戴春寅为全国五大官窑常乐窑的继承人，九代单传，孝义非常；他决心要做天下第一个感情专一的好丈夫；祖母为使其早继家业，定下选媳盛会，引得名门闺秀蜂拥而来。大臣万泰北欲将独女万如意许给戴春寅，无奈襄王有梦，神女无心。贫穷的常吉祥阴差阳错被戴春寅的祖母收为家婢。未几，戴春寅遭人陷害，家道中落，流浪街头。吉祥不离不弃，使他重新振作。在患难中，他们擦出爱的火花。但新婚之时，自卑作怪，新娘不见了。 戴春寅苦尽甘来，上京应试，高中榜首，更同少年康熙情义相惜；重遇如意，令如意对他刮目相看，欲重修旧好，但戴春寅心有所属。 戴春寅为康熙献计，以千金买马骨打击鳌拜，更破其奸计，擒得鳌拜，力挽大清社稷。与此同时，正当如意失望时，传来吉祥堕船身亡的消息，戴春寅终于接受如意。正当他们交拜天地之时，吉祥却突然出现，原来当日吉祥堕船获救。 一个千金大小姐，一个穷家小姑娘，成了宿命冤家，从此为这个情深丈夫，倾轧相争，引来笑话连篇。

经营皇宫御用窑厂常乐窑的戴家，定下一场选媳招亲盛会，立刻掀起全城一片轰动，引得名门闺秀蜂拥而来。而这个让无数大家闺秀踏破门槛之人，正是戴家九代单传的独子戴春寅（张卫健饰）。在祖母的安排下，春寅与门当户对的千金小姐万如意（陈好饰）撮合成一对，可如意却无意春寅。阴差阳错间，贫穷的常吉祥（关咏荷饰）成为戴家家婢。未几，戴家家道中落，春寅遭人陷害，流浪街头。不离不弃的吉祥一直陪在春寅身边，使他重新振作。患难中，两人擦出爱的火花。苦尽甘来，春寅高中榜首，重遇如意。此时如意欲重修旧好，但春寅已心有所属。 　　35集古装喜剧电视剧《天下无双》，由无厘头新锐代表张卫健、知性美女关咏荷、万人迷陈好及甜美可人的薛佳凝联袂主演，于是上演了一场斗智斗力、笑话连篇的爱情故事。

天津卫视将在5月期间推出一档全新的巨星模仿互动节目《天下无双》，节目将邀请国内一线歌手本尊与模仿者同台飙歌比拼，现面向全球华人广发“征集令”，寻找中国最强声音模仿达人。你有超越明星的勇气吗？你有与本尊同台唱歌的胆量吗？你，敢挑战吗？《天下无双》为你提供超越明星平台与机会，用自己的实力证明你才是真正的“天下无双”。

5月期间，天津卫视将推出全新巨星模仿互动节目《天下无双》。该节目原版是英国大型歌唱模仿秀《Copycat Singers》，会邀请国内一线歌手本尊和模仿者同台飙歌比拼。每期节目里，5位模仿者与1位明星一同登台竞争，共同演绎这位明星的经典歌曲。现场6个相似的声音交织在一起，观众不见其人只闻其声，需要听声辨人。节目模式融合了盲选、色彩、转椅、明星模仿等当下综艺流行元素。

正德皇帝（张震）与其御妹无双（王菲）均厌倦了皇宫的单调生活，想偷偷溜出宫去看看外面的世界。无双女扮男装先行一步来到江南的梅龙镇，结识在此开店的阿龙（梁朝伟）阿凤（赵薇）兄妹后被阿龙喜欢上，她也爱上了阿龙。 　　无双身份暴露被带回皇宫时，正德皇帝微服来到梅龙镇，并在阿凤遭遇歹徒挑衅时拔刀相助，两人结识后经过一段日子相处产生感情。因无法忍受对阿龙的思念，无双再次从宫里逃回梅龙镇，四人在店中相会，并在误会尽除后私定终生，不料遭到太后的阻拦。

正德皇帝（张震）与其御妹无双（王菲）均厌倦了皇宫的单调生活，想偷偷溜出宫去看看外面的世界。无双女扮男装先行一步来到江南的梅龙镇，结识在此开店的阿龙（梁朝伟）阿凤（赵薇）兄妹后被阿龙喜欢上，她也爱上了阿龙。 　　无双身份暴露被带回皇宫时，正德皇帝微服来到梅龙镇，并在阿凤遭遇歹徒挑衅时拔刀相助，两人结识后经过一段日子相处产生感情。因无法忍受对阿龙的思念，无双再次从宫里逃回梅龙镇，四人在店中相会，并在误会尽除后私定终生，不料遭到太后的阻拦。

