When Rosa is expected to hand her boss the suntan lotion on a deer hunt, this feels like a sign. Don Reynaldo’s ranch is about to celebrate its farm anniversary, but this passionate hunter’s image is built on a lie. And so, here in the countryside, where men are men, employees are grateful subjects and women diligently and docilely hold it all together, cracks begin to appear in the social life of this microcosm. Ordered around day in and day out, unnoticed by those in her class-conscious surroundings, the menial Rosa gradually becomes an agent of change. While Don Reynaldo’s extended family contorts itself in a bid to save the old order, men begin to arrive at the farm in pickup trucks. Their appearance at the feast and a threat are enough to make the ageing patriarch fear for his life and his family – and force him to act. All that passes is observed by the animals who, either as trophies on the wall or as livestock out to pasture, seem to sense the end of an old hegemony. 　　With a keen sense of how to deploy omens that herald change, Alejandra Márquez Abella portrays an epochal shift in rural Mexico – as seen by characters who are usually relegated to passive supporting roles.

When Rosa is expected to hand her boss the suntan lotion on a deer hunt, this feels like a sign. Don Reynaldo’s ranch is about to celebrate its farm anniversary, but this passionate hunter’s image is built on a lie. And so, here in the countryside, where men are men, employees are grateful subjects and women diligently and docilely hold it all together, cracks begin to appear in the social life of this microcosm. Ordered around day in and day out, unnoticed by those in her class-conscious surroundings, the menial Rosa gradually becomes an agent of change. While Don Reynaldo’s extended family contorts itself in a bid to save the old order, men begin to arrive at the farm in pickup trucks. Their appearance at the feast and a threat are enough to make the ageing patriarch fear for his life and his family – and force him to act. All that passes is observed by the animals who, either as trophies on the wall or as livestock out to pasture, seem to sense the end of an old hegemony. 　　With a keen sense of how to deploy omens that herald change, Alejandra Márquez Abella portrays an epochal shift in rural Mexico – as seen by characters who are usually relegated to passive supporting roles.

讲述了君无咎通过一件离奇的双生子掉包案，牵连并破解了连环残害认识真正流落北方公主之人的案件，以此揭穿北方人帮助假公主进入皇宫，扰乱朝廷的阴谋，最终化解朝廷危机的故事。

"幼年李北辰不幸被拐加入神秘组织，由此展开的一系列成长史， 欺我家园者，总有人崛起于微弱，王者归来洗刷耻辱。"

成立于20世纪30年代的中福公司是新中国第一批国有企业，在改革开放后成长为综合性的央企集团。在中福公司即将迎来80年华诞的同时，下属企业京州中福却陷入巨大困境，中福董事长林满江 （黄志忠 饰）派齐本安 （靳东 饰）前往京州帮助企业脱困。齐本安到任后，发现京州中福的问题既来自于市场环境的变化，也来自于自身管理问题。一方面他要团结石红杏 （闫妮 饰）、牛俊杰 （耿乐 饰）等干部群众，化解他们之间原有的矛盾，理顺企业内部关系，对公司进行重组。另一方面他也要争取市委书记的支持，处理好作为央企和地方政府的关系。在这一过程中，齐本安初心不改，坚定不移走生产发展、生态良好的文明发展道路，最终将京州中福带出困境，也为国企改革和资源型城市转型发展积累了有益的经验 。

《人民的名义》反腐风暴过去半年，故事依旧发生在汉东省京州市。国企干部齐本安（靳东 饰）临危受命，此时有着八十年辉煌历史的大型国企中福集团在转型期举步维艰，困境的形成既有市场变化的影响，也与严峻的腐败问题脱不了干系。一场突如其来的爆炸，让五亿资金离奇失踪一事浮出水面，各种尖锐复杂的矛盾也随之逐渐暴露。党政高官、企业高管、社会各界人士以及底层弱势群体等形形色色的人物纷纷登场，故事扣人心弦、惊心动魄……

故事以湘江战役为背景，傅程鹏饰演的红军小分队队长雷五龙，带领小分队执行敌后营救任务，上演了一段精彩故事。

该剧讲述红军基层指挥员雷五龙所率领的红军小分队执行敌后营救任务的故事。1934年底，在异常惨烈的湘江战役后，红军某部连长雷五龙受命带队重返江东，接应红八军团某部连长张月林，并助其将重要俘虏陈骏彦从敌战区押送至已达黔东南的中央红军。与此同时，负责护送陈骏彦之敌酋肖少白也被责成限期将陈骏彦追回，一场关乎小队命运的‘俘虏争夺战’在敌后打响。雷五龙带领小分队与肖少白代表的中央军、王镇国代表的桂军亲蒋将领展开周旋。在以盘巧妹为代表的瑶民们帮助下，雷五龙、张月林等人历经苦战，相继牺牲在湘江两岸。被雷五龙、张月林等人的牺牲精神所感动，最终决定反正的俘虏陈骏彦，在小队所有成员全部牺牲后，独自一人走向前来接应红军队伍 。

该剧反映了都市的变化日新月异，在城市拥挤的楼群和喧嚣声中，人们的心理空间也处在紧迫的拥塞之中。剧中主人公是当年在北大荒的知青，如今他们沿着各自的轨迹走着自己的路……李子玉做粮食买卖，被欠款困扰，疲于奔命而毫无结果；齐大军是个副厂长，厂子被兼并后，自己被安排去食堂管理伙食；晚报记者柯瑶具有极强的社会责任感，濒于崩溃的婚姻迫使她拼命工作，以此麻木自己。肖哲是柯瑶在北大荒的情人，由于参预了一桩汽车走私案，四处躲避，期间出于知青情义，帮方然解困，后躲到北大荒，却意外地发现了自己的女儿……剧中的主人公们在各自的生活道路上面对着不同的困境，经受着不同的磨难，来自社会的、家庭的、婚姻的、道德的等各种心灵磨难，而在这种困顿中，他们的心灵始终没有迷失方向。他们又回到了当年的北大荒，春种秋收，每个人都有了自己的收获……获第十八届全国电视剧“飞天奖”二等奖及优秀照明奖，第五届中国影视声音“学会奖”一等奖，辽宁省优秀电视剧一等奖及最佳编剧奖、最佳导演奖、最佳男女主角奖。

描写德国军官积极参与反希特勒的活动, 并且解救美国上校的故事。