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维多利亚#86;贝克汉姆秋装系列  从辣(Spice Girl)转型成为设计师的维多利亚#86;贝克汉姆(Victoria Beckham)已经推出了流行的热门装,登上了数不清的最佳着装榜单,出现在了马克#86;雅可布(Marc Jacobs)的广告宣传片中,最近,她又成为《美国偶像(American Idol)的客串评委不过真正推动她继续前进的动力是什么呢?那就是看到女性身穿她设计的装“我会尖叫,”维多利亚说,她脚踏肉色的厚底高跟鞋,穿著有垂感的后侧拉链的深灰色外衣,它们全部来自维多利亚年的秋季系列  Spice-Girl-turned-designer Victoria Beckham has made chart-topping hits, been named to countless best-dressed lists, appeared in ad campaigns Marc Jacobs and, most recently, was a guest judge on 'American Idol.' But the one thing that really gets her going? When she sees women wearing her creations. 'I scream,' says Ms. Beckham, dressed in towering flesh-toned platm shoes and a drapey charcoal back-zipped tunic, both from her Fall collection.  维多利亚贴身剪裁的时装系列在年面市,它们已经摆上了波道夫#86;古德曼(Bergdorf Goodman)、内曼#86;马库斯(Neiman Marcus)和Net-a-porter的货架去年,像海蒂#86;克鲁姆(Heidi Klum)这样的时髦明星开始穿着维多利亚#86;贝克汉姆系列时装亮相红地毯不久前,歌手珍妮佛#86;哈德森(Jennifer Hudson)穿着维多利亚#86;贝克汉姆品牌装出席格莱美奖(Grammy)颁奖礼“这说明身材丰满的人也可以穿着我设计的衣,”维多利亚说“这是我看到她穿得最漂亮的样子,”她补充说  Launched four seasons ago, Ms. Beckham's highly edited line of tight-fitting dresses was picked up by Bergdorf Goodman, Neiman Marcus and Net-a-porter. Last year, chic celebrities like Heidi Klum started showing up on the red carpet wearing dresses from the Victoria Beckham Collection. More recently, singer Jennifer Hudson wore Victoria Beckham to the Grammy awards. 'It goes to show you can be curvaceous and still wear my dresses,' said Ms. Beckham. 'That was the best I have ever seen her look,' she added.  对于年秋季系列,维多利亚的目标是为她贴身剪裁的设计加入更多的款式在一处市郊别墅为0名编辑(还包括来自电视剧《绯闻女孩(Gossip Girl)剧组的几名造型师)举办的一场沙龙形式的发布会上,维多利亚坐在观众席的前排,并在模特走台时介绍每一个款式背后的设计过程和灵感所在我们参加了专为编辑举办的连续六场发布会的最后一场,而且留下了深刻的印象,这不仅仅是因为该系列所展现出来的精良做工,维多利亚在连续6个小时做着同一件事之后还能够保持热情和礼貌也让我们深感钦佩   Fall , Ms. Beckham's goal was to incorporate more volume into her body-conscious looks. At a salon-style presentation in an uptown townhouse about 0 editors (and a couple of stylists from the show 'Gossip Girl'), Ms. Beckham perched in the front row and talked about the process and inspiration behind each look as the models emerged. Heard on the Runway attended the last of six consecutive presentations editors and was impressed, not only by the craftsmanship evident in the collection, but by Ms. Beckham's ability to remain enthusiastic and polite after doing the same thing over and over six hours.  维多利亚表示,这个系列的灵感来自于连环漫画《至尊神探(Dick Tracy),它运用了明亮的色,比如该系列中的宝蓝色绉纱露肩拖地长裙以及色弹力修身褶底连衣裙最后的两个款式,均由透纱制成,被饰以《至尊神探漫画中抽象的点点图案维多利亚承认说,这其中有一件的设计过程“简直是个噩梦,”让她很多天都彻夜难眠这款像云一样的高级女装是用手工缝制的,为的是保持一种跳跃感  The collection, she said, drew inspiration from 'Dick Tracy' comic strips, and featured bright colors like a sapphire-blue crepe column corset dress, and an emerald stretch felt drape front frock. The final two looks, made of gazar, were adorned with abstracted and pixilated prints of the Dick Tracy comic. Ms. Beckham admitted that creating one of them-a cloud-shaped confection that was hand tacked to maintain its bouncy feel-'really was a nightmare,' and resulted in many sleepless nights.  