二十年前唐月笙赠车票救下抵债少年韩峥。二十年后韩峥成能源董事长回乡，得知唐家因旧矿蒙冤，唐月笙遭赵家欺压。二人联手深挖线索，找到巷道图纸、父亲笔记等证据，历经纵火、绑架、封井险境，收集赵家伪造责任、私改巷道害命的实据，扳倒反派洗清唐父污名。唐月笙拒绝独占矿场，牵头成立矿业安全监管公司，让矿井长明灯守护矿工公道。

35 岁地质考古博士李阳，在太平山汉墓考古时意外触发三盏神秘古灯，穿越到三十年后的未来。面对老去的家人与依旧年轻的自己，他陷入亲情错位与时间困境。为弥补失踪三十年的遗憾，李阳冒险重返古墓寻找归途，却发现自己早已被卷入一场关于时间、记忆与命运的循环之中。

冰鲛公主洛鸢前世痴恋火鲛遗孤临怀安，强求婚约却遭冷待，最终因妹妹露薇闯祸、封印破碎，为护子民献祭身亡。重生回到求赐婚之夜，她彻底清醒，主动取消婚约，决意替露薇远嫁世仇玄龟族首领玄墨。五百年后，临怀安怀揣当年赐婚圣旨，在鲛族花园安详离世。

病弱将军钟楚斯奉旨被迫迎娶质子归来的李熔玉，一场始于皇权胁迫的婚约，藏着颠覆命运的隐秘羁绊。他对这桩婚事满心抗拒，她对这段关系处处设防，两人在将军府的方寸天地中互相试探、彼此制衡。可随着皇权阴谋暗涌，血亲构陷接踵而至，本是陌路的两人被迫绑定，在刀光剑影中数次并肩破局。当隐藏的过往逐渐浮现，他胸膛里的秘密与她背负的执念意外交织，这场始于算计的婚姻，终将走向何方？

该剧围绕着身负血海深仇的谢瑜展开，她前世含冤而死，重生后决心改变命运，报仇雪恨。在这过程中，她与看似佛系、实则暗藏玄机的太子赵怀玉相遇，二人携手在权谋的漩涡中挣扎前行，共同探寻真相。

一九八七年，南方青溪县。苏记白事铺的苏阿婆过世，留下《白事杂记》和银戒指。苏晚接灯那夜，头七灯灭。怪事夜夜上门：问米的婆子、坑边的女婴、河滩的骨头……查到最后，没有一件是鬼干的——可每一件，都比鬼狠。这里没有鬼，只有被人装成鬼的人心。

姜吟车祸昏迷十年，丈夫裴司越在佛前为她跪了整整十年。她以为醒来仍能收获深情，却发现裴司越早已爱上寺中沈鹿。沈鹿借怀孕、装邪祟步步挑拨，裴司越从深情守护变成亲手将她推入深渊。姜吟受七日噬心之痛被活活烧死，直到失去她，裴司越才幡然醒悟，她才是自己此生唯一的光。

姜吟遭遇车祸昏迷十年，丈夫裴司越却在佛前为她跪了整整十年。她以为自己醒来后，等到的仍是那个深爱自己的男人，却意外发现，裴司越早已在漫长的祈福岁月里爱上了归元寺的沈鹿。沈鹿借怀孕、邪祟之名步步挑拨，裴司越也从昔日的深情守护，变成亲手将姜吟推入深渊。七日噬心之痛后，姜吟被活活烧死。直到她彻底离开，裴司越才发现，那个被他亲手毁掉的女人，才是他此生唯一的光。

囚犯埃里克·埃弗哈德（Erik Everhard）和詹姆斯·迪恩（James Deen）越狱后，闯入了一个金矿营地。巧合的是，这里恰好雇佣了两名性感的假释人员——米西·马丁内斯（Missy Martinez）和艾莉·海兹（Allie Haze）。她们的老板（由汤米·冈恩 Tommy Gunn 饰演）因无法得逞于她们，便对这两位迷人的女性百般刁难、压榨劳力。正当两人陷入绝望之际，这两名囚犯的到来打破了僵局，为她们带来了急需的欢愉。

Mine is Kentridge's third film, although it is often shown by the artist as second in the series, before Monument (Tate T07483). It was made from eighteen drawings and is set to Dvorak's Cello Concerto in B minor, Opus 104. In it, Kentridge develops the analogy between landscape and mind begun in the earlier films. A journey into the mines provides a visual representation of a journey into the conscience of Kentridge's invented character, Soho Eckstein, the white South African property owner who exploits the resources of land and black human labour which are under his domain. Throughout the film the imagery shifts between the geological landscape underground inhabited by innumerable black miners and Soho's world of white luxury above ground. When Soho, breakfasting in bed, pushes down the plunger of his cafetière, its movement is transformed into a rapid descent through the tray, through the bed and into the mine-shaft. Here the miners' world of overwhelming misery is depicted in claustrophobic tunnels where they are trapped digging, drilling and sleeping, embedded in rock. Above ground, Soho sits at his desk in his customary pin-stripe suit and punches adding machines and cash registers, creating a flow of gold bars, exhausted miners, blasted landscapes and blocks of uniform housing. At the end of the film a tiny, live rhinoceros is carried up from underground to appear on Soho's desk. This, like the image of a Nigerian Ife head which appears at the beginning of the film, alludes to exoticising colonialist attitudes towards Africa and its people, which reduce human and animal resources to trinkets and symbols of wealth. It also refers to the ecological damage caused by industry, a theme common to this series of films.