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.”
也许你觉得无法想象这一切，我邀请你换种角度来看待整个故事。其实它也发生在我们的生命中
谁能想到，这片今年有了续集。除了继续吐槽美国政治、全球疫情和极端天气之外，还有奥运会、007的上映、美军从阿富汗撤军、《鱿鱼游戏》的火爆、有钱人的太空游戏、扎克伯格的元宇宙等等。我还是最喜欢英国蠢白人和美国虚伪蠢白人这两个角色（图2、图3），塑造得十分形象，蠢得特别好笑。笑归笑，人类社会的分裂愈加严重是不容忽视的，也似乎是无能为力的。这部伪纪录片可以和《不要抬头》搭配一起看，差不多一个风格。
女主对被摧毁过的爱和信任的重新接受。除了开头的突然爱上很奇怪。
2021的结束和开始一样混乱无序，时2020灾难的续作，什么都没有变好，延续前作的阴阳怪气，讽刺的针针到位，相比于前作更多的着眼于美国本土，但也完全算是一部彻彻底底敞开心扉的2021美国大事件吐槽录。网飞真是疫情肆虐，创作不止啊，2022去死，明年见！
很着迷，一个妓女不能生育，舍弃了爱自己的人，她的未来会是怎样？
麦克是比较帅的，也有一定经济实力，性格还非常好，但他是玛丽苏文学中完美的人吗？我觉得不是，丫脑子有点问题，完全无法理解他爱上一个妓女。他不在乎安吉尔以前的千人骑万人跨就罢了，但安吉尔中间弃家后跟麦克妹夫发生关系，又去酒馆做妓女，这就实在让我无法接受了，这是习惯把腿张开的生活了啊......这就是我对这片子前半段的感受。不过后1/3却让我有了不同的感受，安吉尔（莎拉）的改变和坚强又让我有了不同的感受，最后俩人的爱情差点让我掉泪。整体来说，本片还是可以的，也有一些不错的地方，片尾的歌曲很好听，是不是阿黛尔的，有加分！我给4星7.2分！
谁可以这样爱我？电影名是故事的精华，现实中很难，片尾曲挺好听的
1. 摄影运镜、剪辑水平极高；2. 这部片子让我们成为更好的人
在遭遇痛苦之后，意识到自己的一小部分已经永远死掉，但剩下的大部分依然存在，支撑着我们继续去爱、去生活，只因为“心脏是一块恢复能力极强的小小肌肉”———这是所有人命运唯一的相似之处：一切的一切，不过是在无意义中发现意义，在godlessness中验证god
看着很舒服，不急不躁，非常棒的一部片子，有时候豆瓣评分会骗人。
如果是作为福音电影，那么“救赎”的重点并不十分突出；作为爱情电影，前面拖沓结局仓促。插曲好听。
真的非常不错，冲破一切世俗的爱情，结尾很感人，女主的怀孕寓意非常好，值得推荐！
黑暗系小言。男女主都很好看，男主也很感人，故事也挺曲折的。但是为什么男主一个农场主那么有钱，可以不停去光顾头牌，还能说赎身就赎身？
同Don't look up恰好构成互文。
不好笑，1个小时的流水账，还夹带私货说了半天《布里奇顿》和《鱿鱼游戏》
从现实的角度看，太不切实际
好吧，我承认现实中肯定没有这样的爱情。但是我还是好感动呀。都看哭了。这是一种救赎的爱吧。一种补偿。我很不理解的是，为什么后面他们有孩子了？
很好的诠释了我们和他之间的爱，只有他才可以这样的爱我们，他从来没有放弃我们，只有我们选择是是否爱他。
谁可以这样爱我？电影名是故事的精华，现实中很难，片尾曲挺好听的
又是丢你老母的一年。另一点感受是，虽然主要调侃的还是美国那些事，但我们确实在长城内待得太久了。很多全球性的事件都没法感同身受。。
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