3个月前，一种未知病毒在世界爆发，众多城市相继失守，一股末世即将到来的氛围笼罩全球。那些感染病毒的人类会变得异常狂躁，具有攻击性。更早的时候，我父母作为生物科研人员去支援其他城市了，剩下我和姐姐还有一只金毛相依为命。出发前，我爸告诉我，一定要做好万全准备，最可怕的不是那些感染者，还有更大的威胁。

3个月前，一种未知病毒在世界爆发，众多城市相继失守，一股末世即将到来的氛围笼罩全球。那些感染病毒的人类会变得异常狂躁，具有攻击性。更早的时候，我父母作为生物科研人员去支援其他城市了，剩下我和姐姐还有一只金毛相依为命。出发前，我爸告诉我，一定要做好万全准备，最可怕的不是那些感染者，还有更大的威胁。

工程师阮棠离职后频繁梦到末世丧尸，未料梦境成真，现实沦为丧尸横行的炼狱。危急之际，神秘生物学家季墨突然出现，他不仅精准预言劈腿前男友的邀约，更与阮棠有着未解旧怨。为躲避丧尸、争夺生存资源，这对 “仇人” 被迫同居。

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.

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...

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.”