朝颜是修真界老祖，因历劫失败，意外穿到被丈夫和绿茶妹妹虐待而死的贺朝颜身上。为了给原主报仇，朝颜虐渣男，惩绿茶，让所有欺负过原主的人都一一付出代价。最后，也跟那个一直守护她的忠犬好男人修成正果。

朝颜是修真界老祖，因历劫失败，意外穿到被丈夫和绿茶妹妹虐待而死的贺朝颜身上。为了给原主报仇，朝颜虐渣男，惩绿茶，让所有欺负过原主的人都一一付出代价。最后，也跟那个一直守护她的忠犬好男人修成正果。

朝颜是修真界老祖，因历劫失败，意外穿到被丈夫和绿茶妹妹虐待而死的贺朝颜身上。为了给原主报仇，朝颜虐渣男，惩绿茶，让所有欺负过原主的人都一一付出代价。最后，也跟那个一直守护她的忠犬好男人修成正果。

江念穿入室友写的七零年代文，成恶毒女配。原身给男主下药，却阴差阳错与男配秦三野生米煮成熟饭、怀孕结婚。穿来的她面对英俊军官老公、喊妈妈的闺女及孕检报告，惊诧自己三年抱俩成已婚妇女。

江念穿入室友写的七零年代文，成恶毒女配。原身给男主下药，却阴差阳错与男配秦三野生米煮成熟饭、怀孕结婚。穿来的她面对英俊军官老公、喊妈妈的闺女及孕检报告，惊诧自己三年抱俩成已婚妇女。

江念穿入室友写的七零年代文，成恶毒女配。原身给男主下药，却阴差阳错与男配秦三野生米煮成熟饭、怀孕结婚。穿来的她面对英俊军官老公、喊妈妈的闺女及孕检报告，惊诧自己三年抱俩成已婚妇女。

出生在一个被黑手党控制的小城里，一名愤怒的年轻女子决意向拆散和囚禁她家人的邪恶力量复仇。

钟灿（金柱赫 饰）和妻子妍红（孙艺珍 饰）结婚多年，膝下有一可爱的女儿，两人男才女貌，在外人眼中是如同神仙眷侣一般的存在。钟灿涉足政坛，事业小有成就，同僚们都知道，他将有极大的可能成为下一任的国会议员。 　　某一日，厄运降临到了这个幸福的家庭之中，女儿无故失踪下落不明，留下难以解释的模糊线索，令警方毫无头绪。让妍红感到不可思议的是，对于女儿的失踪，钟灿似乎并没有那么焦急，他脑中所想的，只有如何在下一场竞选中取得胜利，夫妻两人之间的感情因此而产生裂痕。无奈之下，妍红只得强打起精神，她知道，女儿所能依靠的只有自己。

一名受人尊敬的主播（高庚杓 饰）突然在播报时失去自我约束力，此举吸引了一名电视台编剧（姜汉娜 饰）的注意，并邀请他上自己的综艺节目。

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.