剧情简介
萬聖節當然要扮鬼扮馬，美人節慶臨近，美人不如先辦個萬聖節感謝祭，讓大家可參考獎老們的特別造型，為十月尾的派對取靈感，同時亦可透過網購平台提供的優惠價，買來心頭好！參與這場感謝祭的嘉賓有黎諾懿、戴祖儀、賴慰玲、劉穎鏇、梁超怡和關楓馨，至於對家則是同門藝人陳家樂、泳兒、何珮瑜、沈震軒、李靖筠與曾樂彤，雙方對陣會激發出甚麼結果？最重要還是過程爆笑，讓觀眾看得開心過癮！
美人攻略 第一季 动态漫
萬聖節當然要扮鬼扮馬，美人節慶臨近，美人不如先辦個萬聖節感謝祭，讓大家可參考獎老們的特別造型，為十月尾的派對取靈感，同時亦可透過網購平台提供的優惠價，買來心頭好！參與這場感謝祭的嘉賓有黎諾懿、戴祖儀、賴慰玲、劉穎鏇、梁超怡和關楓馨，至於對家則是同門藝人陳家樂、泳兒、何珮瑜、沈震軒、李靖筠與曾樂彤，雙方對陣會激發出甚麼結果？最重要還是過程爆笑，讓觀眾看得開心過癮！
回复 :有一种好声音，能让耳朵怀孕；有一种老戏骨，能用声音表演……《声临其境》是湖南卫视原创播出的全国首档声音魅力竞演秀，以台词和配音为切入点，每期邀请四位台词功底深厚或声音动听的演员、配音演员同台竞声，比拼台词功底、配音实力，以及与其他演员的互动搭档能力。每期节目分为三个环节，第一个环节是“经典之声”，嘉宾们将分别表演3段经典影视剧或动画片片段，展现各自的声音功底及声音可塑性。第二个环节是“魔力之声”，嘉宾们以创新的方式为广告、新闻、体育比赛、搞笑漫画等生活中的常见场景配音，不仅考验他们的声音能力，更展示了他们谐趣幽默的一面。在前两个环节中，四位嘉宾将躲在屏幕后的配音间仅用声音进行表演，现场观众只闻其声不见其人。到第三个环节“大秀”，四位嘉宾将全部亮相并组成临时搭档，共同完成一场以声音为特色的大剧表演。通过三轮声音竞演，现场观众最终将选出当晚自己最喜欢的“声音之王”，胜出者将参加本季最后一期“年度声音大赏”。
回复 :本季将重新采取Survivor:Vanuatu的男女分组，两个部落的名字分别为Salani(女)和Manono(男)，但将首次将两个部落放置于同一营地。
陈小霞
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.
