男主从现代穿越到了古代楚天骄的身上，楚天骄的父亲镇北王因为被他人所害，所以男主决定帮助楚天骄拿回属于他的一切

镇北王府秦金枝，偏瞧上裴家嫡子裴瑾年。得知裴瑾年与崔小姐定亲，她竟当众将崔小姐推下水，致其险些丧命。此事震动京城，秦金枝被罚去白雀寺苦修。三年后，镇北王以半生军功为代价，将她接回京城。京中百姓都等着看秦金枝的笑话，谁也没料到，近年在边境屡立奇功、让敌寇闻风丧胆的神秘将领，正是这位被他们耻笑的“纨绔郡主”

原著里，他隐姓埋名潜伏仇家，最后亲手把原身剁碎了喂狗。 此刻他正低头帮我捡文件，西装袖口露出腕间狰狞疤痕。 ”我忽然按住他手腕，触到一片冰凉，“明晚跟我去个地方。” 他眼神骤冷，指节已抵上后腰的枪。 我凑近他耳边：“带你见见，当年害死你全家的真凶。” 三个月后，贺沉站在血泊里甩开匕首。 我丢给他一支烟：“现在，该谈谈报恩的事了？” 他盯着我，忽然笑了。

本剧讲述了宁北常年在外征战保家护国，终于成为了北凉王，但即使他有这样的殊荣，始终走不出家族覆灭的心理阴影。在得知当年的凶手不仅逍遥法外，更是欺压百姓之徒，宁北伪装身份，回到故乡，一步步收集证据，保护了这些年受他们欺压的百姓，为他们伸冤，最终让他们为自己做过的事付出了应有的代价。

本剧讲述了宁北常年在外征战保家护国，终于成为了北凉王，但即使他有这样的殊荣，始终走不出家族覆灭的心理阴影。在得知当年的凶手不仅逍遥法外，更是欺压百姓之徒，宁北伪装身份，回到故乡，一步步收集证据，保护了这些年受他们欺压的百姓，为他们伸冤，最终让他们为自己做过的事付出了应有的代价。

三年之约,北冽天王重现人间!陈年旧怨,他凭借一把王刀清算!

三年之约,北冽天王重现人间!陈年旧怨,他凭借一把王刀清算!

该剧主要讲述了主人公和妻子在东南亚旅游时，被人绑架进入电诈园区的故事。为了逃出魔窟、找回妻子，他忍辱负重，结识了众多有着相同境遇的工友，带领大家起身反抗，与园区犯罪分子斗智斗勇，最后在朋友们的帮助下，将犯罪分子的种种罪行向全世界公布，引起国际社会广泛关注，最终捣毁犯罪窝点，抓住犯罪分子，救出同胞，与妻子团聚 [3] 。 　　《缅北王》既反映了缅北诈骗案件的真实情况，又紧扣观众的喜好，精准定位广大观众所热爱的反诈扫黑题材，提醒人们要时刻加强防诈反诈意识，传递出坚毅勇敢、自强不息、积极向上的人生观和价值观

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.