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.”
说是特别篇，其实也是一个剧场版。预告里把辰巳队长剪的像一个反派，反倒是时岗队长是主角方的样子，没想到剧中反过来了，进姐夫的时岗队长前期塑造的确实完美，然后就来了一个180度大转变。
看得挺过瘾的，比TV版强一点，致敬真假迪加的情怀。看结尾彩蛋，又要致敬戴拿奥特曼了？
一个事实两种感知，没有真相，或有机会主义强奸，只有红色警戒，么有灰色地带，no means no…silence does not means yes…沉默并非同意，拒绝就是拒绝；ask for yes before you going on….. one night stands or one night rape ? what if your daughter told you she was raped, what will you do? Kill him.
一个事实两种感知，没有真相，或有机会主义强奸，只有红色警戒，么有灰色地带，no means no…silence does not means yes…沉默并非同意，拒绝就是拒绝；ask for yes before you going on….. one night stands or one night rape ? what if your daughter told you she was raped, what will you do? Kill him.
那么变好看的原因是什么呢？
这部电影不仅在探讨性侵事件中的性别议题，同时也是对观众的一场考验和审判，它是如此值得被探讨，以至于它如果让你一度持有怀疑态度，或能让你进一步反思制度，或者更坚定自己的立场，那都是一种进步。
这部电影不仅在探讨性侵事件中的性别议题，同时也是对观众的一场考验和审判，它是如此值得被探讨，以至于它如果让你一度持有怀疑态度，或能让你进一步反思制度，或者更坚定自己的立场，那都是一种进步。
反正剧场版时间不长，放给我儿子看的，我反正觉得好傻，特效好垃圾，道具也很敷衍
控訴和辯護太做戲了，都在打感情牌，連一次「反對」都沒有。
背景设定很刻意，满足了一切强弱关系的冲突条件。但在当下能拍出这么一部尽量克制中立的电影实属保持了法国人一贯的critique态度，让人不被情绪煽动，而是思索这类事件中当事双方各自的视角如何一步步导致了恶的发生。
比我和我的祖国好太多了，应该把和祖国的电影票给和父辈。四部分都很好，没有一个差的。个别段落逻辑稍有点问题，科技落后的时候研究航天固体燃料有危险可以理解，为啥二十一世纪研究人工智能还能出人命？整体还是很赞的。
极端的女权是一种病。一般情况下，沉默代表着同意，如果不同意，可以说不，除非她是哑巴。磕着药，喝着酒，与不熟悉的人进小黑屋，怎么看都不是一个无辜的人。一股脑得去怪罪一方本身就是非黑即白的错误思想。
在新生代剧场版里可以排个第三，可以看出武居的进步
纠缠期间的年轻男女各有罗生门的可恨和可怜之处，但最大的凶手却是逍遥法外的大记者父亲，视角有意思
也就徐峥试着学韦斯安德森算是值得一看，虽未得精髓但趣味有了，别的都是综艺《演员请就位》里拍小短片玩儿的水平，套路，无趣。
同一事件的两种感知。
可惜专门为了甘斯布小姐跑了一个小时去看首映场，结果只来了她儿子和老公，不管咋样，值了
结尾力道太小，也将导演左右摇摆的创作态度暴露无遗，法庭戏不错，但中后段便开始以此收束，让前面一小时塑造的各种人物意义甚微，割裂感太强，导演是甘斯布老公……我只能说才华能力确实有限呐。
不敢表态选择立场建议别拍社会热点话题：）过于客观即为偏袒：）全世界都在为upperclasswhiteboy扫清障碍：）
一个罗生门的故事，双方的行为都符合既定人物个性和生长环境的逻辑和语境，大量的时长拉满了人物的复杂性和故事的迷雾，但其实就是简单的两个人和一件事而已，庭审上证人女孩的发言或许最能说明这个案件的痛点，许多性侵犯因频繁发生而被所有人视为“正常”，当有女性感觉这“不正常”时已难以论证。
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