桃濑成海是一个白领女性，不过在情场上十分失意。 而二藤宏嵩是桃濑的青梅竹马，虽然是个彻头彻尾的阿宅，但是长着一副英俊的面孔带着酷冷的形象。 在桃濑情场失意时作为青梅竹马的二藤迅速拉近了与桃濑的感情距离，一脸淡然的告白之后正式交往……

这是一个由嘻哈哥视角出发的Life Style Show，每集我们邀请一位来宾，让我们介入他的一天

这是一个由嘻哈哥视角出发的Life Style Show，每集我们邀请一位来宾，让我们介入他的一天

《恋爱上线中》（英语：Love is Online），中国电视公司星期日晚间大型交友综艺节目，2023年8月13日中视频道首播，主要主持人为何妤玟、梁赫群、白云、陈孟贤（2023年9月17日至2023年11月5日主持。

濑尾卓也是个不起眼的平凡高一生，但他有个不可告人的小秘密：他是一部适合小女孩观赏的动画「闪亮萌宠」的狂热粉丝。有一天他带着参加抽奖幸运抽中的闪萌橡皮擦到学校，坐在他前面的辣妹．伊地知琴子突然说要借橡皮擦，便顺手抽走他手中的闪萌橡皮擦。想不到另一个走酷帅路线的辣妹．天音庆居然一眼就看出那是闪萌周边，令濑尾忍不住大吃一惊……

2011年3月11日，一场9.0级的大地震袭击了日本的东北地区。富田餐厅一家因避难而不得不背井离乡，把8岁的狗狗权太留在了福岛。与此同时，东京的女大学生吉野作为宠物救援志愿者前往了灾区。在救助活动中，她为一只获救的受灾犬取名为和平，但和平却被医生诊断出患有严重疾病，大概只能坚持一个月左右。在吉野的拼命努力下，奇迹般地找到了前主人富田一家，并发现和平就是当时被不得已留在灾区的权太。权太的寿命远远超过了医生的预期，它的坚持感动了大家，成为许多灾民的希望之源。吉野也为了自己的梦想，继续投身宠物救援工作之中……

2011年3月11日，一场9.0级的大地震袭击了日本的东北地区。富田餐厅一家因避难而不得不背井离乡，把8岁的狗狗权太留在了福岛。与此同时，东京的女大学生吉野作为宠物救援志愿者前往了灾区。在救助活动中，她为一只获救的受灾犬取名为和平，但和平却被医生诊断出患有严重疾病，大概只能坚持一个月左右。在吉野的拼命努力下，奇迹般地找到了前主人富田一家，并发现和平就是当时被不得已留在灾区的权太。权太的寿命远远超过了医生的预期，它的坚持感动了大家，成为许多灾民的希望之源。吉野也为了自己的梦想，继续投身宠物救援工作之中……

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