In 2020, a coup in Myanmar shut down the country. Gao Gao, unable to attend 　　school, spent his days with friends in the village, going through life as if nothing 　　had changed despite the unrest around him.

叶秉惠和敏儿本是亲切，敏儿和他老公（梁志明）买了一栋房子， 叶秉惠被人追债 住在了敏儿家的楼下一间房子里，后来叶秉惠 和梁志明搞在一起了，一晚叶秉惠下了药给敏儿吃了，2人半夜在楼下搞，敏儿醒来后看见了，之后，，，最后叶秉惠下药在敏儿的咖啡里 吃了后敏儿开车的时候出车祸死了。后来……

叶秉惠和敏儿本是亲切，敏儿和他老公（梁志明）买了一栋房子， 叶秉惠被人追债 住在了敏儿家的楼下一间房子里，后来叶秉惠 和梁志明搞在一起了，一晚叶秉惠下了药给敏儿吃了，2人半夜在楼下搞，敏儿醒来后看见了，之后，，，最后叶秉惠下药在敏儿的咖啡里 吃了后敏儿开车的时候出车祸死了。后来……

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?

延續「人氣」劇《使徒行者2》的「臥底熱潮」，TVB製作香港電視史上首個由劇集演變成綜藝遊戲節目的《使徒行者 臥底遊戲》，與全城觀眾攜手尋找變節「黑警」！ 八名有嫌疑的警察：黃翠如、蔡思貝、陳凱琳、麥美恩、洪永城、楊潮凱、余德丞與Bob(林盛斌)共赴泰國，接受卓Sir(苗僑偉)安排的特別任務，抽絲剝繭找出線索，再投票選出可疑之人。真相會在終極War Game「廝殺」後揭盅，究竟誰是「黑警」？

延續「人氣」劇《使徒行者2》的「臥底熱潮」，TVB製作香港電視史上首個由劇集演變成綜藝遊戲節目的《使徒行者 臥底遊戲》，與全城觀眾攜手尋找變節「黑警」！ 八名有嫌疑的警察：黃翠如、蔡思貝、陳凱琳、麥美恩、洪永城、楊潮凱、余德丞與Bob(林盛斌)共赴泰國，接受卓Sir(苗僑偉)安排的特別任務，抽絲剝繭找出線索，再投票選出可疑之人。真相會在終極War Game「廝殺」後揭盅，究竟誰是「黑警」？

1985年高雄的夏天，充满着玉兰花的香味，也洋溢着青春的躁动。尚未开放的台湾校园，教官一人独大。没有民主与自由可言的学校，压制不住王心仁（凤小岳 饰）逆反的心，写藏头诗，策划集体抗议舞会。和他一起无法无天的还有陈忠良（张孝全 饰）和林美宝（桂纶镁 饰）。经常腻在一起的三人，爱情也在悄无声息地滋长。木讷的忠良读不懂美宝的暗示；心仁则积极地追求美宝；而最早交女友的忠良却困惑了。 　　1990年的台北。风起云涌的学潮运动，少不了阿仁的身影，而阿良则做着阿仁最好的观众。和阿仁成为男女朋友的美宝则时不时从家乡来台北，三人依旧亲密无间。一场盛大的学生集会引起了警方的注意，也冲垮了三人的维系。阿良选择跨出了城墙；阿仁抵不住外在诱惑；将这一切看在眼里的美宝，已无法选择无视。踏入社会，多年不联系的他们再次有了交集。曾经的好友恋人，现在各自有了新的身份加诸身上。为爱自讨苦吃的他们最终能否重拾勇气，回到1985年那个如梦如幻的家乡。