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.”
演员都没有问题，即便横滨流星有些流于表面的技巧传达整体仍可过关，丝丝和松坂桃李更是稳得令人安心，只是李相日的电影情绪永远是如此泛滥成灾，前面还觉得没有为“恋童”的取向去找借口矫饰成某种更合乎大众接受度的“忘年之交”算是很坦诚的地方，结果最后的底牌揭开居然是一个如此怪异的答案，所以归根究底这只是“性无能”的妥协，直接杀死了一切浪漫，但实在又不能算“残酷”，只是令人觉得恶趣味而已。
故事拖沓，讲到一半才进入正题，一个原本应该紧张刺激的电影，看的时候心静如水。故事的套路也老，看样子还想有第三部。整部电影的色调很灰暗，觉得不是特别有必要。角色的演技也不行，还是金多美看上去更有演技。题外话，我现在真的很烦泡菜国总是拉踩我天朝，能不能独立行走！真就像恶心的亲戚，怎么甩都甩不掉，当好漂亮国的走狗吧！
我真的谢了，丝丝也演床戏了，男女主互相救赎的道路不应该只是爱情，影片整体格局有点小了
看到80%还在感叹未免拍的有点疼痛青春了，最后10分钟的反转震撼到了：居然是真的？！夸夸选角的适配度~
非常失望，又长又无聊，浪费时间，浪费感情。
这破罐子破摔的能力只用研究人类身体极限这个这个理由是说不过去了 魔女还得是金多美
节奏太缓慢了，很久没看这种剧，快进了好几段，难以带入他们的感情，画面演员撑到最后。作为成年人看到阿文转身的秘密也是尴尬了。
看出导演的野心了，世界观上，还有大场景上。但是怎么说动作戏终归要回归动作，魔女2比1弱的地方，第2个魔女台词少，动作戏也少，靠念力的地方太多了，场景很壮观，但是人物就显得单薄了，反倒要靠文戏去填，因此新人演技能展现的空间也少了吧。除此之外整体台词都很多废话。在魔女1的短评里还说女主的演技有点过，现在的多美已经成长为非常成熟的演员了。还是会看第三部，希望剧情能撑住。
有点意思，但是这叙事节奏感觉就应该出电视剧才合适，放在电影太拖沓。一开始还以为三个不同年龄的女人是一个人。这个魔女比第1代可爱多了，但是我还是喜欢第一代魔女。李钟硕这造型是真不错。
最后十分钟悬崖勒马，两小时半的时长，导演把电影的缰绳放得太长也太松了。只能说，是原著造就了这个故事，而李相日并没有成就这部影片，甚至第一次在他的作品里体验到了笨重的冗余感。对于这对苦哈哈的命运共同体，虽然能对二者间的经历与纽带做到理解，但实在难对人物本身产生更多共情，特别是松坂桃李饰演的男主，与“发育停止”形成对立面的“认知疯长”，这一角色内核简直一笔带过，十分仓皇。算是一部塑人不太理想且拖沓的勉强之作吧。
魔女寻妈记，女主有种羸弱的美，两个欧尼是力量的美。
冗长，太过于讲究配乐和画面情感，2个半小时的音乐剧。。。
人们只能看到想看到的东西。善意被曲解成恶意，理解会变成误解。主演演技真的好绝，代入感太强我被强烈震撼了！！！很惊喜！
10/2022 好喜欢，电影全片的蓝色色调
横滨流星终于突破一回，可惜为这种电影不值得
直接看最后三十分钟啥也不耽误。杀得好爽！！
故事内容感觉十分钟就讲完了 太水了 都有超能力打毛呢比谁念力强不就完了
多次穿越到《燃烧》片场去了，或许需要绝对的沉静才能完全浸入片中，但又会被一次次的错误所伤害到。观看者也是疲惫的，无谓的挣扎却没有解释，没有什么办法。丝丝的表演刷新了我对她的印象，但希望能接到些能好好做自己的角色，不要这么憋了。3.6
改得莫名其妙。。动机和转变都是断裂的。相比电影的体量可能剧会更适合吧
连看两部爽片，魔女2.犯罪都市2。还是那句话，韩国电影工业已领跑亚洲。“李焕英”“长津湖”“奇迹”“人生大事”等确有可圈可点之处，但国产电影总是把感动煽情作为终极目标，恰恰我们最缺的是惊奇、惊悚、惊艳，这些要素韩国电影又都精准的把握了。退一步说，香港的“神探大战”“智齿”，台湾最近的“咒”也都有突破。而大陆电影还只能做着“拉动内需”的便车，大量的产出鸡汤片，殊不知鸡汤里全是味精。
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