吴然与发小二胖聚会时意外坠入墓穴，遭遇狐尾艳尸，一番惊险对抗后脱险，还获得《搬山九秘》和一幅古画。二人前往潘家园卖画，先遇七宝斋的桂姐，后见到其侄女姜若水，得知她是摸金校尉。此时古画竟融入吴然身体，姜若水称画是古墓地图，邀二人随考古队去罗布泊，并承诺高额酬金。

玄学大佬林翩扁苏醒后为恢复灵力，化身软萌未婚妻接近身负紫气的陆令，一边直播捉鬼积功德，一边隐藏马甲与南家哥哥相认。当反派文弃用禁术搅乱人间时，她联合陆令破除阴谋，掉马反被宠上天，携手破除干年宿命羁绊。

他掏心掏肺爱的女友，转头就跟着富二代跑了，还卷走他的全部积蓄，临走前留下一句 “你一辈子也挣不到我想要的钱”。被渣又负债的他【暴富逆袭系统】绑定，从此他的人生开了挂，一路狂揽财富，把曾经的轻视狠狠踩在脚下。

前世魏勇为了娶王晓玲，将自己妻子秦薇以两袋小米卖掉，后来魏勇遭遇了王晓玲的背叛，临死前魏勇才知晓，秦薇被变卖时肚子里已经怀了他的孩子，重活一世，魏勇发誓绝对不做舔狗，好好保护秦薇和她肚子里的孩子。

外卖员陈默意外被系统绑定，获每秒高额利息的能力。他在商场、游艇中心等疯狂消费，迅速积累财富，成为神秘富豪。他帮苏清雪解决公司危机，与秦婉儿情定秦家，在同学会上以满天星辰赢取苏清雪芳心，又遭楚菲菲绑架逼婚。楚菲菲身患绝症，陈默为其赴樱花国买药，以强大财力和军事力量威慑，成功拿到药。

陈希是一位贤惠的家庭主妇，在遭受丈夫崔耀阳的背叛后，决定离婚并以201万的价格将崔耀阳“卖给”金淑芬。离婚后，陈希改变了自己的形象，开设了自己的餐厅，赢得了顾客的喜爱，实现了经济独立。顾氏集团顾震霆被陈希吸引，隐瞒自己的身份去陈希的餐厅做帮厨，并一直在背后支持陈希。 崔耀阳及其家人多次羞辱陈希，陈希勇敢反击，保护了自己的尊严和事业。在这个过程中，她与顾震霆的关系逐渐升温，顾母也对她产生了好感。 最后，有了家族的支持，陈希与顾震霆共同迎接美好的新生活。

在玩牌时意外穿越至古代大皇子身份，并获得召唤系统。通过召唤历史名将或群雄...

女主生前一直渴望得到妈妈的关爱，却总被忽视。意外离世后，妈妈开始重新审视她们之间的关系，在回忆与悔恨中，妈妈试图弥补曾经的过错，可阴阳两隔。

故事发生在距今千百万年前的原始社会，皓月当空，月朗星稀。原始丛林的某个角落，山洞内闪耀着乳黄色的火光。镜头拉近，我们看见一个身穿兽皮、胡子拉碴的原始人正用手在岩壁上涂涂画画。他正在画一个体型丰满到极度变形的女子，女子裸露全身，线条曼妙流畅。而且壁画不止一副，而是画了很多女子一字排开。当最后一幅完成之后，我们的原始人艺术家开始以极其超前的方式欣赏着他的旷世杰作…… 　　本片为2002年法国昂西动画节开幕动画短片。

Included in Jonathan Rosenbaum’s list of 1000 essential films, Parviz Kimiavi’s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’s thesis work on the Mongol invasion of Iran, Parviz’s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran. 　　A director of a television series on the history of cinema, who has been grappling with the screenplay of his first feature film, receives an assignment to oversee the installation of a television relay station in a remote region of Zahedan province, near the Afghanistan border. He has already hired Turkoman tribespeople for his film and selected his filming location. Meanwhile his wife, who is working on her Ph.D. dissertation about the Mongol invasion of Iran, attempts to dissuade him from accepting the assignment. One night, while working on his history of the cinema series, the director fantasizes a diagetic world that consists of clever juxtapositions of his different worlds: the history of cinema, the history of the mongol invasion, his own film idea and his imminent assignment to the desert.