Emma Thompson reveals why her Down Cemetery Road character was unlike any she had played before
Thompson leads the latest Apple TV Mick Herron adaptation alongside Ruth Wilson.
The latest action-packed adaptation of Mick Herron’s works, Down Cemetery Road, follows Oxford-based private investigator Zoë Boehm as she helps art restorer Sarah Tucker investigate the disappearance of a young girl in her neighbourhood. Emma Thompson plays Zoë, who revealed that the PI was unlike any character she’d played on screen before, for several reasons. “I love Zoë, she’s this renegade punk, missile, rocket of a person. She’s probably got arrested development in various areas," she told RadioTimes.com. "She’s very effective, and I like her fascination with Sarah. I like that she looks at Sarah and thinks this woman is not equipped to do this stuff, but she’s doing it anyway. "That’s fascinating; she’s constantly being surprised by her road movie buddy. I thought that was something I hadn’t seen before. She’s a character I haven’t seen before on television." Read more: Apple TV's Down Cemetery Road book changes revealed by Emma Thompson Emma Thompson: I’d film action scenes on Down Cemetery Road, then have a half an ale between takes Ruth Wilson, meanwhile, was interested in the way the characters subverted the conventions of this type of show. "These are very unusual characters; Sarah doesn’t really fit into the genre," she explained. "She’s a person like you and me, so there's something really fascinating and relatable about her – a twist on what we usually see on TV. "They’re two amazing, eccentric female leads. It's really rare, unique and funny." Despite those deviations from what audiences might expect, the risk paid off. "If the scripts hadn’t worked, we wouldn’t have done it. They’re just really well written," Thompson said. "'If you don’t get the fucker who did this, I will,' [for example] is such a great line from a woman who's just discovered the slit wrists of her murdered husband." Down Cemetery Road will stream on Apple TV+ from Wednesday 29th October 2025 – sign up to Apple TV+ now. Add Down Cemetery Road to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" class="x_OWAAutoLink" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Apple TV's Down Cemetery Road book changes revealed by Emma Thompson
Thompson stars as the spiky private investigator Zoë Boehm opposite Ruth Wilson's Sarah Tucker, an art conservationist searching for answers after disaster strikes in her close-knit neighbourhood.
One of the biggest challenges any adaptation faces when moving to the big or small screen is capturing the tone and feel of the source material while making the necessary changes to suit the medium. For the latest Mick Herron adaptation, Down Cemetery Road, Emma Thompson revealed that there were some natural changes along the way. “It’s changed a lot from the book; Sarah and Zoë are very different to how they are in the books, but that’s normal. That’s what happens in adaptations." Thompson stars alongside Ruth Wilson in the new series, which sees two women drawn together by circumstance after a mysterious explosion rocks their quiet neighbourhood. What begins as a seemingly straightforward investigation soon unravels into a tangled government conspiracy — one that only they seem determined to expose. Thompson added that she’s a huge admirer of author Mick Herron, which was a key factor in her decision to take on the project. “I’m a massive fan of Mick Herron’s, so as soon as they asked me to think about playing Zoë, I said yes. I don’t regret it at all.” She went on to describe Herron as a generous and trusting collaborator: “Mick was wonderful. He and Morwenna Banks get on very well. He did as any author should and had faith in the process and his writers.” “He’s incredibly generous and not remotely wanting to control anything. He’s just delighted that we’re all there doing it.” For Ruth Wilson, the contrasting dynamic between the two leads helped spark an on-screen chemistry that drives the story. “I think it works when they’re different, and that’s where you get the chemistry from – because they’re coming from different angles. We discussed that Zoë has intimacy issues, and Sarah is desperate for connection. So, it creates great dramatic tension from the get-go.” Read more: Emma Thompson: The spy thrillers I read as a teenager told me women should fall in love and get killed Emma Thompson: I’d film action scenes on Down Cemetery Road, then have a half an ale between takes Thompson agreed, adding: “Needy and doesn’t need anything — that’s a great tension. Sometimes Sarah does something incredibly dramatic and reckless and brave, and Zoë watches and goes, ‘OK, we’re doing that now,’ and joins in. Sometimes it’s the other way round. They share this heroism.” Both Wilson and Thompson also praised the sharpness of the scripts. Wilson noted: “The script for the first episode just read so well — it was a real page-turner.” Thompson echoed that sentiment: “If the scripts hadn’t worked, we wouldn’t have done it; they’re just really well written.” Down Cemetery Road will stream on Apple TV from Wednesday 29th October 2025 – sign up to Apple TV now. Add Down Cemetery Road to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" class="x_OWAAutoLink" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
7 untapped features prove that Superman needs a video game
Is it a bird? Is it a plane? No, it's a video game licence that deserves attention!
