混迹演艺圈的女主被家人胁迫与男主联姻，不然休想在演艺圈混，女主打听到男主喜欢小白花类型的女生，所以故意打扮妖娆想让男主反感并且主动退婚。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。

混迹演艺圈的女主被家人胁迫与男主联姻，不然休想在演艺圈混，女主打听到男主喜欢小白花类型的女生，所以故意打扮妖娆想让男主反感并且主动退婚。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。

宋禧喝醉酒认错人，一觉醒来竟和陌生帅哥京濯领了证。 另外一边，闺蜜张鹤疯狂吐槽自家大哥又凶又古板， 宋禧听得连连点头，暗自庆幸自己躲得远。可转头就发现，自家闪婚老公京濯，不仅夜里喊她宝宝，还花式宠妻甜到齁。直到真相戳破，宋禧才惊觉，原来自己躲了又躲的，活阎王，就是身边把自己宠上天的老公。这场从乌龙开始的婚姻，反差萌叠满，甜宠根本停不下来。

宋禧喝醉酒认错人，一觉醒来竟和陌生帅哥京濯领了证。 另外一边，闺蜜张鹤疯狂吐槽自家大哥又凶又古板， 宋禧听得连连点头，暗自庆幸自己躲得远。可转头就发现，自家闪婚老公京濯，不仅夜里喊她宝宝，还花式宠妻甜到齁。直到真相戳破，宋禧才惊觉，原来自己躲了又躲的，活阎王，就是身边把自己宠上天的老公。这场从乌龙开始的婚姻，反差萌叠满，甜宠根本停不下来。

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.”