林天王生前是大夏歌王，年过半百却遭遇外国歌手嘲讽大夏，入侵大夏。林天王为了守护大夏歌坛门面，飙高音而惨死，重生到大夏一个代驾打工人身上。原主的老婆给他戴绿帽并跟他离婚。林阳摆脱这个负心的女人之后，利用脑子里带来的三千首金曲，开始了抗击外国音乐，守护乐坛，勇闯娱乐圈的逆袭人生！

林天王生前是大夏歌王，年过半百却遭遇外国歌手嘲讽大夏，入侵大夏。林天王为了守护大夏歌坛门面，飙高音而惨死，重生到大夏一个代驾打工人身上。原主的老婆给他戴绿帽并跟他离婚。林阳摆脱这个负心的女人之后，利用脑子里带来的三千首金曲，开始了抗击外国音乐，守护乐坛，勇闯娱乐圈的逆袭人生！

幸福地产董事长夏正松（黄文豪饰）与妻子于靓（郑卫莉饰）结婚三十年，家庭和睦幸福。大女儿夏友善(戚薇饰)亭亭玉立，二女儿夏天美(唐嫣饰)也是出落得貌美如花，这更让外人十分艳羡。但当友善遇到自己的心仪对象钟皓天(陈楚河饰)时，发现皓天已有青梅竹马的女友杨真真（张檬饰）。而父亲的坚决发对，更让父女二人的关系日益破裂。天美与严格(邱泽饰)的爱情也同样一波三折，遭逢困境。与此同时，夏正松的婚姻也渐渐陷入危机…… 　　由台湾偶像剧教父沈怡执导的都市言情偶像剧《夏家三千金》，翻拍自台湾三立电视台十五周年大戏《天下父母心》。这部探讨亲情与爱情中复杂情感纠葛的影片，不仅融合家族商战与家庭伦理两大元素，更着力打造青春偶像风潮。该剧不仅邀请青春美女偶像戚薇、唐嫣、张檬作为女主角，更力邀邱泽和陈楚河等几位花美男加盟。

包振方、胡举勾结强盗叁八前夫妇，经常做些见不得人的勾当，车夫向力为人老实与烟花小翠相爱，欲为小翠赎身，黑道人物花雀儿拉拢向力与之一起抢劫，事成之后分钱给向力，就能替小翠赎身，但向力发现花不但抢劫而且还要杀人，向力把花杀死，带走了抢到手的三千大洋，叁八前夫妇追到向力，发觉向力原本老实人，欲在包面前替向说话，但包非但没听却将叁八前夫妇杀害，向力带钱来替翠赎身，却被包、胡经过一场激烈厮杀，最终与她们同归于尽。

包振方、胡举勾结强盗叁八前夫妇，经常做些见不得人的勾当，车夫向力为人老实与烟花小翠相爱，欲为小翠赎身，黑道人物花雀儿拉拢向力与之一起抢劫，事成之后分钱给向力，就能替小翠赎身，但向力发现花不但抢劫而且还要杀人，向力把花杀死，带走了抢到手的三千大洋，叁八前夫妇追到向力，发觉向力原本老实人，欲在包面前替向说话，但包非但没听却将叁八前夫妇杀害，向力带钱来替翠赎身，却被包、胡经过一场激烈厮杀，最终与她们同归于尽。

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.”