Thanks to James Gunn, Superman is currently flying high at the global box office, with over $400 million grossed to date. This writer would argue that a video game should be next on the docket for the big blue Boy Scout. Superman is no stranger to the big and small screen, of course: immortalised by Christopher Reeve in 1978 and with a string of successful shows like Smallville. It is surprising, given this success across film and television, that the Man of Steel has never had a video game to match his enduring popularity globally, with comics stretching back to 1938. We have seen in recent years that the superhero genre can cross over successfully into video games, with the phenomenally successful Arkham series for Batman offering a different side to Batman’s lore and removed from the big-screen depictions like Christopher Nolan’s. Since 2015’s Arkham Knight, the standard bearer for superhero video games has been Marvel’s Spider-Man, with three very commercially and critically successful games. Rather than the traditional movie tie-ins that a wealth of superhero films have previously received, both the Arkham and Spider-Man games reinvigorated their source material, sticking to it but also putting fresh spins on tried and tested storylines. This offers something new both for long-term fans and newcomers alike. It’d be remiss not to mention the success of 2021’s Guardians of the Galaxy; while it may not have reached the heights of the other two franchises mentioned, it again showed the range of superhero storylines and aesthetics that can be brought to life in video games. Fans are also excited about Insomniac’s latest game, focused on Wolverine/Logan. While Rocksteady, the studio behind the Arkham series, had discussed a Superman game, it never came to pass, but with renewed interest in the brand through Gunn’s DC Studios, now is the time to think again about a Superman game, and there are more than a few reasons why it is long overdue. 7 untapped features that prove Superman's next move should be a video game 1. Metropolis deserves a full open world We have had our fair share of exposure to Spider-Man’s New York and both Gotham and Arkham, but the city of Lex Luthor and Clark Kent offers a different dynamic, both in terms of its aesthetic but also the threats facing it and its visuals. It is the polar opposite of the dark and crime-ridden streets of Gotham. There is the real potential for Metropolis to be done justice in game form, both in terms of Superman’s heroic exploits, but also those of the Daily Planet team and the people living in the city. Although Metropolis did feature in the dismal Suicide Squad: Kill the Justice League game, it was pretty much post-apocalyptic, and it feels criminal that we only saw an evil Superman in it! The city deserves the full, living, breathing open-world experience that Spidey's New York enjoys. 2. The Fortress of Solitude would be an amazing base While Metropolis is Clark Kent’s main home, the Fortress of Solitude is Superman’s base, and the juxtaposition of the two would bring a unique aesthetic and blend to a video game if done right. The chilliness and isolation of Superman’s command centre are a far cry from the hustle and bustle of the city, giving the game some nice variety. Plus, the Fortress would make a pretty cool video game base. It's easy to imagine your collectables and upgrade menus being seamlessly integrated into the high-tech space. 3. Solo Superman hasn't been seen in games for years Superman is more than just a member of the Justice League, so while games like Injustice and the Lego DC franchise have explored the character, it has always been as part of an ensemble. There is certainly an opportunity to put the last son of Krypton front and centre of a compelling story, given the range of storylines depicted on page and screen that could captivate gamers. There is no reason why a Superman game can’t bring in numbers like those seen by Spider-Man or Batman. The games focusing on those two characters have found a way to make them work in isolation, away from a team setting, showing a blueprint for how Superman could work as a focus. 4. Superman has a huge roster of villains to play with Lex Luthor is, of course, the most iconic and persistent villain across adaptations, and could certainly make for an interesting dynamic in a game. General Zod is another formidable foe that could make for a great video game boss, giving Kal-El a run for his money. While he’s been overused in films, it could make for an interesting dynamic in a game with his similar power set and a contrast to Lex Luthor in terms of motivations. Darkseid is another villain that would give Superman a real challenge to defeat and could up the stakes. 5. Clark Kent offers a unique additional focus While fans will be clamouring to see Superman take to the skies, Clark and his investigations for The Daily Planet would add something fresh that can still be gripping in its own way. A focus on his life away from the suit would allow for a more grounded focus and narrative, broadening the scope beyond simply Superman flying around and pummelling villains. This is something that’s always captivated lovers of both the comics and various TV and film interpretations. 6. The central relationship(s) could be super As touched upon, the relationship between Superman/Clark and Lois is unique and something that could be explored in a game from both perspectives. Peter and MJ’s relationship is at the core of the Marvel Spider-Man games, so this should certainly be a main focus of future Superman games. With the dual personalities of Clark and Superman, there could even be a persuasion mechanic where both can separately try to build a reputation with Lois (if she doesn't know the secret identity yet). 7. Superman's moral compass needs exploring Superman’s moral compass and dilemma wrestling with his heritage as an alien and the last son of Krypton could make for a captivating story. This burden and legacy add dynamics that other characters don’t have, and are always something that will be at the focal point of any story, and this should certainly be the case in any video game adaptations of the character. There is no guarantee of a new Superman game anytime soon, but with David Corenswet’s version set up to be a major part of DC Studios' plans moving forwards, there will no doubt be discussions around bringing the character to life in games, and there is certainly potential for it to be more than a match for iconic takes on other characters with plenty of iconic stories to tap into. And, of course, if Superman has taught us anything, it's to hope. And we'll be hoping for a Superman video game until he gets one! Read more on Gaming: Ghost of Yōtei is "a very different animal", as beloved mechanic gets a complete overhaul RoboCop: Rogue City – Unfinished Business review: "Wonderfully indulgent" Check out more of our Gaming coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Andor season 2 review: Star Wars hit bows out in explosive style
The enthralling second instalment sets a blueprint for other franchises.
