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.”
MAPPA在战斗方面的发挥还是一如既往的稳定，对于剧场版还是用了心的。将短短的一个番外改成一部电影十分的不容易，影片节奏十分不错，娜娜明和京都校友也都出场露了脸，。
乙骨忧太最终身份是之前看漫画没注意到的，还挺惊喜，也很忧伤——天赋还是靠遗传啊。
2022.04.05||第一次看英文字幕的电影，有点别扭，还好基本上看懂了。剧情中规中矩，乙骨说出来“这是纯爱”的时候有点中二，但还是很好哭的，紧接着就被夏五的刀捅成筛子。虽然之前就循环过很多遍《逆梦》了，在电影院听到的时候还是很感动。
我觉得不错，画面，剧情都没有垮掉。但是最后祁本里香为啥解开诅咒后期还是会出现呢？
真嗣重生之我在高专驱魔。打斗戏还是挺精彩的。
La defense 的ugc...全是1718岁的小孩。我们仨坐在中间跟着看一包劲。和第一季比差很多。安慰自己是去看情怀的。
記録——2021年12月24日。劇場版呪術廻戦0。完璧。
王道热血漫的开发已经很饱和了，但咒术回战和鬼灭之刃依然能脱颖而出的理由就是：制作实在是太他妈窵了，肉眼可见的经费爆炸
roast duck
我永远喜欢娜娜明...所有的“可爱”都贡献给了他不到一分钟的出场画面，扯领带那里我在内心尖叫。
为什么觉得碇真嗣的声音有点违和？我以为骨子哥的声音要再阴郁低沉一点。。。其实漫画0卷本身内容偏少，又结束的很快，感觉是不太适合做剧场版的
失礼な、純愛だよ
感觉mappa真的不擅长处理情感，微表情、人物情绪的铺垫与转折，总是时好时不好。
没想到纯爱战神是literally的纯爱，养一个特级咒灵真的很拉风
在伦敦电影院里看这个好幸福（骗自己身在日本）；虽然里面没有我喜欢的三只小朋友但还是爱了爱了>v<
执念。里香和忧太永远在一起的执念；创造只有咒术师的世界的执念……最后在悲伤无奈中释然
纯爱战神那幕相当震撼……里香的角色太有挑战了，音效加持的配音听了多次起鸡皮疙瘩。花泽香菜老师在采访中说过，要表现一个小女孩的可爱，同时又是特级咒灵的强大，有很多尝试与思考。考哥对战乙骨时的笑和“やるじゃん”很惊艳。MAPPA战斗画面顶流，好莱坞动作片也拍不出来的编排与镜头。
55555555哭点好多 夏五 里香 我好爱大家😭😭😭
打斗分镜超赞，故事看的云里雾里的，有点共情困难。
我真是 想去冲到日本看了……结果在芝加哥看到了555555。不愧是纯爱战神。娜娜明出场的时候我差点叫出声来。节奏甚至比动画版好。唯一遗憾没看到5t5领域展开。爱了爱了。最后问一句 5t5 你唇膏哪里买的。
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