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.”
年度最佳预定，没想到我们的文化总是得靠米国人拍出来展现给世界……
天啊不知道为什么一丁点儿共鸣都没有反而觉得特别压抑
居然熬夜看完！！！！真的巨巨巨巨好看。对妈妈和女儿来说都算成长片！明天白天会跟两个女儿二刷。她们俩现在在呼呼大睡。
总体挺一般的，看个乐子不错.难以置信的是，这部评分居然能和《雄狮少年》差不多，大家未免对国漫太严苛，对迪士尼太包容了点……
故事虽然没啥新意～剧情老套一点～但是还是可看的～红熊猫挺可爱的～
满分推荐！被追星女孩们笑到捶地，13岁青春期少女的反叛与和解准确击中了我。曾经望着Pixar电影结尾想什么时候才能看到国人名字，梦想成真了。
剧情俗套、情感的转变生硬。控制欲强的妈妈突然顺从女儿的叛逆（从妈妈的视角看，女儿成绩下滑，半夜溜出去轰趴，还有可能有生命危险，一下子就放手了？？），作为闺蜜组仇敌的泰勒上一次出场还在侮辱女主和她的家庭，仅仅因为喜欢同一个乐队就嗨在一起了excuse me？
这么好的片子为啥不引进到院线呢？真的可惜可惜可惜啊！虽然故事和角色设置有很多cliche的地方，但内核却是动人的，你身体里的那个小熊猫，还在吗？最后母女大战那里好泪目。如果出了周边真的想爆买啊！
想挣脱，
表面中国风其实是日本风的全面胜利，内容毫无深度
最后是爱豆带着粉丝拯救了generational trauma 这说明什么 还是要倡导追星自由（我觉醒得太晚了
Canadian Born Chinese has better representation than anywhere-else born Chinese now.
五分给turning red的女性团队，支持女性力量。电影里为什么选择说的广东话而不是中文呢。华裔让人亲切，但华裔不是中国人。把红色棕熊比喻成青春期对自己产生印象的各种情绪是形象的拟人方式。从始至终，都是妈妈让妹妹尴尬，一个是带着她去找Devon无地自容的恋爱幻想，第二个是带卫生巾去学校，然后妹妹逃回家在屋顶上跑着说自己要躲起来。最后让我感动的点就是妈妈也经历过美美经历的一切，想想就很心酸，但妈妈还是成为了外婆的样子。对于华裔女性的刻画我个人不是很喜欢，就很强势和完美主义。
“我们选择了爱朋友的自由，于是朋友选择了自由地爱我们。” 想起了初中时的朋友们，现在虽然已经不联系了，但当年他们真的给到我很多关心和支持，比我父母给的要多得多。迪士尼真是没有心，这么好的动画没有上院线，心疼亚裔在美国话语权底下。所以动画背景设置在多伦多很合理，枫叶国的文化多元做得相对好。结尾时美美和妈妈的对话高度概括了亚裔小孩在分离-个体化过程中的复杂心理：我终于找到了自己，可同时我又害怕因此失去你。所以做父母的如果不能放开手，最终孩子只能在自我和亲情之间二选一，无论哪条路都太残忍了。
Pandawalkers. 上一次释放自己还是狼行者，上一次毁天灭地还是天气之子，上一次和妈妈说It's ok还是去年的小妈妈。妈妈说你永远是乖宝宝，爸爸说红色是最幸运的颜色。她一直我们身上流淌，她一直都被切割、避讳、压抑，但是我知道她就是我，她可以看到一个新的世界。
在北美文化语境中处理东亚文化，孝文化包含着“服从，顺从，不忤逆”的成分，它绝不是一个平等文化，因此随着主角的成长，它势必与主角的个体性爆发激烈的冲突，主角美美也非得容许这种暴怒（反抗、反叛）情绪与自己永远相伴，才能摆脱一味顺从的孝文化的控制，获得真正的成长。
太过中式典型到近乎令人不适的程度。srds谁能拒绝毛茸茸的小熊猫呢！
塑造自己母亲为反派，刻板化亚裔家庭，鼓动所谓自由性格。突然想起周围总有人说工作后就不靠父母之类云云，有本事买房买车结婚都不靠，没学到欧美的经济独立，到学到欧美的叛逆，可笑。
这选题绝对是99.9%人的遭遇，但这剧情也确实单薄到不是很有说服力……
月经初潮的女性体验和东亚家庭的代际关系都想处理，却都只停留在了极其肤浅和刻板印象的表层。美式流行口水歌也不合适作为有个性爱自由的象征。看过最难看的一部皮克斯。
Copyright © 2015-2023 All Rights Reserved
