Ulysses 31 is a Franco-Japanese animated television series

The plot line of the series, describes the struggles of Ulysses and his crew against the divine entities that rule the universe, the ancient gods from Greek mythology. The Gods of Olympus are angered when Ulysses, commander of the giant spaceship, Odyssey, kills the giant Cyclops to save a group of enslaved children, including his son. Zeus sentences Ulysses to travel the universe with his crew frozen until he finds the Kingdom of Hades, at which point his crew will be revived and he will be able to return to Earth. Along the way they encounter numerous other famous figures from Greek mythology given a futuristic twist.

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AmanisbeatentodeathintheMiddleEast.InStockholm,ayoungwomandisappearsonherwayhomefromwork.Thesetwoeventswillprovetoberelated.SinceMartinBeckhasquit,SteinarHovlandleadsthesearchforthemissinggirl.ButMartinisdrawnintothecasewhenhedecidestohelpthenationalSecurityPoliceinvestigateasuspectedterrorist.Theysoonrealizethattheyareinaraceagainsttimetostopacatastrophe.

Toronto’s only female private detective in the 1920s takes on the cases the police don’t want or can’t handle.

Nikita will stop at nothing to expose and destroy Division, the secret U.S. agency who trained her as a spy and assassin.

Mary Hartman, Mary Hartman is an American soap opera parody that aired in daily syndication from January 1976 to May 1977. The series was produced by Norman Lear, directed by Joan Darling and Jim Drake, and starred Louise Lasser. The series writers were Gail Parent and Ann Marcus.

The show’s title was the eponymous character’s name stated twice, because Lear and the writers believed that everything that was said on a soap opera was said twice.

In 2004 and 2007, Mary Hartman, Mary Hartman was ranked #21 and #26 on “TV Guide’s Top Cult Shows Ever”.

An epic drama set in 43AD as the Roman Imperial Army – determined and terrified in equal measure – returns to crush the Celtic heart of Britannia – a mysterious land ruled by warrior women and powerful druids who can channel the powerful forces of the underworld. Or so they say.

Rescue: Special Ops is an Australian television drama series that first screened on the Nine Network in 2009. Filmed in and around Sydney, the program is produced by Southern Star Group with the assistance of Screen Australia and the New South Wales Government.

This drama series focuses on a team of experienced professional paramedics who specialise in rescue operations. It premiered on Sunday 2 August 2009, and the season finale of the first season aired on Sunday 25 October. A second season screened from 28 June 2010. The third and final season consisting of 22 episodes screened from 30 May 2011. The Nine Network has confirmed it will not be renewing Rescue Special Ops for a fourth season.

When the Los Angeles County’s Sheriff dies, an arcane rule forged back in the Wild West thrusts the most unlikely man into the job: a fifth-generation lawman, more comfortable taking down bad guys than navigating a sea of politics, who won’t rest until justice is served.

A group of friends from Boston who feel feel stuck in life experience an unexpected wake-up call after one of their friend dies unexpectedly.

La Femme Nikita was a Canadian action/drama television series based on the French film Nikita by Luc Besson. The series was co-produced by Jay Firestone of Fireworks Entertainment and Warner Bros.. It was adapted for television by Joel Surnow. The series was first telecast in North America on the USA Network cable channel on January 13, 1997, and ran for five television seasons—until March 2001. The series was also aired in Canada on the over-the-air CTV Television Network. La Femme Nikita was the highest-rated drama on American basic cable during its first two seasons. It was also distributed in some other countries, and it continues to have a strong cult following.

The Covert Investigations Unit (CIU) risks going undercover to infiltrate and bring down criminal organizations. In this new style of short-term, high-intensity undercover work, each covert “play” is crafted quickly and executed at an even faster pace. Placed into various worlds of crime without a safety net, the cops are in constant danger, as they repeatedly go off the grid. Wearing wires, coaxing confessions, and setting up stings, the cops of the CIU must think quickly, talk smoothly, and rely on pure instinct. They slip in and out of characters so often that, sometimes, they lose track of who they really are.