Amid a barrage of Star Wars releases in recent years, Andor's arrival in 2022 proved a surprise, delivering a far darker, more adult take on the universe, set during the birth of the rebellion and the heart of the reign of the Galactic Empire. The stakes felt tangible and arcs like the three episodes set on the island prison of Narkina 5 were thrilling, with real pay-off. The finale also brought moments from across the season to a head in exhilarating fashion. The question now, with the show returning for its second and final season, is whether it can match the anticipation and deliver a satisfactory finale. The answer is an emphatic yes. The second season is structured similarly to the first, but each three-arc story here picks up a year later, leading us directly into the timeframe preceding the events of Rogue One and the plans to steal the Death Star. This, of course, set in motion the events of A New Hope. Despite the grander timeframe, the series never feels rushed with slow build-up as we feel the escalating tension from the galaxy as it looks to finally fight back against The Empire - this comes both in small acts of defiance and larger planned attacks. At the start of the series, we are still far from the cohesive rebel alliance fans will be familiar with from Episodes IV-VI and Rogue One, but it is a real treat to see how certain characters end up in positions that we find them in later down the line. The beauty of telling this story over 12 episodes rather than a two-hour film is that each character feels defined, and while it is an ensemble, each is an important cog in the wider machine. While Cassian's original film appearance may have been slightly underdeveloped, the events across these two seasons give his actions far more weight and desperation. We see how he grows from someone reluctant who feels he’s in the wrong place to a true leader. He has never been better in the role than in this season, determined to bring the fight to The Empire and avenge those he’s lost along the way. This is one of the few Star Wars projects that truly sells the horrors of imperial rule, with some events that may shock viewers, and Tony Gilroy and co not holding back. There is some clear influence from the French Resistance on the planet of Ghorman, crucial to so much of this season. While Mon Mothma was introduced in Return of the Jedi, Genevieve O'Reilly has breathed life into the character in her appearances since Revenge of the Sith, particularly this series. We see firsthand the events that shaped her from a stalwart of the senate to the face of the rebellion and a voice millions rally around in that film. Many of the characters from the first season are given more sizeable roles here, including Adria Arjona’s Bix, who is haunted by the events of the first season and crucial to Cassian’s growth in this season. Stellan Skarsgård’s Luthen Rael was one of the most compelling new characters in the first season, clearly against the Empire but not unwilling to fight dirty. His assistant Kleya Marki (Elizabeth Dulau) is given a far more rounded role this season with Dulau excelling as the heat on Coruscant rises and the stakes become ever more perilous. One of the strengths of Andor’s first season was the pay-off for its slower build-up and narrative structure, and the same is true here; every character interaction has weight and purpose and what might seem slow to start with will reap huge reward. The action is used sparingly, making it all the more striking. Showrunner Gilroy cut his teeth on the Bourne franchise, so he is no stranger to impressive action, which consistently delivers. Visually, this is also a cut above other recent Star Wars shows, putting it’s rumoured budget of close to $300 million to perfect use. One of the issues around any longstanding franchise is how to balance fan service within the story, and while we have returns for the likes of Ben Mendelsohn’s Director Krennic and fan favourite K-2SO, they feel integral to the story and deepen those characters. Krennic in particular, is far more menacing than he was in Rogue One, stealing every scene he's in. Andor’s second season builds on the work of the first season but is its own beast, more expansive and covering more ground, but still incredibly character-driven first and foremost, showing the human side to the rebellion and the lengths they are driven to go to succeed and survive. View Green Video on the source website The performances and writing continue to be among the best seen on the Disney Plus shows, while Nicholas Brittell’s score once again sounds unique within the franchise, but perfect for the ratcheting up of resistance against The Empire. While other parts of the franchise have faced criticism for over-reliance on the Skywalkers and callbacks to other films, Andor has walked its own path, delivering an ending that satisfactorily wraps up the show’s numerous threads while setting the events of Rogue One in motion. It’s not just a great Star Wars show, but great television as a whole and hopefully sets a blueprint for how other franchises can operate moving forwards. Andor season 2 premieres on Disney Plus UK on Wednesday 23rd April 2025 sign up to Disney+ from £4.99 a month or £89.90 for a year. Check out more of our Sci-Fi coverage or visit our TV Guide and Streaming Guide to find out what's on.
Towards Zero ending explained: Who was the murderer?
*Warning: Towards Zero spoilers ahead* The final episode of Towards Zero, the BBC's latest Agatha Christie adaptation, makes its way to BBC One tonight as the grisly events at Gull's Point reach its conclusion. The lavish South Coast estate of the formidable Lady Tressilian has been home to guests tennis player Nevile Strange, who is her nephew, his ex-wife Audrey and his current wife Kay. Other key characters include lawyer Mr Treves and his ward Sylvia, Lady Tressilian's companion Mary, Nevile's cousin Thomas Royde, the mysterious Louis Morel, Nevile's valet Mac and Inspector Leach, all of whom are harbouring secrets. It wouldn't be Agatha Christie without a mystery or two to solve, after all. However as to be expected when it comes to a murder mystery, the killings don't take place in the first episode. During a Q&A, director Sam Yates explained that the series becomes a "who's going to do it that becomes a whodunnit". "So before anyone's died, you're thinking, 'Who could murder?' and hopefully you're looking at everyone, feeling that everyone has a motive, and then later on in the series, it clicks into perhaps a more familiar whodunnit mode," he said. So, how did Lady Tressilian and Treves meet their respective ends? Read on for a full rundown of the Towards Zero ending. Towards Zero ending explained Inspector Leach reveals all in front of those staying at Gull's Point after a tennis match with Nevile. It was Audrey who had planted the evidence against Nevile to force a divorce. A compact mirror was hidden in her ex-husband's car, which was enough to put the heat on Nevile, who admitted his infidelity. And that, announced Leach, was the catalyst for the murders. Nevile, who was furious Audrey had left him after they promised never to be apart, sought revenge for her insolence. At first, he attempted to sow seeds of doubt among the rest of the group, turning on the waterworks in the aftermath of his aunt's death, and feigning innocence when accused, even pointing the finger at Audrey. He murdered Lady Tressilian to inherit her estate as her rightful heir, before she was given the opportunity to change her will. He made a splash at Easterhead, a nearby bar, to grant himself an alibi. This was a journey that could supposedly be made only by ferry or car, surely to far to swim. As it turns out, Leach came across an old photo of Nevile competing in a swim and concluded that the time and distance were within his capabilities. Read more: Why there’s no murder in Agatha Christie's Towards Zero episode 1 Agatha Christie's Miss Marple is making a return – great-grandson confirms new drama During the tennis match with Leach, Nevile's shoulder seemed injured, likely from his swim earlier. He put Audrey’s make-up and hair on his jacket to make it seem she was the murderer while hiding her compact. He was forced to murder Mr Treves after the police had wrongly arrested Matthew Hutton for Lady Tressilian's murder, so he could point the blame back towards Audrey. Audrey had kept the secret of what happened to Peter James for all these years to protect Nevile, but she reveals the truth to Inspector Leach, seemingly implicating Nevile in his death after all. Nevile was therefore responsible for the decline of Thomas's standing and that of his family, which ultimately estranged him from his beloved aunt. The ending sees Audrey, now free, declaring she could go anywhere she wishes, while Nevile is to be hanged for the murders. Inspector Leach and Sylvia developed a rapport throughout the course of the series and with her carers now deceased, Leach becomes her guardian. While there were numerous threads to unravel, Leach eventually got the bottom of it all, with Nevile responsible for the murders after all following a string of red herrings. A typical Agatha Christie mystery if ever there was one. Agatha Christie's Towards Zero will air on BBC One and BBC iPlayer from Sunday 2nd March. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Ayrton Senna's family helped Gabriel Leone capture his essence in Netflix series
Iconic Brazilian racing driver Ayrton Senna is the focus of a major new Netflix drama.
