“战争三部曲”其二，根据波兰爱国人士斯塔文斯基事迹拍摄，风格强烈而低沉，没有一丝唱高调的浮夸：1944年华沙起义的最后一周，当时纳粹正在搜捕剩余的抵抗力量，而逃亡者希望从下水道逃生；但在黑暗和污浊中他们迷失了方向，当他们想探出头来确定自己的方位时，纳粹正在等着他们。

每天，在下水道里都有数亿升的垃圾被冲走。这些化学混合物散发着恶心的味道，包括药品、溶剂、重金属、人类的垃圾及食物残渣----我们假设它们真的被水冲走了，但是它们被冲去哪里了呢？它们又会对我们造成什么样的的影响？

剧情大概： 　　一对年轻的恋人搬进郊外一幢破旧的别墅里生活，不曾想这座房子早已因为闹鬼事件而恶名昭彰，恶魔仗着诅咒的力量隐藏在下水道的废水中，等待着无辜的人前来送死……（虽然是千禧年的片子，但特效看上去更八十年代些，除去白痴的情节和蹩脚的演技，剩下的也只有血腥了……） 　　血腥度：4 　　片中怪物数量：1 　　怪物类型：巫术诅咒 　　怪物特点：隐藏、触手 　　怪物必杀技：猥琐大触 　　怪物恶心度：3

在城市街道的下面，潜伏着某种邪恶的东西——油脂块。这些凝结的脂肪和人类排泄物是我们冲进马桶和水槽的产物。我们为什么会突然关注它们？在这部令人震惊的纪录片中，一组专家剖检了一个重达5吨的样本，样本取自一个至少750米长的油脂块。它的成分是什么？它将揭示怎样的人类秘密？有趣的发现揭示了油脂块可能存在的致命威胁，以及我们可以对我们的习惯做出的简单改变，从而使我们的下水道更安全。

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.

由于疫情，外出下乡的考察活动变成了校内考察，以为就要无聊地水过这次考察的我们，留意到了学校里那些生长在建筑上的奇形怪状的“钟乳石”。于是，在我们的探索下，一套隐蔽的、藏于学校建筑整洁的外观之下的生态系统，慢慢地被揭开，而我们也当然没有止步于仅仅是发现它们……

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.”