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.”
看完才发现，果然是一部爱情片，还是虐恋，从开头的喝咖啡互诉心里话回忆当初的誓言，到如今有一方的背叛，再到最后相爱相杀互摸胸口，虐的人都要哭出来了。拔叔这次戏份不少，是最大的亮点。期待下一部拍快点。8/10
大卫叶茨一以贯之的无聊稀碎的叙事节奏与少部分古典优美的定格场景，依旧属于绝对不会想要再看一遍的电影，但那些神秘静默优雅的部分场景却值得欣赏
如果当年立项的时候，不选择以这个角色作为主轴（导游），不找小雀斑，不迷信大卫叶茨，让卡隆来导，很难酿成今天的局面。
和第二部一样的烂。但是结尾看着邓老师自己一个人走在雪夜的街道，我还是泪目了。最好的ggad我们同人文里见。
我的神奇动物在哪里？？？华纳可以的话请你拍个真·神奇动物衍生剧我都接受了…兄友弟恭一起妞妞是真的可爱！“今天还想象不到的事明天就会成真”预言成真…魔法的世界都是小吵小闹魔法棒更像放烟花可有谁还会像我一样爱你呢？
这是麒麟吗？这明明是梅花鹿啊！麒麟能决定的事还投什么票……这是什么智障行为……但……麦叔真是性魅力无限啊，魔法大拿终极对决（排面也太小了点）互摸胸的行为虽然有点迷惑但旁人看了多少还是有点脸红心跳呢！还有就是，是我看电影不认真吗？预告片里那句I’ve loved you. 怎么没听到？！明明就冲着邓布利多和格林德沃的旷世虐恋去的……
能进电影院就知足了，要求不高。经历了魔幻的四个月，看到魔法世界的鸟展翅飞翔，感动万分，唉，自由出行在今天已成了奢望。听到海德薇主题曲，看到霍格沃茨就值回票价，剧情确实有些问题，但是打斗的特效和情怀满分，电影院便宜又舒适，确实比自己在家看有趣。唉，邓布利多注定孤独，心疼裘花的阿不思。
本以为有了《神奇动物：格林德沃之罪》的票房口碑双失利，J. K. 罗琳和主创团队能吸取教训、力挽狂澜，拍出更好的《神奇动物：邓布利多之谜》，结果，这一部却成了我八部《哈利·波特》与三部《神奇动物》电影中个人观感最差的一部（要不是之前十部我都有在影院观影，看到这一部豆瓣才6.1分，我都不太想买票了）。期待的魔法、神奇动物戏份较少，取而代之的却是不少冗长无趣甚至与主线故事脱节的对话（小说这么写也许能丰富人物性格，但电影那样编排于我挺拖沓的），看得我一度困意来袭、差点睡去，都想倍速播放或直接快进了。此前费尽心思铺垫的麒麟以为后续会发挥啥大作用？结果，就这？我真是失望到了！邓布利多与格林德沃之间的感情戏也比我预期来得少！
不行我真是越想越气，选举就跟弱智似的😅给我看乐了，魔法世界的人们选谁都欢呼，是不是有什么毛病啊？
继上部结尾的站队式，就已经非常像魔法版的《X战警》。同一个角色三部换三个演员，这部还把女主角剔除掉了。满屏特效挺无脑的。唯一有趣的只剩下那些神奇动物的设计了。JK罗琳如此沉迷于中国元素。★★★/6
1.魔法变枪战，咒语施法少得可怜，基本变成了快节奏的枪战，类似火影忍者后期不结印的风格。
建议改名邓布利多爱情故事，CP粉嗨翻，路人观众沉默，本质上就是观感有着严重壁垒的粉丝电影。剧情逻辑崩坏漏洞百出，人物杂乱没重点塑造单薄，仿佛一切都是预设结果后再填充过程，没有丝毫说服力可言。三部了，「神奇动物」还仅仅像是「哈利波特」的同人作品。
剧情太无聊了，而且缺失了【I was in love with you】
只能说普通的哈利粉，根本招架不住剧情衔接。
不要再拍了，现存的所有有关哈利波特相关都是在强行怀旧，已经没有想象力了。
不是不能搞基，也不是只要搞基就好使，问题是俩人毫无感情全靠「还有谁会爱你」和摸胸这种东西来搞基，实在是太low了。大卫椰子麻烦滚蛋好吗！！
突然变成想一出是一出的故事，构建起来的魔法世界瞬间坍塌，不苛求人物塑造，好歹结尾逻辑不要把人都消失吧，一盘散沙。拍的最好看的就是面包房外那条街
这一部的叙事推进节奏依旧缓慢，叙事结构则较为简单——单一的线索，蕴含的信息量较之前作也删繁就简，魔法
大卫叶兹还是一贯地闷，无聊。
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