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.”
四星全部给queen B ，她是我的白月光估计就是这辈子不会变的事实了，看到她事业发展成这样真的很唏嘘，我总是觉得她值得更好的，又觉得她应该永远停留在我的记忆里，但是就像这样时不时的出现在各种文艺片和惊悚片里也挺好的，现实中她也结婚生了宝宝，真的希望她可以幸福快乐。这部电影我觉得还挺好看的，烂片肯定算不上，看完有种想让人出去旅行的冲动，在房间里睡到傍晚然后出门在一个陌生的地方找东西吃的感觉一定很不错吧。
感觉剧本只有大纲 没有任何细节设计 后面追逐对决的部分像小鬼当家
女性生存过程中被误解和被伤害的种种阴差阳错。不是女导演拍不出这种视角，反转很多，但女主持续的慌张焦虑和伴随反转而来的恐惧还是很能让人共情的。缺点是太过形式，像是为了连接反转而填充的剧情。
我觉得挺多个点都有构思的，可这个剧本，真的是，俗烂。女主最后抱着孩子笑着走出草地我也是觉得ummmmm，而且女主演技差。
能看到无数个类型片的影子和桥段，却又烂出了新高度。多一星也是给Queen B，像极了绝望自救的中年母亲。
反转设置得不错 反转的原因一笔带过 不能引起共鸣 司机纯粹好人？善良的人碰上善良的人？有情人终成眷属？
女主只身在国外遇到离奇失踪杀人事件，周围除了一个叙利亚人全是混蛋和变态，她第一反应居然是破案，这个人物立不住，但是总体看还是不错的。
渣男本想骗妻子，结果失手杀渣女。
整体很乏味，节奏有种猪头狗肚蛇尾的感觉，人物情感发展也缺乏逻辑。倒是片尾彩蛋有点好笑，直接把目标群扩展一倍的骗子优质技能hh
相比此片的质量，更让人唏嘘的是 十几年前，莉顿和布蕾克 都是大热美剧 绯闻女孩的大女主，很多人通过此剧第一次了解了上东区的生活，多年过后，布蕾克 混的风生水起，还嫁给了死侍 ，反观 莉顿，混迹在二流影视圈，似乎已无翻身之日
圣母心女主救想自杀的疯批男，男的下山开车跑了，女主哭了
一颗星给救人与自救的大主旋律，两颗星给无限旖旎的山谷风光。冰风暴刮得清醒 生疼 沧桑，女主在这种环境下毫发未损，还依靠主角光环将一个废男拖下山，厉害。雪景比人更耀眼，可以截屏好～多张桌面。
虽然荒诞但是不无道理，父母都望孩子成龙成凤
细节不够严谨。其次当我看到男主求死跳崖被女主找到的时候他哭了，对不起我笑了，😄
当然，只看风景的话，那一颗星还值得保留的。
剧情没什么新意，还是法式搞笑外壳配温馨家庭大团圆结尾，演员都不错，哈哈，感觉很适合陪长辈（未来公婆什么的）去看
还心疼没啥存在感的警察，连个监控录像也看不好。
景色很好
what？？face id在闭眼的情况下被解锁？？老子不相信！本着求真精神，研究后发现，设置中有个需要注视以启用面容ID选项…好吧…编剧你还是严谨的…
翻拍西班牙2016年的的《我们是贵族》，父亲还不错
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