Sue Thomas: F.B.Eye is an American television series that premiered in 2002 on the PAX Network. The show ended in May 2005 due to PAX’s decision to halt the production of original programming. It was one of the two highest rated shows on the network.
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The story of the audacious jewellery, gold and cash burglary at the heart of London’s diamond district executed by an elderly gang of career criminals across the Easter Bank Holiday weekend in April 2015.
It Takes a Thief is an American action-adventure television series that aired on ABC for two and a half seasons between January 9, 1968, and March 24, 1970. It starred veteran movie actor Robert Wagner in his television debut as sophisticated thief Alexander Mundy, who works for the U.S. government in return for his release from prison. For most of the series, Malachi Throne played Noah Bain, Mundy’s boss.
It was among the last of the 1960s spy television genre, although Mission: Impossible continued for several years. It Takes A Thief was inspired by, though not based upon, the 1955 Cary Grant motion picture To Catch a Thief, directed by Alfred Hitchcock; both of their titles stem from the English proverb “It takes a thief to catch a thief.”
What happens when a man who believes he has retired from MI6 is called back to do one more job to regain his life, only to discover that this job may mean he has no life to go back to.
AVietnamWardraftee(Adam)triestoavoidsayinggoodbyeandiscaughtbyhisbrother(Caleb).Theboysstruggletohavethelastword,bothdoingtheirbesttobemen,beforetheygiveintotheirfearandloveforeachother.
In the criminal justice system, sexually-based offenses are considered especially heinous. In New York City, the dedicated detectives who investigate these vicious felonies are members of an elite squad known as the Special Victims Unit. These are their stories.
The economic situation is a nightmare: only 20% of the population is employed. The Actives live inside the city. On the fringes, in the Zone, live the Jobless. Separating them is a wall.
The trials and triumphs of one of America’s wealthiest and unhappiest families, the Gettys. Told over multiple seasons and spanning the twentieth century, the series begins in 1973 with the kidnapping of John Paul Getty III, an heir to the Getty oil fortune, by the Italian mafia in Rome.
Spooks: Code 9 is a counter-intelligence drama series broadcast on BBC Three in 2008.
The series was commissioned by BBC Fiction’s controller Jane Tranter as a spin-off of their long-running drama Spooks, offering a “more maverick, younger perspective” that would attract a 16-24-year-old audience. The series follows a group of six new young MI5 recruits who “follow a different rule book”. It was produced by the independent production company Kudos and was filmed in and around Leeds and Bradford. The first two episodes were broadcast on BBC Three on 10 August 2008 and repeated on the same channel on 11 August 2008.
The decision to relate the new project to the original Spooks was controversial, with actor Georgia Moffett saying “it’s slightly misleading in terms of the word Spooks.” and producer Chris Fry saying “this is a completely new show. There are no crossover characters or storylines and, most importantly, it is set in a completely new world.” After the relatively unsuccessful first series, executive producer Karen Wilson claimed that many of the existing cast members were “contracted for another year” and outlined themes “we’d like to explore if we get a second series.”
A blood-soaked, medieval epic that tells the story of Wilkin Brattle, a 14th century warrior, whose life is forever changed when a divine messenger beseeches him to lay down his sword and lead the life of another man: a journeyman executioner. Set in northern Wales during a time rife with rebellion and political upheaval, Wilkin must walk a tight rope between protecting his true identity while also serving a mysterious destiny.
Guided by Annora, a mystical healer whose seeming omniscience keeps Wilkin under her sway; manipulated by Milus Corbett, a devious Chamberlain with grand political aspirations; and driven by a deepening connection with the Baroness Lady Love, Wilkin struggles to navigate political, emotional and supernal pitfalls in his quest to understand his greater purpose.
