苏念笙发现自己的婚姻是场骗局，丈夫深爱着小青梅，娶她不过是为了报复她，她决定在死前和丈夫离婚，成全他和他的小青梅，却被小青梅推下楼身亡。重生回校园，她直接回归首富，和竹马太子爷订婚，没想到前夫却破防了，红着眼求原谅，然而这一世她不再回头。在和竹马的相处中，她发现当年救赎自己的纸飞机来自竹马，而非前夫，原来这么多年竹马一直默默守护着自己。

临近毕业，顾言川向富家千金女友黎苏苏求婚，却遭黎苏苏无情拒绝，其中似有隐情。八年后，顾言川已成鸿天集团董事长，黎苏苏却无比落魄，孤身抚养其子黎乐乐。二人在酒吧重逢，一段相爱相杀的孽缘就此展开。直到真相水落石出，二人方重归于好，走向幸福。

女主司念意外穿成了小说替嫁乡下的假千金。本着既来之则安之的原则，司念嫁给了乡下老男人！没想到这老男人帅的嘞！司念打脸绿茶，一一化解极品亲戚带来的难题，最终和周越深过上了有钱有闲，没羞没臊的幸福生活。

女主司念意外穿成了小说替嫁乡下的假千金。本着既来之则安之的原则，司念嫁给了乡下老男人！没想到这老男人帅的嘞！司念打脸绿茶，一 一化解极品亲戚带来的难题，最终和周越深过上了有钱有闲，没羞没臊的幸福生活。

感情不外露的横井凑（吉泽要人 饰），与一切情绪都写在脸上的中乃航（雨宫翔 饰），看似性格相反，却因共同的摄影兴趣而成为挚友，并在大学时期同居。随着凑就业，两人不得不结束同居生活，航这才意识到自己对挚友的感情早已超越友情。数年后，两人以社会人身份重逢——一个“想要继续做朋友”的凑，一个“无论如何都想成为恋人”的航，从彼此的单恋开始，一段暖心又酸涩的双向暗恋喜剧就此展开。 　　本剧改编自ろじ的同名原著漫画。

西江市女警冉咚咚在庙前街小超市击毙了挟持人质的歹徒，虽然受到了赞扬但对第一次射击真人的冉咚咚还是很大冲击，回到家丈夫慕达夫对她击毙歹徒的行为有些疑问引起了冉咚咚的反感。西江市发生了一起命案，钓友在江边发现一具女尸，警队开始调查被害人的身份，并将案件取名为“大坑案”。

西江市女警冉咚咚在庙前街小超市击毙了挟持人质的歹徒，虽然受到了赞扬但对第一次射击真人的冉咚咚还是很大冲击，回到家丈夫慕达夫对她击毙歹徒的行为有些疑问引起了冉咚咚的反感。西江市发生了一起命案，钓友在江边发现一具女尸，警队开始调查被害人的身份，并将案件取名为“大坑案”。

回南天的日子里，小姜总是重复梦到一扇门。一开始，它只在夜晚的梦里出现，后来连午间小憩都能看见，以至于闭眼即会浮现它的样子。这个特别的梦一度让她无法安眠，药物虽然使她正常的入睡，但那扇门在梦中依旧清晰地伫立在她的眼前。慢慢的，小姜开始好奇这扇门的由来，它总不是无端入梦，或许会有些特别的缘由。于是每梦见一次，她就会把这扇门画下来，一个月以后，这扇门已经十分清晰地显现在手帐本上了…

As video technology became more widely available in the early 1970s, many artists were drawn to the medium's immediacy and ease of reproduction, which allowed works to be shown on television or through other modes of distribution that bypassed the walls of museums or commercial galleries. Serra, known primarily for his large lead and steel sculptures, made a number of films and videos in the late 1960s and early 1970s. Holt, a pioneer of land art, also worked with film, video, and photography throughout her career. 　　In Boomerang—which was broadcast live on a TV station in Amarillo, Texas—Holt's words are fed back to her through headphones with a one-second delay. She describes the experience, in which her words are suspended in time and space, as "a world of double reflections and refractions." As her voice echoes back to her, she continues, "words become like things," disconnected from their individual meanings and from their contexts. This interferes with Holt's thought process and establishes a distance between the artist and her sense of self, an effect intensified when pre-recorded sound samples are played or when glitches in the broadcast cause momentary periods of silence.

The title says it all. The movements in this black-and-white animation are governed by an echo. The flow of images creates a chain of associations. A pot-bellied creature with a tiny face roams the world. There are also other creatures, similarly pot-bellied, with stilt-like arms. This gives them a mobility which affords them new points of view. The swamp provides shade for their heads, the rhythm of the tambourines makes their bellies sway. The film follows these faceless creatures with minimal movements which focus only on the essentials.