In the tradition of The Twilight Zone, this bizarre, thought-provoking trilogy addresses the destiny of the world's minorities: Part I: A conservative African American politician must choose between his people's survival and appeasing his white colleagues when space aliens propose to share their profound knowledge in exchange for all black people on earth. Part II: The Virgin Mary's appearance in an inner-city housing project forces a Hispanic priest to face the hidden cultural origins of Western religion. Part III: On the dawn of the "Black Revolution," an African American couple discovers who the "real" enemy is.

A young man searches his deceased father’s flat for a document that will justify expenditure for a large sum of money. He’s not been to the flat for quite some time and discovers with stupefaction his father’s strange acquisition.

Young Kid has been invited to a party at his friend Play's house. But after a fight at school, Kid's father grounds him. None the less, Kid sneaks out when his father falls asleep. But Kid doesn't know that three of the thugs at school have decided to give him a lesson in behavior.

Most opera houses ring in the New Year with Johann Strauss Jr.'s most popular operetta--the festiveness of which is appropriate for the occasion--and this December 31, 1983, Covent Garden performance follows suit. An exceptional cast--led by Hermann Prey and Kiri Te Kanawa as the couple whose marriage survives the comic indiscretions of three long acts--obviously has as much fun as the audience. Plácido Domingo leads the Orchestra of the Royal Opera House through its paces with panache. Prince Orlofsky's Act II party is always a splendid opportunity to pull out all the stops with surprise "guests," and this performance makes the most of its chance: entering the proceedings to sing one of his tailor-made chansons, "She," is French crooner Charles Aznavour, who is followed by dancers Merle Park and Wayne Eagling, their delightful pas de deux flashily choreographed by Sir Frederick Ashton.