本剧讲述电视剧《最棒的教师》的舞台凤来高中3年D班旁边的3年C班的女高中生的青春故事。主人公伴光患有遗传性疾病，被告知还剩1年的生命。她把在有限的时间内想完成的事情，悄悄地写在笔记本上。被周围的人称为“正能量的怪物”的她为了让剩下的时间成为最棒的每一天，明亮、强烈、浑厚地追逐着青春。
故事发生在二十世纪初的墨西哥，四处为非作歹的不法之徒强尼（马克·莱昂纳蒂 Marco Leonardi 饰）带着女友艾丝梅洛达（阿若·希利 Ara Celi 饰）踏上逃亡的旅途，在两人身后紧紧追索的，是艾丝梅洛达身为警察的父亲刽子手（特穆拉·莫里森 uera Morrison 饰）。一行人先后来到了位于茫茫荒漠之中的魔鬼旅店，在那里，一场大战即将拉开序幕。 然而，令众人没有想到的是，打响第一枪的却并非强尼或是刽子手，而是一个性感妖艳的美女。原来，这位美女的真实身份是蛰伏了千年的吸血鬼，再也无法忍受饥渴的她要在此处大开杀戒。艾丝梅洛达竟然主动选择成为吸血鬼的同党，只因为她的体内流淌着一般吸血鬼的血液。
Mercenaries with nothing to lose are hired to rescue a bioengineer imprisoned in a cold war bunker. Upon entering the ominous facility, they find themselves in a fight for their lives when they come under attack from an unknown and deadly creature.
连壁是一名咖啡店服务员，高学历却得不到公司的重视。一天，他的好友张扬突然找到自己，并开出了一个非常丰厚的条件，前提就是要连壁男扮女装假装他的女朋友。为了丰厚的利益连壁二话不说就答应了，成为了张扬的“女友”，万万没想到这时候连壁的真命天女出现了......
暑假来临，大海送石头和妹妹果果坐火车去爷爷家。贪玩的小姑夫斗蛐蛐输光了钱只能带着孩子们一路搭车回到了爷爷家。第二天石头果果跟虎子去河边玩水，晚上果果发烧没法去看爷爷的皮影戏演出，果果被奶奶和小姑送去医院石头在家徘徊并从爸爸小时候的屋里翻出了摇滚磁带听。爷爷回家后看到那些录音卡带很生气，他认为就是因为这个摇滚才让儿子离经叛道离家出走的。果果出院后，自己在家无聊便跟奶奶一起去了寺庙。走出寺庙的奶奶和果果正好被爷爷撞见。回家后爷爷奶奶为此吵了一架。在虎子的建议下石头果果来到虎子家住了几天，石头果果跟虎子在镇上玩打水仗的时候遇到了镇上的小霸王毛头并约好晚上在寺庙比胆子。与此同时林老板来到爷爷家求爷爷盖章在合同上，被爷爷轰走。轰走后的林老板让司机找到小和尚计划偷出爷爷的章来签合同。小和尚找到因为晚上约架而心神不宁的石头并商定互相帮忙。回到爷爷家的石头果果跟爷爷奶奶一起去看爷爷的演出。小和尚趁机从家里的花盆里取走了石头偷出来的印章。林老板在街上遇到毫不知情的爷爷，告诉他合同的事情后，爷爷被气得住了院。得到消息的大海赶回家后得知了事情的经过，严厉的教训了石头并取钱让小和尚赎回了合同。守在病床前的大海梦到了小时候自己和爷爷。俩人的矛盾在不知不觉中缓解了许多。暑假结束了，大海带着石头果果踏上了回京的火车。
