现代人王宇魂穿大魏王朝厂公王公公的身上，身为铁血男儿王宇不甘成为公公，就要提刀自刎，可没想到系统来临，只要帮助大魏王朝铲除贪腐，就能够获得正义点，达到一定积累便可恢复男儿雄风，可没想到第一件事就是抄了皇后弟弟正阳王的家。王宇无奈照做，却因表现良好，阴差阳错被皇后和皇上赏识，但皇后和皇上表面夫妻恩爱，可背地里皇后却在暗自行驶谋篡之事，王宇也没想到，自己竟然是皇后娘娘按插在皇帝身边的密探，为了生存，也为了能够早日恢复男人雄风，王宇开始在皇权之间斡旋。正阳王的财产数额巨大，是皇后造反的重要经费，无论是皇上还是皇后，都想要得到这笔钱，王宇接受到系统任务。

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.

白家嫡女白苏上一世被自己的未婚夫江蓠及白家庶女白薇陷害，设计害死，机缘巧合回到三年前的灯会时节，但是前世就是这一天，白苏被江蓠白薇指使的流氓地痞玷污了清白，重生归来的白苏不愿意再一次重蹈覆辙，拼命逃窜之下，恰巧碰到了东厂厂公出行，白苏豪赌拦截厂公，厂公停下后当场击杀地痞流氓，但是同时也将突然出现的白苏误认为细作，就在要杀人灭口时，白苏身上的玉佩显露出来，唤醒厂公儿时回忆，厂公将白苏带回府中修养后，白苏为了防止突然深夜离家没办法解释，甚至再次被庶妹诬陷，再次大胆向厂公提亲，二人婚后经历白家、国公府、皇家等事件后，最终放下一切，卸甲归田，远离朝堂纷争做一对神仙眷侣

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.”