为更好地挖掘全人类的精神宝藏，最新激励中国青年奋发有为，最新湖南卫视特别打造一档纪实性文化品格传承节目《我们的师父》，节目邀请到四位处在不同人生阶段的年轻人，于晓光、大张伟、刘宇宁作为首发阵容，与另外一位神秘X成员，组成“3+X”的强大阵容。他们通过寻访拜师行业精英、优秀人物，在与师父同吃同住三天两晚的过程中，感悟榜样精神，解惑人生难题，汲取前进力量。此外，《我们的师父》不止打开了师父们的精神宝藏，也为他们打造一座独一无二的“精神博物馆”。据悉，节目组匠心设计的这座博物馆名为“我们的博物馆”，将发掘包括师父们在内普通人的闪光事迹。博物馆里的每一个宝藏，都是来自网友们身边的闪光故事。工作人员透露，“我们的博物馆”线下移动展馆邀请到知名艺术家参与设计，届时将带给观众非凡的奇幻体验。
何耀珊
回复 :动画剧情舞台为2047年，与人类之敌「D2」对抗而荒废的美国。指挥家「朝雏タクト」与「Musicart」的少女「命运」，在失去音乐的世界中各自为了自身的渴望，共同出发前往纽约。
李慧珍
回复 : 南未罗来纳一处静，崎岖的森林中,一对年青夫妇想要建造能永续使用且与世隔绝的双体船式行动住家, 但在南卡罗来纳乡下恶劣的气候下建屋，要面对不少困难，他们能如期完成吗？！
峇奴
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.
