末世大佬温舒晚只因多看了俊俏的丧尸王一眼，就成了被家族抛弃的嫡女！继母庶妹步步加害，她反手掀翻温家，清算仇敌。助表姐夺回嫁妆，拜师学医守护亲友。奉旨嫁与冷面宣王凌砚。宣王本欲杀她，却深陷她的飒爽智计。皇室世家阴谋迭起，刀锋相向。但凡惹我，尽数碾压！打脸虐渣，护亲破局，我的人生我做主！

末日骤然降临，张知缈觉醒效果有限的水系异能，依靠操控水的不同形态，在险象环生的环境里求得立足之地。避难所物资日渐短缺，人心惶惶不安，她设计考验挑选外勤队员，磨砺大家的胆识与应变能力。她带队闯入危险城区搜寻补给，巧避游荡的危险怪物，收获大批实用器械。可暗处还藏着其他幸存者团体，潜藏不少变数，她努力囤积资源守护避难所同伴，处处提防未知隐患，于动荡乱世之中奋力寻找活下去的希望。

社畜萧澈意外穿越到玄幻世界，成为魔教底层一个毫无修为的杂役，并在穿越当天，被告知要与令人闻风丧胆的魔教教主——女帝苏晚晴成亲。本以为是羊入虎口，谁知激活了【人设扮演系统】，只要成功构建“人设”并让人信服，就能将吹过的牛变成现实。萧澈凭借此系统，在“假”老婆女帝面前反复横跳，从一个废物杂役，一路装逼打脸，震惊魔教、震惊正道、震惊整个大陆。

现代少女姜然然穿越蛮荒兽世，绑定求生系统，开局困于祭坛绝境。为改写原剧情中的悲惨结局，她收敛跋扈，以智慧化解与虎族首领、蛇系少年、竹马及鹰族未婚夫的重重误会，揭穿伪善孤女算计。众人渐识其善良本心，纷纷守护。然她一心奔逃自由，却被温情风波屡屡困住，蛮荒日常自此改写。

A matriarch past the point of a nervous breakdown, her two daughters that don't give a damn, and the heat-seeking missiles of resentment they toss at each other.

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.

Bizzare, often perverse yarn about nurses in a metropolitan hospital who seduce then murder male patients.

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.

Dr. Combs left Los Angeles to go work in the office of a private practice in a small rural town. It isn't long before the patients back in LA seemed normal to every dirty and crazy person in town that shows up at the doctors' office. Although, no matter how bad any of them may seem to Dr. Combs, none of them can compare to Charity Betencourt. A woman who shows up every two weeks with a new problem each time, which is often the result of her willing to perform surgery on herself before going to the good doctor

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