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.”
一场盛大的死亡，活着只是侥幸，无法随波逐流，我终将溺死在这世界的洪流中。
单纯而脆弱的人 溺亡在时代的重压落下之前 comprehensive的风格手法 住在出租屋里穷困的文艺青年 让人想起罪与罚里的罗佳
活着实属偶然 死亡才是必然 不过老哥你着死得有点冤 真是荒诞呀
9.它首先拍出了让人心动的一见钟情，这种心动是一种久违的，迷人的，纯粹的，从容的，跳跃的，思辨的，又有爱的紧张。用三个小时时间从容地展示了那段山雨欲来之前人们的生活状况，即有广大的社会环境，又有个人的精神状态，混在一起，展现出理性与疯狂，美好与绝望的混杂。在21世纪20年代拍出了20世纪30年代的氛围与环境，外在和内在都准确，影像上有诸多的实验尝试，现在和过去毫不违和地交织在一起。男主汤姆.希林真是太有魅力了，发现他的几部片子都给了五星，他有一种从容的文艺气息。整个片子都相当出色，无以伦比，最后美好前突然的悲剧消失让人无比心痛，又觉得他在乱世前离开或许又是一种幸运。
”爱是一种嗜好，要用身体表达。”
最喜欢的还是初遇时走在夜晚的路上。镜头角度变化多端、画外音引导剧情。fabian说我不想要成为你职业的绊脚石。他们在咖啡馆分别的一幕我以为他们会突然笑起来因为只是fabian写的故事的一种延续，他们还能继续生活在柏林。很有诗意的电影。他说你来柏林想成为伤心但成功的女人现在你真的做到了。没有力量留住爱人也没有力量救回朋友在时代的混乱和残酷之中他如此无力。
喜欢电影的质感，场景的细节体现了导演满满的诚意。然鹅，法比安就是个暴殄天物的“作”家，只有感性，没有脑子。外面的世界在变化他不知道，女友的需要他不清楚，死党的痛苦他不了解。
无论多么邪恶的计划都能被冠冕堂皇的讨论。这对我们这个时代尤其有极大的教育意义
分了三天看完，这结局我不能接受！不过也许死在一切开始前也是种幸运。她还在咖啡馆等他。
生活混乱不堪，压抑，找不到出路的时候可以看看。
同时经历过一战战败和德国青年运动的法比安，面临着魏玛共和国逐渐高涨的民粹主义和经济衰败，书写着"活着只是侥幸，死亡才是必然"预告末日的来临。
看完心里一凉，作家不愧是最穷困潦倒也是经历最丰富的职业，生活在这样一座堕落疯狂的城市，在阅历社会和人性的复杂万象，亲眼见证这个糟糕的时代糟糕的城市糟糕的人们夺走了爱情和最好的朋友，经历了层层的失望和绝望后，带着仅存的期望和幻影，最终却溺毙于命运的陷阱
Fabian.oder.Der.Gang.vor.die.Hunde.2021.German.1080p.BluRay.x264
看完后心情非常压抑，睡了一下午，出门去公园遛弯
与其说是看电影，不如说像是在欣赏影响化的文学作品，琐碎絮叨又散发着脆弱迷人的气质，台词都非常文学性。印象最深的是男主写给女主试镜用的独白信，以及二人隔着玻璃的那个吻，看到中间就能预感到结局应该是悲剧的，但至少悲剧是发生在纳粹上台之前，仍保有一丝的美好。
三个小时啊，看之前没注意，看了两个小时真的是累了就先这样吧。
1、太长；2、剪辑碎得像想踢足球的蚯蚓爸爸；3、年代全凭报纸新闻+话外音硬性植入；4、男主帅。
1931年，纳粹横行之前的德国，魏玛共和国最后的柏林，社会陷入贫穷失序，整个世界疯了。画家在妓院工作，博士沦落街头食不果腹，女人委身富豪进入电影行业，年轻男人成为男妓……法比安正直善良，失去最好的朋友，爱人不在身边，对一切无能为力，试图救人却溺死。前三分之一很惊艳，后面部分拖沓了。
从电影中可以窥见到当时军国主义的一斑，来回交替的唇枪舌剑可谓是十分精彩，但也能发现最终所有异议还是都被独断专权压了下去，这场讨论最大的意义似乎只在于如何能更高效的完成对于所有犹太人的清洗。回看历史还是会觉得，集体无意识是真的很可怕，一个社会如果完全失去了道德和法律准则，终将导致绝对集权的出现。这场会议既是二战时期德意志帝国巅峰的写照，也会是其落日余晖的开始。
莱辛从一开始就眺望着远方，一切终将毁灭
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