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.”
这片子怎么给我感觉是制片人发飙，痛骂导演无能拍摄出很多不能用的素材，然后又没有考虑到院线排片，最后便开始虐杀剪辑师，剪辑点凑总复杂给叙事瓣蒜，前一场戏感觉还没完呢，后一场直接就去你妈的吧！有种当年看阿弗莱克的夜魔侠之感，剧情故事太薄弱无趣了，片方倒是真倾听了观众的心声，把汤老师和毒液彻底相爱相杀的组成了死对儿，其实就差去领证了，伍迪哈里森硕果仅存的好演员之一，看他在本片中真是全程尴尬，干嘛要接这种傻逼角色？明明都可以功成名就的退休回归家庭了，便要给自己留下这么一笔，整体而言比第一部要混乱不堪，没头没尾的就这么一个故事，而且它的核心内容是那种极其地低幼式的认知，看了就让你赶紧给我闭嘴吧！
警察利物浦口音讲美音太可爱了。居然有二册，演路人甲神父
太重口味了，毒液就是个傲娇，Dan挺好的，Annie选得对
感觉导演在百忙之中抽时间拍出毒液2来敷衍我们，让我们看看漫威电影。剧情什么的几乎没有，大战也挺拉跨。预期拍得那么烂，倒还不如不拍。亮点也就是最后的彩蛋了。
彩蛋反倒让人很是期待。
本片的主题是在哄毒液这个小孩，戏外也确实拿观众全当小孩了
我是来看毒液拯救世界的，却被毒液塞了一口狗粮！
I mean us. We are going to die.
太难看，太普通，剧情刚开始就结束了，什么玩意...
Double date! Double date! 剧情铺垫乱糟糟，演员们的个人魅力可以一看，这个宇宙的正派、反派都一心搞爱情
毒液2将尚气和黑寡妇都衬托得无比优秀 导演安迪瑟金斯老湿 你是猴子请来阴汤老湿的救兵吗 演咕噜金刚和人猿凯撒不香吗 非得拿喇叭当导筒 还是Sony给迪士尼漫威甩脸色撂挑子
毒液这东西在电影里被制造出来不是用来干大事的，而是来逗大家开心的！没错，又凶又萌，而宿主跟他的关系也不能深挖，细思极恐，全片最大的亮点是中间一段，毒液的对白，你的身体的伤害我能帮你修复，但心里的伤，我没办法帮你！太扎心了，这类电影就是图一乐，想太多没必要，后期看样子还会继续！
有多少同志和我一样，看到Reece Shearsmith的时候出戏了、甚至忍不住笑出声了
第一部里的幽默和古怪在这一部里完全停滞不前，导致90分钟的电影看起来都漫长无比，反派的塑造更是无趣，甚至还不如第一部。
“flag已定，如果毒液能直接“穿越”到漫威主宇宙我绝对给五星。”结果还真滴穿越了哈哈哈哈哈……
都好难得Tom Hardy同毒液两个人设都係我钟意的 两个都好性感
全方位的又烂又吵……我看副标题应该叫《Shut Your Mouth》
这么说吧，平时晚上12点睡，昨天看了这部电影10点多就睡着了。
毒液艾迪搞cp啊 女主和野男人私奔了 反派死于智力硬伤 作为动作喜剧来看还是可以的
毒液2这种片子明显是把要素都堆在了动作设计和特效上了，演员当然也很关键，演员的表演对节奏和气氛地烘托也有着至关重要的作用，在主演们精湛的演技下，埃迪，尖叫女，克莱图斯这三个人之间的冲突和交流非常快的把观众也带进了故事中，观众和角色之间的情绪保持着高度的同步；然而这种片子从一开始就是需要沉浸式体验的，所以听别人口头说怎么样都没有感觉，还是得自己去看一场才能享受到这类片子带来的快感。
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