Ayrton Senna remains an icon for Formula 1 fans the world over – and especially in his native Brazil – 30 years after his death. With his life now being dramatised in a major Netflix series, one of the challenges for lead star Gabriel Leone was channelling the essence of the McLaren legend, for which Leone had the help of Senna's family. "I did have contact with them, especially with his sister and nephew, the ones that take care of his institute," he said. "They were really supportive. They were really kind to me. "I remember one of the things really stuck with me in one of our conversations, they were talking about Senna's eyes and essence and how kind he was. "Of course, we know the driver; he was aggressive and passionate. But they were also telling me the other side of him, the human and man side of him." Read more: Senna review: The drama is by the numbers, but the racing is electric Senna on Netflix true story: What happened to Ayrton Senna? Leone went on to say that while it was vital he was able to physically resemble Senna, he had to capture what was beneath the surface. "I knew that more important than that would be to find his essence and to play both the sides during the show," he added. "So that was crucial for me." Leone also echoed the family's comment about Senna's eyes. "Every time I was watching videos and interviews, anything about him, I was trying not only to learn his moves and the way he spoke, but also to understand what was happening on the inside," he said. "I found it by paying attention to his eyes. It was really the key for me to find his essence." Senna is streaming on Netflix – sign up from £4.99 a month. Netflix is also available on Sky Glass and Virgin Media Stream. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
How Senna star Gabriel Leone's role in Ferrari prepared him for series
Iconic Brazilian racing driver Ayrton Senna is the focus of a brand new Netflix series.
You might think playing one of Formula 1’s most iconic names would be enough, but Senna star Gabriel Leone now has two under his belt. Along with the Brazilian McLaren icon, he played '50s Spanish Ferrari driver Alfonso de Portago in Michael Mann’s 2023 biopic Ferrari. How did the role of De Portago shape how he approached playing another F1 driver in Senna? Leone spoke with RadioTimes.com about his role and how taking on the two F1 projects so close together focused his mindset for Senna. "I think the experience of feeling as close as possible to a racing driver was really interesting, and a year later I was playing one of the greatest of all time. "So, to be close to all the atmosphere and the universe of a racing driver and to be able to feel the adrenaline and to experiment with pushing my limits was really useful, not only for Ferrari but also for Senna." Read more: Senna review: The drama is by the numbers, but the racing is electric Senna on Netflix true story: What happened to Ayrton Senna? While Leone played two Formula 1 drivers in the projects, the style of drivers and state of the cars couldn’t be more different. While he did much of his own driving in Ferrari, this wasn’t the case for Senna. "Ferrari was set in 1957, so the cars used to be way smaller, and they rebuilt the cars, the Ferraris, with the Caterham chassis, the ones we were practising with. There are bits of the movie, I'm really driving the cars. "Thinking about Senna’s era, the '80s, they were more the F1 cars we know today. They were way bigger with those big wings. So it was way more dangerous for us to drive those. So I unfortunately didn't drive any Formula 1 cars." Senna also employed LED Studios, which was a first for Leone, and something he particularly enjoyed. "It was another experience for me as an actor to play all of the races in an LED studio," he said. "It's an interesting use of technology. It was fun because it was the first time I was in an LED studio to watch the series and the way they edited all the sequences, with the use of CGI." Senna will stream on Netflix from Friday 29th November – sign up from £4.99 a month. Netflix is also available on Sky Glass and Virgin Media Stream. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Senna on Netflix true story: What happened to Ayrton Senna?
The Brazilian racing driver's life is dramatised in a new Netflix series.
