瘦弱高中生梓轩因无法忍受长期霸凌开始反抗，却意外弄伤了在学校颇有势力的恶霸任杰，随着心理老师的介入此事掀起了更大的风波，梓轩陷入生死存亡的奔溃边缘，全片以桌面电影形式展现。

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。

麦奎因原计划为BBC执导一套6集5小时时长的剧集，讲述5个不同的故事，而在后来麦奎因把每个故事都进行了扩充，最终变成了5部电影长片。五部长片在BBC与亚马逊Prime Video播出时间确定：[红树林](11月20日)、[情人的摇滚](11月27日)、[教育](12月4日)、[亚历克斯·惠特尔](12月11日)、[红白蓝](12月18日)。 　　【小斧子】五部曲讲述了1960年代末至1980年代中期伦敦西印度社区的故事。标题引用了一句非洲谚语：“如果你是大树，我们就是小斧子”，这句谚语因为鲍勃·马利演唱的同名歌曲而广为流传。 　　[教育]讲述了12岁的金斯利对宇航员和火箭情有独钟，他因为在课堂上捣乱被拉到校长办公室，他发现自己要被送到一所 "特殊需求 "的学校。Kenyah Sandy、塔马拉·劳伦斯主演，麦奎因与西登斯共同编剧。

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?

节目邀请两岸三地的文化明星名人，担任代课语文老师，选取内地港台最具特质的真实小学，通过3天的语文教学，解读文学之美，诠释教育之本，共述同胞之情，促进两岸文化的交流融合，增进两岸同胞的福祉和亲情。

《同一堂课》是一档原创文化公益类节目，由南瓜视业、灿星制作和南方周末共同研发。在三天时间里，每个受邀的知名学者或艺人，化身为临时“代课老师”，在两岸三地不同特质的小学，为学生们上数节语文课，以探索语文教育的可能性。

《学“讲话”·六堂课》首创每集8分钟的“微理论片”模式，紧紧围绕习近平总书记“七一”讲话的核心要义、精神实质，围绕其中的新思想、新观点、新论断，用更符合互联网传播、年轻人习惯的小篇幅来阐释大理论。

山部健太與朋友們一起去露營，他的目標是從溪流釣到今年最早的大馬哈魚．突然，一名少女出現在他的眼前，彷彿是從流行主雜誌坎出來的美麗少女對健太說：下次約個時間見面吧！並留下電話號碼給他．．．