手提地狱魔剑，身穿幽魂神光铠，头戴噬魂紫金盔，脚踏浮云踏浪靴，左搂死亡女神，右抱美丽天使。 盘踞在极寒死亡之地，一代修罗王陆尘横空出世。 菜鸟们，颤抖吧！

鬼医苏骄阳被逼替嫁给又丑又残的楚王裴慎之，新婚夜，红盖头被揭开，她震惊地发现他竟是曾经的“故人”，“故人”积怨极深，每天在线互掐，不小心就掐成两情相悦。裴慎之眼里的苏骄阳一野蛮、贪财、好色，这种女人只能他欺负，谁敢欺负她，他就弄死谁。

Les Maitres Fous is about the ceremony of a religious sect, the Hauka, which was widespread in West Africa from the 1920s to the 1950s. Hauka participants were usually rural migrants from Niger who came to cities such as Accra in Ghana (then Gold Coast), where they found work as laborers in the city's lumber yards, as stevedores at the docks, or in the mines. There were at least 30,000 practicing Hauka in Accra in 1954 when Jean Rouch was asked by a small group to film their annual ceremony During this ritual, which took place on a farm a few hours from the city, the Hauka entered trance and were possessed by various spirits associated with the Western colonial powers: the governorgeneral, the engineer, the doctor's wife, the wicked major, the corporal of the guard. 　　The roots of the Hauka lie in traditional possession cults common among the Songhay and Djerma peoples of the Niger River basin. Gifted men and women may enter trance and become possessed by any of a number of strong gods, such as Dongo, god of thunder and the sky.Supplicants consult the god through the trancing medium and receive advice about their problems, cures for diseases, comfort and support, or reprimands for their wrongdoings. Like these traditional possession cults, the Hauka sect co-existed with Islam and incorporated many Islamic saints and heroes into its rituals. Most of its adherents were Muslims. 　　Hauka first appeared in Niger, it is thought, in the person of a former soldier who participated in the savage battles of the second German offensive of World War I in 1917 and 1918, in which West African troops were decimated despite their spectacular performance. This soldier made the pilgrimage to Mecca and returned to Niger in the 1920s. In his village, in Rouch's account, he found the people "doing a traditional dance and the soldier was possessed, very violently possessed, and while possessed he said 'I am the avant-garde of the new gods who are coming from Malia [the Red Sea]. My name is Governor Malia and I am the first of the new gods who are coming and they are the gods of strength'." 　　The Hauka were quickly suppressed by the French authorities in Niger, with the support of traditional chiefs and priests who feared the popularity of the new movement and its challenge to established authority. But the Hauka cult spread, even within the jail walls, and by 1935 the British administration in Ghana again attempted to suppress it and to jail the cultists. Fires broke out in response throughout Accra, and eventually there was an agreement that Hauka priests would limit their ceremonies to certain places and to Saturdays and Sundays. This was still the case in 1954 when Rouch filmed Les Maitres Fous, which was banned by the colonial government in 1955. 　　The Hauka movement was a phenomenon of the colonial era. After the independence of Ghana in 1957, migration was controlled and many Hauka who had settled in Accra returned to Niger. Niger itself gained independence three years later, and the Hauka began to subside and to be absorbed into the traditional religious system. Dongo, for example, the old god of thunder, is now considered the father of the Hauka. As Rouch has pointed out, "there was no more colonial power and there never was a Hauka called Kwame N'krumah." The events filmed represent the end of the Hauka development. Today the film is shown in the villages of Ghana and in the Niger Cultural Center. 　　The imagery in Les Maitres Fous is powerful and often disturbing: possessed men with rolling eyes and foaming at the mouth, eating a sacrificed dog (in violation of taboo), burning their bodies with naming torches. Beyond the imagery, the themes are also powerful, and have had an impact in our own culture:Jean Genet's The Blacks was modeled upon the Hauka inversion in which blacks assume the role of masters, and Peter Brook's Marat/Sade was influenced by the theatricality and invented language of Hauka possession. Yet, as Rouch reminds us in an interview in Cineaste, possession for the Hauka cultists was not theater but reality. The significance of this reality is left ambiguous in the film, although Rouch's commentary suggests that the ritual provides a psychological release which enables the Hauka to be good workers and to endure a degrading situation with dignity. The unexplored relation of the Hauka movement to their colonial experience 1-S perhaps the most intriguing issue raised by this ceremony in which the oppressed become, for a day, the possessed and the powerful.

The film depicts the psychological journey of a young woman named Victoria. Since her childhood she has been sexually abused by her family. One day she decides to escape but the world is against her and she soon finds herself cast into an inferno of torture and punishment. This causes her unimaginable suffering but she also comes to understand the true meaning of her existence.