汉内斯·克勒格尓早先是一名船员，现在却是汉堡市圣保利区酒馆一个“赛马场”的娱乐歌手。在他的哥哥弥留之际，请求汉内斯好好照顾他的前女友吉萨。汉内斯履行了这一承诺，并且找到了住在德国南部的吉萨。吉萨和汉内斯一起来到了汉堡，并逐渐产生对汉内斯的兴趣，然而汉内斯不知道自己到底想要什么。仅仅当另外一个男人向吉萨求爱时，汉内斯才发觉自己对吉萨的真正心意。（豆瓣字幕翻译2.0小组）

1976年1月3日10:30-11:25在毎日放送・TBS系播放的特别节目。 　　某日，立花藤兵卫带着一群小孩子到游乐场“後楽園ゆうえんち”观看假面骑士的舞台剧表演，并且在观看表演时回想起以往与假面骑士一起生活的日子。而在藤兵卫一边回想的时侯，本乡、一文字等真正的假面骑士也相继来探望他。 　　正当藤兵卫回忆完后，表演台上一片骚动，原来台上出现了真正的怪人。见此情况，本乡猛、一文字隼人、风见志郎、结城丈二、神敬介、山本大介、城茂等人相继变身与之战斗，并且在表演台下找到敌人的首脑暗黑大将军。最终，7位骑士消灭了所有的怪人，粉碎了暗黑大将军的阴谋。

世界，荒芜的命运沙土，孕育中的希望光芒。元星，一片饱受劫难的土地，“他”给予人们提示，被迫做出抉择。他们选择了科技，他们选择了进化，他们选择了延续与革新的文明，他们选择了荣誉为他们命名——亚人。故事的帷幕正式拉开……

1994年7月9日深夜，山东济南市的天桥，传来了两声沉闷的枪声，打破宁静夜晚，一时时，警灯闪闪，警笛长鸣，天桥刑警立即出动，赶到现场，迅速展开侦查布控工作，侦查人员从蛛丝马迹入手，排除疑点，层层剥茧，终于把凶杀罪犯捕获，成功侦破凶杀大案。 　　本剧以山东济南天桥区公安公局刑警大队全体警员侦破一个带黑社会性质的犯团伙，并最终使全部罪犯落进法网的真实案件为主要情节而编成，其中有杨斌集团覆灭记、令人发指凶杀案、连环强奸案、无名分尸案等系列真实案件，这是一部重案刑侦纪实电视片。

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?

在荒凉的大山深处，有一座破烂小屋，里面住着一位自封为山大王的男子。机缘巧合下，他成功绑定了天秀系统，此系统规定，他秀得越出彩，获得的奖励便越丰厚。恰逢古银宗宗门筛选日来临，只要测试达标，就能获得进入宗门修炼的机会。