世界著名灵媒泰勒·亨利通过情感解读为名人客户带来希望、慰藉以及一直以来所寻求的答案。

泰勒·亨利是世界著名的灵媒，他的等待名单上有超过 30 万人。多年以来，泰勒一直是好莱坞的必找灵媒，他前往全国各地，为等待名单上尽可能多的人读心，为对方带去她/他们所寻求的希望、慰藉和解脱。在整个剧季中，我们将体验泰勒的读心能力，深入了解拥有这样的天赋意味着什么，并跟随泰勒的个人旅程，解开一个家族之谜，了解他的身世。

一场车祸夺走陈玉淑的家人，万念俱灰之际彼岸系统现身。只要前往异世界陪伴养子三十年，便可换回家人团聚。穿越她后收养孤儿陈沐风，陪着他成家立业。距离期限仅剩三天，陈沐风被妻子林晓玥蛊惑，轻信突然现身的亲生父母，贪图钱财房产，狠心与养母断绝关系。心如死灰的陈玉淑散尽财物后悄然离去。后续陈沐风接连遭遇骗局，发现身世、婚姻皆是谎言，连孩子都并非亲生。幡然醒悟时，真心待他的养母早已彻底离去，只剩无尽悔恨。

2030年，那个时候，陪伴在你身边的人又是谁呢？ 本剧将以未来的东京为舞台，重新发现人与人之间联系的意义。 2030年的东京，住在合租屋的板仓挂（瑛太饰）。某天，比他年长的、从地方搬上来的室友美冴（相武纱季饰）对他说，“我想要个孩子，请帮助我”。但美冴表示并不想结婚和他成为家人，在她的回答中，挂想到了自己15年前分离的父母、祖父母、妹妹，他开始从他们每一个人身上，思考“家人”究竟为何物。并将以家人是同某人建立联系的首要意义开始，向前迈出第一步…

一位孙子在冬天回到了他祖先所在的村庄。一位祖父从死亡中归来，只为最后一次见他的孙子。一个村庄无法应对因爱而发生的这些回归。“Apallou”在希腊语中的意思是“来自别处”。

在儿童养护设施长大的西园オトセ（朝比奈めいり），离开设施后开始在酒店担任清扫员工作。正当オトセ努力摸索自立之路时，14 年音信全无的母亲陽子（並木愛枝）突然出现在她面前。与此同时，地下偶像広川夢（寺浦麻貴）怀着意外得来的孩子仍坚持登上舞台。这两组母子的人生相互交织，最终，オトセ为了直面过去的自己，朝着母亲居住的老家出发。

花心大萝卜俊胜（宋承宪饰）跟他的好朋友仁棋（车承元饰）互相交换传呼机，以便甩掉前女友晓英（李娜英饰）。有一天，俊胜收到仁棋女友敏贞（崔智友饰）给仁棋的讯息，而对她渐渐产生兴趣。俊胜向仁棋询问有关敏贞的事情，而仁棋对敏贞毫不关心，甚至另有女友。俊胜为敏贞打抱不平，跟仁棋大吵一架，而开始给敏贞发讯息……

网络虚拟的情感空间令人痴迷，让人深陷其中难以自拔，然而接踵而至的却是无尽的空虚与矛盾，如此反复循环。

Love Is The Message, The Message Is Death is a new video by artist, director, and award-winning cinematographer Arthur Jafa. Set to the searing highs and lows of Kanye West’s gospel-inspired hip-hop track, “Ultralight Beam,” Love Is The Message is a masterful convergence of found footage that traces African-American identity through a vast spectrum of contemporary imagery. From photographs of civil rights leaders watermarked with “Getty Images” to helicopter views of the LA Riots to a wave of bodies dancing to “The Dougie,” the meticulously edited 7-minute video suspends viewers in a swelling, emotional montage that is a testament to Jafa’s profound ability to mine, scrutinize, and reclaim media’s representational modes and strategies. Alongside segments of familiar Black icons and historic events are also scenes featuring lesser known figures: anonymous bodies in various states of elation and despair. Excerpts from Jafa’s own stunning documentary film, Dreams are Colder than Death (2012) inflects a personal dimension to imagery mostly drawn from news media, television and the Internet. In this pointed inclusion, Jafa discloses both his vulnerability and authority as an artist—what it means to contribute to the vast and complex terrain of Black representation. While Love Is The Message poignantly embodies the artist’s desire to create a cinema that “replicates the power, beauty and alienation of Black Music,” it is also a reminder that the collective multitude defining Blackness is comprised of singular individuals, manifold identities and their unaccountable differences.

When novelist Alessandro Battavia commits suicide, a taxi driver named Evangile and her brother Nord believe they are characters imagined in a novel, probably one written by God. Because they see their lives as "merde," they go in search of God to get their story rewritten. Along the way, believing everything is imaginary anyway, they shoot people, rob pharmacies, and tie up the residents of places they squat. They also gather a taxi full of eccentrics, including a priest, Battavia's suicidal widow, and a policewoman; various couples pair off. Soon life imitates art: the events and ellipses seem lifted from modern fiction as the group's quest for God continues. What's real?