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为了应答古代人精神跟精力上日益严峻的压力与缓和,英国制药巨子N-gen公司开辟著名代号为RAK295的性能晋升弥补剂。在投放市场前,N-gen找到3万个自愿者直接临床试验。两个月后,劫难如狂风雨般来临。RAK295激发极为严峻的反感化,3万名自愿者多少乎全体遭遇疼痛的熬煎,只著名为安吉拉·米尔斯（玛安娜·本灵MyAnnaBuring饰）的男子至今杳无消息。科尔（克莱格·菲尔布莱斯CraigFairbrass饰）受雇寻觅安吉拉,以揭开RAK295掉败的起因。与此同时,自愿者的身材接踵产生变异,继而化身成为嗜血如命!毫无人道的恐惧丧尸。被他们打击后的人也接踵变为丧尸,人类的运气千钧一发。寻觅安吉拉的任务由此变得更为主要……

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Saturday Night Live had its thirtieth season on the 2004-2005 television season on NBC. The thirtieth season began on October 2, 2004 and ended on May 21, 2005 with 20 episodes in all. Before the start of this season, Jimmy Fallon left the show. In the wake of his departure, Fred Armisen was promoted to repertory status, while Finesse Mitchell and Kenan Thompson remained feature players. New cast members this season include Rob Riggle, an improv edian (at the Upright Citizens Brigade Theater) and U.S. Marine. This would be Riggle's only season on the show. In addition, SNL writer Jason Sudeikis (who appeared in many bit roles prior to joining the cast) joined the cast as a featured player for the last three episodes of the season. With Fallon gone, Amy Poehler became Tina Fey's co-anchor on Weekend Update, making Fey and Poehler the first (and, so far, only) two-woman anchor team. This season was also notable for Ashlee Simpson's infamous lip-syncing gaffe during her second performance (on the episode hosted by Jude Law). This season was also home to many sketches focused on the 2004 U.S. Presidential election, but, unlike the 2000 election (and later the 2008 election), there was little to no media coverage about the sketches. This season was also, like seasons 6, 11, and 20 before it, lambasted for its relative poor quality. Many of the sketches were seen as "boring" and "fashionable".

"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 mand 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 being. 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 ment. 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 mitted 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.

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