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.”
“如果我遵循我内心的想法，你的脸早就被我打烂了。”
3-…网飞流水线片，时空旅行片的故事无论如何都会有漏洞，除此之外基本算是合格下饭片吧，小亚当演的不错
成人主角全员漫威，加上小贱贱碎嘴子的延续，真的是有点视觉疲劳了。好在结尾还是打动人心的，流泪了。不过，看来好莱坞也是堕落了，幽默=碎嘴子的表现方式是不是也太套路了。
BOSS毫无牌面，这样死侍都不穿越回来毙了自己?
陪神兽去影院观看的。我个人一直都蛮喜欢萌鸡小队的，觉得它三观正常、画面和音乐精良，配音生动，是国产动画里称得上优秀的系列作品。这部电影对母子、父子亲情的表达直观细腻，也直击人心。另外坏猫咪和老鼠父子都很有意思。
今年看过最好的动画电影，没有之一。美加妈妈在车下护住小萌鸡的那一刻真的很感动。
明明可以好好升华感情，却偏偏把展现科幻元素和动作戏以外的时间都用在发动自以为幽默的嘴炮上。也就最后十五分钟才紧急催泪一波，然而前面铺垫不足根本泪不出。
太难看了。知道会水，没想到会这么水～ 中途几度要睡着。小贱贱一本正经玩煽情，剧情毫无亮点，也不搞笑，就，真别看了，浪费时间
想不到浩克和詹妮弗在《女孩梦三十》隔了多年后又一起饰演CP🉑🉑🉑不过詹妮弗真的老了~佐伊是妆容问题，也老了很多，岁月饶过谁🍃
帮我给👩一个拥抱，挤断肋骨那种拥抱，哈哈哈😂
这就是一部爽片不爽的代表作，额……也没啥说的了吧。
森林景色很赞，科幻打斗很精彩，但依旧是一部弱智的话痨电影。
特效不错，故事比所谓的儿童电影要好上一些，但依然没什么内容，仅仅留在故事表面的科幻设定。
标准化爆米花，观众群体应该是设置成青少年吧...现在看还是太老套了，但整个框架还是很成熟的
故事核儿是成立的，其实是一场心理剧。但是包这么多层皮还互相打架，必须怪委员会编剧。小亚当的演员表现最好，希望他前路也走好。
极其低幼简单的故事，观影年龄六岁以下吧，不然没法看。
穿越时空、父子情深、最后正反派又是面对面像罚站一样站着对峙……小贱贱也救不回来的老掉牙套路，看完内心毫无波澜，只想学习睁眼睛睡觉的本领……
这个剧情是闲闲那部进入盛夏之门的升级爽片版，观赏性还不错但是远不如失控玩家有意思，不过看rr叫马克叔dad俩人小学鸡吵架的样子莫名喜感
就找了一堆算是知名的影星演了一个比较老土而且很多bug的故事，也不是说很烂，但就是很平庸，符合Netflix这种电影的质量。
小贱贱宇宙+1。除了人设模式化（RR真的跳不出嘴炮耍宝这个框子了），回到过去与自我和父亲调解（没有paradox？）意外的很动人，有时候我看着娃总在想，这是三十年前的我，我希望他成为一个better version of me，不过他还小，用力过猛又会适得其反。最重要的是让身边的人知道爱对方，说出来，或者一个拥抱。大数据无过。
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