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.”
印度反恐神剧。科学家妹子那么萌不考虑换个屏保吗？
铺垫过长且无聊，很多前后穿插的镜头实际又没什么意义。剧情中间突兀的转折也没给一个很好的解释，就让观众非常迷茫。
前半段被裁再就业养家还挺感人的，之后感觉有点扯
典型爽文情节 但我就吃这一套哈哈哈哈哈哈
滅口不合理，動作戲也一般，男主角ending完全不發揮嘛。
好家伙 碟中谍4的桥段 后来就奥林匹斯陷落了。但开挂了就真不如Agent Banning看得过瘾。。
被裁员就要走上犯罪道路，还美其名曰为了妻儿，还说自己父亲被裁员就抛家弃子，好尴尬的剧情
有个问题：本片为什么叫《承包商》，直接叫《喋血雇佣兵》或者《退伍老兵复仇记》不更直白吗？
《升级》+《印度沦陷》 印度片无论武打枪战飙车都要强行来几回合慢动作。
话说是一部“缝合怪”式的个人英雄主义动作是，但是节奏很酣畅淋漓，能达到这一点已经让我对宝莱坞刮目相看了。
作为商业片太无聊沉闷了，动作戏太少又不够精彩
要动作场面没动作场面，要剧情没剧情，要啥没啥，我咋就这么闲的看完了呢
有句话说得好：“学我者生，似我者死”，又一个想要致（mo）敬（fang）谍影重重是吧，它模仿得来吗，没这个能力你知道吧，很蓝的啦…不仅如此，本片热情聘用帕金森患者作为摄影师，在提高患者就业率的同时，还有非常良好的催吐作用，正在减肥的朋友们一定不能错过。不仅如此，本片的剧情也是起到了非常好的劝退作用，bug多，废话更多，演了一半才进入正题的剧情对患有睡眠障碍的朋友们简直是再友好不过了！
哈哈哈，虽然足够老套，但是也足够精彩……😂😂😂印度万岁的时候真的是笑到我了，哈哈哈，看来在哪个国家和文化里万岁都是个好词儿
原谅我的出戏，当开场鼓点敲响的时候，我第一反应居然是:“我在大连玩泥巴...”。然后这片子又朝着韩剧跑，一些经典韩剧情节之后，彻底转为印度神片...
什么鬼？乱七八糟的，除了打斗以外逻辑呢？剧情有硬伤，枪战来凑。
40 what about the recon guy? the one holding his family photograph when he bled out? what about the old man helping James who has two beautiful daughters and left his family 13 years ago?
哈哈哈，虽然足够老套，但是也足够精彩……😂😂😂印度万岁的时候真的是笑到我了，哈哈哈，看来在哪个国家和文化里万岁都是个好词儿
最后的枪战中，福斯特在空旷的灯光下手枪对长枪，还换弹夹，简直就是白送啊，这战术素养难怪被派派救了两三次。
全片风格有点仿谍影重重的意思，拍的不错但是剧本太拉了，前半段很老套的那种老兵为了生计加入雇佣兵，后边就彻底烂了，莫名其妙说服队友跟自己杀进去，队友降智操作莫名其妙死了然后莫名其妙美好结局
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