Boasting the longest title in the Quays' entire output, this 1985 film is generally known as This Unnameable Little Broom, though the Quays themselves refer to it as Gilgamesh. It began life as a proposed hour-long Channel Four programme exploring aspects of the ancient Babylonian Epic of Gilgamesh, the oldest known surviving work of literature, which would combine puppet animation, dance sequences (courtesy of choreographer Kim Brandstrup) and live-action documentary elements. However, Channel Four were dubious about the project, and only agreed to fund a short animated sequence as a pilot - which is all that was ultimately made. 　　But even when divorced from the original planned context, This Unnameable Little Broom stands up very well on its own as a short parable of cruelty and oppression. The Gilgamesh character is portrayed as a childlike figure, seemingly welded permanently to a tricycle, with a grotesquely swollen head that, Picasso-like, simultaneously presents both a profile and a frontal view. His 'kingdom' is a box-like construction, seemingly suspended in mid-air, with a distant forest just out of reach. 　　At the start of the film, Gilgamesh sets various elaborate snares to lure Enkidu, the forest creature, into his domain. These range from conventional booby-traps to altogether more unsettling creations, notably the desk drawer containing what appears to be a detached, pulsing vagina (the Quays' typically oblique reference to the point in the original legend where Gilgamesh sends a prostitute to seduce Enkidu). Enkidu himself is a bird-like creature, partly made up of genuine animal skeletons, whose wide-eyed guilelessness proves his downfall. 　　The film had numerous inspirations besides the Gilgamesh legend. The frenzied viciousness that pervades the film was a tribute to Austrian writer Konrad Bayer, the design of Gilgamesh was sourced from artwork by Heinrich-Anton Müller, one of a trio of 'outsider artists' (the others being Friedrich Schröder-Sonnenstern and Adolf Wölfli) that the Quays originally intended to dedicate their film to, but shyness prevented them. 　　However, they weren't too shy to include a back-handed swipe in the title - 'Hunar Louse' is a satirical representation of Lunar House in Croydon, the headquarters of the Home Office's Immigration and Nationality Directorate, which called the Quays' visa status into question at the time they were making the film. Though this was alarming at the time, the experience helped fuel the paranoid, Kafkaesque atmosphere that pervades their film.

西南边域，唐氏集团总裁唐玲珑险遇危机，被传说中的云龙暴君救下，唐玲珑对他一见钟情。第二天，她拿着退婚书上山推掉与未婚夫叶川的婚约，在新技术发布会上，求嫁云龙暴君。不料她嫌弃的未婚夫和她崇拜的云龙暴君竟然是同个人。

西南边域，唐氏集团总裁唐玲珑险遇危机，被传说中的云龙暴君救下，唐玲珑对他一见钟情。第二天，她拿着退婚书上山推掉与未婚夫叶川的婚约，在新技术发布会上，求嫁云龙暴君。不料她嫌弃的未婚夫和她崇拜的云龙暴君竟然是同个人。

陈兰瘫痪十年，就被女儿细心照顾了十年。为了给陈兰挣医药费，女儿一天打三份工，甚至不惜离婚也要尽孝，她的孝心感动全国，被评为“最孝顺的女儿”，可陈兰不仅将八百万拆迁款尽数转给废物儿子，更是背着女儿进行秘密直播。镜头前，女儿越孝顺，陈兰越冷淡。然而，就在全网怒骂陈兰“冷血母亲”“重男轻女”之时，暴雨之夜，女儿不对劲的举动，才让众人惊觉，这场被千万人围观的“孝心审判”，似乎另有隐情？

职场女强人林晨曦（许玮甯 饰）在意外车祸醒来后仿佛穿越平行时空，原本应该是男友的李皓明变成警察小刘（李程彬 饰），正在调查关于她高中化学老师谢志忠（陈以文 饰）遭杀害的案件，高中学姐颜圣华（贾静雯 饰）竟然是主要涉嫌人？她一天天拼凑重建记忆，却发现越来越不对劲，看似幸福美好的家庭与闺蜜情，都随着凶杀案逐渐揭露意想不到的真相。

职场女强人林晨曦（许玮甯 饰）在意外车祸醒来后仿佛穿越平行时空，原本应该是男友的李皓明变成警察小刘（李程彬 饰），正在调查关于她高中化学老师谢志忠（陈以文 饰）遭杀害的案件，高中学姐颜圣华（贾静雯 饰）竟然是主要涉嫌人？她一天天拼凑重建记忆，却发现越来越不对劲，看似幸福美好的家庭与闺蜜情，都随着凶杀案逐渐揭露意想不到的真相。

章绾歌（何泓姗 饰）被人陷害受尽折磨，死后意外回到三年前，章绾歌带着前世记忆归来，接近警局队长陆野（谢彬彬 饰）来探寻真相，同时陆野的梦境在不断给她指引线索，当梦中的迷雾被拨开，陆野甘愿手握真相深陷其中。当梦中子弹穿过两颗心脏，一颗停在过去，一颗却跳向未来……

讲述极端付出型人格舒妍放弃家庭失业后，经历了一系列悲惨的生活变故，清醒后她一步步重拾自我，亲手逆转了自己不幸的命运，并与沈惟舟真心相爱的故事。

一个前程似锦的医女，为姐妹复仇，只身潜入豪门与路家兄弟周旋而赌上自己的未来，一人两面，以身为饵，以心入局，一场腹黑医女与心机少爷的谋略之爱即将上演。

李英男、艾英、英小美曾是大学同学，也是多年好友。今天是他们入学二十周年校友会，三人欢喜赶到现场，却发现曾经的社团好友中年早逝，校友会变成追悼会，三人也再次感受到人到中年的压力与危机。这时，大英的丈夫徐辛打来电话要钱以支付公司员工的工资，大英硬着头皮将自己的所有积蓄都转给了丈夫，但回到公司却被老板要求带头降薪。