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.

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.”

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.”

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斯特凡、茱莉亚和托比亚斯这三个兄弟姐妹过着舒适的中产阶级生活。从表面上看，他们做得很好，但所有三个人都越来越意识到他们的生活中存在着差距，有些事情不对劲，有些事情必须改变。41岁的斯特凡是一位成功的飞行员，一位真正的女士；到目前为止，他一直过着无忧无虑的享乐主义者的生活。但是突然之间，他的健康状况就不复存在了；而且，与他在早先的一桩婚外情中所生的女儿维姬的一次邂逅使他偏离了轨道。44岁的茱莉亚和丈夫在意大利度假时，开始照顾一只被车撞的街头狗。突然，她儿子去世的痛苦追上了她。34岁的托比亚斯嫁给了一位职业女性。他一直在照顾他们的三个孩子，似乎无法完成学业；现在他的兄弟姐妹决定他也应该照顾他们生病的父亲。 　　爱德华·伯杰的电影描绘了三个人寻找幸福和内心平静。由于这三个集中的性格研究，形象出现了一个不安全的一代在一个快速变化的世界。 　　The three siblings Stefan, Julia and Tobias lead comfortable middle-class lives. Outwardly, they are doing well, but all three are becoming more and more aware that there are gaps in their lives, that something is not right, and that something has to change. Stefan, 41, is a successful pilot and a real ladies man; up to now he has always led the life of a carefree hedonist. But suddenly his health will not play along anymore; moreover, an encounter with his daughter Vicky, whom he fathered in an earlier affair, throws him off course. While holidaying in Italy with her husband, Julia, 44, begins taking care of a street dog that’s been hit by a car. All of a sudden the pain of her son’s death catches up with her. Tobias, 34, is married to a career-orientated woman. He has been taking care of their three children and cannot seem to finish his studies; now his siblings have decided that he should also take care of their sick father. 　　Edward Berger’s film portrays three people in search of happiness and inner peace. As a result of these three concentrated character studies, the image emerges of an insecure generation in a rapidly changing world.