gibson had lived a blissful sheltered life with her widower father. However, her world is shaken with the introduction of new acquaintances and situations. Molly becomes friends with a landed gentry family, which includes two brothers with very different temperaments. Meanwhile, her father marries a widow with a daughter close in age to Molly. Eventually, Molly becomes a trusted confidante for her new friends and family; but the secrets become burdensome, as the gossip begins to circulate about Molly herself.
Keen young Raymond Avila joins the Internal Affairs Department of the Los Angeles police. He and partner Amy Wallace are soon looking closely at the activities of cop Dennis Peck whose financial holdings start to suggest something shady. Indeed Peck is involved in any number of dubious or downright criminal activities. He is also devious, a womaniser, and a clever manipulator, and he starts to turn his attention on Avila.
Fleabag is a rip-roaring look at some sort of woman living her sort of life. She may seem oversexed, emotionally unfiltered, and self-obsessed, but that’s just the tip of the iceberg. With family and friendships under strain and a guinea pig café struggling to keep afloat, Fleabag suddenly finds herself with nothing to lose.
Back in 1968, a one-hit wonder rock band from Appleton, Wisconsin vanished in a plane crash somewhere in the Swiss Alps. Now, 50 years later, the aircraft has just been discovered with the Squirrels still inside – frozen alive. After they’re returned home, thawed, and are struggling to return to their former selves, the IRS arrests them for owing a half century of back taxes. To stay out of prison, the Squirrels have to prove they can pay the money back by convincing the government they’re capable of performing once again. Unfortunately, they’re not.