是关于残酷命运的悬疑系列，主角们因一时选择而陷入扭曲的塔罗牌诅咒。围绕“塔罗牌”概念的七个不同恐怖故事是一系列日常生活中可能发生在任何人身上的神秘事件集合。《圣诞老人来访》、《1人保管箱》、《钓鱼》、《请扔掉》、《深夜出租车》、《租赁妈》和《情侣经纪人》等单元将带来惊险和神秘。尤其是每集都会出现具有象征意义的塔罗牌，塔罗牌根据解读方式具有双重意义，其魅力有望激发观众的推理本能。

是关于残酷命运的悬疑系列，主角们因一时选择而陷入扭曲的塔罗牌诅咒。围绕“塔罗牌”概念的七个不同恐怖故事是一系列日常生活中可能发生在任何人身上的神秘事件集合。《圣诞老人来访》、《1人保管箱》、《钓鱼》、《请扔掉》、《深夜出租车》、《租赁妈》和《情侣经纪人》等单元将带来惊险和神秘。尤其是每集都会出现具有象征意义的塔罗牌，塔罗牌根据解读方式具有双重意义，其魅力有望激发观众的推理本能。

是关于残酷命运的悬疑系列，主角们因一时选择而陷入扭曲的塔罗牌诅咒。围绕“塔罗牌”概念的七个不同恐怖故事是一系列日常生活中可能发生在任何人身上的神秘事件集合。《圣诞老人来访》、《1人保管箱》、《钓鱼》、《请扔掉》、《深夜出租车》、《租赁妈》和《情侣经纪人》等单元将带来惊险和神秘。尤其是每集都会出现具有象征意义的塔罗牌，塔罗牌根据解读方式具有双重意义，其魅力有望激发观众的推理本能。

女孩Fai不可思议的与数字“6”有关联，6会带给她厄运。在24岁（2＋4＝6）生日时，朋友们前来庆祝。Ong懂得占星术，他发现长蛇星挂在夜空，而这在雨季是很罕见的。这是一个坏兆头，也许他们性命会被索取。但Khan坚称这一切都是胡说八道，并想证明其实质。跟随 Khan的信念，6个好友前往据说放有6个灵柩的废弃大厦。他们开始面对让他们从未有过的恐惧的灵异事件。

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.

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.”