造型师瑞秋#86;佐伊(Rachel Zoe)来迟了,她冲进发布会,找个位子坐了下来佐伊穿着一件有钮钉装饰的机车夹克,脚穿一双黑色的过膝长靴,看起来很酷她显然被其中的一些款式打动了,比如一件金色礼维多利亚说,她设计这款衣的时候让布料垂在自己的身体上并在背后打了个结,“这简直太美了,”佐伊不禁脱口而出“真美!剪裁太棒了!”  Stylist Rachel Zoe, looking fierce in black thigh high boots and a studded motorcycle jacket, raced into the presentation late and grabbed a seat. She was visibly moved by some of the dresses, such as a gold fitted number that Ms. Beckham said she created by draping the fabric over her own body and knotting it in the back. 'That was heaaaaven,' gushed Ms. Zoe. 'So beautiful! So well tailored!'  那么,今年秋天,我们应该会在佐伊客户的身上见到这款衣  Expect to see it on Ms. Zoe's clients next fall. 80。

The nominations won’t be announced until Jan. , but it’s safe to say that the greatest filmmaker associated with the Academy Awards has aly received his Oscar, delivered a modest but revealing acceptance speech and flown home to Japan and, perhaps, retirement.年的奥斯卡奖提名要到1月日才宣布,但是毫无疑问,最优秀的电影人今年已经得到了他的奥斯卡奖杯,他发表了谦逊而又真情流露的获奖致辞后便乘飞机回到日本家中,或许从此就会退休Hayao Miyazaki was given an honorary Oscar on Nov. 8 at the Governors Awards ceremony, one that he can put on the shelf next to the statuette he won in when his masterpiece, “Spirited Away,” was named best animated feature. He got off a sly one-liner about his wife and paid an impish tribute to the Hollywood veteran Maureen O’Hara, a fellow Governors Award honoree along with Harry Belafonte and the French screenwriter Jean-Claude Carrière.月8日,宫崎骏在奥斯卡主席奖的典礼上获得终身成就奖,这是他第二次获得奥斯卡奖杯,第一次是在年,他的杰作《千与千寻的神隐获得了最佳动画长片奖他说了一句关于妻子的玩笑话,并且顽皮地向好莱坞资深演员玛琳·奥哈拉(Maureen O’Hara)致意,她和哈里·贝拉方特(Harry Belafonte)及法国编剧让-克劳德·卡瑞尔亦获得了主席奖荣誉Between those two humorous notes, he was serious — honest, elegiac, rueful — on the subjects of animation and his country’s history, which gave his brief remarks something in common with his films. “I think I’ve been lucky because I’ve been able to participate in the last era when we can make films with paper, pencils and film,” he said through a translator. “Another fact of luck is that my country has not been at war the 50 years that I have been making films. Of course, we’ve profited from wars, but we’re very tunate that we have not had to go to war ourselves.”在这两句幽默的话语之间,宫崎骏非常严肃,他诚恳、伤感而悲哀地谈起动画片与日本的历史,这些话题令他简短的致辞有了和他的影片同样的气质“我觉得自己非常幸运,因为我可以参与到使用纸张、铅笔和胶片制作电影的最后时代”他借助翻译说道“另一个幸运之处是,我的祖国在我拍电影的这50年时间里,没有战争当然,我们从战争中获益,但我们非常幸运,可以不必亲自参与战争”Many things contribute to the enchantment of the animated feature films Mr. Miyazaki has made, beginning with “The Castle of Cagliostro” in 1979. Their sheer pictorial beauty, in the lush, painterly style he developed during years of apprenticeship as a hands-on animator film and television and as a comic book, or manga, artist. Their swooping, beautifully constructed action sequences, breathless scenes of racing, leaping and, always, flight — in vintage airplanes, on broomsticks or mounted atop mysterious beasts. And, of course, the beasts, spirits, demons and familiars themselves, a seemingly inexhaustible menagerie of companions and impediments his plucky young heroes (who are most often heroines).