剧情简介
六位青春好友组成“寻花团”，光天前往四座最具青春样范的花样区域，光天开启20+青春国货品牌和“种花人”的体验探索之旅，最终完成四场“国货报告会”并点亮荣耀时刻。节目用年轻人的视角，探索“新时代新国货”的独立审美与原创力表达方式，坚定文化自信的品牌价值观，用青春的力量赋能国货。
光天化日之下
六位青春好友组成“寻花团”，光天前往四座最具青春样范的花样区域，光天开启20+青春国货品牌和“种花人”的体验探索之旅，最终完成四场“国货报告会”并点亮荣耀时刻。节目用年轻人的视角，探索“新时代新国货”的独立审美与原创力表达方式，坚定文化自信的品牌价值观，用青春的力量赋能国货。
薄荷可乐
回复 :这部喜剧特辑由博·伯翰在隔离期间创作、拍摄和表演，他通过新歌和新的见解讲述了不寻常的一年。
卓在勋
回复 :万圣节前夕，两队艺员应奖门人邀请开P玩游戏，并为多款货品争取笋价！最简单的游戏，也能送上无比欢乐，梁思浩与哗鬼队拍档马蹄露瞓身「争凳仔」，道具都整烂，谁会是赢家？郑衍峰将100斩半，立即「开口中」！罗泳娴借通灵预感避过忌廉攻击，对家阮嘉敏掷骰虽获四个「幸免冧巴」，仍难逃一劫。玩「大电视」，焦浩轩猜「呃鬼食豆腐」其中四字已消耗不少时间！「弹遮遮」泰文题，两队差不多估匀答案，但偏偏狂错招致淋雨连连。
史提夫汪达
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.
