《首席夜话》是中央电视台综合频道（CCTV-1）重磅推出的一档全新演播室谈话节目，也是目前中央电视台重要的主流谈话节目。节目特邀性格色彩分析师乐嘉担纲主持，访谈全球最具影响力的公众人物，以综艺元素营造轻松夜话氛围，展现公众人物真实自然的个性和态度，透视人生哲理和人性光芒。

《首席夜话》是中央电视台综合频道（CCTV-1）重磅推出的一档全新演播室谈话节目，也是目前中央电视台重要的主流谈话节目。节目特邀性格色彩分析师乐嘉担纲主持，访谈全球最具影响力的公众人物，以综艺元素营造轻松夜话氛围，展现公众人物真实自然的个性和态度，透视人生哲理和人性光芒。

France 3 is, meanwhile, bringing us a two episode mini series on Diane de Poitiers (Isabelle Adjani), who, endowed with insolent beauty and daring manager intermingling with politics, shares with Henri II (Nicolas Duvauchelle), twenty years her junior, the most burning passion in the history of France. In so doing, she defeated two dangerous rivals: the sovereign whose name was to associate her name with the bloody Saint Bartholomew and a royal favorite educated in the art of poisons. Jean Reno and Mathie Amalric also star in this 16th century historical saga.

讲述江城市首富程睿为查明公益基金出现黑洞的幕后真相，化身外卖员，卧底在为学校输送餐食的“干饭人”餐厅，在调查过程中，与餐厅女老板郝佳美日久生情，开启了一段充满治愈又欢乐满分的爱情故事。

讲述斯卡佩塔从1990年代担任首席法医，到如今返回故乡重拾旧职并调查一起骇人听闻的谋杀案的历程。斯卡佩塔在追求正义的过程中，必须处理错综复杂的人际关系，包括与妹妹多萝西·法里内利之间的紧张关系，还要面对由来已久的职业和个人恩怨，以及那些可能摧毁她所有努力的秘密。

NOTA is a Tamil movie starring Vijay deverakonda and Mehreen Kaur Pirzada in prominent roles. It is a drama directed by Anand Shankar with Sam C. S. as the musician, forming part of the crew.

舒适恬淡的一天，善良可爱的米妮（Ruth Clifford 配音）没有去找男朋友米奇玩，而是待在家里学习急救知识。虽然对照书本去做，但是她一个人始终无法兼顾，结果绷带都缠在了头上，连在一旁观看的布鲁托和小猫费加罗也一个劲地摇头叹息。无奈的米妮，只得回过头向这两个小家伙求助。听到主人的召唤，他们都跃跃欲试，不过一肚子小九九的布鲁托踢开了费加罗，还让米妮训斥了小猫一顿。费加罗一肚子怨气，只能在一旁气鼓鼓地看着。 　　在模拟按摩的时候，布鲁托洋相百出，令费加罗忍俊不禁。等到包扎的时候，米妮发现绷带不够，于是起身离开。面对被包得不能动弹的布鲁托，小猫知道报仇的机会来了……

陈月在外辛苦赚钱养家，回家辛苦做家务服侍婆家人，婆婆和小叔子却对陈月百般不满。陈月与雅婷重逢，如今的雅婷已是新月集团的董事长，雅婷为报十年前陈月对她的恩情，帮助陈月脱离困境，陈月在雅婷的帮助下成为新月集团的副总，一路积极上进，专注于自己的事业，从此让大家都刮目相看。

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