从人口稀少的乡下到东京读书的女高中生，曾有完美的人生规划的她在第一天就遭到严重挑战。大城市就连学校里的人际关系交往都很复杂，城里人的套路真深啊！正当她摸不着头脑的时候，同是新高一的随性帅哥向她搭了话。

岩仓美津未从乡下的小初中，以第一名的成绩考入了东京的高升学率高中。 这位乡村神童心怀完美的人生蓝图、独自来到东京。她成绩优异，却与他人有着独特的距离感，稍显格格不入。 她虽然偶尔会失败，但还是凭借天真的性格一点点打动班上的同学，使他们那各不相同的性格逐渐交叠。 相遇、相知、最终心意相通。 人人都会有心烦和焦躁之时。而无可替代的朋友，定将带来互相理解的契机。 这是个偶有杂音却能让人不知不觉快乐起来的校园生活喜剧！

故事发生在位于纽约布鲁克林的一间健身房中。马莉（柯柯·帕尔莫 Keke Palmer 饰）是跳绳队的领队，一直希望能够带领着自己的队伍夺得比赛的冠军。一天，马莉在健身房里发现了一个名叫艺西（科宾·布鲁 Corbin Bleu 饰）的年轻人，在他的身上，马莉感受到了他在跳绳方面的绝佳天赋。 　　马莉热情的邀请艺西加入自己的跳绳队伍，但是在选择之前，艺西却犹豫了。艺西的理想是成为一名拳击手。这是他父亲曾经没能够实现的梦想，如今交接到了他的手中。实际上，艺西并不是太清楚，自己究竟是热爱拳击运动，还是仅仅是想了却父亲的心愿。选择了跳绳，就难以避免的要放弃拳击。

热热闹闹的文化祭结束，空气渐渐感受得出冷冽的冬日气息，燕西高中也恢复日常的平静。然而随着座位更换，以志摩为中心，班级出现了新的局势！？美津未意识到自己似乎对志摩有超乎友情的心意…

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?