温梨被一辆无牌车撞成植物人，错过深情傅峥。重生后温梨猛追傅峥，装傻收拾继母继妹，成功复仇。最后跟傅峥美满在一起！

温梨变成了植物人，让温梨明白了反感的傅峥对待自己隐忍又克制的爱意。重生回到19岁，温梨决心主动回应傅峥的感情，然而傅峥却因为多重原因不断回避着温梨的感情，经过一系列的事件，傅家的掌舵人被温梨拿下了

温梨变成了植物人，让温梨明白了反感的傅峥对待自己隐忍又克制的爱意。重生回到19岁，温梨决心主动回应傅峥的感情，然而傅峥却因为多重原因不断回避着温梨的感情，经过一系列的事件，傅家的掌舵人被温梨拿下了

it was interesting to see the acrobatic Japanese actors of the Tenjosajiki company in Shuji Terayama’s Directions to servants. The title and some of the text were taken from Swift’s satire, but the main inspiration seemed to come from Genet’s Les bonnes. Multiplying the maids into a large cast of servants, male and female, who take it in turns to imitate the master, Tereyama has physicalized and partly mechanized the action. Domination is imposed partly through machines—we see a man submitting to an imperious voice on a tape recorder, lowering his trousers and climbing inside a sadistic machine that beats his bare buttocks. 　　The ingenuity, the sadism and the offbeat humour are all characteristic of the production. The main cruelty to the audience was in the over-amplification of J.A. Seazer’s music. I sat with my hands over my ears for a lot of the time. The visual assault was almost equally strong, and some of the theatrical imagery was quite unlike anything that had been seen in this country. In one meticulously choreographed sequence the servant playing at being master throws a bone to a succession of servants who play at being dogs. In another, a servant trying to steal food from a cupboard is terrified to find that it is like a puzzle: each panel conceals a face that sings at him accusingly, and he can silence it only by sliding a panel that reveals another singing face.

it was interesting to see the acrobatic Japanese actors of the Tenjosajiki company in Shuji Terayama’s Directions to servants. The title and some of the text were taken from Swift’s satire, but the main inspiration seemed to come from Genet’s Les bonnes. Multiplying the maids into a large cast of servants, male and female, who take it in turns to imitate the master, Tereyama has physicalized and partly mechanized the action. Domination is imposed partly through machines—we see a man submitting to an imperious voice on a tape recorder, lowering his trousers and climbing inside a sadistic machine that beats his bare buttocks. 　　The ingenuity, the sadism and the offbeat humour are all characteristic of the production. The main cruelty to the audience was in the over-amplification of J.A. Seazer’s music. I sat with my hands over my ears for a lot of the time. The visual assault was almost equally strong, and some of the theatrical imagery was quite unlike anything that had been seen in this country. In one meticulously choreographed sequence the servant playing at being master throws a bone to a succession of servants who play at being dogs. In another, a servant trying to steal food from a cupboard is terrified to find that it is like a puzzle: each panel conceals a face that sings at him accusingly, and he can silence it only by sliding a panel that reveals another singing face.

父亲包著石膏躺在客厅沙发，不愿卸下患者的身份，胜文在驾训班教练车内盯著一旁的教练，他不想面对家裡以及不断在逃避的父亲，但似乎也无法面对身旁这位教练，渐渐的，胜文融入了他父亲的倒影。

A department store security guard is secretly in love with a clerk in the store's bookshop. When he witnesses a seeming rival being attacked in the train, he gets off instead of helping him. Not being able to deal with his bad conscience, his formerly controlled life breaks down

A department store security guard is secretly in love with a clerk in the store's bookshop. When he witnesses a seeming rival being attacked in the train, he gets off instead of helping him. Not being able to deal with his bad conscience, his formerly controlled life breaks down

一场车祸让温梨成了植物人，无血缘关系的小舅傅峥照顾了温梨三年，温梨还是死了。这三年，温梨终于知道了傅峥的深情，也发现继母和继姐对她的好都是假象。之后温梨重生，回到了十八岁读高三的那年。这一世，温梨要反击对她心存恶意的家人，好好地爱傅峥。