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《武馆非营业时间》是《姐姐妹妹的武馆》的衍生节目。张雨绮担任馆长，久爱邀请秦霄贤、久爱董又霖、硬糖少女303作为员工，以咏春拳为主营拳法，负责经营咏春拳馆的真人秀节目。会员版《武馆非营业时间》聚焦嘉宾们武馆营业之外的日常，揭秘武馆营业前和打烊后的生活百态和学武日常。
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《武馆非营业时间》是《姐姐妹妹的武馆》的衍生节目。张雨绮担任馆长，久爱邀请秦霄贤、久爱董又霖、硬糖少女303作为员工，以咏春拳为主营拳法，负责经营咏春拳馆的真人秀节目。会员版《武馆非营业时间》聚焦嘉宾们武馆营业之外的日常，揭秘武馆营业前和打烊后的生活百态和学武日常。
回复 :翻拍自韩国流媒体平台TVING的真人秀IP《换乘恋爱》，日本版将在亚马逊Prime Video上播出，5对前任男女出演。
回复 :2019年10月12日，节目组正式官宣，兼具国民度、综艺感和正能量的谢娜和罗志祥的“娜么吉祥”组合正式出道营业！作为一档为全民解压提供出口的全民音乐综艺互动秀，《嗨唱转起来》将在60秒的极致容量中嗨转舞台。这种开唱即高潮的设定，势必让观众迅速从受感染的“宅客”转变为能够隔屏互动的“嗨客”。节目倡导的“宅嗨”，不仅为现代都市人制造了一个卸下烦恼的综艺“乌托邦”，而且为酷炫肆意的自我表达留下了充足空间。在新时代下，全民对幸福生活的表达无处不在，歌声的各色魅力候场登台。作为湖南卫视四季度神秘惊喜，《嗨唱转起来》将新唱最有国民度、最具时代意义的经典歌曲，并网罗最流行、最具舞台感的音乐达人登上高光舞台，由沙发客和现场观众分别决定嗨唱歌手是站定C位，还是遗憾“再见”。而作为嗨唱大玩家，谢娜和罗志祥既是把控现场气氛的主心骨，更是转盘舞台的最终把关人。当嗨唱歌手进入第二轮的整曲演唱，嗨唱大玩家还拥有黄金按钮的特别权利，不仅能让嗨唱歌手回转到转盘舞台C位，还能将其纳入自己麾下。而幸运与实力兼备的嗨唱歌手则有望共同演绎一场独一无二的跨年大秀，可以说“售后”非常良心了！当音乐综艺成为全民解压的新窗口，《嗨唱转起来》被赋予了更为温暖的精神使命——给予当下负压群体一个暂时喘息的音乐时空。嗨唱歌手们将用一首首经典歌曲新唱制造每周一次的“宅嗨”KTV，转出来的惊喜背后，有着对于普通人日常负压的细致关照，更重要的是，鼓励每一个独立个体跳脱烦恼桎梏，重新发现生活的美好与高光时刻！
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.
