监察御史姬严纶突遭诬告贪污，被下旨抄家流放。其女姬如雅欲寻宫中为妃的妹妹求助，却被父阻拦。当夜，黑衣人血洗姬府，姬严纶惨死，姬如雅侥幸被医者秦墨言家丁所救。秦墨言告知因入宫为太后诊治延误救援，姬如雅悲愤立誓复仇，获其承诺相助。 宫中演武场，皇帝萧珩与七弟萧璟比试时突遭刺客。混乱中，姬如雅冒死高呼“圣上小心”示警，意外受伤。皇后妃嫔各怀心思，皇帝却因姬如雅酷似故人的容颜深疑。姬如雅被秦墨言救治后带毒苏醒，静养中惊觉：“我很像她？”其身世或藏惊天隐秘。同时，萧璟追查发现刺客身着宫服，幕后黑手深藏宫闱。本集以姬氏灭门惨案拉开序幕，深宫暗影重重。

《清宫计》是橙光影业出品，酷影传媒制作，橙光影业、郝时光影业联合制作的古装宫斗爱情剧，由王天楚担任监制、导演，王怡担任导演，王宥浩担任联合导演，郝紫薇、邹雨、惠惠担任编剧，余茵、柳甯、叶皓然、李佑霖等主演。 　　该剧改编自橙光游戏《清宫计》，是橙光所有宫斗游戏的始祖，在2013年问世的史上第一款宫斗游戏，一个时代的起点，一切经典作品的源头。讲述了当朝检察院御史姬严纶惨遭蒙冤流放被刺杀，其女姬如雅为父洗冤，于是改头换面进入皇宫，步步为营、探查真相的故事。在有限的时间内她该如何寻找凶手？后宫险恶，入宫后，她又如何面对接下来的重重危机与三个命定男子对她的示爱？

大婚之日，本是将军府和穆王府两家阖家欢喜，青梅绕竹马永结同心的大好日子。不料圣旨一道，将穆王府上下三百多条生命送上刑场。穆长欢本该在那日随父母哥嫂一起去那极乐之地，却被神秘女子救下并换了不属于穆长欢的脸，从此踏入吃人的后宫，为穆王府洗去冤屈

由光绪皇奉西太后（慈禧太后）之命选妃开始，故事历百日维新、义和团之乱、八国联军之役及孙中山先生起革命等事件，至光绪皇及西太后死亡为止。

清光绪年间，山河动荡，外忧内患，中国处在生死存亡的一线间。光绪皇帝（舒适 饰）当朝，却因慈禧太后（唐若青 饰）垂帘听政，身不由己，宛如傀儡一般。户部尚书翁同龢习光绪学经解义，并灌输启蒙思想，使光绪萌发变法之心；而光绪宠妃珍妃（周璇 饰）亦每日存下银两，以作军资。 甲午惨败，翁同龢开缺回乡，临别前向光绪举荐康有为。戊戌年（1898年），光绪与维新派展开变法，却受到慈禧为首的顽固派的抵制，双方矛盾愈演愈烈。太后一方定下计谋，企图借天津阅兵之际废掉光绪；而维新一派...

西太后慈禧专权，使光绪帝不能立钟爱的珍妃为后。另一方面，光绪痛感于甲午之败，遂决定听从老师翁同和的教诲，任用康有为等人试图变法维新。慈禧等深恐丧失权力，发动戊戌政变，囚禁光绪。康有为出逃，谭嗣同等问斩。洋人不满慈禧纵容义和团的抵抗，遂有八国联军侵华。慈溪仓惶出逃，临行前杀害支持光绪帝变法的珍妃。

卡尔·纳格尔（欧文·威尔逊 饰）是美国一位画家，他的声音轻柔，几十年来一直在佛蒙特州的公共电视台主持自己的绘画节目。多年来，他的艺术吸引了许多妇女的注意，特别是那些在电视台工作的妇女。但卡尔的生活一成不变，节目收视率也不高。当一个新的画家被雇用来振兴这个频道时，卡尔自己对他作为一个画家的天赋的恐惧被带到了前台。

卡尔·纳格尔（欧文·威尔逊 饰）是美国一位画家，他的声音轻柔，几十年来一直在佛蒙特州的公共电视台主持自己的绘画节目。多年来，他的艺术吸引了许多妇女的注意，特别是那些在电视台工作的妇女。但卡尔的生活一成不变，节目收视率也不高。当一个新的画家被雇用来振兴这个频道时，卡尔自己对他作为一个画家的天赋的恐惧被带到了前台。

