夏洛克•福尔摩斯毫无疑问是世界上最著名的小说侦探，花月人们对这位传奇侦探的兴趣从未如此高过。但这个人物背后的灵感是什么呢？他为什么如此流行呢？阿瑟•柯南•道尔爵士以真实的外科医生为原型塑造了福尔摩斯的非常推理和观察力，花月并加入了他自己的初级法医技术，来创作出这位小说侦探。在需要用目击报告和确凿的证据来宣判罪犯的时代，警察的不称职意味着“开膛手杰克”能逍遥法外，而夏洛克•福尔摩斯的罪案现场方法是革命性的。法医科学家，犯罪历史学家和夏洛克专家，首次揭露了这名小说侦探对于现实的犯罪调查和法医技术的惊人影响。
邱家烈
回复 :笑匠亚历克斯·费尔南德斯經常提到自己的故事，這回也不例外，但在講到家中共有六位手足時，他娓娓道出一位哥哥的故事，使這段表演更有深度。
黄秋生
回复 :《Street Women Fighter》是Mnet首个女子舞蹈团队的真实生存节目。代表大韩民国的八组女子舞蹈团为了成为排名第一的Global K-Dancer，将展开寸步不让的战争。舞者们将展示Girls Hip-hop、Walking、Rocking、Clumping、Breaking等多种类型的街舞。
贾立怡
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.
