该片以人民币为载体，从全新的角度，回顾和梳理了新中国的发展历程，见证了中国人民走过的财富之路。全片着力探讨了制度与规则的重要性、国富与民富、国家信用等重大问题，印证了人民币是家事更是国事，人民才是国家的根本。 　　第一集《走来的人民币》：回望人民币波澜壮阔的诞生历程，挖掘人民币与中国人民的命运、与国家命运的紧密联系。 　　第二集《计划的人民币》：战争的创伤尚未痊愈，浩浩荡荡的社会主义建设浪潮已接踵而至......大桥通车，卫星上天，而在一系列辉煌夺目的建设成就背后，货币的灵性光辉却逐渐湮灭，人们的自由被无情地剥夺...... 　　第三集《受困的人民币》：1978年对中国人来说是极为特殊的一年。这一年，计划经济体制的坚冰开始融化。有的人率先冲破体制束缚，有的人却因人民币的“不合时宜”的出现遭受无妄之灾，计划经济的惯性竟如此巨大… 　　第四集《会飞的人民币》：30年前，几个中国人在相同的年代做着相同的事情，他们普通到无人知晓，微小到无足轻重，他们在生存与毁灭间坚守自我，他们以执着谱写人性的本质，见证规律的回归。他们是亿万中国人，是你，是我，是他… 　　 　　第五集《守信的人民币》:从新中国诞生之前的苍茫岁月直至今时今日，每一张人民币，都仿佛是一份在人民与国家之间的特殊契约，承载着相互的信任与尊重......取信于民是货币的根本，也是执政的基石。

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.”

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。

秦霄年轻时白手起家，结实了不少兄弟，经过一辈子的拼搏，终于成了京海第一话事人，然而他坐上这个位置的代价是自己全家遭帮派残杀，父母双亡，妻儿被人斩于刀下，本以为此生就此了结时，当年和他一起出生入死的兄弟许少锋带着秦霄的死对头黄浩天对秦霄发动了偷袭...

没有闲书的世界里，大家天天诵读儒道佛三教经典，没有人知道戏曲、小说……这时候，带着整个蓝星无数闲书的陈洛，他重生了！他开着无数个外挂带着这个世界走上了全新的修行大道！