簡介：　　Fran has had a pen pal named Lenny since the first grade. Fran and Lenny, through their letters, get along famously, almost like boyfriend/girlfriend. They agreed early on never to exchange photographs, but Lenny, coming to New York, wants to meet Fran in person. Maxwell is anxious to meet Lenny as he feels he's in competition with Lenny. Fran, on the other hand, is nervous to meet Lenny as she has exaggerated who "Fran Fine" is in her letters. But Fran agrees to meet Lenny at the Russian Tea Room, each identifying the other by the red rose worn on their lapels. Again, Maxwell is anxious to see Lenny, and accompanies Fran to the Russian Tea Room and stays with her until Lenny shows up. Fran and Maxwell are having a nice enough "date" of their own while they wait for Lenny, so nice that Fran almost doesn't care if Lenny shows up or not.

簡介：CBS續(xù)訂《海軍罪案調(diào)查處》第二十二季。

簡介：　　弗蘭剛剛辭去在她男朋友店里作為新娘顧問的工作，每一次出現(xiàn)在百老匯制片人麥克斯威爾-謝菲爾德家門口的臺階上叫賣化妝品。麥克斯威爾家里的保姆在他的小兒子上演了一出"自殺"的鬧劇后提出辭職，弗蘭不失時機成為他家三個孩子的保姆。不久，弗蘭以其不落俗套的教育方式和求實正直的態(tài)度感動了麥克斯威爾和孩子們。于是出現(xiàn)了藍領(lǐng)遇貴族的情境。弗蘭通過向古板正經(jīng)的麥克斯威爾及其問題多端的孩子略施一計"奎恩邏輯"，贏得了麥克斯威爾和孩子們的心，幫助他們建立起了一個身心健康、美滿、幸福的家。　　弗蘭對麥克斯威爾的三個孩子的影響，盡管有時并不是他們的父親所期望的，但確是孩子們所需要的。在弗蘭的照料下，麥琪從一個膽小害羞的女孩成長為充滿自信的年輕女子；布萊頓是位惡作劇大師，他剛剛發(fā)現(xiàn)追逐女孩的樂趣，并沉緬于他個人建立的信托基金中。格蕾絲曾是多愁多病身，而因為有了弗蘭，她再也不用每天去看臨床醫(yī)生了。奈爾斯是這個家庭的男管家，他以犀利的目光注視著眼前發(fā)生的一切。他發(fā)現(xiàn)弗蘭有將溫情帶入這個家庭的天賦，認(rèn)定弗蘭是這個家庭將來的女主人，并表現(xiàn)得比新郎更加殷切地希望弗蘭入主。　　茜茜是麥克斯威爾的商業(yè)伙伴，她總以一種猜忌的眼光看待弗蘭，把麥克斯威爾視為囊中之物。在幻想遭到挫敗之后，茜茜轉(zhuǎn)向奈爾斯示愛，但是，她又遭到了拒絕。 娶了弗蘭之后，麥克斯威爾還需同弗蘭的老媽塞爾維亞夫人競爭。塞爾維亞夫人每天在麥克斯威爾家進出自如，并試圖以她自己的方式來影響女兒和這個家庭。 弗蘭最好的朋友瓦爾總是給弗蘭提建議，搞得弗蘭的邏輯與相對論相差無幾。

簡介：　　《權(quán)力的游戲》制片人弗蘭克·多爾格要為德國ZDF電視臺開發(fā)一部全新驚悚劇集《康考迪亞》（Concordia），設(shè)定類似《少數(shù)派報告》，數(shù)百萬臺攝像機連接到一個人工智能系統(tǒng)，該系統(tǒng)監(jiān)控公民生活的方方面面，并在犯罪嫌疑人犯罪之前阻止他們，整個城市沒有槍支，犯罪率為零，直到有一天，在郊區(qū)發(fā)現(xiàn)了一具尸體……該劇集已邀請《弗蘭肯斯坦傳奇》的編劇Mike Walden撰寫劇本。

簡介：　　Australian comedian and actor Felicity Ward (“Wakefield,” “The Inbetweeners 2”) will portray Hannah Howard, the MD of packaging company Flinley Craddick in “The Office Australia.” In a post-COVID plot twist, Howard gets news from head office that her branch will be shutting down and that staff will have to work from home. She goes into survival mode, making promises she can’t keep and launches outlandish plots in order to keep her “work family” together.

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