永夜降临，灰雾吞噬城市，变异兽横行。便利店员工陈起绑定「女神同居系统」，表面讨好女神，实则运筹帷幄！绑定校花苏瑶得百倍物资返还，觉醒雷电异能轰杀反派；收留白化病萝莉苏倩倩，解锁水系战力；唇救高冷医生林薇，扩建末日空调堡垒。轮换灾难中，他从底层舔狗逆袭为庇护所主宰，一拳轰飞强敌，坐骑穿山甲踏平虫潮——末世生存，唯我独尊！

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.

神豪无罪，氪金有理。

神豪无罪，氪金有理。

方羽，立于豪门顶端的一代天骄，镇压边境百万强者，却因父亲的失踪，一封退婚书踏入花花都市。论财力？我是万亿财团唯一继承人，超级富二代！ 论背景？我爹是战神！我爷爷是战神！我也是战神，我方家一门三神！ 论实力？我统领边疆百万战士，横扫无敌，名震战场。 什么是无敌？我即是无敌！

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.”