诡异末世降临，男主角陈木携万亿诡币重生，开局直接化身天使投资人，当其他人为了几块冥币大打出手时，陈木早已开启了大撒币模式买下各种诡异场景。别人还在规则中苦苦探索生路，陈木却倒反天罡化身规则制定者。各路诡异强者匍匐在他脚下，人类终将站在诡异末世的巅峰。

莫凡是首富莫家真少爷，在极寒末日里不计前嫌救了莫家人和假少爷莫仇，却被他们联手害死。莫凡死后血滴在手表上，重生了。莫凡重生在末日来临前三天，他决定不再忍受莫仇的诬陷以及莫家人的打骂，奋起反击并和莫家人断绝关系。离家出走后，莫凡联系上一世的兄弟王胖子，抵押贷款后获得资金，购买物资并租下安全屋。莫凡发现手表里还有个储物空间，将购买的物资全部收了进去。

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.

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。

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。

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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.”