宫崎骏共制作了部动画长片,最早一部是1979年的《鲁邦三世:卡里奥斯特罗城,这些动画的魅力是由很多因素共同造成的它们有着纯粹的绘画之美,宫崎骏曾经当过电视和电影动画绘制的学徒,还做过漫画家,他从那时便开始发展出自己丰富的、油画般的风格 他的影片中,一系列动作有着全面而美丽的结构;赛跑和跳跃的情景令人透不过气,更有乘着老式飞机、女巫扫帚与神秘野兽的打斗场面当然,那些野兽、神灵、怪物和常见的形象,如同一个无穷尽的小动物园,为他笔下年轻勇敢的英雄们(大部分是女英雄们)充当伙伴和敌人None of these things are unique to Mr. Miyazaki, though he conjures them with an unmatched variety and generosity. What makes his films so memorable — from the great ones, like “Spirited Away,” which is a coming-of-age tale, and the ecological fables “Princess Mononoke” and “Nausicaa of the Valley of the Wind,” to less profound but still captivating works like “Kiki’s Delivery Service” and the mesmerizing “My Neighbor Totoro” — is something that’s harder to label. You know it when you feel it: the mastery of tone and emotion, embodied in every gesture, expression, movement and setting, that give the films a watchfulness, a thoughtfulness, an unaffected gravity. To watch a Miyazaki movie is to remember what it was like to be a smart and curious child.这些东西并不是宫崎骏所独有的,但他以前所未有的多样化与丰富性使用了这些元素他有非常宏大的作品:《千与千寻是关于成长的故事、《幽灵公主和《风之谷的娜乌西卡则是生态寓言;还有一些作品虽然没这么深刻,但同样引人入胜,比如《魔女宅急便和迷人的《龙猫,这些作品全都如此令人难忘,个中原因很难说清只要你体会到了就能明白:对基调和情感的把握体现在每个手势、表情、动作和场景里,令他的动画充满观赏性和思想性,以及毫不做作的庄重观看宫崎骏的电影会让你感觉自己重新成了聪明好奇的孩子Even at its high end, in the works of the Pixar studio or the director Henry Selick, the American children’s movie (a category that these days is pretty much congruent with the animated feature film) approaches its young viewers in a different and less rewarding way. There is always a sense of the filmmakers looking across a divide at their audience, trying with various degrees of grace or desperation to create an entertainment them, to figure out what will keep those allegedly hyperdistracted children from losing interest.反观皮克斯生产的电影或亨利·塞利克(Henry Selick)导演的作品,即便是在最好的情况之下,美国儿童电影(这个类别目前已经基本上等同于动画片)也是以一种完全不同、效果也不那么好的方式去接近年轻的观众电影工作者们在审视观众时,总是带着区别对待的观念,刻意以不同程度的趣味或努力程度,努力去他们,努力想让那些据说特别容易分心的小观众们对影片保持兴趣Mr. Miyazaki cares deeply about that young audience, but you get the feeling that he doesn’t waste any time trying to guess what it wants. Like other great directors of films and about children — Carroll Ballard (“The Black Stallion”) Steven Spielberg (“E.T.”), Alfonso Cuarón (“A Little Princess” and “Harry Potter and the Prisoner of Azkaban”) — he inhabits the child’s point of view and directly communicates her joys, her trepidations and, perhaps most important, her endless curiosity.宫崎骏也非常重视年轻的观众,但你可以感觉到,他并不浪费时间去猜测他们想要什么有许多导演为孩子们拍出了伟大影片,或拍出了关于孩子们的伟大影片,比如拍了《黑神驹(The Black Stallion)的卡罗尔·巴拉德(Carroll BAllard)、拍了《ET的史蒂文·斯皮尔伯格(Steven Spielberg),以及拍了《小公主(A Little Princess)和《哈利·波特与阿兹卡班的囚徒(Harry Potter and the Prisoner of Azkaban)的阿方索·卡隆(Alfonso Cuarón)宫崎骏和他们一样,能以孩子的视角看待世界,能直接了解到这个孩子的喜悦与不安,或许最重要的是,能够了解到她无穷无尽的好奇With his ability to pass so easily through the membrane between youth and adulthood, Mr. Miyazaki is also able to invest his fairy-tale scenarios with thematic weight. In his public life, he has spoken out on issues including pollution, the dangers of nuclear power, and Japan’s recent swing toward nationalism and militarism. His films, correspondingly, have sent messages — sometimes allegorical, but never unclear — in favor of environmentalism (“Nausicaa,” “Princess Mononoke,” “Ponyo”) and against war (“Howl’s Moving Castle,” “The Wind Rises”).