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.”
最后还绅士比剑决斗。笑死。
儿子在战场上被误杀那段很突然，让我印象深刻，编剧还是很努力的，这下忘不掉了。
两倍速都看不下去。唯一亮点是拉斯普京1v3那场戏，找回一点kingsman的感觉
冗长无聊，勉强看完俄国妖僧的芭蕾舞之后就再也看不下去了，这个IP到此为止吧，别再狗尾续貂了！
一股土土的气息，而且都是老土的反战故事，这是kingsman的起源也实在太让人失望。动作戏不优雅，丧失了这系列的味道。
挂着王牌特工的IP卖狗肉，帅帅男主刚让人喜欢上就意外而死（揭示战争的残酷性导演你做到了），大boss还不如前面就领盒饭的男巫来的厉害，全片没点政治历史知识背景还看不明白想反讽啥，总之作为爆米花片有点太不走寻常路了
勿喷。先声明我是历史白痴，看电影就看个乐呵，代表一小部分p民。就感觉拍的挺好的。尤其俄国人那段，有k1那味儿。小男主帅的一批，看第一眼就想如此干净的小帅哥之前都被藏哪去了？而且当我以为搞主角光环的时候，小帅哥居然…（不剧透）。还有好几处都挺反套路的。摄影和特效做的都特别好。一直是king‘s man忠实粉丝。k2时候感觉要flop，没想到做前传完全扳回来了。感觉是近期看的院线片里前几名（除去歪曲历史部分）
“你替我挡子弹，却不肯跳机？”
对不起 你自以为明白世事
用优雅掩盖野蛮，并且时刻都在幻想自己还有日不落时期的荣光，UK说第二没人敢说第一。
·妖僧不错 ·看到喝那杯庆祝酒就知道要死了，看到冒名顶替就知道要出事，看到保姆就知道要在一起，看到独角羊就知道坏人会怎么死了…… ·还是老头子牛逼 跳羊那段不错 ·保姆和司机配合那么好 保姆却爱上老爷。。
马修借父子这条线所要传达的理念大抵是:
马修沃恩原来之前不翻车都是因为不拍续集 拍了续集翻车两次一次跟头栽的比一次狠 瑞思拜
马修沃恩江郎才尽，亚伦泰勒约翰逊现在沦落到到处在大片里跑龙套了嘛……
谁能想到这是一部被夺了磨坊的质朴苏格兰人要带领兰十字独立的电影呢？ 最近马修古迪浓度有点高，马修沃恩你为什么不给美人儿穿kilt！片尾德国男孩欢聚一堂是real彩蛋。
简直就是冷战时期007电影的复刻版，大英帝国也开始玩意识形态主旋律了。芭蕾舞动作戏是最大的亮点
整个显得儿戏。
片子很慢热，受制于背景年代太多，无论动作场面和道具都没办法弄得特别酷炫，多少有些可惜。但这次终于做对了一件事，我还以为小伙子会成男主，好在拉尔夫费因斯撑到了最后。这系列片子就是为了看叔啊！片子素质也就不到四星，但拉尔夫费因斯实在是太有魅力了。不过，因为涉及到一些历史人物，估计会受到不少限制。
我们祖先是一群可怕的人
Ralph Fiennes这是缺钱了吧 影帝级别的演技用来脱裤子搞色诱 一点都不赏心悦目好吗 剧情又恶俗又蠢 还非要把真实人物拉进去 这种电影根本没必要拍出来 看在反派很帅的份上加一颗星
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