Join us for a festive and spectacular revival of Lise Nørgaard's beloved TV series, which unfolds here in a new, lavish, and modern version. For two whole seasons, "Matador Musical" has played to sold-out houses at the Opera House in Copenhagen. In just a few hours, the 85,000 tickets were snapped up, and many were left disappointed. The audience was ecstatic—and the success was a sure thing! And there is really something to look forward to when Danish theater's "happy boy," director Peter Langdal, dazzles us with the familiar Matador universe in a new and modern production that spares no ambition: It doesn't get much more spectacular than this, when the dream team of actors, singers, and dancers are unleashed on the Opera's grand stage in a lively fireworks display, accompanied by Denmark's arguably best band, the Radio Entertainment Orchestra.

At The Kingdom, Denmark's most technologically advanced hospital, a number of strange and otherworldly events begin occurring, much to the dismay of its doctors and patients. A ghostly ambulance appears and disappears, the voice of a little girl calls to a patient in an elevator shaft, and a doctor's fetus begins growing at an alarming rate.

In the wake of a divorce, Thelma now lives alone with her teenage daughter Irene. Somewhat overwhelmed by the situation (and initially often hiding in bed), the two women embark on new experiences. The contours of new identities and a firmer footing as individuals gradually emerge.

A cheerful tale of what can happen when the two sexes try to achieve balance through millimeter democracy, including when it comes to love and cohabitation. After throwing rolling pins and other objects at their husbands, the women have left their husbands behind in the city and are spending sunny and fun days at a camp, while their husbands take over the boring daily chores. The men send a brave negotiator, who approaches the camp with a white flag raised above his head.

The nice town of Kellyville is too small to accomodate the world's worst scoundrels, Albert and Egon, who decides to go out in the world.

The evil lawyer wants to take over the estate, and the evil farmer Esben helps him. But if the good farmer Svend Åge gets the red cow Rosa to bellow while Niels Peder yodels, then the horse that the stable boy Morten is riding on the trotting track will run faster and win the race. Then the lawyer will no longer be able to take over the estate, but it could all go down the drain if he steals Rosa.

On the surface Henrik and Nina Christofferson are an ordinary family living happily. But they have a problem. Their daughter, Stine, a difficult 14 year old, has a habit of telling lies in class. When Stine accuses her father of sexual abuse, and is believed by seemingly eager social workers, their family is thrust into crisis. Could Henrik have done it? And when Stine prepares to return home, the ugly side of family life is exposed.

Tom lives alone and works for the council, reporting empty apartments. One day, he ignores the rules and enters a supposedly empty apartment. His life takes a drastic turn when Sally, a stripper, suddenly turns up. Tom takes her home with him. But Sally has a dark past and is on the run from the police.

When Albert's best friend Egon goes missing, Albert embarks on an adventure to find him. Along the way he meets Sabrina and together they must save Egon.

During Christmas week in 1949, escape artist Carl August Lorentzen was on the run after digging his way out of Horsens Prison. The TV movie follows the legendary escape minute by minute.