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.”
只能说能看…但这种题材这可是韩影啊，什么时候也变得这么不痛不痒磨磨唧唧了
卞耀汉和金武烈俩人就能撑起一整部及格的反电信诈骗宣传电影。为了黑而打低分的搜搜新闻就知道了，中韩东南亚跨国电信诈骗集团真的不少。每年都能抓到，但是没法赶尽杀绝…果然还没被杀猪盘盯上的人，确实是因为属于你的剧本还没被写出来。如果是中韩合拍好了，还能宣传宣传国家反诈中心App🤦♀️这次功劳都被韩国人抢走了。
这个反派的机器人造型太让人想起反浩克装甲了。
一般般，融了挺多的梗。舞出我人生5那一段倒是把咱逗乐了～另外动作戏份也还行，雪山那段挺刺激的。除此以外就纯血的pg向了，剧情以及人物塑造都过于子供向。。。真人部分还有点尬。。。
只留下三小只和金凯瑞，这部电影说不定可以五星。
了解一下电信诈骗内部工作流程。
整体来说，这部电影还是挺好看的。尤其是关于诈骗的过程，及其团队的作案过程。但最后原以为男主会继续斗智斗勇，么想到就那么强制性的展开肉搏了，就跟《巨额来电》最后莫名其妙的枪战差不多。剧情虽说是沈阳，但取景都是在西安。还有就是，片名与剧情不符合啊，至少跟《保持通话》应该差不多~
最后是超级赛亚人？？
说r华故意给低分的请接受我的白眼
标准的韩国流水线型的作业 <侦探类型>1.秘密 2.探秘人 3.自我牺牲 韩国也为什么拍的比中国好，一方面是审查政策，一方面是电影配套工业，一方面是市场准入，另一方面就是类型片意识。国内只能说是青黄不接，而且讲故事的意识奇差无比。 这部片子的剧本其实也没有好到那里去，学生习作水平吧。只不过新的电诈素材套在了老的侦探片结构里面，而且里面人物出场太刻意，剧情推动的也很吃力。 但就是这种水平其实也还是能站的起来，因为该卡的点卡住了，故事性就强，整体还是有可看性的。
金凯瑞的角色只能他来演，真的太到位了，别人肯定尬，寻宝的故事，索尼克有team了，很开心，都萌萌哒~
有了混沌之力，只搞出个巨型机器人，跟倭国中二电影的口味差不多渣。超能力无法平衡，看得很不舒服。金凯瑞仍是唯一的亮点，不过也有点力不从心。[ZXZJ]
反派傻不乎乎的！以及各种融梗吐槽简直加分！
……既然要不讲实际地大搞个人英雄主义又何苦把开篇那些有的没的无聊铺垫做得如此冗长……讲废话讲得滔滔不绝……只有就业保证信托那段好看点（确实很像在模仿好莱坞电影里的疯狂证券所233333）加一星给主演们，好无奈啊但俺就是会反反复复为有好感的演员对烂片明知故看……
SEGA这IP，情怀都有，但故事稀烂。整体制作也没有任何亮点。别有下一部了嗷。
但是我不明白，为什么要用西安冒充沈阳？！👀
陕就是陕，黑吉辽就是黑吉辽。端菜要严谨！还有，棒子太小看匪帮对内的监控了！
今年目前为止看到最好的的爆米花电影了，视效场面大升级，段子也大多能get到笑点，金凯瑞的表演一如既往地出色和抢戏！
没有第一部精彩，不过特效值回票价，依然喜欢结尾的像素镜头。
节奏紧张但细节不足，很多人说被骗太简单，但实际上被骗的人都是一些有所求，有欲望，有关心的人受骗。骗子抓住的是一颗太过在乎的心。另外永远不要用钱去衡量人性，因为你还不起。
Copyright © 2015-2023 All Rights Reserved
