现代女孩意外穿越到小说中，并成为了一个在小说中活不过两集的炮灰角色浅晴，而她必须靠自己对小说的了解，逆袭成为女主角，才能回到自己原本的世界。
Season2となる本作では、恋への葛藤や性に対するデリケートな悩みを抱えるヒロインたちの揺れる心情を描かれる。
Amadscientistgrandfatherinventsagenetictransformationmachineandhis4yearoldgrandsonaccidentallyturnshisbodyintothatofa30yearoldman.BabyBobbyescapesandrunsaroundtownashissiblingstrytocatchhimbeforetheirparentsgetbackfromvacationANDbeforethebadguysgettohimfirst.Themachineisworthalotofmoneyandtheyonlyhaveadaybeforethemachinelosesitscapabilitiestochangebabybobbyback.
家宝（邓丽欣饰）样子甜美，受到很多男士的欢迎。与志荣（森美饰）晴晴（钟嘉欣饰）夫妻是老同学。家宝无意间发现了志荣与朋友碧莲之间的暧昧，志荣更与家宝大谈第三者，家宝面对晴晴的时候十分内疚，不知是否应该告之真相，也把事情告诉了自己的室友阿蚊（杨爱瑾饰）。 家宝遇到了自己的旧男友大力（方力申饰）的同时也跟医生Joe（张敬轩饰）互有好感，三角关系十分尴尬。家宝被人加害，怀疑是大力继分手后的再次暗算。家宝后来还是觉得大力对自己的感觉是真的，于是重修旧好。 但没想到，一切的事情都有各自的真相，令人大感惊奇。
书生宁采臣（陈星旭 饰）进京赶考，在某日深夜为了躲雨而进入了废弃的兰若寺，哪知道在这里竟然遇到了一位绝世美女聂小倩（李凯馨 饰），不仅如此，聂小倩还非常主动的对宁采臣投怀送抱。原来，聂小倩是一名女鬼，专门替她的主人黑山老妖（徐少强 饰）勾引男人，让黑山老妖可以吸食他们的精气。 然而，无论聂小倩如何像宁采臣搔首弄姿，后者都不为所动，头一次见到如此正直之人，聂小倩心动了。当宁采臣知道了聂小倩的真实身份之后，决定和驱魔道士燕赤霞（元华 饰）联手，将聂小倩从黑山老妖的掌控之下解救出来。
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.
故事的主人公是一个举止温柔的女秘书，虽然职位比较低微，但她一直努力希望得到提升。胸怀大志的她，在通往公司高层的道路上，用尽各种手段，后来她偶然发现自己原来对杀人这种事很有天分，于是随即将其充分加以利用……
故事以北宋哲宗时代为背景，通过丐帮帮主乔峰、大理世子段誉、少林小僧虚竹三人的江湖历险与爱恨情仇，以及围绕在他们周围的一众江湖人物，展现了纷繁复杂的武林恩怨和无计可消除的贪嗔痴怨，勾勒了一副充满人情世态的生活画卷，亦象征大千世界的芸芸众生，皆逃不出“情”之一字带来的痛苦纠缠。
曾为清廷第一猛将苏灿（赵文卓 饰）抛弃大好前程回到家乡，本想自此钻研武学，开宗立代，和妻子袁英（周迅 饰）还有儿子从此不再分离，尽享天伦。不料因为上代恩怨，义兄袁烈（安志杰 饰）练就魔功，杀死苏父，并掳走苏灿妻儿。河滨一战，苏灿败北，性命攸关之际，妻子舍身相救，后又得遇隐居山野尝遍百草的高人于大姐（杨紫琼 饰）救助，两人得以保全性命。苏灿因右臂筋脉断裂而灰心丧气，终日醉酒逃避现实，在妻子的精心照料与鼓励之下，苏灿最终重新振作。苏灿与袁烈再次交手，一雪前耻，但因意气用事却未能及时救出被袁烈埋入地下的袁英。妻子去世之后，伤心欲绝的苏灿与儿子流浪至中俄边境，此时的苏灿形同乞丐。在一次醉酒之后，他遇到曾经在幻象中与自己切磋的“武神”（周杰伦 饰），在与武神交手过程中，他领悟到一套于醉酒之中展示武术精妙的拳法——醉拳。面对国人受辱，好友与儿子身陷危难，苏灿挺身...