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.”
9命
及格分的商业爆米花电影吧，可以看个乐。我个人觉得最别扭的地方是前面用了那么长的篇幅试图去洗白过去的罪名，然而到头来兜兜转转故弄玄机之后其实一点没冤枉，看完之后和小伙伴四目相对，感想只能挤出一个“哦”…跑来剧情逻辑的问题，影片最后的感觉像是一个鉴宝+鬼吹灯的大杂烩。其实不能说不好看，整体叙事还算流畅，特效不炫但够，搞笑和煽情元素都充足（感谢葛大爷），几处小反转安排的也凑合吧。但是呢，质感上就确实是差一点。无论是强大到不合理的主角光环，还是除男主之外都草草带过的的角色背景。雷佳音虽然荧幕形象有点被框住了，但是和葛大爷的最后一场对手戏表演很真实很出色的。辛芷蕾也完成度不错。其他演员就有点一言难尽。反正总之是个节奏还可以的爽片，但是也就止步于此了吧，周末个杀时间倒也未尝不可咯。
big but still a puppy 修勾永远是最可爱的
故事的重点实在不该放在那些看似一波三折，实则老套无趣的情节，和看似心灵鸡汤，实则尴尬无比的煽情上。而应该对Emily和Clifford之间的感情做更多的铺垫，以及多拍一些Clifford的搞笑日常趣事才更好吧。不过作为一部轻松愉快的儿童片看着还是很放松的，有些地方确实很好笑，电影院里的孩子们的笑声听着就让人开心。以及Jack Whitehall简直就是个长在我笑点上的男人。
适合小朋友看的电影，刷刷手机也是看完了的！
哈哈明知道很幼稚还是很喜欢 就是狗子也太红了点 😄
感觉是有点个幼稚…看了开头能猜中结尾的影片 只适合小盆友
抛开拖沓无趣的剧情，稀碎的镜头，老旧的叙述方式，亚裔的刻板影响的话这部电影是真好看啊。我不明白，为什么一定要大红狗，这狗子的颜色像沾了血一样难以直视，就大狗不行吗
小学看过的故事，现在看依然被爱，信任，勇气感动。
充满爱与趣味的电影，虽然我爱狗，可我真的不想拥有这样一条巨犬，因为舔你一下就等于洗澡了，哈
典型好莱坞，狗狗讨人喜，故事四平八稳，人家说城市和文化的包容用这样的方式，多高妙
四颗星吧！像童话故事一样，小狗狗失去了妈妈，却从小女主人这里得到了更多的爱，让它从一只小狗狗变成了大狗狗。这份“大”也正是小女主人爱的具现化。当然这只是童话，也只能是童话，但其中映射出的，不就是这个社会所缺少的爱吗。
雷佳音与辛芷蕾的感情没有铺垫起来，雷佳音与葛优的“父子情”更显得生硬可笑。
狗狗很可爱，比较适合小朋友看
这种故事无论是拍成电影还是做成动画，都不会很好看。毕竟故事太低幼了。
儿童向的简单故事，虽然剧情较低幼但让我轻松娱乐一下还是可以的。另外，《大红狗克里弗》里小朋友们的表演与视觉特效比同样在今天观影的《皮皮鲁与鲁西西之罐头小人》更胜一筹。
大红狗！！啊啊啊啊啊啊！！太可爱了啊啊啊啊啊啊啊啊！！！！
没有了爱的感化，社会变得冰冷，人与人之间变得冷漠、猜忌、提防。
好喜欢拉布拉多，即使变大了也依旧超级可爱！！！！！很有爱的一部电影。
故事很简单，但是狗子太可爱了，我也想要一只
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