他能轻易穿透横亘在年轻人与成人之间的隔膜,便可以为笔下童话般的情节赋予沉重的主题在公众生活中,他曾为环境污染、核战争的危险,乃至日本近期的民族主义与军事主义倾向而大声疾呼他的影片亦传递出同样的信息,有时可能是寓言性的,但一直都是清晰的——诸如持环保主义的《风之谷、《幽灵公主和《悬崖上的金鱼姬,以及反战的《哈尔的移动城堡和《起风了The messages are never what the films are about, though. Mr. Miyazaki does not promote outcomes; he explores possibilities. As he says in “The Kingdom of Dreams and Madness,” Mami Sunada’s indispensable documentary: “You don’t depict fate; you depict will. Even if fate exists.” Like all of us, his characters are born with infinite possibilities and shape their own lives as they close off those options one by one. “To choose one thing is to give up another,” he says.不过,这些信息从来不是他的影片的核心宫崎骏从不宣传成果,只是探索可能性年,在砂田麻美重要的纪录片《梦与狂想的王国中,宫崎骏说:“你无法描绘命运,你只能描绘意志,就算真的有命运存在”和我们大家一样,他笔下的角色也是从一出生就拥有无穷无尽的可能性,之后他们摒弃了一个又一个的选择,塑造自己人生的形状,“选择一样东西就意味着放弃另一样东西,”他说 her documentary, Ms. Sunada embedded herself with Mr. Miyazaki and Studio Ghibli, the animation studio he founded with his colleague and mentor Isao Takahata and the producer Toshio Suzuki. The film provides an intimate view of a man whose disarming, sardonic humor and modest manner don’t hide the tremendous demands he places on his young staff of animators and technicians or the way he feeds on their energy.砂田麻美在这部纪录片中深入探索了宫崎骏的人生,以及他与同事兼导师高畑勋和制作人铃木敏夫联合创建的吉卜力工作室影片以亲切的视角拍出了他那令人放下戒备,同时又充满讽刺的幽默感;他虽然态度温和,却对年轻的动画师和技术员工们有着极高的要求,同时吸取着他们的能量Of course he places even greater demands on himself, and anyone tempted to sentimentalize him as a head-in-the-clouds fabulist will be set straight by Ms. Sunada’s depiction of his working method, disciplined to the point of regimentation, machine-like in the service of the magical. While workers one-third his age chat or stare into space, Mr. Miyazaki (who will turn 7 on Monday) strides past in his printer’s apron, headed to the next task.当然,他对自己的要求更高如果有人带着伤感之情,想把他描述为一个想入非非的寓言家形象,看了这部纪录片肯定会打消这种看法砂田麻美在片中记述了他的工作方式,强调纪律到了严格控制的地步,像机器一样为动画中的魔法王国务当年纪是他的员工们闲聊或发呆的时候,宫崎骏(周一他就7岁了)穿着画师的围裙,大步走过去,开始做下一项工作Mr. Miyazaki has announced that “The Wind Rises,” released in in Japan, will be his last feature film, and in his Oscar speech and in “The Kingdom of Dreams and Madness” there are indications that he’s had enough. The darkness that is often present in his films but never overwhelms them, emerges when he talks to Ms. Sunada about “cursed dreams” and he tells her: “How do we know movies are even worthwhile? If you really think about it, is this not just some grand hobby? Maybe there was a time when you could make films that mattered, but now? Most of our world is rubbish. It’s difficult.”年,《起风了在日本上映时,宫崎骏宣布这将是自己的最后一部动画长片,在他的奥斯卡奖获奖致辞和《梦与狂想的王国中,有迹象表明他已经心满意足他的影片中经常出现黑暗,但黑暗从未压倒一切,然而在他与砂田麻美谈起“被诅咒的梦想”时,这种黑暗再度浮现出来,“我们怎么知道这些电影是有价值的?如果你真的好好去思考,它也许只是一个宏大的嗜好呢?也许过去曾经有那么一个时刻,你可以拍出真正的好电影,但是现在呢?我们的的世界充斥着垃圾太困难了”Difficult, requiring punishing discipline and ruthless focus, but as he has continually shown, not impossible. When Ms. Sunada filmed the news conference at which Mr. Miyazaki announced his retirement, he confided to her that he hoped to work another years. Whether that means short films, comic books or a return to features, whatever he makes is sure to matter.诚然,拍出好电影很困难,需要严格的纪律与艰苦的专注,但正如他长久以来向世人所明的,这并非不可能做到的事情年,当砂田麻美拍摄宫崎骏宣布退休的新闻发布会时,他向她保,自己希望继续工作年不管是拍短片也好,创作漫画书也好,抑或回归动画长片也好,他所创作的东西肯定是举足轻重的 55。