缇娜（伊娃·米兰德EvaMelander饰）是一位经验非常丰富的海关官员，她拥有着对于犯罪气息异常敏锐的嗅觉，没有一个心怀鬼胎的人能够轻易逃脱的了她的双眼。某日，缇娜遇见了一个名为沃尔（埃罗·米罗诺夫EeroMilonoff饰）的男人，直觉告诉缇娜，这个看上去无比正常的男人，正在隐藏着什么惊天大秘密。让缇娜感到无法相信的是，自己竟然不可自持的被沃尔所吸引着，当她和沃尔的距离渐渐拉近之时，缇娜震惊的发现，原来沃尔的秘密和自己亦有着千丝万缕的关联。沃尔的存在让她开始意识到，自己有条不紊的一生其实都是谎言，是继续闭上眼睛苟且偷生，还是勇敢的触碰真相，缇娜需要做出她的选择。
著名导演吉多•孔蒂尼（丹尼尔•戴-刘易斯 Daniel Day Lewis 饰）欲筹拍第九部影片，由于之前票房惨败，让他遭媒体围攻，仅女记者斯蒂芬妮（凯特•哈德森 Kate Hudson 饰）没有发难。制片人也不断施压，幸好有助理莉莉（朱迪•丹奇 Judi Dench 饰）帮他解难。他感觉不适，躲在罗马一家旅馆，在电话中倾听妻子路易莎（玛丽昂•歌迪亚 Marion Cotillard 饰）的安慰，与情人卡拉（佩内洛普•克鲁兹 Penélope Cruz 饰）交欢，仍摆脱不掉被母亲（索菲娅•罗兰 Sophia Loren 饰）带来的童年阴影。在给大明星克劳迪娅（妮可•基德曼 Nicole Kidman饰）试镜时，他开始反思电影的意义……
Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
大企业家也是国际毒贩的仇震指使义女江蓉除掉每一个与他作对的人。林亚芝律师接受被害人的委托控诉仇震，她的未婚夫叶刚是重案组的成员，两人联手调查仇震，不幸在查案中亚芝被杀手江蓉杀害。叶刚在悲伤的时候遇到了江蓉，江蓉在在矛盾和愧疚的心情里与叶刚发生了感情。但是好景不长，这件事被义父仇震知道了，就在叶刚与江蓉结婚的时候，开枪杀害了江蓉，而仇震也被叶刚击毙。
故事发生在明朝，皇帝（宋运成 饰）病重昏迷，皇位悬而未决，此事搅得朝中人心惶惶。在这个节骨眼上，京城之内发生了连环杀人案件，朝廷委托京师六扇门调查此案，捉拿凶手，以平民怨。申梓木（黄文豪 饰）是六扇门的统领，深知此案件蹊跷必会牵连到宫墙之内，本想草草了事结案，没想到自己的儿子申力行（林峰 饰）被牵扯其中。 在父子两人的协力合作之下，案件水落石出，却也令皇后曾经犯下的罪行重新浮出水面。申梓木遭人暗害，悲痛之中申力行将来龙去脉禀报苏醒的皇上，使得皇位落入了齐王（方中信 饰）手中。一次偶然之中，申力行发现父亲的死和齐王有着牵扯不清的关系，此人极为阴险狡诈，是事件背后的真正黑手。
表面上，罗伊（约翰·库萨克 John Cusack 饰）和迈拉（安妮特·贝宁 Annette Bening 饰）是一对恩爱的情侣，但实际上，他们的真实身份是职业骗子。混迹江湖多年，罗伊和迈拉从未失手。罗伊的母亲莉莉（安杰丽卡·休斯顿 Anjelica Huston 饰）也是一个骗术高超的“专业选手”，看着儿子一步一步的走上了自己当年的道路，她的心情十分复杂。 迈拉希望能够和罗伊联手一笔票大买卖，却被罗伊拒绝，愤怒的迈拉盯上了莉莉，并在黑老大博博（帕特·亨格尔 Pat Hingle 饰）面前揭穿了莉莉的骗术。无奈之下，莉莉只得带着骗来的巨额金钱踏上了逃亡之路。迈拉死了，直觉告诉罗伊这一定是母亲所为，他找到了东躲西藏的莉莉，希望她能够改邪归正投案自首。
故事延续着第一季六位主人公的生活。英国式的对白，英国式的幽默。该剧荣获2003年英国喜剧大奖最佳电视喜剧。