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.”
总体来说挺有看头的，不管是题材还是情节，惊险刺激鲜有尿点，另外就是男主真的蛮帅的，具冷静+英勇+智慧+真情，值得一看。
融了那么多梗的电影 有点心疼金凯瑞 有点理解 星爷为什么不想再演戏了
很多人介意电信诈骗总部放在中国，我倒没什么意见，这种事情没必要掩耳盗铃。从电影创作上来讲，能从诈骗团伙角度拍的很热血到挺有意思，不知道的还以为他们在做一项为梦想而全力奋斗的事业。尤其中间那段大决战宣讲和受害人从接听电话的兴奋到被骗的沮丧的蒙太奇混剪，衔接丝滑，两边对比极其富有意味。
🎈上次在theatre看电影要追溯到三个月前的c’mon c’mon 看得好开心
除了尬舞、婚礼那一段，其他都还挺好的，看也就图一乐。
追车戏时在副驾缩成一团大呼小叫而且还是会被枪打中
… 后悔看了，觉得不行… 故事感觉都接不上，发展不下去了就成为好朋友，有点莫名其妙了，看到最后都分不清到底是给小孩还是给成年人看的… 就这么地吧
有关于电信诈骗的部分多少增长了点见识，电影也算是反诈骗宣传了，不过整体还是按照韩国以往犯罪片套路来拍，个人凭一举之力捣破犯罪团伙，警察啥也没干坐享渔翁之利，整体上不失望也没惊喜。
反诈骗教育片，典型韩国工业电影，在选材上与《巨额来电》《反诈风暴之不可饶恕》《反诈风暴之情爱迷局》《反诈风暴之罪恶来电》《反诈风暴之猫鼠之战》《反诈风暴之陌生号码》类似，剧情也与这些类似，不过没有拿着真实案例改变的我国电影扎实，主角身份背景逻辑与战狼2类似，非身份才能异国动手，大量使用室内棚拍来压低预算。
很一般吧，各种的。限于经费的原因吧，中国的场景设置的十分寒酸，最后的宣言是否极为眼熟？
下载个国家反诈中心APP吧，不过有一点还蛮真实，就如陈国平警官所说，诈骗犯在写剧本这方面比大多数影视编剧都用心。
本来已经平平无奇，恶心的机翻又让这裁缝电影雪上加霜。这是恃萌行凶吗？我的近视程度增加了。片子不好好拍，花钱倒是一流🐮
……既然要不讲实际地大搞个人英雄主义又何苦把开篇那些有的没的无聊铺垫做得如此冗长……讲废话讲得滔滔不绝……只有就业保证信托那段好看点（确实很像在模仿好莱坞电影里的疯狂证券所233333）加一星给主演们，好无奈啊但俺就是会反反复复为有好感的演员对烂片明知故看……
别去深究剧情合不合理，反正就当一个打斗犯罪片来看就完了，看结局应该还有第二季，卞约汉这几年发展的越来越好的，值得期待啊。
如果一个半小时就能结束那还值个3星。全程只想看金凯瑞的表演。
没搞懂分数为啥这么低，明明很好看啊，特效也比第一部赞很多，和朋友一起看得很开心，打低分的都是用手机看的？片尾彩蛋暗影666，期待第三部！
节奏紧张但细节不足，很多人说被骗太简单，但实际上被骗的人都是一些有所求，有欲望，有关心的人受骗。骗子抓住的是一颗太过在乎的心。另外永远不要用钱去衡量人性，因为你还不起。
情怀大于内容，小时候玩游戏，现在看着一个个角色跃然荧幕之上还是挺让人开心的。
这电影就tnd不是好人拍的，处处暗讽CHN是个啥意思？这棒子是真的自卑啊。
没有索尼克情怀的人 一开始看还好 后面就。这王者翡翠没借鉴点漫威宝石？最后机器人也太钢铁侠了。我也不知道我怎么看完的
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