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.”
6.5。把故事讲明白了，但也仅此而已。预告剪得非常精彩像喜剧，但实际是聚焦于退伍军人乃至军犬这一特殊群体的公路片。观影前期待有更多笑点的，因此有点可惜。
氛围烘托的很好，全靠女主演技支撑着！结局虽然能猜到，但枪响之后还是挺过瘾的。
因为他袒露了他的vulnerability，那么露露也愿意放下防御，这是信任
你一看就能知道结局的电影，过于俗套，是一瓶老酒而不是醇酒
狗狗 男人 公路 乡村 都是我喜欢的元素，风景很美狗狗很可爱，但是没想到剧情会这么drama。看着有点不顺
btw，钱宁瘦下来真的帅到让我差点以为他去整容了，更锋利好看了
一个受过战争创伤的士兵，一条失去搭档的战争犬，一场去参加葬礼的旅程，让人和狗之间互相发下防御，互相信任，成为新的搭档
公路片，自我救赎，为了男神的颜值也得给8分哈哈哈
前半程钱老板和狗都有点令人讨厌，最后10分钟还行
是较为常见的狗+人的公路治愈主题电影。当狗狗直接走到曾经主人的军靴那里趴下的时候，真的被戳到。据我所知，很多狗狗一辈子只认一个主人。
窗户里挥手和地铁里那幕有点吓人，结局有点小意外，总体来讲还不错
N社出品。Jake Gyllenhaal将近90分钟的独角戏，演技大爆发👍911接线员心理压力问题，警察过度使用暴力、警察心理压力问题，甚至医保问题，都涉及到了。电话另一端的所有人始终没有露脸。拍摄手法让我想起十年前的那部关于被活埋在棺材里打电话求助的电影 Buried
老兵救赎，一人一狗，太老套的公路片。演技不够身材来撑，看了约等于没看，打发时间。只觉得美国真的挺大。
布里格斯是个沉默寡言的人，表达他的感情对他来说是件陌生的事。但是他为露露写了一首诗，他找到了一个经历过同样磨难的共同者。在某个地方，他们互相理解
当Lulu在葬礼上跑到前主人军靴旁温顺地趴下，泪奔，还好是个happy ending
对公路片毫无抵抗力，可能跟自己喜欢自驾有关！两名面临退伍的“老兵”开车去吊唁死去的战友，虽然一路上狗狗给男主惹了不少麻烦，但在战友的葬礼上男主还是心软了，最终男主不忍心送狗狗去安乐死而选择收养了它，对战友的思念寄托在狗狗身上，这是最好的结局了。
一人一狗的公路片，你看那条狗，像不像个人。这是我看过相互情感戏最少的宠物片。
美国连爆米花商业电影都能拍的好看 就是单纯好看 忠犬就是最大泪点
一开始觉得光是暴躁警察在线接听911电话 帮助Emily Abby Henry一家都够吸引了 为什么要加入Joe自己过失杀人的剧情线呢？直到他向Emily承认自己错再到在厕所吐打电话给朋友让他在法庭上诚实说出真相我才明白 这个角色的厚度和温度都是顶级的。因为知道Oliver还活着 知道她妈妈爸爸还有姐姐都为这条生命而疯而紧张 他才真正意识到错手杀了人 就该为这个事情负上责任。get不到吉伦哈尔的帅 但get到他的演技是比我一直不喜欢他的想象中要好得多。
作为一部老生常谈，老掉牙，老气横秋的影片来说，我虽然做好了心理准备，但是依旧被这种老所震惊了，这片子的模板可以说从有电影这东西开始就可以被追溯了。这样老成也就意味着拍不太差。整体也还好，但是各种桥段生拼硬凑的感觉太强烈了，一个个小品被愚蠢的公路旅行穿插在了一起，丝毫不连贯，也没感觉彼此呼应成为整体。我爱钱老板，所以两星。
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