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。

马航 MH370 失联乘客未婚妻李静，无法接受丈夫陈宇不辞而别的打击。李静沉浸在陈宇仍然和自己生活在一起的幻想中，当这份幻想被戳破时，给她真实的生活带来了无尽的折磨。

讲述了男主张狂被姜月，萧正豪背叛喂丧尸后，意外重生回末世前三天的故事。他携挚友王伟变卖资产囤物资，激活神秘系统赠予的黄金屋异能，这座避难所固若金汤，还能储物，御敌。张狂凭前世记忆复仇，戏耍算计他的王大妈，高老大，击溃萧正豪的武装围攻。他收服三大霸主与三大家族，被尊为黄金王，最终直面操控丧尸的尸王，以黄金屋封印强敌，用牺牲换得世界复原，与爱人万雅，挚友王伟重归和平。

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.

网购零食附赠的玻璃戒指，竟带陈阳穿越到200年后末世废土！左手现实世界当老板，右手废土世界当霸主，废土人才白菜价？几包辣条就能雇佣顶级技术团队，研发跨时代游戏狂揽千亿；更有强化药剂助我体魄飙升，暴揍末世一切敌对势力。火辣向导贴身跟随，合租女神倾心相助，当别人还在为生存挣扎，陈阳早已靠行走两界兑换物资，走上人生巅峰！

Run（Gypso饰演）是一位北部姑娘，她将自己的房子开设成民宿，租给游客。她与kloun交往着，kloun去曼谷学习酒店管理，但是他毕业后却不愿意回来找run。Run叫上暗恋自己很久的男闺蜜samue（Toni rakkaen饰演 ）一起去曼谷。他们去kloun在曼谷实习的酒店找kloun，但却发现kloun有了新的女友，Run伤心欲绝...但是他们的爱情却还是遇到了各种阻碍，到底最后会怎样，请关注《换宿爱情》！

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.”

在偏远闭塞的山村里，李翠兰在丈夫病故后，独自挑起抚养亲生儿子王铁云与养子王铁成的重担。生活的艰辛并未磨灭她对两个孩子的疼爱，然而，年少的王铁成却因觊觎家中微薄资源，在一次上山玩耍时，残忍地将王铁云推下山崖，并编造其坠亡的谎言。幸运的是，王铁云被路过的首富楚总夫妇所救，此后以“楚行云”之名在楚家长大，凭借过人的商业天赋，他成功挽救了濒临破产的楚氏集团，成为商界新贵。