林青，燕城知名企业家，不仅拥有卓越的商业头脑，更有着坚定的信念和不屈的精神。但却因为年少时的一时错误，害死了自己病重的妻子，之后被女儿告上法庭，在入狱前亲眼看到女儿被自己的兄弟陈休害死。悲痛欲绝之下，他重生回到了二十年前。这一次，他勇敢面对过去的遗憾和错误，决心改变命运，为自己和家人创造一个更好的未来。

How do 1.1 billion people around the world live on less than one dollar a day? Four young friends set out to research and live this reality. Armed with only a video camera and a desire to understand, they spend just 56 dollars each for 56 days in rural Pena Blanca, Guatemala. They battle E.Coli, financial stress, and the realization that there are no easy answers. Yet, the generosity and strength of their neighbors, Rosa, Anthony and Chino gives them resilient hope. They return home transformed and embark on a mission to share their new found understanding with other students, inspiring and challenging their generation to make a difference.

出身普通的穷逼青年陈升经历失败人生后意外身亡，进入物价贬值的世界。怀揣两万巨资的陈升瞬间成为隐形富豪，打脸前任、投资资产、获得女神青睐，与嚣张富豪对峙一步步建立自己的商业图景，凭一己之力引领乾城商界。

看似正常的相遇背后是什么？

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.

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.”