Through the themes of decay, rebirth and blossom — it has taken more than eight years Cheer Chen to finish her “Trilogy of Flowers”. After ’s Peripeteia and ’s Immortal, you would assume that the last installment, Songs of Transience, is a grand finale.历时八年,陈绮贞终于完成了她的“花的姿态三部曲”——“腐朽、重生、绽放”三个主题继年专辑《华丽的冒险和年的《太阳之后,人们想当然认为最终篇——《时间的歌将为三部曲画上圆满的句点But after listening to the -song album, not only did I find it a little introverted and thin as a finale, my other reaction was: Where is the Cheer Chen that we used to know? The long-haired, innocent singer who often wore a white T-shirt and a Bohemian skirt, holding a guitar and humming catchy folk melodies, is no longer there.但当我听完专辑里的首歌之后,除了发现它作为最终乐章稍显含蓄和单薄之外,更多的是感到疑惑: 我们所熟悉的那个陈绮贞哪儿去了?那个一头长发、常常穿着白色T恤和波西米亚长裙、抱着吉他哼唱动人民谣的纯真歌者不见了Instead, you’ll hear a lot of piano, drum and orchestral arrangements, and the songs on the albums, especially in the first half, are somewhat difficult to sing along to.取而代之的是,编曲中加入了大量钢琴、鼓和管弦乐元素;而且专辑里的歌,尤其是前半张专辑的几首,传唱度都不怎么高But I’m not saying that’s a bad thing. Actually, it comes as a pleasant surprise, because after years of singing the same kind of indie folk songs, it’s good to see the 38-year-old singer trying something new.我并不是说这是什么坏事相反,这种改变有些让人喜出望外,毕竟她已经唱了年的独立民谣了,如今38岁的她终于开始尝试全新风格,这是件好事Her poetic lyrics gradually took me back to the old Chen. Well, almost. Title songs from her previous albums, such as Travel with Sound and Fly You, often dealt with her perception of and confusion in relationships.新专辑中如诗般的歌词渐渐让我想起从前那个陈绮贞好吧,还算没有“面目全非”她前几张专辑中的主打歌,例如《旅行的意义和《失败者的飞翔,往往会探讨她对于情感的看法和困惑But if you carefully into her words on Songs of Transience, you’ll see that her vision has expanded — from humanity and philosophy to life’s best moments — although in the same talking-to-herself tone. example, she talks about the life struggles and anxieties of ordinary people in Gypsy in Memory, loneliness and helplessness in Home (《家), and larger-than-life love in Peace and Revolution.但是如果你仔细读过《时间的歌中那些的歌词,你会发现她的视角已经从人性和哲学拓展到了生命中最美好的瞬间,尽管她还是采用了一贯自言自语的调子例如,她在《流浪者之歌中触及了平凡人生活中的挣扎和焦虑,在《家中展现出孤独和无助,而在《Peace and Revolution中则体现了至高无上的爱At the age of nearly 0, Chen certainly can’t limit herself to love and affection anymore. But Chen takes on so much at once that it feels like her strength can’t match her ambition. Maybe that’s why I said bee that the album sounds “a little introverted and thin”.年近0,陈绮贞当然不能继续将自己局限在谈情说爱里但陈绮贞这次一次性呈现得太多,似乎有些力不从心或许这正是我之前提到的这张专辑听起来“稍显含蓄和单薄”的原因吧Despite these small shortcomings, you have to hand it to Chen her skillful playing with musical concepts. example, she uses “time” as the theme on Songs of Transience, symbolizing that blossoming is a magnificent but transient process.抛开这些小瑕疵不说,你不得不承认陈绮贞玩起音乐理念来驾轻就熟例如,你选择“时间”来作为这张专辑的主题,象征着花开璀璨却短暂的过程Whether she’s aly bloomed or not, I’m aly looking ward to what Chen brings us next.无论陈绮贞的才华是否已经完全绽放,我都同样期待她的下一部作品 69576。

