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.”
挺有趣的，经典打怪升级套路，不过结尾还是做了自己并没有去变成父亲的样子，看着挺开心的就这样吧
世界观不完全，逻辑不通顺，剧情老套且平闷。就是一个照抄套路的动画而且还能抄的乱七八糟。
巴瑞莱文森处理剧情电影依旧宝刀不老，他对电影的解读总是能有独特的视角与出色的演绎。拳击手的角色设定像极了同类别的《冠军》，亦有些《希特勒的男孩》的影子。多线叙事用色调区分做的很好，这不同于《伟大的自由》造成的混乱感，故而加分。叙事没问题，这是老爷子的强项，几条线的把握很精准，尤其是与好友对决那场戏几乎强忍着巨大不适感含泪看完（《索多玛》在我心里也不过如此）。缺点是现代部分过于细碎，对于人物内心的挖掘比起他早期的《雨人》等下降不少。整体无功无过，称不上佳作也没有大的瑕疵。
头一回看见演技这么差的动画片，女主是不是带资进组？！
美国出品的动画片，始终坚持梦想的实现，这也是这个超级大国的文化输出如此成功。梦想诚可贵，过程要坚持。
想要在集中营里活下来是多么的艰难～人生总有不圆满～
全片拍出了一个美国人意淫自己是犹太幸存泽的氛围
还行吧，中规中矩，爆米花电影，唯一的亮点就是跳舞和甩摔跤结合起来，剧情很老套，动物设计就丑怪丑怪的
和去年波兰那部《冠军》比较类似，同样是用类型片的方式去展现集中营残酷记忆，更主流的演员选择和更充裕的制作成本保证了可看性的提高。
很普通的一部动画，但在不知不觉中笑着结束了
处处都看到NBA的影子，特别是那句把天赋带到
美国老套情节，不好不差，可看可不看，动画还是很优秀的
怎么说呢，
睡前一课：接受自己，接受当下，接受身边的一切，接受这个世界，然后找到自己的节奏和方式，迸发生命的火花
想做一个类似于大白的cp组合，却在剧情上缺少新意，搏击题材也缺少燃点
两人重逢的一幕好感人，最后一次相见竟然是要道离别的时候，虽然大半辈子没见过面，这刻骨铭心的爱成为了对方活下去的信念，真爱值得等待，但有可能这辈子就这么错过了
无功无过常规及格 美国动画进入了某种瓶颈怪圈 拾人牙慧也好 励志鸡血无能也罢 有种流水线上马马虎虎糊弄下的得过且过感 就连所谓的反派变坏的东西都显得不那么面目可憎 还能博得某种理解和认同（拆体育馆是商业行为 他错在说出来了）包括人兽两父的不知所踪为第二部打的一波潜在伏笔都特敷衍 哈哈 但我关心的点是这么多庞然大物 吃喝拉撒怎么解决 多大一坨有机肥料 农场签个战略协议 赚到了呀
不过主角怪兽还挺可爱的
标准美式励志动画，“这座体育馆不是你们父亲的遗产，你们才是”。
全片的唯一亮点可能就是怪兽的建模和流畅的格斗。剧情本身相当经不起推敲，适合单纯看个爽，爽过就可以忘，励志？整部电影更像是血脉的觉醒，没有天赋？看台下纹身完后洗纹身。
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