New Netflix drama Senna stars Gabriel Leone as Ayrton Senna, the iconic Brazilian racing driver who was previously the subject of an acclaimed documentary film in 2010. His life's story is told across six episodes, charting his journey through the Formula Ford and Formula 1 circuits, up until his death in 1994. The series also stars the likes of Kaya Scodelario and Steven Mackintosh, but for those looking to learn more about Ayrton Senna's life, just who was he and what happened to him? Read on for everything you need to know about the true story behind Senna on Netflix. Senna true story: Who was Ayrton Senna? Ayrton Senna, originally da Silva, was a Brazilian racing driver, who was born in 1960 in São Paulo to wealthy parents Milton da Silva and Neide. He was sporty and athletic from a young age, and is said to have grown an interest in cars at the age of four. He went on to compete in and win Go-Karting competitions, before moving to England in 1981 to start single-seater racing. Senna won the Formula Ford championships that year, but subsequently announced his retirement and returned to Brazil with his wife. Soon after, however, he returned to England to take up another offer with a Formula Ford team, and started using his mother's maiden name, Senna, as his name, da Silva, was the most common Brazilian surname. He went on join the Toleman Formula One team, and later raced for Lotus, McLaren and Williams. He won three Formula One World Drivers' Championship titles across his career, and 41 Grands Prix across 11 seasons. At the time of his death, he held the record for most pole positions, at 65. What happened to Ayrton Senna? While competing in the 1994 San Marino Grand Prix in Italy, Senna rounded a high-speed corner, but ran in a straight line off the track and hit a concrete retaining wall. He was extracted from his car within two minutes of the crash, and was treated at the scene, before being airlifted to hospital. Later that day, it was announced that he had died. The government of Brazil declared three days of national mourning in response, as Senna's death was considered a national tragedy. He was given a state funeral. Members of the Williams team were investigated for their potential culpability in Senna's death, and were initially charged with manslaughter. The trial concluded with all defendants acquitted – a decision which was upheld by an appeals court two years later. However, in 2007, Italy's Supreme Court of Cassation ruled that Senna's death was caused by a steering column failure for which Patrick Head, the former Engineering Director of the Williams team, was found responsible. He was never arrested as the statute of limitation had passed. Speaking to BBC Radio 5 live in 2013, Williams' Chief Designer Adrian Newey, who was one of the team members fully acquitted in the investigation, said: "What happened that day, what caused the accident, still haunts me... The steering column failure, was it the cause, or did it happen in the accident?" "There is no doubt it was cracked. Equally, all the data, all the circuit cameras, the on-board camera from Michael Schumacher's car that was following, none of that appears to be consistent with a steering column failure." What has Gabriel Leone said about playing Ayrton Senna? Gabriel Leone, who plays Senna in the new Netflix drama, told RadioTimes.com in an exclusive interview that playing the iconic figure was "a huge challenge for me as an actor, because we know how people still remember Senna and have him as a reference and an example, not only for us Brazilians but for people worldwide". In preparing to play the role, Leone said he "did the most I could" when it came to research. "I read the most I could, I watched as much as I could, but it's crazy how much material about Senna exists - pictures, videos, and anything you can think," he explained. "So I remember, at some point I started getting a little bit anxious about it, because I wanted to read everything, to watch everything, but then I understood I wouldn't be able to even if I had the whole year to prepare for it." Part of his research included watching the Asif Kapadia documentary, also called Senna. He said of that film: "I love the documentary. I find it so emotional and so well done, and all the real footage they restored. For us, for the whole production, it was a huge reference." Leone also said he spoke with Senna's family, including his sister and his nephew, who manage his Institute. "They were really supportive," he explained. "They were really kind to me. I remember one of the things that really stuck with me in one of our conversations. "I remember they were saying about Senna's eyes and essence and how of course, we know the driver, we remember the driver, sometimes aggressive and passionate. But also they were telling me the other side of him, the human being side of it." Senna will stream on Netflix from Friday 29th November – sign up from £4.99 a month. Netflix is also available on Sky Glass and Virgin Media Stream. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Moonflower Murders ending explained: Who were the killers?
Moonflower Murders, the second adaptation of Anthony Horowitz's Susan Ryeland novels, places Lesley Manville's now officially retired book editor at the heart of an investigation linked to dead author Alan Conway. Drawn back to Suffolk from running a hotel in Crete with her partner Andreas, she is investigating both the murder of Frank Parris eight years earlier on the eve of Cecily Treherne and Aiden MacNeil's wedding, and Cecily's own mysterious disappearance. Somehow, the two were connected to Cecily seemingly finding a clue in Atticus Pünd Takes the Case, one of Conway's novels, which prompts Cecily's parents to hire Susan to investigate. As with Magpie Murders, the show follows both Susan's digging and and the plot of the Conway novel, which revolves around Pünd’s investigation into the death of Hollywood star Melissa James (based on Cecily's sister Lisa). Was it as simple as a jealous husband taking his revenge? Or was there more to it than that? Let's break it down. Moonflower Murders ending explained Initially, Melissa's husband John Spencer confessed to the murder, but he himself was later found dead, mysteriously stabbed when he was about to be taken into police custody. The real culprit was, in fact, Melissa's doctor Leonard Collins, who she had been having an affair with. She had called him and asked him to come over after a fight with John. A short time later, he killed her in an attempt to get his hands on her estate. As for John's killer, the reveal proved to be too close for comfort for Pünd, who was staggered to learn that his assistant Madeline Cain, a huge fan of Melissa's films, was responsible. Read more: Moonflower Murders star Lesley Manville explains key change from book Moonflower Murders star Lesley Manville says series is "quite unexpected" There were plenty of similarities between the novel and Frank's murder, with initial suspect Stefan confessing to the murder and being placed behind bars, which also mirrored the fake confession from John. But it turned out that Conway knew Frank from his days as a school teacher and before he became a successful writer. He hid plenty of clues within the novel that could identity Frank's killer, with plenty of red herrings to keep readers guessing. As with other Conway novels, many of the characters in the book were modelled on people Conway had met, so Frank appeared as film producer Oscar Berlin (both played by Mark Gatiss), and Cecily and Lisa's parents who both hired Susan appear as crooked hoteliers. Daniel May's Inspector Locke also appears as Inspector Chubb, who helps Pünd in his investigation. Aiden MacNeil had been a male sex worker in London before he met Cecily and Frank, a former client. Frank had then recognised Aiden, who previously went by Leo, and was planning to expose his identity. Aiden, desperate to cling onto the new life he had created with Cecily, murdered Frank and staged it to look like Stefan had stolen money from him, leaving ink stains to look like blood. After Cecily had found out the truth from reading Atticus Pünd Takes The Case, Aiden staged her disappearance and killed her in the woods, where a local dog walker discovered her. Conway had left plenty of clues to the killer's identity, dedicating the book to Frank and Leo with numerous lion references hiding in plain sight. It also emerged that Stefan had been having a relationship with both Lisa and Cecily and was potentially the father of Cecily's daughter Roxanna. One of the main reoccurring plot threads this season was Susan's own future. Would she stay in Crete to run the hotel or return to publishing? As it turns out, both were an option and she secured a freelance publishing role that allowed her a chance to continue doing what she does best, but this time from Crete alongside Andreas. Susan truly thought she had flunked what seemed to be her only chance of a return to the publishing world, but her forthright nature and razor sharp intellect mean that her services remain in demand. And Horowitz isn't done with Ryeland and Conway just yet. The third instalment, Marble Hall Murders, is due to be published in 2025, so this likely isn't the last we've seen of Susan's sleuthing skills on the small screen. Watch this space for updates. Moonflower Murders is available to stream on BBC iPlayer. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Rebus star Richard Rankin: 'John realises he is a dying breed'
Rankin and his co-star Lucie Shorthouse spoke about their characters' dynamic in the series.
