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.

魔神为逼出神女，屠杀了杨家村，神女却因为爱魔神，不忍杀他。杨容容抱着娘亲的尸体，终于明白，在神魔眼中，凡人如蝼蚁。但杨容容不认命，她以身为饵，甘当复活神女的容器，潜入魔神身边。她要证明，凡人亦可弑神！

魔神为逼出神女，屠杀了杨家村，神女却因为爱魔神，不忍杀他。杨容容抱着娘亲的尸体，终于明白，在神魔眼中，凡人如蝼蚁。但杨容容不认命，她以身为饵，甘当复活神女的容器，潜入魔神身边。她要证明，凡人亦可弑神！

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.”

『鋼鉄ジーグ』から50年後の2025年。九州全域は50年前に発生した謎のゾーンに覆われたままになっていた。 　　その九州に近い下関にハニワ幻神（げんじん）が再び出現。草薙剣児は鋼鉄神ジーグのパイロットとなり、幼馴染の珠城つばきや親友の美角鏡らと共に新ビルドベースの下、妃魅禍率いる邪魔大王国に戦いを挑む。

在偏远闭塞的山村里，李翠兰在丈夫病故后，独自挑起抚养亲生儿子王铁云与养子王铁成的重担。生活的艰辛并未磨灭她对两个孩子的疼爱，然而，年少的王铁成却因觊觎家中微薄资源，在一次上山玩耍时，残忍地将王铁云推下山崖，并编造其坠亡的谎言。幸运的是，王铁云被路过的首富楚总夫妇所救，此后以“楚行云”之名在楚家长大，凭借过人的商业天赋，他成功挽救了濒临破产的楚氏集团，成为商界新贵。

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...