日本最大のヤクザ組織谷口組の三代目、田所正雄が狙撃された。田所の家族と谷口組の受けたショックは大きく、ボディガードの処分をめぐって、若頭の河上剛二と若頭補佐の権野強志の間に食い違いが生まれる。田所はかかりつけの医師、大友の手術で一命を取りとめ、最悪の事態を考えていた妻、ひろ子、長男、孝とその妻、冬子、長女、悠子、次男、範夫らの家族は一安心。そんな折、悠子の恋人で東日タイムスの記者、山田が社会部に転属になり、この事件の取材で二人の間に暗い影が漂い始める。大阪府警は田所狙撃犯を酒田組下部組織、浪華殉国団の近江と公表する。谷口組の報復が開始され、酒田系の事務所が襲撃され、組員も射殺される。その頃、田所は病院から退院、久しぶりの一家だんらんを迎えた。しかしその夜、冬子が孝の友人を信じて不注意に契約書に判を押したのがもとで孝は私文書偽造で逮捕される。その頃、近江の死体が六甲の谷底から発見される。犯人は意外にも酒田組系の者で、近江を隠しきれなくなっての犯行だ。時同じくして、冬子が例の事件を苦に自殺してしまう。谷口組という名前に冬子は押し潰されてしまったのだ。これを機に、田所は後継者を考え始める。そして、河上と権野の争いが表面化し、権野は先走った行動から破門されてしまう。田所家にも荒波が押し寄せていた。孝の会社が脱税容疑で捜査を受け、また、ボランティア活動をしていた悠子は、難民救済事業に従事すべくタイに向う決意をする。谷口組解体キャンペーンのペンを取っていた山田も彼女に追っていくことを決心、退職届を出すと、田所に悠子との結婚の許可を求めた。悠子を幸せにするという山田の決意に、田所は二人の結婚を許し、さらに、落語家になりたいという次男、範夫の希望もあっさりと許した。河上に二年六ヵ月の実刑判決がおり、権野は引退する。突然、田所が持病の心臓病で他界してしまった。谷口組組葬の日、全国から参集した黒背広姿の男の中に、たった一人の女性、ひろ子がいた。マスコミの関心は誰が四代目を継ぐかだった。そして、ひろ子が河上の四代目を発表するが、その河上も獄中で腎炎がもとで死んでしまった。「今、私がしっかりしなくては」と遺体を引き取りに行ったひろ子の顔には今までにない威厳が浮かんでいた。

穷小伙成为商界的新霸主,且看这暗星崛起

现在的大仁高中篮球队，属于HBA的中段班球队，每年总在十二强止步。教练张百胜要求绝对服从，他相信只有在高压的环境下，才能逼出球员的潜能。HBA十六强赛的最后晋级关键，队长柯威震却因右脚旧伤影响下表现不稳定，新生詹智凯自告奋勇出头，场上的狂妄自大，两人紧张关系一触即发。人称“教练鬼见愁”的篮球记者林佳璐，热衷钻研篮球战术，对篮球教练评论辛辣，是篮球界避之唯恐不及的记者。大仁高中校长却亲自登门，希望佳璐能成为大仁高中的新任教练，毫无执教经历、球技不怎么好的林佳璐，居然要顶替张百胜，带领如同一盘散沙的大仁高中篮球队，找回自己青春时期那份纯粹、毫无保留的勇气。

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?