某一日，少年斯理一种名为“龙”的怪物出现在了地球上，少年斯理危害着人类的安全，不断压榨着人类的生存空间。幸运的是，随着龙的出现，另一些拥有着超能力，被称为“Type Dragon”的少女们应运而生，她们的存在就是为了抵抗龙的侵害。按照常理来说，拥有龙之力的应该都为女性，然而，物部悠却是唯一一个拥有异能的男性，长久以来，他都将其当成一个秘密死死守护，但最终，秘密还是被公之于众。物部悠被送往了米德加尔学园之中，这里汇聚了所有的异能少女们，她们在这里接受训练，同时也得到保护。在校园中，物部悠和失散多年的妹妹物部深月重逢了。
ɭɭ
回复 :电视动画《特斯拉笔记》改编自同名漫画，于2021年4月宣布动画化。由Gambit负责动画制作，2021年年内播出。「任务T」——那是为了阻止世界被毁灭的谍报任务！自小接受忍者训练教育的主人公·根来牡丹同谍报员·克尔玛联手担负起了拯救世界的任务！目的是回收天才发明家尼古拉·特斯拉的遗产「特斯拉的碎片」。
史帝文斯
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.
企鹅
回复 :Netflix演员、喜剧演员兼编剧福琼·费姆斯特登台献艺，笑谈她的南方出身、恋爱启蒙和演艺事业等话题
