With the imminent release of Rose Matefeo’s brand new romcom Starstruck on BBC Three at the end of April, this coming year marks a watershed moment in broadcasting history with most BBC Three comedy either starring, written by or created by women. BBC Three will be the first UK channel to achieve this landmark in female representation with 58% of long-form scripted comedy written by women.
Upcoming titles include Lazy Susan, Starstruck and Ellie and Natasia plus the second series of both In My Skin and Back to Life.
In addition to this, the BBC today announces four new BBC Comedy Slices for BBC Three, all of which are written by and/or star female talent: Ladybaby, Amicable, Dinosaur and Britney, which results in the majority of comedy programmes on BBC Three now being female led.
Kate Daughton, outgoing Head of Comedy at the BBC, says: “Building on the huge success of Phoebe Waller-Bridge and Daisy May Cooper, this marks a monumental achievement and is testament to the fact the most pioneering and exciting new voices in comedy are increasingly female.”
Kate leaves the Comedy Commissioning team today having made a tremendous impact overseeing a raft of female first titles. Since Kate’s arrival in 2017 she has commissioned and nurtured Fleabag, Mum, Ghosts, Gavin & Stacey: Christmas Special (2019), This Time With Alan Partridge, Back to Life, The Goes Wrong Show, Out of Her Mind, Two Doors Down, In My Skin and Man Like Mobeen. Alongside the forthcoming Witchfinder, Alma’s Not Normal and Stephen Merchant series The Offenders (w/t).
Shane Allen, Director of BBC Comedy, says: “Five years ago there were still articles asking where all the funny women were. That hoary old nonsense can finally be dispensed with once and for all. It’s a level playing field with the most vibrant and dynamic work coming through from females writers and writer performers who are elevating the art form of comedy and expanding its horizons. As for Kate Daughton, no longer will she curse at me for loud sneezing in the office. Partly because she’s leaving and mostly because we’ve not been in the office. Truly bereft; in denial that she’s off and we’re lucky to have had her for so long.”
Charlotte Moore, Chief Content Officer, says: “Kate’s impeccable taste, whip smart comedy brain and beguiling ways with talent have had a transformative impact on the comedy output in her time here. The fact that BBC Three can claim to be the first UK channel with a majority of female led and written scripted comedy is in large part down to her vision and passion for backing genre defining female creatives. She’ll be sorely missed but thankfully leaves behind a terrific legacy of shows ahead.”
挺好看的呀，怎么评分这么低？生活里确实见到男主这样的男子，拍得很有意思～
以为是无责任心摆烂王的任性后半生，嘛结果又是生命所剩无多想按自己意思活。不是不可以就是…这个桥段看太多，出来多少有些失望，还显得之前的编排特作。一想到是这个理由害死了妹妹更生气了。猪和开肠破肚的狗隐喻没太悟出来。p.s.小破旅馆跟豪华度假酒店的质感真是没得比。
猫になったんだよな君は
还行，就是有点简陋，故事和人物都差点意思。
猫になったんだよな君は
逃避也许能让自己爽几天，但是改变不了命运。
前面的悬念铺得挺好的结果最后结局的真相一出来我：？？？ 幸好考试前一晚我是1.5倍速看的这部 没浪费太多时间 但也不至于一无是处 至少对墨西哥贫富差距和社会乱象展现得还是不错的 风土人情拍得挺好
因为15年前的私心，对乔·卡纳汉一直颇有好感，现在仔细想想这兄弟水准一直不高。Who the fuck is Toby Huss? Denis O'Hare look alike.
关于一个小错误引发了一场小悲剧，受害者却用一个个更大的错误引起更大的悲剧的故事。
“你一直在给我暗示”嗯哼，作家觉得这是以牙还牙了？非常的不行，没头没尾的，名字叫天怒，结果一直讲巧合，偶然，因果，信佛呢？
关于一个小错误引发了一场小悲剧，受害者却用一个个更大的错误引起更大的悲剧的故事。
电影风格还挺独特的，故事有点狗血，看过了有记忆点。
有种模仿盖里奇的感觉，但剧本不够精彩、人物不够特色、导演能力也有限，撑不起来。就算话痨片也有好看与不好看之分，这部属于话痨都话不起来那种
空洞+虚无的首席代言人——米歇尔·弗兰克。
我还要吐槽一下，那个女主的妹妹没事吧，她没事吧她没事吧😅😅
本作は東京で生きる若者の“人生最大の恋”、そして何者にもなれぬまま大人になっていくことへの葛藤を描く青春譚。
有部分尚可的动作，节奏，画面质感，镜头语言等，前半部分铺垫稍长，且对后半部分的塑造作用有限，总体归于尚可一看。
这是一部从任何角度看都非常“随意”的作品，没有明确的故事线、没有明确的人物关系（有人甚至看完都搞不清男主和女主到底兄妹还是夫妻）、没有具象的归纳总结……导演通过旁观视角，让观众自行领悟人物的行为动机和内在逻辑。
乔·卡纳汉的新电影《警察局》，一改之前作品直男、硬汉的纯动作片性质。以《黄金三镖客》和《肮脏的哈利》等东木的老动作片为灵感，致敬了《紧急搜捕令》。整体格局更小，重点刻画西部无人区的荒蛮与黑色，比较复古，看着有种科恩兄弟《老无所依》的感觉。但是放在现代网络背景下，有些剧情并不符合情理。“Yeah, well. You in the cop business. So that makes you a murderer. But I'm in the murder business, so that just makes me a laborer. You see how that works?” / 2022.2.5 家
妳属于自己把自己折磨死的
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