驻扎在四川广元的九连长梁三喜（吕晓禾 饰）为了从军政治部调来的指导员赵蒙生（唐国强 饰）推迟了探亲假，可出身高干家庭吃不了苦的蒙生打算只干几个月就走。1979年，赵母吴爽（刘燕生 饰）得知蒙生部队将要赴越作战，加紧督办调动之事。耿直的炮排长靳开来（何伟 饰）听说后火冒三丈，扬言要自费上北京告状。部队开赴云南边境，吴爽孤注一掷请求军长雷震（童超 饰）将蒙生调回后方……

该剧讲述了一位来自二十一世纪的天生带有水逆体质的少女洛菲菲意外来到一个以星座能力为评判标准的神秘国度——黄道国，并在其中和各个星主展开缘分的奇幻故事。

在所有纷杂微妙的感情关系中，我们的主人公认为，能揭示出整个爱情真谛的，不是恋爱，而是分手。 “70亿人口的世界里，情侣关系，不过是千万种关系中微不足道的一种，却有人把维系它看的比什么都重要，我们的公司就是要打破这种自以为是的‘V关系’，让你摆脱旧爱向前看。简单的讲就是，帮你分手。”这是老板王侃（王一 饰）在洽谈“业务”时经常使用的一段开场白。 我们是一家专门帮人解决分手问题的公司，由受过情伤，不谈感情只谈钱的公司老板王侃建立，王侃总是说“谈感情多伤钱呐”，所以离婚破产的他，虽然一度陷入绝望，但是他还是准备重新崛起，从此之后，在这繁华的都市里，总能看到他起早贪黑疯狂张贴小广告的身影。 至此，深受情伤的王侃，聘任了胸大无脑且有着37家公司黑历史的“剩女”何伊娜（高瑕 饰），两人接到的第一个案子就是让青春治愈偶像陈友友（张妙儿 饰）和她的明星男友分手，却不料这是一场故意设计的绯闻陷阱……累觉不爱的友友最终加入公司，而同时，在网上伶牙俐齿，在生活中老师木讷的技术宅男虞东坡（于磊 饰），也因为是友友的骨灰级粉丝成为了V关系分手公司的一员。 分手公司的铁四角正式形成，在“无手不分”的王侃鞭策下，众人各展所长，各施手段，什么过河拆桥、无中生有、借刀杀人，什么设局、色诱、离间……可谓无所不用其极，他们处理了各种匪夷所思的微妙关系，见识了千奇百怪的男男女女，而原本腹黑的分手动机，往往最终收获的却是意想不到的温情结局……

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二战爆发，富樫胜男（丹波哲郎 饰）接到征兵令，不得不告别新婚刚满六个月的妻子先惠（左幸子 饰）和尚未出世的孩子赶往战场，一去不返。1946年，先惠接到丈夫的死亡通知，却对其死亡原因产生质疑。经过多方询问，她终于得知胜男因逃避兵役而被处死，她和女儿也无法享受阵亡将士家属的待遇。深感蹊跷的先惠几十年来不畏艰辛，坚持要给丈夫讨个说法。在厚生省新任领导的指点下，她找到了胜男当年所在部队的战友，从他们的口中得知了在残酷战争背景下所发生的一切……

六六六扇门捕头易轻衣被誉为天下第一神捕，能在一炷香之内破解天下奇案，人送外号一炷香。如今却因为一桩丢羊案，遭受打击，从此一蹶不振。不料这个难题却被新人捕快吴酒酒轻易破解，吴酒酒作为一炷香的迷妹，坚定选择和一炷香组成师徒搭档，二人化身行走的“爆梗输出机”，誓将“搞笑”进行到底。

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讲述都市精英之间职场故事的青春励志偶像剧《无懈可击之高手如林》，是一部集浪漫、悬疑风格为一身的时尚大戏。商界才子徐然（胡歌饰）本是站在事业巅峰的青年才俊，然而却陷入平凡女孩汤七七（唐嫣饰）和出身名门的冯璐菲（董璇饰）三角纠结恋中。徐然的好兄弟危笑（邱泽饰）是一名片警，居然跟身份悬殊的公关总监叶柔（戚薇饰）谈起了一场惊心动魄的姐弟恋。徐然的得力下属姜东(范逸臣饰)，不仅在事业上对徐然倒戈相向，更在感情上与冯璐菲陷入爱恨纠葛。在一场看不见硝烟的残酷商战中，三段平行的人生在机缘巧合下交织在一起，而令他们更猝不及防的是，一双国际金融巨鳄的黑手正悄悄地伸向他们。

"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.

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又名: 东京情色一千零一夜 / Eros Nights in Tokyo