All six episodes of the BBC's Rebus reboot are available to stream now, with the series reimagining Ian Rankin's beloved detective as a younger officer working in Edinburgh's modern-day police force. This version of John Rebus, played by Richard Rankin, is seen being paired up for the first time with Siobhan Clarke, as played by Lucie Shorthouse – and the two stars have spoken about their characters' relationship dynamic in the series. Rankin told RadioTimes.com exclusively that the pair don't have a "mentor relationship", even if it is meant to be. He explained: "John is supposed to be mentoring Siobhan, I think he kind of reluctantly kind of takes her on board. I’m not going to say accepts, because he doesn't really. "Because Siobhan's from the fast track, I think he sees that as coming along with inexperience and no real street smarts. "He starts off being quite cold towards her, which gives us a lot of room and a long way to go with that relationship. It has its ups and downs, but you can tell that it certainly has the makings of what will become quite a close relationship." Meanwhile, Shorthouse added: "I think Siobhan learned to be by the book and to play the system and to abide by its rules, whereas Rebus is a lot more novel and original in terms of how he approaches the job, finds his resources, how he investigates. So I think they've got a lot to learn from each other. Read more: Rebus author says reboot finally gives characters "freedom to breathe" Rebus author Ian Rankin says reboot is "a tough watch at times" "I think she can help him toe the line a bit more, but he can also help her think further outside the box. I think it's just it's that sense of someone new and other coming into your world, and I think she represents a new wave of the police force. "It's not so much of a threat, but it's just that sense of 'this could potentially ruin my system and what I've got going'. So she's got to win his trust and prove herself to him for sure." Rankin explained: "There's a threat there to each other's way of being, especially Rebus's old school, traditional, that sort of old system of policing. Bringing it into a more contemporary setting, it's 2023, it's the modern way of policing and everything is on an iPad and tablets, computers, but he's just not that. "Siobhan comes in with her sort of, 'I'm just out of the academy' school of thinking, and it threatens his way of operating. I think he feels that quite quickly. "He realises he is, maybe, a kind of a dying breed, John Rebus, in terms of coming through all the sorts of political correctness and procedures of the way things should be done, and what can be tolerated these days. "You're constantly under surveillance with cameras and all the rest of it, and he's struggling to find his way to operate through that. I think he gets quite antagonistic towards Siobhan when she doesn't necessarily deserve it." As well as Rankin and Shorthouse, the series also stars Brian Ferguson, Amy Manson, Mia McKenzie, Stuart Bowman and Neshla Caplan, amongst others. View Green Video on the source website Rebus is available to stream in full now on BBC iPlayer. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
How the BBC Rebus reboot differs from the books
Let's break it down. ***CONTAINS REBUS SPOILERS***
***CONTAINS REBUS SPOILERS*** The Inspector Rebus novel series has been a huge hit for author Ian Rankin following its first entry, Knots and Crosses, in 1987. The gritty depiction of Edinburgh and its world-weary, '60s rock-loving protagonist quickly earned a legion of fans, giving rise to several adaptations over the years, one of which was an ITV series with John Hannah and Ken Stott in the titular role between 2000 and 2007. And after a lengthy stint away, the Scottish detective has once again been given the small screen treatment, this time by acclaimed playwright and screenwriter Gregory Burke, who has mined characters and ideas from the books to tell an original story for the BBC, Here, Rebus (Richard Rankin) is in his early 40s, and the action unfolds in a modern setting. "They are built on the Rebus novels, which is such an amazing foundation to work from," said star Brian Ferguson. "But then I think what's really exciting is that at the beginning of this, Ian Rankin did say to Gregory Burke, 'You take these and make them yours.' "So they do feel like a response to the original novels rather than a faithful adaptation." Read on to find out how the BBC reboot stands apart from the novels. How the BBC's Rebus differs from the book series One of the most notable details is the expansion of Michael's role. In the novels, Rebus's brother features early on, but his involvement becomes more peripheral as they progress. However here, army veteran Michael (Brian Ferguson) robs a local gangster in a bid to solve his financial woes, thrusting Rebus, who's working on a case with ties to his brother's lawlessness, into an intensely compromising position. Alongside Michael, Rebus's ex-wife Rhona (Amy Manson) and young daughter Sammy (Mia McKenzie), who feature sporadically in the books, have also been given larger roles, which juxtaposes with the solitary Rebus we often get in Rankins's writing. In the six-part series, DC Siobhan Clarke (Lucie Shorthouse) has recently joined the service as part of the accelerated leadership pathway, and as is the case in the novels, her relationship with her more seasoned colleague is initially on the frostier side. But that gradually thaws as the duo settle into more of a mentor-mentee relationship. In the books, Siobhan and Rebus's relationship is among the most important following her introduction in the fifth instalment, The Black Book. And here too, Shiv's contributions to the investigation and her evolving dynamic with Rebus play an crucial role. Shiv is allied closely with Malcolm Fox (Thoren Ferguson), from the Professional Standards division, who is on the lookout for corrupt behaviour within the force. Fox had yet to be written during the timespan of the original Rebus series, making his first appearance in the non-Rebus novel The Complaints in 2009, and crossing over into the main series's 19th novel, Saints of The Shadow Bible, in 2013. Given that the BBC version of Rebus is set in the present day, Fox's presence chimes with the reality of modern-day policing. And he isn't the only character from late-on in the books who makes an appearance. Businessman Darryl Christie (Noof Ousellam), who was first introduced in 2012, appears in a supporting role. As with the novels, he has ties to the criminal underworld, namely Big Ger Cafferty (Stuart Bowman), who is a major antagonist in Rankins's writing as he moves in and out of Rebus's