When the British Prime Minister's husband is kidnapped and the visiting French President is blackmailed, the two political leaders both face unimaginable choices. Forced into a fierce rivalry where their political futures, and lives, might hang in the balance, can they work together to uncover the plot that threatens them both?

When bodies begin turning up in the tranquil English countryside that he has recently made home, a forensic anthropologist helps local police in a race against time.

Ruined is a play by Lynn Nottage. The play won the 2009 Pulitzer Prize for Drama. The play involves the plight of women in the civil war-torn Democratic Republic of Congo.

British television drama

如果说《麦克白》是莎士比亚戏剧中心理描写最多最精彩的一部的话，那么《奥赛罗》的主人公心理至今仍是莎迷和莎剧研究者们解不开的谜团：奥赛罗究竟为什么杀了自己的妻子？嫉妒是否能有如此大的力量？伊阿古究竟为什么一定要挑唆奥赛罗与苔丝狄蒙娜？仅仅是为了他得不到该有的职位吗？甚至有人怀疑伊阿古对奥赛罗怀着同性之爱，至少他比奥赛罗有着更深的嫉妒心。

Act I: 1959

Grieving parents Bev and Russ are planning to sell their home in the white middle-class Chicago neighborhood of Clybourne Park. They receive a visit from their local clergyman, as well as a neighbor and his deaf, pregnant wife; the neighbor informs them that the family buying the house is black, and pleads with the couple to back out of the deal, for fear that area property values will fall if black residents move in. It becomes apparent that the black family moving in are the Youngers, the protagonists of A Raisin in the Sun , and the neighbor, Karl, is Karl Lindner, the minor character from that play who attempts to bribe the Youngers into abandoning their plans to move into the neighborhood. As arguments ensue about the potential problems of integrating the neighborhood, both couples awkwardly call on Russ and Bev's black housekeeper and her husband to express their opposing views. Russ finally snaps and throws everyone out of the house, saying he no longer cares about his neighbors after their callousness and cruelty to his son Kenneth when he returned home from the Korean War . Kenneth later committed suicide on the upper floor of their home.
Act II: 2009

Set in the same home as Act I, the same actors reappear playing different characters. In the intervening fifty years, Clybourne Park has become an all-black neighborhood, which is now gentrifying . A white couple seeking to buy and replace the house are being forced to negotiate with local housing regulations with a black couple representing a neighborhood organization. The white couple's lawyer, the daughter of the neighbor and his deaf wife, mentions that her family moved out of the neighborhood around the time of her birth; the black wife is a relative of the family who bought the home from Bev and Russ. The discussion of housing codes soon degenerates into one of racial issues, revealing resentments from both parties. While this is happening, a workman finds an old trunk that Russ has buried in the back yard, with some of the things of their son, including his final letter.

In a short coda, we see Bev back in 1959, catching her son awake late at night (and probably writing his suicide note), she says, naively, "I really believe things are about to change for the better."

Since the original run, Shaffer has extensively revised his play, including changes to plot details; the following is common to all revisions.

At the opening of the tale, Salieri is an old man, having long outlived his fame, and is convinced he used poison to assassinate Mozart. Speaking directly to the audience, he promises to explain himself. The action then flashes back to the eighteenth century, at a time when Salieri has not met Mozart in person, but has heard of him and his music. He adores Mozart's compositions, and is thrilled at the chance to meet Mozart in person, during a salon at which some of Mozart's compositions will be played. When he finally does catch sight of Mozart, however, he is deeply disappointed to find that Mozart's personality does not match the grace or charm of his compositions. When Salieri first meets him, Mozart is crawling around on his hands and knees, engaging in profane talk with his future bride Constanze Weber .

Salieri cannot reconcile Mozart's boorish behaviour with the genius that God has inexplicably bestowed upon him. Indeed, Salieri, who has been a devout Catholic all his life, cannot believe that God would choose Mozart over him for such a gift. Salieri renounces God and vows to do everything in his power to destroy Mozart as a way of getting back at his Creator.

Throughout much of the rest of the play, Salieri masquerades as Mozart's ally to his face while doing his utmost to destroy his reputation and any success his compositions may have. On more than one occasion it is only the direct intervention of the Emperor himself that allows Mozart to continue (interventions which Salieri opposes, and then is all too happy to take credit for when Mozart assumes it was he who intervened). Salieri also humiliates Mozart's wife when she comes to Salieri for aid, and smears Mozart's character with the Emperor and the court. A major theme in Amadeus is Mozart's repeated attempts to win over the aristocratic "public" with increasingly brilliant compositions, which are always frustrated either by Salieri or by the aristocracy's own inability to appreciate Mozart's genius.

The play ends with Salieri attempting suicide in a last attempt to be remembered, leaving a false confession of having murdered Mozart with arsenic . He survives, however, and his confession is disbelieved by all, leaving him to wallow once again in mediocrity.

television series

2020 Sky Atlantic drama TV series

Music. Power. Jealousy.
Lucian Msamati (Luther, Game of Thrones, NT Live: The Comedy of Errors) plays Salieri in Peter Shaffer’s iconic play, broadcast live from the National Theatre, and with live orchestral accompaniment by Southbank Sinfonia.
Wolfgang Amadeus Mozart, a rowdy young prodigy, arrives in Vienna, the music capital of the world – and he’s determined to make a splash. Awestruck by his genius, court composer Antonio Salieri has the power to promote his talent or destroy his name. Seized by obsessive jealousy he begins a war with Mozart, with music, and ultimately, with God.
After winning multiple Olivier and Tony Awards when it had its premiere at the National Theatre in 1979, Amadeus was adapted into an Academy Award-winning film.