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.”
4.3 同志小妞电影，有很多次被尬到暂停，婊气抿嘴翻白眼
怎么能这么无聊，全方位的难看。要啥没啥，而且导演或者制片是没搞懂你片子的受众吧？一些冷笑话也只有腐女和直人才会笑吧？
怀念童年的儿童电影，如今40岁的我看到那些老家伙的时候还是有点感动的，希望现在的孩子看了这部依然能有幸福感。
但其实这些都不重要，不是要做这些才算是gay该过的生活，但也不用瞧不起那些在做这些事的人，只要他们是自己喜欢发自内心的完全支持。
谁看不想去火烧岛？谁不喜欢Zane Phillips？come on！
元素和《佩小姐的奇幻城堡》很相似，但观感却比《佩小姐的奇幻城堡》差很多；此片拍的很有特摄片的感觉，奇幻和儿童的效果融合成这样导演也是尽力了。
翻拍的过于低幼化了。保罗路德全片工具人，与其说是捉鬼敢死队，不如说是另类的怪奇物语。
我觉得好喧闹，虽然我不反同但是我真的对这部电影无感。
这个棉花糖小人是米其林轮胎么→_→
出发点、立意、讽刺意味都不错，但电影终究还是电影，不能一味追求接地气。演员选得让人难以有代入感。为什么亚裔屌丝一定要选真的颜值、化妆双low屌丝？这难道不是加深了刻板印象吗？剧情方面，塞得太满，感情的悲喜却又蜻蜓点水不够细腻。这方面感觉比真人秀还要糟糕。
主角团“伊丽莎白”和“简”的颜值是认真的吗？？？？（我可能是误入盘丝洞了，有点晕肉，退了退了！）
[视]上部女团，这次儿童，都是政确；上次雷神，这部蚁人，年度性感。导演<朱诺><在云端><情动假日>，棉花糖版米其林很萌，“监控嫌少”系列，乡村背景，小女主红脖子化，1945世界无事，结尾致敬，片尾有彩蛋，片尾曲
好尴尬的剧情，感情线比剧情还尴尬。
麦肯娜演技依旧很棒，特效也很棒。就是没必要为了强行“政治正确”而安排几个主角
前面还行，后面挺谜的。boss浓浓廉价感像穿了串灯的衣服。
一个性别设定为全员基佬的人际关系小品而已。
没有粉丝滤镜 看的话 其实还好 当然也没有特别强
一个性别设定为全员基佬的人际关系小品而已。
Will真的很像赵文瑄，Dex全片最美我可以。
两星半
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