life, the two occasionally doing one another favours. Cafferty also doesn't enter properly into the series until the fifth book but here, he is introduced in the opening scene, the unorthodox relationship between the detective and the big-shot gangster remaining firmly in tact. There's also a new addition in Maggie (Michelle Duncan), the wife of his mentor George (Sean Buchanan), with whom he's having an affair, which adds an interesting additional layer. This is perhaps in place of his relationship with boss DI Gill Templer (Caroline Lee Johnson) from the books, their relationship here strictly professional. While remaining faithful to the world Rankin has created, capturing the spirit of his 24-strong book collection – a 25th is due this year – Burke's decision to go in a different direction by merging the old with the new has allowed this iteration of Rebus to differentiate itself and be judged on its own merits. There's plenty for long-term fans to pore over – Rebus remains a regular at The Oxford Bar, and while we don't get shots of him listening his beloved record collection, there are nods to his love of music – but the fresh spin on those core characters and elements make this version of Rebus open to all. Rebus starts on Friday 17th May on BBC iPlayer. All episodes will be available on BBC iPlayer from 6am, with episode one airing on BBC Scotland on Friday 17th May at 10pm and on BBC One on Saturday 18th May at 9:25pm. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Rebus review: BBC series puts a fresh spin on the long-running franchise
Screenwriter Gregory Burke has revived one of crime fiction's most iconic detectives – and new and old fans alike will enjoy what's on offer.
Ian Rankin's long-running novel series Inspector Rebus has garnered a legion of fans since its debut in the late '80s, and prompted multiple adaptations for stage and screen - the most recognisable of which is Ken Stott's ITV series in the 2000s. And, following a lengthy hiatus, the series has been revived by screenwriter Gregory Burke for the BBC, this time focusing on a younger version of detective sergeant John Rebus, played by Outlander's Richard Rankin, set in present-day Edinburgh. Unlike previous takes, this series isn't a direct adaptation of Rankin's source material. While packed with characters and nods fans will relish, Burke's Rebus is a longer-form story that wants to be judged on its own merits, and is accessible to both Rebus-heads and newcomers as a result. When we first meet our leading man, he's at a tricky juncture. His professional and personal lives have collided head on after his brother Michael (Brian Ferguson), not long out of the army, decides to blow up his own life by turning to crime to plug the black hole in his finances. Unlike in the books, Michael plays a significant role here, with Burke fleshing out the strained relationship between the two brothers. And by placing Rebus's family at the heart of the case, the emotional stakes are greater, helping this iteration of Rebus to stand apart from what we've seen previously. Read more: Rebus author Ian Rankin says reboot is "a tough watch at times" Rebus star: 'Reboot is a response to books, not faithful adaptation' Michael's reckless behaviour not only endangers his wife and teenage sons, it also puts Rebus in a compromising position, something he's all too capable of doing to himself, as we see in the opening scene during a brutal confrontation between the detective and his arch antagonist, Ger Cafferty (Stuart Bowman). Bowman is well cast as the notorious gangster, capturing the gravitas and swagger needed to play a man who rules Edinburgh's underworld. Throughout the six-parter, Rebus is torn between his duty as a police officer and his concern for Michael, a dilemma which is compounded further when detective Malcolm Fox (Thoren Ferguson) from Professional Standards begins sniffing about. Rebus can't afford to put a foot wrong, certainly not in plain sight. Other characters include Rebus's ex-wife Rhona (Amy Manson) and her new, very wealthy, fund manager husband, who encroaches on his relationship with young daughter Sammy (Mia McKenzie). When Rebus feels himself slipping into the darker regions of his character, so often fuelled by his complicated relationship with alcohol, it's Rhona and Sammy who often pull him back from the brink – but not always. It's in those moments that Rankin shines. He's entirely believable as someone who is trying to do the right thing and be the best possible version of himself for his daughter and ex-partner, for whom his love has never wavered. But as Burke's writing keenly emphasises, that's often easier said than done. There's also Rebus's new investigations partner DC Siobhan Clarke (Lucie Shorthouse), whose background and worldview stand in stark contrast to her colleague's – a hallmark of so many on-screen detective duos over the years, and one that's been lifted from the books. But after a frosty initial introduction, and despite a controversial secret of Siobhan's threatening to derail their working relationship entirely, the pair settle into their own rhythm. While their dynamic follows a somewhat predictable beat, it doesn't make it an any less enjoyable watch. Rebus is a testing yet compelling watch, travelling close to the bone while also channelling the dark humour found in the books. And as the gang warfare ramps up in its savagery, blow torches and all, those moments of levity not only become a lifeline for the audience, but chime with the reality of the world being depicted. What's most enjoyable and impressive about the BBC series, though, is while it hasn't been directly lifted from what's come before, it feels at home in Rankin's world. That is largely due to the details that Burke has chosen to include, seamlessly bringing characters and plot threads together in a way that doesn't derail the show. As a result, Rebus feels re-energised, delivering a new and exhilarating yarn that also provides some scathing commentary on the state of modern Scotland. This is a series that could run and run, with no shortage of material to mine, and if the BBC has any sense, the cogs will already be in motion. Rebus is gritty Scottish drama at its best. View Green Video on the source website Rebus starts on Friday 17th May on BBC iPlayer. All episodes will be available on BBC iPlayer from 6am, with episode one airing on BBC Scotland on Friday 17th May at 10pm and on BBC One on Saturday 18th May at 9:25pm. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Rebus author says reboot finally gives characters “freedom to breathe”
Ian Rankin says that he's excited about the more long form approach for the new series.
