Boonchu and Molee are getting married. But they both have a special task to accomplish as to prove their true love to Manee, Molee's sister. They have to rebuild their newlywed home and to help clean the polluted canal attached to the home. Of course, the mission could not leave alone all his friends to join him and Molee win this game.

It's Boonchu's last year at the university, but all his friends, including his girlfriend Molee, already graduated. Although he's still a student, Boonchu and his friends are tasked with helping Molee prepare her first presentation to clients at work. The question is will he be able to help?

It's Boonchu's second year in college and he tries to impress his girlfriend by running for University President to help those poor students and reestablish new rules and conditions of the scholarship. But when things don't go as planned, Boonchu finds that he may be creating more problems of his own.

Life after the marriage of Boonchu and Molee. good news is Molee gets pregnant but bad news is she accidentally hit by a stray bullet of an escaping robber. Boonchu and friends vow for her life. After her recovery they all have to repay for their pledges. This brings you to follow them through their humorous incidents one after another.

Boonchoke failed an entrance exam last year, but this year he makes it through into the medical school of a famous university in the north of Thailand. But the medicine he's studying is not the modern one, it's traditional herbal medicine. Boonchoke's parents, Boonchu and Molee, agree to let their only son go live in Chiang Rai for his study.

The story starts with the next generation of the original Boonchu films. Boonchu and Molee send their son to Bangkok. How's Boonchoke going to handle the unexpected situation in the big city?

Boonchu, a decent and innocent young man from Suphan, comes to Bangkok to fulfill his dream to become a university graduate. At class Boonchu meets Molee, a cute young girl whom he falls in love with. However, he realizes that it might be an impossible romance seeing how many other guys also share the same feeling towards her.

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html