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.”
缓解大众焦虑的片子 年轻一定要多赚钱 加油我自己 海锅真的好可爱啊555
社会性焦虑的心灵马杀鸡。太适合我这种和日式价值观高共鸣的A型血まじめ性格的人了。传达出一个正导向的观点，即使眼下再困难，未来的生活还是会好起来的。被“任性一点也没关系哦”狠狠地戳到了
真够无聊的，看无聊的电影实在是一种折磨。前一个小时不知道睡过去几次，后四十分钟实在忍无可忍，拖着进度条勉强算是看完了。田园系的画风配上这稀巴烂的故事情节真是浪费。
关于灾后重建，属于狐岬的“山月记”，很满意的一点是主角都是女性，加入神话志怪元素，更显动人。
好久没看过人物脑回路和行为都这么正常的日本动画电影了😅没错，说的就是你，声之形、乔西的虎与鱼、未来的未来、心灵想要大声呼喊、若能与你共乘海浪之上……（以上不分先后）是很美好很温馨的儿童电影，剧情很简单很容易看穿，但是我就要这样单纯的美好！
什么都讲了，什么都没讲好。精怪和婆婆的关系设定倒是挺有趣，可惜没有用好。最后的大战跟玩儿一样……
奶奶您是夏目的外婆吗（bushi
刚看的时候很田园夏日，有温情。后面变得灵异起来就不喜欢了。
我明明什么都没有做，为什么偏偏是我；我们没有选择的权利，只能尽我所能
故事性不严谨 结局有点草率了把 作为轻松娱乐片看看还行
最后是在干什么？妹妹张嘴说话之后变得非常讨厌起来（。
剧情太平了，打怪也很仓促。白白浪费了那么多妖怪的出场！
有点悬浮的温暖电影。养老首先要考虑的是疾病和身体不便，这里面都没有。里面有很多片段让人不安，对自己好就是买包，办生前葬礼，还有share house广告，挺消费主义的。不带脑子思考还是很轻松的电影。
灾后重建+治愈创伤，本来挺日常的，最后的打斗真的大可不必7.0
三星半。第一次见天海女王演这么苦恼的角色呢。
剧荒随意找的，意外的好看！想起了在嘉义和婆婆一起生活的日子，想起了她坚持帮我我洗头、吹头发、倒马桶、给我买300台币一颗的水蜜桃、每天下午悄咪咪地（因为公公会念她给我买垃圾食物）骑着喔头拜去庙口给我买各种湾湾地道的点心…嗯！明早给她电话，撒娇一下，告诉她 我想她了❤️
开始看着挺心酸的，中年危机经济窘迫，感觉都是在强笑欢颜，感觉把生活过成了笑话。后来看到最后才觉得，无论日子多苦，还是要有一颗欢乐的心。
我觉得boss有点惨啊，自己想要独居一个地方都不行，只是把人类赶出了那个地方。
感觉侧重选错了，我觉得故事侧重围绕灾后重建的一些人性光辉比现在这个神话故事好很多。
颇有些小趣味，养老只要4000万日元吗？只需卖掉一套一线城市的小房子就足矣
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