陆婧婧在逃离原生家庭的过程中，因祖传香炉意外链接了一个古代世界，阴差阳错的成了这个世界的神明。

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...

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.

苏锦是当代大学生，毕业论文是论证大越朝的存在，证明中华上下五千年的历史。而她只有一个导师给的破旧卷轴作为唯一的线索，谁知这个卷轴正是通往大越朝的关键。 大越朝中，沈逾白身患肺痨几乎咳死，他父亲早亡，留下孤儿寡母受族人欺辱，常年卧床让他变得阴郁，突然有一日，他父亲留下的卷轴竟然发出亮光，通过卷轴，两人互通物品。 另一边，苏锦从老师那得知大越朝之所以没有史料留下来，是因为奸相祸害朝纲，她若想让大越朝的历史完整流传下来，必须阻止奸相。她将担忧通过卷轴告知沈逾白，希望他帮忙监视丞相的行动，而沈逾白看着手中象征着权利丞相腰牌，轻轻一笑。 改编自七猫免费小说作品《通古今后，我养成了未来奸相》，作者：渔眠。

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.”