Gang of Four 　　Episode 1 of 4 　　Duration: 1 hour 　　Art writer Waldemar Januszczak explores the revolutionary achievements of the Impressionists. In the first episode, Waldemar delves into the back stories of four of the most influential Impressionists - Pissarro, Monet, Renoir and Bazille - who together laid the foundations of the artistic movement. He finds out what social and cultural influences drove them to their style of painting, how they were united and how ultimately they challenged and changed art forever. 　　Waldemar journeys from the shores of the West Indies, to the progressive city of Paris to the suburbs of South London, where these four artists drew inspiration from the cities and towns in which they lived. Whether it be the infamous spot on the river Seine - La Grenouillere - where Monet and Renoir beautifully captured animated people, iridescent light and undulating water or the minimalist, non-sensationalised illustrations of Pissarro's coarse countryside paintings, Waldemar discovers how the Impressionists broke conventions by depicting every day encounters within the unpredictable and ever changing sights around them. 　　------ 　　Painting outdoors 　　Episode 2 of 4 　　Duration: 1 hour 　　Waldemar Januszczak continues his investigation of the Impressionists by taking us outdoors to their most famous locations. Although Impressionist pictures often look sunny and relaxed, achieving this peaceful air was hard work. Trudging through fog, wind and rain, across treacherous coastal rocks and knee-deep snow, Waldemar shows how the famous spontaneity of the Impressionists is thoroughly misleading. 　　This episode visits the French riverside locations that Monet loved to paint, and where Renoir captured the bonhomie of modern life. Waldemar also introduces a number of technical and practical developments of the age which completely revolutionised Impressionist painting - the invention of portable easels; the use of hog's hair in paint brushes; as well as the introduction of the railway through France. And a scientific demonstration in a Swedish snowdrift explains just how right the Impressionists were to paint brightly coloured shadows in their winter scenes, despite being accused of 'hallucinating' at the time. 　　Finally, Januszczak explains Cezanne's part in the Impressionist story from his dark and challenging early work to his first rural landscapes in France, and then his departure from Paris and separation from the Impressionist gang. 　　------ 　　Painting the People 　　Episode 3 of 4 　　Duration: 1 hour 　　Waldemar Januszczak continues his investigation of the Impressionists, focusing this time on the people they painted and in particular the subjects of Degas, Caillebotte and the often forgotten Impressionist women artists. The Impressionists are famous for painting landscape but they were just as determined to paint people. 　　Looking closely at one of Impressionism's finest painters, Edgar Degas, Waldemar reveals how he consistently challenged traditions and strove to record real life as it appeared in the city, from sculpting the contorted movements of horses in motion at the Longchamp race course in Paris to encapsulating extravagant 3D viewpoints of the ballet dancers at the Paris Opera. 　　Waldemar also uncovers the intoxicating haziness the pastel produced in Degas' work when visiting his supplier Pastels de Roche. He also reveals the unusual viewpoints and dramatic perspectives of Caillebotte's paintings from the Place de L'Europe and the rebellious and revolutionary art of Morisot, Bracquemond and Cassatt, three impressive female artists who were eagerly embraced by the progressive movement of Impressionism 　　------ 　　Final Flourish 　　Episode 4 of 4 　　Duration: 1 hour 　　This episode takes a closer look at the late years of Impressionism, using the last show these artists did together as a starting point. 　　Waldemar looks in considerable depth at the work of Georges Seurat, taking into consideration his academic training at the Beaux-Arts School in Paris and the artists that influenced him, such as Piero della Francesca and Puvis de Chavannes. 　　There is also an insight into the complex but fascinating world of optics and art, and the ways in which the Impressionists were using the new discoveries in light and eyesight to influence their work. A fascinating 'after-image' experiment brings to life the ways in which our own eyes see colour, both in its presence and its absence. 　　Van Gogh's time in Paris, a period very little is known about, is also covered, charting the incredible journey the artist made from his brown and dull canvases to the splendid colour and light that pervaded his work on the cusp of his departure for the South of France. 　　The film finishes with a revisiting of Monet and his later waterlily paintings in the Orangerie in Paris. Waldemar investigates how a bad case of cataracts was responsible for a seismic shift in his colour palette and his brushstrokes. Spending time with an ophthalmologist, he finds out how old age and a fairly common ailment of the eyes caused Impressionism to shift and become radical again at the turn of the century and into the 20th century