幼年林瑶因偷学林家剑法遭族长林震南追杀，坠崖时遇九阴雷劫，被剑尊与雷圣救下，发现其 “雷电加身，百战圣体” 天赋，收为弟子秘密培养十二年。十二年后，林瑶为救病重母亲参加武极殿考核，因被封印修为初期表现垫底，遭王家父子和林坤嘲讽。王涛重伤林母后，林瑶冲破封印，展现真实实力，接连击败王涛、王凡。王家家主的兄长（武极殿大长老）欲公报私仇，武极殿副殿主（修炼魔功）试图操控局面，林瑶在林家栋帮助下揭露阴谋，诛杀魔修副殿主。林瑶回归林家，逼迫林震南让权，扶持林家栋掌权，废除 “女子不得习武” 族规，夺走天山雪莲救母

作为故事主人公的女孩（中原麻衣 配音），其担任调停官的重要工作之一就是负责回收妖精们的道具。虽然这些道具没有什么坏处，可是利用不当的话也会造成不小的麻烦。比如说那个粉红色的小勺，女孩无意中发现勺子能够从脑袋里舀出面粉。她分外高兴，一勺勺舀了好多，然而很快便发现自己变成了拇指般大小。爷爷无法听懂她的话，还当她是小妖精。万般无奈之下，女孩只能背起走出家门，去寻找小妖精帮她恢复原状。前方是漫长而凶险的旅途，奇妙精彩的冒险由此展开…… 　　本片根据田中罗密欧所著、山崎透担任插图绘制的日本轻小说改编，是同名动画的SP。

叶默，怀揣修仙梦，穿越千山万水寻高人。遇孙悟空，结为师徒，共闯大境。在历练中，叶默修为精进，斩妖除魔，为民除害。师徒二人携手克服重重困难，成就传奇。叶默终明白修仙真谛：心怀天下，为民除害。师徒情谊深厚，他们的故事流传千古。

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.

叶家世子叶苍，虽遭遇兄弟和未婚妻的联合背叛，险被杀害，依然一心匡扶正义，救死扶伤，在民族大义与邪恶之间，叶苍用其坚韧不拔毅力排除万难，厉行正道！最终叶苍在人族武皇和叶家众人的帮助下，吸收皇道气运，晋升界主，打败了魔界之主找到曾经遗失的混沌钟，敲响九声混沌钟之后，恢复了曾经的修为。随后叶苍将勾结魔主的人一同封印在混沌钟内，还世间安宁。

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.”