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.”
一部反恐间谍片，却演绎成一部爱情片。中情局办公室的恋爱故事，确实刻骨铭心，一百多人的生命则为他们的爱情殉葬。故事的框架还是挺有吸引力的：中情局重启八年前劫机事件失败营救的调查，以追查其中的内鬼。但导演拍得懒洋洋有气无力，有悬念却无张力，又过多渲染爱情戏份，让故事难以聚焦。
这……算男主多年后主动送刀？以为是劫机动作片的可以散了 没啥意思……
恐怖袭击和凄美爱情的组合就像菠萝披萨。还的是国土安全
Bang bang, my baby shot me down
看的快睡着了，各种剪辑制造悬疑感。。结果却莫名其妙
love makes the choice
男女主真的很搭配，虽然取材很贴近生活，但总感觉有点勉强，可能是电影表现上的问题
没想到哇，挺简单的一个爱情故事，被这样环套环的整的老动人了……最近怎么老被这种强行的反复穿插回忆作品包围！
各种让克里斯派恩蓝眼睛闪亮的阴影 但不是想看的动作型特工片 到一半直接拉到结尾了事
什么狗血剧情，也就质感还不错，宝刀未老是说床戏那段么，
他被组织背叛反过来背叛组织只因为了拯救爱人；她不明白他为什么背叛；他不明白她为什么出走；查找内鬼的过程很像英国电影《锅匠，裁缝，士兵，间谍》；最后爱人死在怀里的情节又很像《麦克白》。全片克制、冷静，又是一部片名被翻译耽误而导致低分的作品。
这评论区中上评都要写的这么隐晦么？情节回顾加反复穿插，这种缝补的手法蛮像《看不见的客人》，整体挺好的。
然后时间线还待好好看，反转猜到了大部分，但是用爱情圆起来是真的不喜欢。
boring.. chris pine的谍战片永远是这么无聊。
总体是一部好电影。
原来是个爱情片。感觉最佳的是卡梅尔小镇的餐厅，盘算着和小敏一起看日落。
这译名翻得莫名其妙，首先故事还是不错的，就像剥洋葱一样，剥到最后才真相大白，没点耐心估计剥到一半就弃坑了，其次露点镜头是导演为了吸引观众看下去强行加进去的吧，最后看得出经费紧张，大部分场景都是在餐厅的对话，气氛营造得非常一般
把所有悬疑气氛留给一个“爱”的谜底，属实有些牵强。另外女主真的太丑了。
Bang bang, she shot me down
看点是最后派恩中毒后的那段戏，派恩演技拉满、配乐也烘托得非常好。
Copyright © 2015-2023 All Rights Reserved
