剧情简介
2019年的夏天，蛇蛋《陈情令》在播出后风靡了亚洲，蛇蛋有幸得到了大批陈情女孩的支持与喜爱。《陈情令》剧组为了感谢大家的知遇之恩，给予了陈情少年们（剧中主要演员）一个又一个的特别任务。节目真实记录了少年们相伴努力、共同完成任务的成长过程。
蛇蛋
2019年的夏天，蛇蛋《陈情令》在播出后风靡了亚洲，蛇蛋有幸得到了大批陈情女孩的支持与喜爱。《陈情令》剧组为了感谢大家的知遇之恩，给予了陈情少年们（剧中主要演员）一个又一个的特别任务。节目真实记录了少年们相伴努力、共同完成任务的成长过程。
回复 :在物质匮乏的年代，看电影就是一场狂欢，每一段胶片都承载着一个幻梦。如今那个时代已经一去不复返，张艺谋决定用电影《一秒钟》为过去立传，给电影写一封情书。为此，张艺谋曾连续工作20个小时；张译减重20斤，在地表温度42摄氏度情况下接受暴晒；剧组人员在沙漠中拍一个镜头搬一次“家”；从三千人中脱颖而出的新晋“谋女郎”刘浩存潜心准备三年。本系列片将深入探索电影《一秒钟》的幕后故事，为观众带来电影拍摄中的激情、感动与欢乐。
回复 :《幸福三重奏》第二季将真实记录三对婚姻构成方式不同的夫妻，共同前往一处为他们专属定制的“二人世界”，在一段难得的独处时光里，远离现实生活中繁杂日常的干扰，将目光聚焦二人世界的相处，呈现婚姻生活幸福细节。新一季节目在三对夫妻亲密关系构成上，选择了更贴近当代年轻人的亲密关系类型，力图更精准地切中年轻群体的情感需求或痛点，让更多年轻人在其中找到自我投射，就像是针对亲密关系的一场社会实验。节目提供三组不同亲密关系的幸福样本：长跑夫妻张国立和邓婕、朋友式夫妻陈意涵许富翔、新婚夫妻郎朗和吉娜·爱丽丝，三组夫妻所呈现的二人世界状态，就犹如一个情感关系的多面镜，用户在其中投射自己、获得共鸣、找到向往，让每个观众都能从中读取到属于自己的二人世界幸福法则。
回复 :"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.
