网络电视剧《三倍的暧昧》是以校内三个长得帅的男主人公为中心，讲述了新学期开始的同时发生的一系列趣事。

网络电视剧《三倍的暧昧》是以校内三个长得帅的男主人公为中心，qigou.cc讲述了新学期开始的同时发生的一系列趣事。

莫凡是首富莫家真少爷，在极寒末日里不计前嫌救了莫家人和假少爷莫仇，却被他们联手害死。莫凡死后血滴在手表上，重生了。莫凡重生在末日来临前三天，他决定不再忍受莫仇的诬陷以及莫家人的打骂，奋起反击并和莫家人断绝关系。离家出走后，莫凡联系上一世的兄弟王胖子，抵押贷款后获得资金，购买物资并租下安全屋。莫凡发现手表里还有个储物空间，将购买的物资全部收了进去。

The series follows an outspoken woman, Chelsea Newman (a character based on the real Chelsea Handler and the show's main protagonist) and her circle of working-class twenty-something friends in New Jersey. Through the narration and observations of the fictional Chelsea, most of the situations were inspirations from Handler's book, which is based on her early career in her twenties.

作为一名资深“软饭男”，好吃懒做的李勇长期寄生在妻子青青的生活里——不仅心安理得花着对方的工资，还出轨假白富美，落入对方精心设计的杀猪盘。假白富美百合盯上吴天，不仅频繁送他‘奢侈品’，更主动提出资助他“创业”。李勇白日做梦以为自己遇到真千金，殊不知百合正是跨境杀猪盘团伙的核心成员，她精心设计的“富婆人设”背后，是一整套通过情感操控实施诈骗的成熟套路。待李勇发现真相后已落得妻离子散的境地，他为了追回被骗的钱款假意加大投资引百合和天哥上钩，吴天将2人绑架准备鱼死网破，好在前妻青青带警察前来阻止，才避免软饭男李勇铸成大祸。

A glance leads to a smile, a smile to a rendezvous: every love story begins the same way. These narratives are stored in songs and poems and live on beyond their inevitable endings, as Shakespeare’s titular sonnet 18 also suggests. In Mohammad Shawky Hassan’s metafictional essay, a female narrator who wishes to tell the story of a love between two men encounters a polyamorous chorus of lovers, and this oft-told tale is multiplied. In Club Scheherazade, there is no protagonist, and every song has various versions. Heteronormative dramaturgy is challenged polyphonically and across a range of media: lovers ask each other about threesomes, Grindr contacts and past dates. Pop clichés are twisted, heartache permeates the men’s singing, and poems by Wadih Saadeh are read out while a lover’s dirty laundry is aired. The narrator mischievously tries for a happy ending as her characters exit the story. “If pain could be forgotten through words,” we hear at one point, “no lover would ever have to walk away wounded.”

A glance leads to a smile, a smile to a rendezvous: every love story begins the same way. These narratives are stored in songs and poems and live on beyond their inevitable endings, as Shakespeare’s titular sonnet 18 also suggests. In Mohammad Shawky Hassan’s metafictional essay, a female narrator who wishes to tell the story of a love between two men encounters a polyamorous chorus of lovers, and this oft-told tale is multiplied. In Club Scheherazade, there is no protagonist, and every song has various versions. Heteronormative dramaturgy is challenged polyphonically and across a range of media: lovers ask each other about threesomes, Grindr contacts and past dates. Pop clichés are twisted, heartache permeates the men’s singing, and poems by Wadih Saadeh are read out while a lover’s dirty laundry is aired. The narrator mischievously tries for a happy ending as her characters exit the story. “If pain could be forgotten through words,” we hear at one point, “no lover would ever have to walk away wounded.”

诡异的乌鸦在天上盘旋，也以为着世界末日真的爆发了！我是世界上，唯一预知到丧尸末日爆发的人，我站在窗户前，看着天空从晴天迅速变成了阴天，紧接着远处的乌鸦麻雀等飞鸟开始疯狂的逃窜，接二连三的撞击到我的玻璃上，从这一刻起我知道；末日来了！

网购零食附赠的玻璃戒指，竟带陈阳穿越到200年后末世废土！左手现实世界当老板，右手废土世界当霸主，废土人才白菜价？几包辣条就能雇佣顶级技术团队，研发跨时代游戏狂揽千亿；更有强化药剂助我体魄飙升，暴揍末世一切敌对势力。火辣向导贴身跟随，合租女神倾心相助，当别人还在为生存挣扎，陈阳早已靠行走两界兑换物资，走上人生巅峰！