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.”
上海lockdown的日子里看一部这样的电影，真想感叹，生活如果能像在迪士尼电影中那么美好就好了。
佳佳自导自演，路边摊小品片，挺好玩，我喜欢他的那个大饼脸老婆
但節奏算快
稳定输出，八元不亏五元还赚，吊打大制作烂片。
作为网大来说可以，整体镜头和故事连贯性可整
比很多院线喜剧都强，挺有意思，记录我们的时代。看影评学到术语「荷兰角」，查资料说，当你在你的构图中使用斜线（道路、走廊、等公交车的队伍）, 你都是在二维电影画面中营造三维空间感。
螺蛳壳里做道场，全片大部分场景都在两家烧烤店中间展开，就是让你笑，每次煽情都会被强行打断，反而更有喜剧效果，很多包袱的铺垫和反转都能看出主创的用心。缺点就是佳佳角色的喜剧性并不突出，没有很强的戏剧冲突，让故事显得很平，反而是每一个配角都有让人印象深刻的亮点，就导致整个故事偏散。
2.5吧 有些笑点还是比较无趣 不知道哪个先拍 东北告别天团会相对好一点
成为男女朋友以后看的第一部电影，哈哈！梗都是能猜到的，却依然不妨碍我们哈哈大笑嘻嘻
看完之后，一是觉得他媳妇真贤惠啊，不嫌你没钱不骂你没本事，还支持你放弃体面的工作，追求自己内心的想法；二是，镜头怼着那些烤串拍，看着太有食欲了。
迪士尼挑选的小演员真的厉害，各方面！剧情虽然老套但是这个小朋友超级厉害！
不以成人电影，而是作为青少年电影来看待，这部应该在中上水平。小孩子们的表演都很棒，比国内一群20+，科班出身的明星会演太多了。电影的节奏很紧凑，就是歌舞的成分稍微少了一点。还有一点疑问，国外的小学生都有自己的iPhone可以使用了吗？
我觉得挺好的。一，我完完整整的没有倍速的看完了。二，，中途我笑了。三至少进圆了一个故事。
很不错的相声想象类电影，加一星给以鼓励，里面除了烧烤老爷子是有演技的，其他都很业余，不过还是感受到了诚意，笑点也可以，希望能再精良一些
其实在网上看看这种烂片还挺好的哈哈哈，有点以前开着电视做其他事的舒适感，可能这才是烂片的正确打开方式！
5分。有几个包袱确实抖的不错，还残存以前大潘佳佳合演小品时候的风采。其他就很平庸了，妻子线完全不合理也没意义，女主角脸蛋身材名字年龄没一样是真的，故事也过于简单。但还是比李茂换太子强。
总体下来看着还挺轻松愉快的，感觉像在看武侠片呢，烧烤江湖？？？这个感觉？整体像是加长版的小品吧，主题永远是那个情。 中间有段苏阳的《贤良》让我惊了一下，崔志佳有点意思。
没啥特别多得闲工夫，推荐不看。这片儿让我想到，同样都是当爸人，看人那么忙碌，我还这么闲，需要反思
能從電影中看到「食神」的一些場景，但不是每個人都是「周星馳」，模仿失敗看起來就顯得很突兀。電影的結局我以為會是，男主角和老闆說讓老爺子加入自己，自己也可以照顧他，讓老闆與老爺子和解，男主角和老爺子合夥開店。但是這個結局吧，就顯得有點奇怪。作為網大算合格吧，吃飯時候看看還是挺好的。
一事无成的男主，在公司干啥啥不行，公司老板的父亲一直在做烧烤，老板让男主只要搅黄父亲的烧烤店就算堪当大用，男主找到了腰子姐和东北禽王，跟老爷子竞争，老爷子也找了四大天王，烧烤辅助竞争，最后男主爱上了烧烤事业。当齐心做一个事业的时候，稍有成绩，你就爱上他了
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