Nishikawa Chiaki (Inoue Mao) works at the public relations department for the city of Oita. The city in the past was won the tug-of-war world championship three times and Chiaki is also an enthusiast for the tug-of-war game. To promote the city of Oita, the mayor instructs Chiaki to form a female tug-of-war team.

Yuna and Akari are two high school girls with very different views on love: Yuna dreams about romance through rose-coloured glasses, while Akari is down-to-earth and practical. Meanwhile, high school boys Kazuomi and Rio also have different views on love: Kazuomi is an airhead who can't grasp the concept of love, while Rio grabs onto any confession as an opportunity—so long as the girl looks cute. Will these four classmates end up leading a youthful romance that meets their expectations? ~~ Adapted from the manga by Io Sakisaka.

Kihachi Okamoto's The Sword of Doom is likely to strike the unalerted viewer as an exercise in absurdist violence, tracking the career of a nihilistic swordsman from his gratuitous murder of a defenseless old man to his final descent into what looks like a rehearsal for global annihilation, as, in a kind of ecstasy, he slaughters a seemingly endless army of attackers both real and phantasmal. The extreme but stylized violence of Okamoto's 1966 film epitomizes a mode of Japanese filmmaking that profoundly influenced such directors as Sam Peckinpah and Sergio Leone, and it would be easy—and not entirely inaccurate—to read the film in the light of the cynical antiheroic trends that surfaced in genre films all over the world in the 1960s and surmise that it represented the same kind of break with heroic tradition as, say, spaghetti westerns. It should be kept in mind, however, that The Sword of Doom was only the most recent episode derived from a long line of stage and film versions of an immensely long, structurally meandering novel that has remained popular ever since the appearance of its first installments a year after the death of the emperor Meiji (the ruler who oversaw Japan's transition from hermetically sealed feudal state to modern industrialized nation), and whose ostensible theme is religious.

The childhoods of Bernice (Vice Ganda) & Detty (Ai-Ai Delas Alas) were world's apart, but they did have one thing in common: their father. Bernice's birth was the result of an infidelity on his behalf, however, and so while Detty grew up with a wealthy family, Bernice and his mother were left to fend for themselves. Years later, Bernice has become a wealthy and successful businessman, the so-called "Lord of Apparels". But his abrasive personality and rudeness has led to the resignation of his 75th assistant. Detty, meanwhile, is in dire need of a job and applies for the newly vacated position as executive assistant to a man that, unbeknownst to her, is actually her half-brother. Bernice knows exactly who she is and hires her. For Detty, this job means she can take care of her daughters; for Bernice, its a chance for payback. Meanwhile, the main rival of Bernices company is currently posing as very strong competition. Headed by the eccentric yet equally brilliant & talented Roselle (Kris Aquino) the competition gets tougher, and a string of events lead to the two company heads fighting over the once expendable Detty.

Jae Yeon is a researcher in the field of artificial blood and a doctoral student. Her life is veiled. Bumped between contradiction of reality and her own ideals, she ignores the world and gets into a green house which is her hidden place. Ji Hoon is a novelist. He was caught in a plagiarism scandal and uses Jae Yeon’s case as material for his novel.

Mi-Soo (Han Hyo-Joo) is a doctor with a fiery spirit. Unfortunately, her fiery spirit gets the best of her one day at work. Mi-Soo fails to properly diagnosis an ill woman, after she sees the ill woman's husband, whom she assumes to be an abusive thug. Because of Mi-Soo's failure to diagnose the woman's illness, the woman is now hospitalized and near death. Her husband sues the hospital and Mi-Soo is advised to find a character witness.Kang-Il (Ko Soo) is a dedicated firefighter, who doesn't blink when it comes to saving someone else's life. Emotionally, Kang-Il still carries heavy grief over the death of his own wife. Outside of work, Kang-Il rarely socializes with others. Firefighter Kang-Il was also at the hospital when the wife, who was misdiagnosed by Mi-Soo, became gravely ill. His boss ordered Kang-Il to follow the husband and to make sure he doesn't do anything rash. The husband eventually confronts Kang-Il and assaults him.Later, Mi-Soo learns of the incident between firefighter Kang-Il and the husband. She concocts a plan to cozy up to the firefighter, in hopes of enlisting him in her legal defense. Little does she know, she isn't dealing with an ordinary fellow and she just may have found her true love.

After learning that his ex-girlfriend has a fabulous new boyfriend, Hyun Seung spends his nights wracked with insomnia and jealousy. Then one night, a phone call from a sexy stranger breathes new life into his gray existence. Even with her enviable looks and a successful boyfriend, Yun Jung feels love deprived. While attempting to spice up her relationship, Yun Jung resorts to giving her boyfriend a steamy phone call… only to find that the guy on the other end is someone else and she just can’t quit him!

Jae-jun (K-pop band TVXQ member Hero) delivers letters to heaven from those who can't get over the loss of their loved ones. One day Ha-na (Han Hyo-joo), who writes to her late boyfriend, discovers Jae-jun's secret identity. He offers her a part-time job assisting him, and they set off on a 14-day journey.