港人遲婚越見普遍，但隨着年齡增長，女士自然懷孕的機率不斷下降。為了「造人」，有家庭試盡各項生育科技與方法，台灣最新的試管嬰兒技術有何特別？另會追蹤游莨維偕太太北上尋找「不育神醫」、港人夫婦遠赴泰國的「追仔」歷程。　　即使成功「中獎」，也只是當母親的第一步。高齡產婦車婉婉、羅霖；「母乳星媽」董敏莉、吳日言細說箇中苦與樂。單身女星姚子羚、莊思敏又可會考慮雪卵？婆媳糾紛乃千古難題，港媽們亦分享家庭和睦之道。

　　大洙（姜东元 饰）曾经是一名前途无量的运动员，美娜（宋慧乔 饰）亦可能成为红极一时的偶像歌手，然而，一个意外降临的孩子让两个尚未成年的年青人毅然决定放弃未来和梦想，他们结为了夫妻，并且早早肩负上了为人父母的巨大责任与重担。　　然而，令两人没有想到的是，他们的孩子雅林竟然患上了罕见的先天性早衰症，乐观的大洙和善良的美娜并没有因此而放弃这个可怜的孩子，正相反，在两人的悉心照料下，亚雅林渐渐长大。一晃眼十七年过去，尽管生命中充满了病痛，但雅林依旧成为了一个开朗的，拥有8岁外貌的80岁“少年”。一次偶然中，大洙一家人的事迹被电视台制作成为了新闻报导，一下子将三人推到了舆论的风口浪尖。

　　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.

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　　《奶站风波》是由曹力、郭林主演的一部电视连续剧，这部剧是由中国传媒大学电视制作中心和北京北京海晏和清影视文化有限公司联合出品的。电视连续剧共20集。　　电视连续剧主要讲述了白成刚从农村走出去，在外闯荡十年，并且拥有了五家连锁酒店，衣锦还乡的回到了家乡。正好赶上了家乡的村子里民主选举换届。而老主任就希望能够让白成刚来当主人，带领大家共同致富。而白成 刚的死对头侯建良也想竞选村主任。但是白成刚外面还有事业，并不想当这个村主任，所以一开始的时候并没有想竞选。但是白成刚的好朋友们，还有村里面十分拥护白成刚的村民们都十分的希望能够让白成刚带领大家，于 是就劝说白成刚跟侯建良竞争。最后，原本是要回到外地继续发展的白成刚，决定应该回到家乡，带领着村民们一起致富，于是就下定决心了要回到村子里竞选村主任。而侯建良就通过一些暗箱操作来获得选票，给村民们送 钱，拉到了很多的选票，而老主任也大力支持白成本，帮助白成本拉票，但是白成刚和侯建良谁都没有占上风，而是形成了势均力敌的情况。而最后，最关键的一票竟然落在了侯建良的妻子身上，而侯建良的妻子对于自己丈 夫的各种小动作十分的不满，于是就把自己的选票投给了白成刚，白成刚当上了村里的村委主任。之后在白成刚的努力下，他们村子成为了县里的龙头村子，并且建立起来了奶牛合作组织还有旅游业股份制集团公司，村民们 过上了好日子，而这个时候白成刚却离开了村子，踏上的新的道路。

　　24岁的吉林青年宋学文在一家化建公司的工地工作，某天在工地上捡到一条类似"钥匙链"的金属小链子，并随手放进了口袋。因为这一不经意的举动，使他在接下来的两年中动了七次手术，先后被截去了双腿和左前臂,连仅存的右手也被截去了四个手指。宋学文后来得知，他捡到的那条链子叫"伽玛源"，具有强力的核辐射，是前一天晚上从一台带有放射性的仪器中不慎掉落下来的。　　出院后，由于意识到自己成了一个四肢残缺并完全失去自理能力的废人，宋学文遭受着精神上极大的痛苦。他不愿出门，害怕别人看他的眼光，就算外出，也总是将自己躲藏在伞下。他唯一的心愿是能够装上假肢再次站起来，可公司却以种种理由拒绝他的要求，加上假肢的巨额费用和家境的贫寒使他不再对生活抱有希望。　　就在他濒临绝望的时候，一个随意拨打出去的电话，使善良的女孩杨光走进了他的生活，让宋学文终于有了欢乐。在逐渐加深的交往过程中，杨光发现了宋学文严重的自卑心态，杨光开始在精神上不断帮助宋学文，使他慢慢学会自立，并让他对人生重新鼓起了勇气。　　为了向公司索取应得的赔偿而能够使宋学文装上假肢，杨光陪同他前往北京向总公司反映情况。两个年轻人来到了偌大的北京城，杨光每天推着轮椅上的宋学文步行从一个部门走到另一个部门，却接二连三地碰钉子，他们的日子也越过越窘迫。　　然而艰苦的环境却没有让他们沮丧，两人一直沉浸在快乐之中，几平米的小屋，经常充满了他们的笑声。周围人给予的帮助，也使他们感受到人情温暖。生活中的困苦，都因为他们的乐观而变得美好，两人的感情也在同甘共苦之中不知不觉地加深。　　总公司处还没有得到结果，两人却遭遇了一场骗局。同时分公司也派人来到北京，欲中止他们继续逗留在北京，使得二人被迫逃离原住处，并决定依靠法律解决问题。为了筹措庞大的律师费，两人不得不开始想办法打工赚钱。宋学文为了减轻杨光的负担，瞒着杨光偷偷去大街乞讨，却被杨光发现，二人起了争执，宋学文也因乞讨而发生了意外。　　几经周折之后，两人决定回吉林老家。宋学文在杨光的不断鼓励之下，已完全摆脱了残疾人的自卑，并找到了"站起来"的真正含义。　　本片根据宋学文的真实经历改编，并由他本人亲自出演。

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