本作はスカッシュ部に所属する風変わりな高校生男子・代々木ジョニーを主人公に据えたスポ根青春物語。マイペースな放課後を送っていた彼は、熱血新人部員の入部によって練習に力を入れるようになる。さらに田舎から東京に来て近所の古本屋でバイトしている女子と出会うなど、恋愛・友情・部活が彼の日常を変化させていくのだった。

本作はスカッシュ部に所属する風変わりな高校生男子・代々木ジョニーを主人公に据えたスポ根青春物語。マイペースな放課後を送っていた彼は、熱血新人部員の入部によって練習に力を入れるようになる。さらに田舎から東京に来て近所の古本屋でバイトしている女子と出会うなど、恋愛・友情・部活が彼の日常を変化させていくのだった。

Even after solving the previous case, the Beni Detective Agency's daily life continues unchanged. Then one day, a young man comes to the office who admires Reiji and wants to work there. His name is Yusuke Yanagisawa. The first request that the two of them make is to investigate the disappearance of a sword used in a play. The client is the leader of a troupe of traveling entertainers.

语言被禁止的世界，一对结束关系的恋人，如何穿越沉默与暴力再次确认爱的存在......

更夫在花灯楼烧死，沈松受到重瞳力量的控制查案找到线索，花灯门楼下埋藏的60多具尸骨被发现；沈松顺着烧死更夫手指指向提示来到南柯楼，结识了玩世不恭的公孙离，但在南柯楼公孙离不仅没有发现线索，还被李琴儿威胁查案，因为拒绝为其效力，沈松无辜被举报为凶手，公孙离站出来及时解围，沈松无罪释放，可李琴儿并没有放弃甚至用沈松舅舅要挟，沈松被迫答应查案。

更夫在花灯楼烧死，沈松受到重瞳力量的控制查案找到线索，花灯门楼下埋藏的60多具尸骨被发现；沈松顺着烧死更夫手指指向提示来到南柯楼，结识了玩世不恭的公孙离，但在南柯楼公孙离不仅没有发现线索，还被李琴儿威胁查案，因为拒绝为其效力，沈松无辜被举报为凶手，公孙离站出来及时解围，沈松无罪释放，可李琴儿并没有放弃甚至用沈松舅舅要挟，沈松被迫答应查案。

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

律师亚历山大有机会得到他梦寐以求的工作。然而，有一天，他的人生彻底颠覆——他儿时向圣尼古拉斯许下的愿望，那些他早已遗忘的愿望，突然开始一一实现。