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

Rajiv and Varsha, a couple with a five-year-old son, Rahul, moves to a new flat where Varsha faces paranormal activities. Can Varsha fight against supernatural forces to save their dream house, or she decides to leave her house to save her family?

潘本是聊城首富少爷，隐瞒真实身份和灵灵结婚，却被其闺蜜刁难索要临时红包，这一要直接扯开了婚衣，贪婪市侩的人性一览无余！潘最终展露自己真实身份，狠狠打脸了毒闺蜜和立场不坚定的未婚妻…

苏氏集团千金苏瑶隐瞒身份嫁普通职员陈天，假称怀孕获父母同意。婚礼上，陈天母亲刁难羞辱她，摔碎其外婆玉镯，陈天懦弱不护。苏瑶父母赶到揭露真相，苏瑶决心离婚。陈家赔巨款，陈天精神失常，苏瑶回归企业开启新生

潘本是聊城首富少爷，隐瞒真实身份和灵灵结婚，却被其闺蜜刁难索要临时红包，这一要直接扯开了婚衣，贪婪市侩的人性一览无余！潘最终展露自己真实身份，狠狠打脸了毒闺蜜和立场不坚定的未婚妻…

日本又推出了一款新综艺《亿婚》，节目组召集了五名希望嫁入豪门的美女，并为她们安排了一场相亲。对象也是五位，31岁年收9000万日元的印刷社副社长，36岁年收4500万日元经营不动产的从业者，31岁收入1亿日元左右的私人税务师，31岁年收6亿日元的it公司老板，以及26岁年收3800万日元的沙龙经营者。女方有一次告白机会，不过告白有风险，男性分为king和joker，king是真正的富豪，同时还隐藏着一名及一名以上的joker，是演员扮演，会利用演技作为身份掩护。反正第一集透露出来的，几位女性不太相信6亿日元的it社长，因为他最爱穿zara，也不会开红酒。

节目组召集了五名希望嫁入豪门的美女，并为她们安排了一场相亲。对象也是五位，31岁年收9000万日元的印刷社副社长，36岁年收4500万日元经营不动产的从业…

由岛崎遥香主演多次被已婚男骗而发生婚外情的前园小春，剧情为主角带着重新开始的想法回到可以一夫多妻的故乡，等待她的却是成为龙之介的第3位妻子前提下…