;I have to demonstrate to the actors and actresses how to kneel that I have frazzled three of my trousers,; said Li Bin, etiquette director of the ongoing TV series The Legend of Miyue.“我需要给演员们示范如何下跪,都已经跪破了三条裤子了”当前正在热映的古装电视剧《芈月传的礼仪总监李斌说According to Li, the cast of The Legend of Miyue received special training on ancient Chinese etiquette bee shooting. And Li himself, he had been closely following the crew, being on site with the team full-time while filming.据李斌介绍,《芈月传的演员们在拍摄前接受了中国古代礼仪的特殊培训而李斌自己,也一直在紧随剧组人员,在拍摄现场全程跟组指导His careful approach regarding Chinese etiquette and its delicate presentation has paid off, as the TV series hit a historical high 1.97 percent rating within ten hours in late November, breaking online viewing records.他对中国礼仪及其精美的呈现的这种谨慎态度,最终得到了回报因为在月底,电视剧刚刚上映个小时内,在线观看电视剧的人数就一路飙升,收视率创下了历史最高记录,1.97%;Compared with many other costume dramas, the etiquette and costume in this drama is more solemn and up to standard. My interest history is greatly evoked by it,; said Sina micro-blog user Jinyumantang_97.新浪微用户jinyumantang_97表示:“与许多其他的古装剧相比,这部戏的礼仪和戏更为庄重和规范它极大的引起了我对历史的兴趣”While speaking to Beijing Times, Li said he put a lot of eft in filming the wedding scene between Mi Shu and Emperor Qin. ;Dressing in an exquisite red wedding dress, eating a slice of meat from a porket, drinking water from the same calabash nuptial cup and eating rice from the same bowl with hands are all in line with what written in history about national weddings of the Warring States Period (75-1 ),; Li said. ;The first three practices are meant to show that the emperor and the empress are y to love each other dearly, to share with each other on an equal stance and are inseparably bounded as one. Eating rice is the emperor pray a continuous golden harvest in the years to come.;在与北京时报的交谈中,李斌表示在拍摄芈姝和秦王婚礼场景时,他付出了大量的努力“身着大红礼、共牢而食、合卺而饮,夫妇食黍等等,这所有的一切都与历史上记载的战国时期皇室婚礼相同前三项的做法是为了表明皇帝和皇后将深爱彼此,在平等的立场上合二为一,永结同好食黍则是皇帝祈福来年风调雨顺,国泰民安”As the disciple of Zhang Xiaolong, the etiquette consultant of another costume phenomenon (The Legend of Zhenhuan), Li is no less professional in being precise with the As of ancient Chinese etiquette as his master has taught him at The Central Academy of Drama in Beijing.李斌是另一部宫廷剧《甄嬛传礼仪指导张晓龙的弟子张晓龙在北京中央戏剧学院教授古代礼仪,李斌作为他的学生,对中国古代的礼仪也是了如指掌,张口即来;We didnt use the red silk cloth to veil the bride face as what we believed to be a necessity in traditional Chinese wedding because it was not written in record until the Wei Dynasty (AD -0),; Li said.“我们没有使用红色的丝绸面纱盖住新娘的脸,是因为我们认为最早追溯到北魏(公元-0)时期,才在传统的中国婚礼中有了使用红盖头的历史”李斌说;But we did try to make the etiquette more visually appealing - the books didnt write how women walk while making a bow with hands folded in front, so I borrowed the idea from the move in one of Zhang choreographed dance. The supplement enriched the ceremony with more details.;“但我们也试图让礼仪更具有视觉吸引力--书上并没有写女人双手交叉在前面腰弯作弓状的趋步要怎么走,所以我借用了张晓龙在某电影里编排的舞蹈《新雅乐里的一个动作这个补充丰富了婚礼仪式更多的细节”The Legend of Miyue is based on a popular online novel which tells the story of Mi Yue and her life entwined with politics, war, and romance.《芈月传是基于一个流行的网络小说翻拍的,它讲述了芈月交织着政治、战争和浪漫爱情的一生 670。