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.”
友谊是双向的，你可以选择朋友我也可以选择朋友
我明明冷漠的要命，还会被这种“俗”打动。不过，我还是要承认一点，我就是自私，就是不希望它消失，别人爱四不四。
朋友不是依靠科技的虚假繁荣，只是每个人自己掌中的虚无和孤单。暗讽苹果，不过是打着爱与和平的监视器罢了。
结局阿荣要是能回来就好了，虽然变成了所有人的阿荣，但不是巴尼的阿荣😭哭死我了。让阿荣了解巴尼、阿荣上街为巴尼找朋友（拿着小喇叭，举着方包可爱爆啊！）、森林逃亡这三段好快乐好喜欢
但是给成年人看的话倒是再用心点啊喂！故事不完整叙事不清楚逻辑甚至有时候不通，让人没法深入思考拼命在找漏洞……
故事可是说是烂俗了，但开头也确实让我觉得有趣，迪斯尼与其去复刻大白的成功，不如出超能陆战队第二部
weirdo与weirdo的友情
80%非原创且100%可预知剧情走向，感觉就是编剧发现当下每个人都离不开网络，于是决定拍部电影，讲述它们为何无法取代真实的互动，但是处理太粗暴，我们交不到向过去那样真切的朋友，并不仅仅是因为社交媒体啊，如果它们真的适得其反的话，也不是一味职责那些科技巨头就完事的，或许真的该做其实是好好坦诚面对他人，那样即使在网上也好。
2.5，略低幼也蛮套路的，全片看完没有兴奋点，讽刺科技之后更改算法跟科技交友😂
20220210
每个人想要的，就是一个哆啦A梦吧。不是人类，不会离开，专属于我，永远贴心。哎，人类科学家加油吧，赶紧满足我们这种需求
目前7.6分实至名归，创意可以，有点地方不够细致和升华。
前有大白，后有小白，为何白色显得可爱？是因为纯白透亮使人安心？影片点明出错的可能不是个体，出错的也可能是群体，智能机器人时代已经呼之欲出，依靠人工智能和网络大数据并不能建立真正的社交关系，一切都被娱乐化和数字化，这时候人们需要意外来打破定式，需要冰凉的机器拥有真情实感。
快没电的ron背着barney出森林的时候，请barney把自己上传的时候，都看哭了。ron真可爱。就上传数据就格式损坏了，这个太离谱了，不喜欢这个设定。
创意真不错，还蛮期待着以为我们有这样的B宝，不过拥有了这个东西，生类估计也不 长远了
6.5.毫无惊喜，毫无波澜。B-bot影射的是手机和社交软件能看出来，主创团队对大数据时代的友谊的独到的见解和诠释也能看得出来，但可惜情节过于俗套，像《超能陆战队》大白+《智能大反攻》，而深度又远不及这两部。奶奶和爸爸很可爱。
这片对社恐来说绝对算恐怖片……谁要买个机器人来强迫自己交友啊，各种公开处刑简直社死了……
虽然没有那么好，但是这是迪士尼近年来相对有创意的动画了，而且难得的是又重新捡起来社会现实素材，必须鼓励一下。
互联网背景下的孤独与朋友议题，值得思考！其实网络中的人并不像看上去的那么快乐……而现实中的人，也并非只一人孤独！
还有他们友情的起点那里 别人欺负你 你就照样打回去啊！
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