林阳当了三年舔狗，拼命讨好豪门千金孙芊芊，受尽对方羞辱。就在他即将完成系统任务，获得庞大资产时，系统突然提示他舔错了对象，真正的攻略目标居然是孙芊芊的母亲苏芸！

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.

陈小宝，一个普通的青年，原本过着平凡的生活，但命运却对他开了一个残酷的玩笑。先是他深爱的女友背叛了他，让他心如刀割；紧接着，他的母亲又因重病不幸离世，让他痛不欲生。一连串的打击让陈小宝陷入了人生的低谷，仿佛整个世界都抛弃了他。 然而，就在陈小宝绝望之际，他意外获得了一个神奇的系统——极品吹牛系统。这个系统能够将他吹嘘的言辞化为现实，无论他吹嘘什么，都能在他身上得到实现。

一个外卖小哥在经历了女朋友的背叛后，意外获得了一个神级外卖系统。通过这个系统，他能够完成指定的任务并获得相应的人生奖励。剧情围绕着他如何通过系统的指示完成任务，以及在这个过程中他的生活如何发生翻天覆地的变化展开。最终，他能否抱得美人归，以及他是否能够顺利通过系统的指示，都是剧情的悬念所在

意识自无尽冰寒中挣扎浮现，龙轩猛地睁眼，映入眼帘的却是雕龙画栋、灵气氤氲的陌生床幔。海量记忆碎片轰然涌入——他竟魂穿成了荒古大世界里的炮灰反派秦寒！原著中，这厮因痴缠天命之女，往死里得罪了气运之子叶青羽，最终下场是被抽魂炼魄，制成尸傀，永世不得超生！ “我……”龙轩喉头发紧，一股寒意从脚底直窜天灵盖。他下意识摸索手指，一枚古朴的储物戒微凉——里面是足以买下半个圣地的滔天资源。绝望中猛地闪过一丝亮光：等等，有这些资本，为何非要作死？抱紧主角大腿直接躺赢，它不香吗！

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.”