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.”
剧情比预想的要好很多，就是不喜欢男主的腔调
这路子如果是搞个SP拿高收，我能摸着良心说是善有善报，但你告诉我这是松竹大电影，还刮了28.7亿票房（烈酒一口闷…
前半节奏还不错，看到结局我？？？就这？？？按大银幕的标准来看的话还是差了点。btw西岛叔还是好帅🥺
案件中规中矩，各个老角色的人物呈现延续了系列一如既往的风格，小花作为新女主和SP里观感一致，好过S2，问题是西岛叔，SP里铺垫了那么多，结果还是拿着好人卡在电影里也没什么作为，多少有些令人失望。
啊？啥？这剧情？？堪称本剧历史上最离谱……另外我看エリ也不小了啊，真的完全不记得自己爹了吗
剧情还可以的，虽然表演是夸张，起码人设和情节都在的
节奏感极强（literally sbr极欠揍 本来是三星半但是拖了一个月没去看还没下映并且看完想说不亏 再加半颗🤟🏿
（没当电影看）小枝好美😢 很清楚地看到瞳颤了
岚曲永流传🥲（srds为什么只给br一个人磨皮啊
The movie 分还没隔壁sp高简直不可思议，还是很完整的，除了关键角色全村的太子实在演技太拉垮😅
看多了系列很容易引起麻木甚至无法引起共鸣，还有大段很像漫画似的台词和动作，让人实在很囧，体会不到所谓笑点，反而成了尬聊。
杉咲花的穂乃果加分很大 感觉是整部片最大亮点lol
杉咲花是选角最大的败笔吧，比起荣仓奈奈和木村文乃，真的差太多，第一季和第二季全都一集不落全部看完了，这个电影花了三天才看完……要不是香川叔我就弃了……
虽然明确知道是电影版，但与其说是电影，感觉更像是时长两个小时的剧，不知道我这么形容是不是合理的。最后说句题外话，松本润的皮肤看起来好好哦（？）
这个故事是一群自以为是的傻子撑起来的 毫无逻辑 还是小律师好看
听到daylight的时候 突然感觉 这首歌居然承载了我那么那么多的思念T . T第一次听的时候 怎么都没想到 现在听居然是这样的感觉……久违的好大一堆梗 和久违的小律师冷笑话w小花也好可爱哦（2202年了 我怎么还在看99.9orz（剧情三星＋主题曲一星＋卡司一星 总共五颗星给我爱的米娜桑 ٩(❛ัᴗ❛ั⁎)
希望小律师还能有下一个系列，真的很不错。松本润和香川照之之间的互动，真的太有趣了。
看到一半就猜到是为了什么……但是这个案子怎么说呢，真的是为了拍成剧场版，强行重演两次现场来凑时长，案子本身并不难，且因为要保持两季剧里愉快轻松的节奏氛围，所以案子悲剧的渲染也没渲染出来…总而言之，感冒灵还是更适合拍成单元剧的形式
中毒的村民没有家人吗？全村人一起伪造证据发现不了？
基本上主要人物都登场了，应该也是当成系列最终作来拍了吧。整体故事一般，女一真的是愈发的聒噪了……
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