进行性肌肉营养不良症，是一种比癌症更可怕的病，一般四五岁发病，12岁瘫痪，18岁死亡，几乎没有特例……长江边上的小城江吉，平静安宁。双胞胎兄弟金豆银豆一家就生活在这里。在一次寻常的体育课后，九岁的金豆银豆同时被检查出患上了绝症——进行性肌营养不良症，他们的肌肉正在一天天被病魔所吞噬，随之而来的将是不可逆转的无力、萎缩直至瘫痪、呼吸衰竭和死亡……

进行性肌肉营养不良症，是一种比癌症更可怕的病，一般四五岁发病，12岁瘫痪，18岁死亡，几乎没有特例……长江边上的小城江吉，平静安宁。双胞胎兄弟金豆银豆一家就生活在这里。在一次寻常的体育课后，九岁的金豆银豆同时被检查出患上了绝症——进行性肌营养不良症，他们的肌肉正在一天天被病魔所吞噬，随之而来的将是不可逆转的无力、萎缩直至瘫痪、呼吸衰竭和死亡……

进行性肌肉营养不良症，是一种比癌症更可怕的病，一般四五岁发病，12岁瘫痪，18岁死亡，几乎没有特例……长江边上的小城江吉，平静安宁。双胞胎兄弟金豆银豆一家就生活在这里。在一次寻常的体育课后，九岁的金豆银豆同时被检查出患上了绝症——进行性肌营养不良症，他们的肌肉正在一天天被病魔所吞噬，随之而来的将是不可逆转的无力、萎缩直至瘫痪、呼吸衰竭和死亡……

进行性肌肉营养不良症，是一种比癌症更可怕的病，一般四五岁发病，12岁瘫痪，18岁死亡，几乎没有特例……长江边上的小城江吉，平静安宁。双胞胎兄弟金豆银豆一家就生活在这里。在一次寻常的体育课后，九岁的金豆银豆同时被检查出患上了绝症——进行性肌营养不良症，他们的肌肉正在一天天被病魔所吞噬，随之而来的将是不可逆转的无力、萎缩直至瘫痪、呼吸衰竭和死亡……

根据真人真事感人故事改编而成，主人公原型薛芙蓉是西安市的一名母亲，她的双胞胎儿子同时患上了“进行性肌营养不良症”，母子三人走上了一条充满荆棘的求医之路，创造了爱的奇迹。伍宇娟饰演剧中的“妈妈”一角。

苏清雪的婆婆得了尿毒症，为了救这个胜似亲妈的婆婆，苏清雪不惜卖房凑钱，但大孝子丈夫徐盛因为情人的隐瞒与误导，以为得病的是苏清雪亲妈，各种阻碍苏清雪救人，还对她百般刁难。当婆婆没能得到及时治疗病故后，徐盛才知道真相，可等着他的只有他母亲冰冷的尸体。

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.”