李潇潇和丈夫周明远遭遇创业失败和房产纠纷，导致家庭陷入经济危机，二人与一对新婚夫妻顾易和韩星暂时合租于同一屋檐下，两个家庭的生活交织在一起，状况百出。李潇潇成功面试新公司，却意外与顾易成为同事，在工作上从针锋相对到携手合作，逐渐结成了互相信任的战友。两家人也从相互对立到惺惺相惜，最终结为挚友。李潇潇的工作越来越出色，周明远反而因病失业在家，他在生活的打击下失去自信，因不堪重负向李潇潇提出离婚。刚在事业上稍有起色的李潇潇本想全身心投入工作，却因反对上级裁员而成了第一个被裁的人。求职失败的李潇潇决定跟同样被裁员的顾易等伙伴一起重新创业，他们不断拼搏，终于在激烈的竞争中脱颖而出，李潇潇也找回了自己的爱情。

李潇潇和丈夫周明远遭遇创业失败和房产纠纷，导致家庭陷入经济危机，二人与一对新婚夫妻顾易和韩星暂时合租于同一屋檐下，两个家庭的生活交织在一起，状况百出。李潇潇成功面试新公司，却意外与顾易成为同事，在工作上从针锋相对到携手合作，逐渐结成了互相信任的战友。两家人也从相互对立到惺惺相惜，最终结为挚友。李潇潇的工作越来越出色，周明远反而因病失业在家，他在生活的打击下失去自信，因不堪重负向李潇潇提出离婚。刚在事业上稍有起色的李潇潇本想全身心投入工作，却因反对上级裁员而成了第一个被裁的人。求职失败的李潇潇决定跟同样被裁员的顾易等伙伴一起重新创业，他们不断拼搏，终于在激烈的竞争中脱颖而出，李潇潇也找回了自己的爱情。

There exists a most exquisite man, or at least the world that surrounds him, labels and sees him as such. He has fantastic abilities, incomprehensible talent, he could even be called a genius, yet something within him is restless. Big questions utterly absorb him, leading him to a place where all he can do is surrender his life, in order to find that which gives him and the natural world undeniable purpose and concluding peace.

中国首档大型原创青春成长类励志真人秀节目——浙江卫视《最优的我们》，六月初每周六22:00档播出。　　教头：潘玮柏、萧敬腾，优我经纪公司主理人：华…

중년의 대학교수가 초등학생 아들을 데리고 이혼한 아내의 집을 찾는다. 교수의 전처는 이혼 후 커밍아웃을 하고 레즈비언 파트너와 동거 중이다. 보호자 역할을 교대하는 과정에서 교수는 전처의 파트너와 단 둘이 남게 된다.

商业奇才顾月，经陆氏董事长三顾茅庐才入驻公司，业绩斐然，更是少东家心中的偶像。可董事长因病调养，少东家接管公司后，遭古悦恶意挑拨，误将怀孕的顾月视作公司蛀虫。少东家联合众人设计开除顾月，还索要千万违约金。千钧一发之际，萧启默现身，豪爽赔偿违约金，力邀顾月出任自家公司销售总监。陆氏因古悦冒领身份损失惨重，董事长回归追悔不迭。最终，顾月在新公司大放异彩，还惊喜发现萧启默竟是孩子父亲 。

我是公司的销售冠军，业绩能抵半壁江山。 老板临时出差他的女友来接管公司，第一天因为我熬夜谈订单吃到，她把我给开了，还自以为是的抢走我谈来的订单。 结果呢？ 公司业绩一落千丈，直接挂零。 她这才慌了，哭着喊着来求我回去。 “姑奶奶，求你回去吧！我男朋友说了，你要是不回来，他就跟我拜拜了！”

“What makes Einleitung, in the words of its authors, a ‘film of agitation’, is perhaps the order in which it exposes things, the time it takes to restitute these images for what they are: images taken from the point of view of U.S. power, taken on the other side. This consists in cleansing the images of any sense of déjà vu, making them produce (sweat out, reveal, chase) the power which willed them into being and which wants us not even to find them surprising. From that moment, the horror is no longer the eternal return of the same in the guise of the same old thing (retro style) but the intolerable present (Holger Meins, 1975).” Serge Daney

“What makes Einleitung, in the words of its authors, a ‘film of agitation’, is perhaps the order in which it exposes things, the time it takes to restitute these images for what they are: images taken from the point of view of U.S. power, taken on the other side. This consists in cleansing the images of any sense of déjà vu, making them produce (sweat out, reveal, chase) the power which willed them into being and which wants us not even to find them surprising. From that moment, the horror is no longer the eternal return of the same in the guise of the same old thing (retro style) but the intolerable present (Holger Meins, 1975).” Serge Daney