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.”
该核爆的地方哑炮了，英灵来是来了，嘴没来，打个哑巴宝具，没了，我也是不懂，型月赚那么多钱，多加点预算叫声优们把宝具语音念完又怎么了？你没钱请，那伯爵和立香是一个声优，你让伯爵说句经典台词也行啊，怎么伯爵也不说话，什么意思，怕给岛崎信长付两份钱？fgo的游戏现在已经做成了狗屎，1.0和我一样是很多人最初的感动，对我来说值得纪念的是曾经半夜打终章哭得稀里哗啦的晚上，看这个流几滴泪纯为情怀。
害，什么高分低分的，能动就行
这啥玩意啊，嘴炮了有1个小时吧，真的让我看得又累又无聊……
summer！summer！童话般的青春片，释放感和快乐感很强。
青春片常见的剧情和套路，不过并不妨碍我看完想去夏日海边吹吹风的冲动。
英灵宝具拍的不够炸啊，他们能不能说话？？而且就这几个人也太少了吧…
Best summer movie of the year.
本来半年前就可以在FES看到的……情怀+1★。前半的剧情处理得还是可以的，开场盖总对王的独白到找玛修谈心一路情绪直接绷不住了QAQ “去收集星辰吧” 之前也在想终章大家集结那段会怎么处理，结果为了CV表着想（？）来的英灵竟然基本都没开口【。】后半进神殿就感觉有点emmm了剧情冲击力完全不如游戏当时的震撼啊（以及玛修的那段独白也是盖总，略出戏【×】医生的那段表现得也有点太过于轻描淡写了然后还真就表演了个master手撕盖总啊这实在是…… 话说最后为啥还强行总结升华主题！？游戏完全没这么尬好吧……（但是！一定要！看完片尾啊啊啊———
给真是个谐星，在他：“我爸是个柱奸”啊的崩溃袭击中我获取了快乐。但是片子挺难看的。
“的确，所有事物都无法永恒，最后迎来的只有痛苦，
两颗摇曳的心在夏夜的互相试探中逐渐靠近。Only broken people can save broken people.
爆米花粉丝向，但也不算让粉丝满意了
的确做的不尽如人意，感觉节奏很杂乱，确实是粉丝供向，各位出来的时候也不像想象中那么燃，医生戏份有点少？
辛苦女主在明明会骑车的情况下装作新手假摔三次？
窝 最终确定 奈虚氏 在动态影像呈现上 相对于 文字/视觉小说 是完全不行的。其实这一点在F/EX LE上就特别明显叻。如果把LE做成 游戏 风评不会这么差。
还是很喜欢长卷发的欧美男生，夏日还有单车，礼服加上自由自在的生活。剧情发展都是我想象中的那样，所以剧情我还是喜欢的。喜欢女主学单车那里，被我猜中的剧情走向
挺微妙的，经费充足，但节奏感觉不是很好，旁白说明太多。还有为什么不给声优们发工资？那么多英灵出来连个声都没有。总体来说没达到期待值，但可以看
唯一让我觉得好的，就是咕哒用临时术式召唤出从者战斗，这一点动画改编的不错。我对fgo的改编动画真是不抱什么希望了。
哈？都这场面了为什么不全用5星。。。然后全自来水？
给三星以上的那些人，那滤镜有啤酒瓶底那么厚吧？？
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