青春岁月里，每个人都要面临人生抉择：是追逐热爱的职业，还是为生存妥协；是与喜欢的人相伴，还是接受被安排的人生。而热爱cosplay女装的男生程越，要做的选择更为艰难——他得决定以何种性别度过一生。程越自幼被领养，和姐姐金瑶感情深厚，为帮姐姐，他扮成女装与金瑶的相亲对象沐剑锋见面。这个错误的开端，就此改变了他的人生轨迹，几个人的情感纠葛与家族纷争相互交织，一段孽缘就此展开。

每个人的青春都会面对着人生的抉挥从事自己喜欢的职业或是为了生存妥协和自己喜欢的人在一起或是接受被安排的人生。而喜欢cosplay女装的男生程越还要面临着选择什么样的性别度过自己的一生，从小被领养的他和姐姐金瑶感情很好甚至为了姐姐扮成女装和金瑶的相亲对象沐剑锋见面。之后这个错误的开始影响了他接下来的人生道路，几个人的情感与家族的纷争纠缠在一起孽缘就这样开始。

江徽宁前世身为圣女，耗尽气运救治三皇子、将军和丞相，却被他们榨干价值后抛弃，惨死重生。这一世，她不再心慈手软，步步为营复仇——设计渣男互斗，揭穿假圣女江浅月，扶持五皇子沈邢夺位。曾经吸她血的人，这一世全要百倍偿还！

直到那年，疼爱她的姑母横死，兄长暴毙，长姐一户两命， 才知道这一切都是惊天阴谋！家破人亡后她更是受尽折磨被推进湖里，重生后，叶流锦将渣男踹进太液池里； 这一世叶流锦要保护爱她的萧昭衍，仇人要杀，国公府该清理了...

直到那年，疼爱她的姑母横死，兄长暴毙，长姐一户两命， 才知道这一切都是惊天阴谋！家破人亡后她更是受尽折磨被推进湖里，重生后，叶流锦将渣男踹进太液池里； 这一世叶流锦要保护爱她的萧昭衍，仇人要杀，国公府该清理了...

游戏代练路浔穿进修真网游，成了自己捏的魅力值MAX小号，无数仙子追捧的修真“男魅魔”，只能当炉鼎？不存在的！满级代练经验，广阔天地任我纵横！

心理医生俊唱是一个著名的医生。他是冷静与他的病人，但他有一个痛苦的过去。他曾经亲眼目睹他老婆自杀，因为她被强奸了。他曾经遭受失眠伴随着内疚和悲伤，直到一位美丽的姑娘吉洙走来。她告诉他，每一个谁在爱她死了，有人在看她的男人。她勾引俊唱。一名侦探犯罪嫌疑人吉洙参与了最近的谋杀案，并要求俊唱她的医疗记录...

因为被人下毒而昏迷不醒，大房方氏为了爵位找人冲喜实则是给霍翎下毒。 沈知意隐瞒身份嫁进王府。 成婚后，沈知意悄悄为霍翎解毒 …

In 1991, when images of the Gulf War flooded the international media, it was virtually impossible to distinguish between real pictures and those generated on computer. This loss of bearings was to change forever our way of deciphering what we see. The image is no longer used only as testimony, but also as an indispensable link in a process of production and destruction. This is the central premise of Erkennen und Verfolgen, which continues the deconstruction of claims to visual objectivity 　　In War at a Distance, Farocki returns to themes explored in works such as Images of the World and the Inscription of War, bringing them technologically up to date. The automation of factory production is paralleled with the automation of destruction in warfare, and a new world of machine images is revealed – images not intended for human eyes, but for the visual tracking systems of the digital age. The video traces the history of missile guidance systems from WWII through the present day using visual artifacts of machine guidance systems, as well as training films, missile footage from the Gulf War, and flight and battle simulations. A coolly terrifying glimpse of the future.

In 1991, when images of the Gulf War flooded the international media, it was virtually impossible to distinguish between real pictures and those generated on computer. This loss of bearings was to change forever our way of deciphering what we see. The image is no longer used only as testimony, but also as an indispensable link in a process of production and destruction. This is the central premise of Erkennen und Verfolgen, which continues the deconstruction of claims to visual objectivity 　　In War at a Distance, Farocki returns to themes explored in works such as Images of the World and the Inscription of War, bringing them technologically up to date. The automation of factory production is paralleled with the automation of destruction in warfare, and a new world of machine images is revealed – images not intended for human eyes, but for the visual tracking systems of the digital age. The video traces the history of missile guidance systems from WWII through the present day using visual artifacts of machine guidance systems, as well as training films, missile footage from the Gulf War, and flight and battle simulations. A coolly terrifying glimpse of the future.