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.”
送给至今依旧以貌取人的自己吧 其实人啊 还是三观一致兴趣爱好一致才有未来和幸福
蛮传统的轻喜剧，最后一段致敬真爱至上点到了感动点上。
编剧太扯了：明明是宅男照骗，然而结局是女生承认自己不诚实？明明是男生出的馊主意，大庭广众要女生站出来成为万夫所指？明明是男生的错，最后要女生来家门口道歉？！WTF？
如果忽略男主的造型喝身高…整个电影还是很有趣的，而且jimmy真的好有趣好迷人哦🥺但让我跟大油头秃顶的人谈恋爱…🤭
吸血鬼日记女主已经糊到这种地步了吗，这种烂片都接
前半段还可以，编剧把欧阳万成这角色写得挺细腻挺有内涵的，后半部分就没意思了，老土的爱情套路，高潮必演讲，结尾必幸福（又又又一次真爱至上的桥段）唯一感激的是Netflix还真的坚持给亚裔演员机会，这点我是很respect.
俗套。俗套的故事，想要拍出新意，所以用了亚洲面孔，还有一些中国梗，可故事还是美国（说grandpa喜欢圣诞节我是不相信的，不如找个白男loser。而且标签是轻喜剧，也不太好笑，还有点说教。男主人设还不错，突然也学做蜡烛了。
圣诞浪漫喜剧，为了happy ending，结局显得不真实嘎嘎
啊，看了开头就知道结尾的剧情，但是看了之后好想过圣诞啊。岑哥我又看见你了，咋又帅了呢
连续三年观看圣诞档电影后发现最近的爱情片都是亚裔男主角
貌似找到了我第二中意的圣诞电影！当然，《真爱至上》榜首位置依旧不能撼动，但这部真是意外之喜啊！好喜欢这个结尾！jimmy yang的演技真细致！Elena老了但依旧美丽～
約會APP被騙反倒找到了真愛，period。
前半段还可以，编剧把欧阳万成这角色写得挺细腻挺有内涵的，后半部分就没意思了，老土的爱情套路，高潮必演讲，结尾必幸福（又又又一次真爱至上的桥段）唯一感激的是Netflix还真的坚持给亚裔演员机会，这点我是很respect.
能不能别把亚裔搞得那么丑，求求了。剧情就那样，你吃个饭看的电影，还想怎么样。
前半段还可以，编剧把欧阳万成这角色写得挺细腻挺有内涵的，后半部分就没意思了，老土的爱情套路，高潮必演讲，结尾必幸福（又又又一次真爱至上的桥段）唯一感激的是Netflix还真的坚持给亚裔演员机会，这点我是很respect.
6.0(5⃣️)，相当的俗气，几乎是此类型题材的常规套路了，男女主角之间完全没有火花可言。虽然亚裔和欧美相爱并组建家庭的设定确实很好，但是影片真的一般/ Nina Dobrev的颜变成这样了omg
个人觉得Josh真的比Tag有魅力多了好嘛 结尾呼应了love actually
Netflix电影。爱情的冲动是颜值担当的结果。所以最好是颜值和内涵匹配。再好的内涵，颜值看不了，也没有办法在一起。
妮娜咋老成这样了 心塞塞 但是Everyone needs a little Christmas romance 作为一个圣诞电影 还是完成了使命的 :)
又到了年底Netflix的欢乐烂片批量发货的季节。还蛮cute的。
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