夏彤和林州一是同事，在公司的一次团建意外睡到了一起，他们的缘分就此展开...自此，二人不得已产生无数交集，而这也被二人的父母看在眼里，一场逼婚仪式正式开始！二人也借此机会躲避相亲，在纠缠中暗生情愫！而此时林州一的青梅竹马、夏彤的相亲对象接连出现..面对一系列的纠缠和情敌的降临，他们将如何抉择？

祝无欢摸暴君头盖骨穿越到大宁朝，绑定“干掉暴君当女皇”系统。为保命她化身戏精，口称爱暴君，实则想害他。岂料暴君有读心术，对其心思了如指掌。二人在相处中发生诸多趣事，最终祝无欢拯救祝家，改写大宁命运，收获爱情与亲情。

祝无欢摸暴君头盖骨穿越到大宁朝，绑定“干掉暴君当女皇”系统。为保命她化身戏精，口称爱暴君，实则想害他。岂料暴君有读心术，对其心思了如指掌。二人在相处中发生诸多趣事，最终祝无欢拯救祝家，改写大宁命运，收获爱情与亲情。

夏彤和林州一是同事，在公司的一次团建意外睡到了一起，他们的缘分就此展开...自此，二人不得已产生无数交集，而这也被二人的父母看在眼里，一场逼婚仪式正式开始！二人也借此机会躲避相亲，在纠缠中暗生情愫！而此时林州一的青梅竹马、夏彤的相亲对象接连出现..面对一系列的纠缠和情敌的降临，他们将如何抉择？

龙城权势滔天的皇甫司琮常年忙碌，想给自己放假却被下属一次次破坏，气急的他前往海市隐姓埋名，孰不知海市的别墅却被管家擅自租给了四姐妹。皇甫司琮的意外到访，让四姐妹本不平静的生活再起涟漪。

前世，杨奕沫是风光无限的大影后，却被自己的男友和闺蜜联手迫害，不但家破人亡，还被逼上绝路，然而，老天给了她再来一次的机会，她重生了，重生后的她将全部心思扑在事业上，并抓住机会惩治了渣男茶女。

前世，杨奕沫是风光无限的大影后，却被自己的男友和闺蜜联手迫害，不但家破人亡，还被逼上绝路，然而，老天给了她再来一次的机会，她重生了，重生后的她将全部心思扑在事业上，并抓住机会惩治了渣男茶女。

杨奕沫，娱乐圈曾经的耀眼影后，演技与颜值并存，本在星途上一路高歌猛进，却惨遭闺蜜与对手的联合算计。一场精心布局的丑闻风波将她彻底拉下马，曾经的荣耀与追捧瞬间化为乌有，她在绝望中结束了自己的生命。

费德里科二十多岁，一个人住在布宜诺斯艾利斯。他祖母去世的那天，他决定和他的女朋友玛格达分手。他害怕伤害她。但当时间到了，她就打败了他。她懒散、精力充沛，甚至连受伤的感觉都没有。然而，尤其是当他得知她已经有了新朋友时。但后来他在最近去世的祖母给他的冰箱里找到了土豆刀，一切都变了。雷杰曼的舞台是阿根廷社会的缩影，他用一个稀少的故事和一种无视复古现实主义的指导性方法，以精心创作的图像来破译。雷杰曼属于阿根廷电影的新浪潮，在20世纪90年代中期首次在欧洲获得认可。据弗吉尼亚大学的罗克•奥•戈登博士说，他作品的主要方面是导演和作者不以粗制滥造的方式讲述线性故事，而是指冷漠的美学。在这种冷漠中，喜剧获得了最大的范围——到目前为止在阿根廷的独特地位。 　　Federico, is in his mid-twenties and lives alone in Buenos Aires. The day his grandmother dies, he decides to part with his girlfriend Magda. He fears hurting her. But when the time comes, she beats him to it. She is laid-back, feisty and not even close to feeling hurt. He is however, especially when he learns that she already has someone new. But then he finds the potato knishes in the freezer that his recently departed grandmother gave him and everything changes. Rejtman’s stage is the microcosm of the Argentine society, which he deciphers in carefully composed images with a sparsely told story and a directing approach in defiance of retro realism. Rejtman belongs to the new wave of Argentine film that first gained recognition in Europe in the mid-1990s. According to Dr. Rocío Gordon of the University of Virginia, the key aspect of his work is that the director and author does not tell linear stories in a run-of-the-mill way, but rather refers to an aesthetic of apathy. Within this apathy, comedy gains the greatest of scopes – a unique position in Argentina until now.

费德里科二十多岁，一个人住在布宜诺斯艾利斯。他祖母去世的那天，他决定和他的女朋友玛格达分手。他害怕伤害她。但当时间到了，她就打败了他。她懒散、精力充沛，甚至连受伤的感觉都没有。然而，尤其是当他得知她已经有了新朋友时。但后来他在最近去世的祖母给他的冰箱里找到了土豆刀，一切都变了。雷杰曼的舞台是阿根廷社会的缩影，他用一个稀少的故事和一种无视复古现实主义的指导性方法，以精心创作的图像来破译。雷杰曼属于阿根廷电影的新浪潮，在20世纪90年代中期首次在欧洲获得认可。据弗吉尼亚大学的罗克•奥•戈登博士说，他作品的主要方面是导演和作者不以粗制滥造的方式讲述线性故事，而是指冷漠的美学。在这种冷漠中，喜剧获得了最大的范围——到目前为止在阿根廷的独特地位。 　　Federico, is in his mid-twenties and lives alone in Buenos Aires. The day his grandmother dies, he decides to part with his girlfriend Magda. He fears hurting her. But when the time comes, she beats him to it. She is laid-back, feisty and not even close to feeling hurt. He is however, especially when he learns that she already has someone new. But then he finds the potato knishes in the freezer that his recently departed grandmother gave him and everything changes. Rejtman’s stage is the microcosm of the Argentine society, which he deciphers in carefully composed images with a sparsely told story and a directing approach in defiance of retro realism. Rejtman belongs to the new wave of Argentine film that first gained recognition in Europe in the mid-1990s. According to Dr. Rocío Gordon of the University of Virginia, the key aspect of his work is that the director and author does not tell linear stories in a run-of-the-mill way, but rather refers to an aesthetic of apathy. Within this apathy, comedy gains the greatest of scopes – a unique position in Argentina until now.