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.”
有点封神了（Anastasia作为罪魁祸首居然没死，而且最后那段平行时空里也是她在搞事hhhhhhhh；最心疼Pawel和送披萨的小哥了，然后Filip其实也算是个好人吧🚬）
一星的剧情和演技、多给一星感谢它稍微唤起了一点我久去不回的性欲🙏
没什么可说的，唯一的优点在于逼我去补了补一战史【感谢up主有机社会】和亚瑟王传说【油管搜索亚瑟王的传奇一生】的课，另外学会了union jack指的是英国国旗。
什么玩意，男女主一年比一年发福，特别是那个女主，怎么就变成这种样子了
作为一个original story，这部跟之前两部电影好像除了share a same name别的毫无关系。作为一个independent story，这故事也讲的太糟糕了。之前读过的non fiction八月炮火都比这个讲的好
我觉得男女之间的感情越来越稳定了。哈丁刺猬一样的性格，被泰沙一点点抚平棱角
电影可分成前后两部分：前半段一直在磨磨唧唧父子情那点事，难看的一逼；后半段转折后动作戏逐渐增多，节奏也轻快起来。感觉只有后半段是马修·沃恩执导一样。列宁给搞成了反派和希特勒小手一握，这种恶趣味也是够了。
全片属于是勉强及格的水准，节奏确实有些拖沓散乱，动作戏的风格也没有做到和前两部一样独树一帜【可以说是并无特色】
我不得不说 欧美拍起来玛丽苏真是一点都不下线
床戏也太多了😅😅😅😅感觉男主父母辈更狗血呢，编剧瞬间变琼瑶了……
狗血剧情延伸到上一代了，让我们共同期待下一部的精彩发展。
这片儿的调性很奇怪，明明只是前两部的演员换了，导演没变还是马修·沃恩，但看的时候总感觉整个气质都和系列前两部电影截然不同，尤其是演了一半让男主死了，然后男主的爹开始亲自上阵成了大男主，不是说不可以这样拍，只是这些操作让影片的割裂感很严重。再加上戏说历史不像昆汀那样自然娱乐（昆汀是在《无耻混蛋》结尾满足了观众宣泄欲而戏说历史），本片中的戏说历史从开头到结局都很一本正经，这些都让但凡了解点一战历史的人会有不适感。总之，系列第三部，也是前传戏，拍成这样，挺可惜的，还是系列唯一导演自己亲手断送，不知是编不下去了，还是不想再拍这个系列了，反正这部片儿有点糟践了“王牌特工”这一金字招牌。
狗血剧情延伸到上一代了，让我们共同期待下一部的精彩发展。
怎么还要拍4啊我以为我的折磨就此结束了 原来这不光是wattpad小说还是1d的fanfic 别把我笑死
2022/2/22/这都拍的啥？恶搞吗？跟小孩子过家家一样，根本就是打着KINGSMAN招牌招摇撞骗的续集。
出4照样看…只是为了看颜值了………剧情………嗯，wattpad水平
作为王牌特工系列是不合格的 原先的那个是真的王牌特工吗· 一鼓作气，再而衰，三而竭，系列
救命啊 到底是什么精神海洛因能让我一天刷三部TaT
男女主颜值怼脸素颜都抗打，然而剧情这。。。也太脑残了吧，果然是《小时代》的感觉。。。然后有点像高级纯情黄片
没什么可说的，唯一的优点在于逼我去补了补一战史【感谢up主有机社会】和亚瑟王传说【油管搜索亚瑟王的传奇一生】的课，另外学会了union jack指的是英国国旗。
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