乾昭国连续三年大旱，颗粒无收，百姓流离失所。皇帝每日吃糠咽菜，皇后病重卧床，国家内忧外患，民不聊生。国师夜观天象后表示：东南方有“福宝降世”，手腕带有祥云胎记，若找到福宝，不仅能解大旱，甚至能带来国运转机，振兴乾昭国的繁荣。

乾昭国连续三年大旱，颗粒无收，百姓流离失所。皇帝每日吃糠咽菜，皇后病重卧床，国家内忧外患，民不聊生。国师夜观天象后表示：东南方有“福宝降世”，手腕带有祥云胎记，若找到福宝，不仅能解大旱，甚至能带来国运转机，振兴乾昭国的繁荣。

和朋友一起参加动画活动朗读会的凑，被在那里见到的声优演技所吸引，进入水道桥动画学院，与千歌子相遇。千歌子是凑搬过来的房间的前任住户，也是在USB留下信息的本人。同样以声优为目标，却无法将灵魂注入角色而苦恼的凑，与因过去的心伤而胆怯的千歌子，两人在互相激励的同时，也在面对面注视着自己。前辈凌太和景等人，也在见证两人的成长。止步不前而烦恼着的两人，在前方所发现的事物是——。

末世顶级大佬风浅浅，因为世界毁灭，在系统的帮助下，穿到一本古早玛丽苏漫画中，成为被所有人狂虐，最后被四个男主喜欢上的女主。风浅浅表示，这样的剧情走不了一点，她可以接受四个出身顶级贵族的男主，但受虐，不存在的。按照剧情规定，风浅浅成为F4公寓的管家，料理四个男主的衣食住行，也开启了她的驯狗文学。

通过了乃木坂46的一期生甄选会，当时为了出道而目不转睛地度过每一天。西野七濑凭借第8张单曲《気づいたら片想い（注意到之时已是单恋）》首次被选拔为Center，是组合中最多的担任Center的西野七濑。本作从出道到现在的未公开映像以外，也包含西野七濑本人谈了现在的心境的采访，成员采访等60分的浓缩映像。作为组合的前列成员带领着、融合了乃木坂46组合内情感的最新纪录片。

墨西哥超现实吸血鬼片，导演Juan López Moctezuma是JODOROWSKY大师的好友，曾经参与杨大师多部经典CULT片的拍摄工作。 　　A beautifull artist (Cristina Ferrare) moonlights as a vampire while in Mexico, killing lovers of both sex. It seems that the only person who has any chance of stopping her reign of terror is her father (John Carradine), who's also a vampire. Model and future TV host Christina Ferrare is a lesbian vampire whose victims are dying to quench her thirst for blood. Mexican authorities and her father (John Carradine) try to come between Ferrare and her next target's neck in this horrifying shockfest. 　　Juan Lopez Moctezuma's MARY, MARY, BLOODY MARY (1975) is one of those movies you watch and, after mentally cataloging all the things wrong with it, realize how cool it really is... mostly because of all the things you thought were wrong with it. Cristina Ferrare is such a Pamprin headache of an actress, as stiff as a celluloid collar, and yet she does create one of cinema's most interesting vampires. In many ways, Mary couldn't be worse at what she does - while the early murder of a man interested in more than her paintings goes off smoothly (Miss Thing slyly sliding a hairpin out of her chignon during female superior sex and using it to lay open his jugular), her next victim (a fisherman, whom she has attempted to drug) nearly fends her off until she takes him down in one of the most ungainly vampire attacks of all time. 　　Elsewhere, Mary proves herself a complete chicken shit in moments of tension, as when she breaks down in big boo-boo tears when confronted on a country road by a mysterious figure clad in black. She's lachrymose, emotionally withdrawn, sexually disengaged and her art sucks... what a perfect portrait of an Ugly Americana spreading the white man's poison south of the border. It's in this context that the cheapness of the production, the harsh 70s decor, the cold, perfunctory performances and the wall-to-wall Muzak score actually begin to seem like grounded artistic choices and have a lot to do with why I keep coming back to this one. 　　MARY, MARY, BLOODY MARY ends in a surprisingly cynical bloodbath of ultraviolence that leaves only the pathetic title character standing... or in reality on her knees sucking the life out of the one person whose love she had relied on to point her to some kind of normalcy. Not enough vampire movies use awkwardness and incompetence as character traits to define their bloodsuckers and that's too bad. George Romero had similar ideas for MARTIN (1976) a year later but portraying vampires as just folks is definitely the horror road not taken.