Ian Rankin's iconic character John Rebus is no stranger to the small screen – with both John Hannah and Ken Stott having starred as the detective in a hit ITV drama that ran for four season between 2000 until 2007. But according to the author, the new BBC One reboot – which sees Outlander star Richard Rankin take over the role – includes one key change that sets it apart from previous versions: a more long-form approach to storytelling. Speaking exclusively to RadioTimes.com ahead of the new show's debut on Friday 17th May, Rankin explained: "What I'm excited about is that Rebus has never been done long form – they tended to do maybe one hour 45 minutes was a whole storyline, which meant that characters never got a chance to breathe and develop the way I would have liked him to the way they do in the books." He added: "So the fact the producers of this program, and indeed the screenwriter Gregory Burke, have taken it on as a long format is one big arc of a story. Covering you know, many hours is great. "I mean, it's giving Rebus and the other characters and the City of Edinburgh and the themes they're trying to explore... it's given them some freedom to breathe, which I think the previous series was denied." The series follows the titular inspector as he's drawn into "a violent criminal conflict that turns personal when his brother Michael, a former soldier, crosses the line into criminality" – leaving him torn between protecting his brother and enforcing the law. And Rankin has also teased that the new show will include its fair share of grisly moments, describing it as "full-on" and "a tough watch at times". Read more: Rebus star: 'Reboot is a response to books, not faithful adaptation' Inside No. 9 duo reveal spin-off ideas but warn "don't hold your breath" He said: "At certain points, some viewers might even say it's slightly harrowing. There's an awful lot of visceral stuff happening. It's great. "I jumped up in my seat a couple of times when I was watching the episodes that I've seen." The Rebus novel series began in 1987 with the publication of Knots and Crosses, and currently consists of 24 novels and numerous short stories. A 25th novel, titled Midnight & Blue, is set to be released in October 2024. View Green Video on the source website Rebus will launch on Friday 17th May. All episodes will be available on BBC iPlayer from 6am, with episode one airing on BBC Scotland on Friday 17th May at 10pm and on BBC One on Saturday 18 May. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Rebus author Ian Rankin says reboot is "a tough watch at times"
"There's an awful lot of visceral stuff happening. It's great."
Ian Rankin has revealed that the upcoming BBC adaptation of his Inspector Rebus novels is "a tough watch at times". The new series sees Outlander star Richard Rankin (no relation to Ian) take on the role of the titular detective – who was previously played by Ken Stott in a popular ITV version – and according to the author, viewers can expect to see some pretty nasty scenes in the new series. "It's full-on," he said in an exclusive interview with RadioTimes.com. "At certain points, some viewers might even say it's slightly harrowing. There's an awful lot of visceral stuff happening. It's great." Rankin added that he had "jumped up in my seat a couple of times when I was watching the episodes that I've seen," before revealing that one thing he especially enjoyed about the new series was seeing a younger version of the character than the one who appeared in the more recent novels. "Now, of course, in the books Rebus is in his 70s. He's an old age pensioner with a bus pass and health issues," he explained. "[So] to see a young, vibrant, all-action Rebus and have that in the present day, in present day Edinburgh with present day issues and present day concerns... but to have him young and lithe and getting in everybody's face – not being afraid of a physical bout with somebody, I mean... my Rebus now in the books would shy away from getting into any physical conflict because he knows he would lose." <img src="https://images.immediate.co.uk/production/volatile/sites/3/2024/05/469877-f30c530-e1714554820171.jpg" width="4206" height="2806" alt="Richard Rankin as John Rebus. He is wearing dark coloured clothing and is concentrating on something next to him. His hair is combed back and he has a light beard forming. Blurred in the background is a man sat on the floor with his knees up and arms resting on them." title="Richard Rankin as John Rebus" /> Cast members Brian Ferguson and Lucie Shorthouse recently told RadioTimes.com that the new series wasn't necessarily a completely faithful adaptation of the books, with Ferguson explaining that it was more of "a response to the original novels". "And what that's given Greg[ory Burke, writer] licence to do is, A – and in the most immediate sense – to take Rebus back kind of 20 odd years to when he's 40 and also set it right now, 2023 when we made it ... because I think things have changed so much in those 20 years." Shorthouse added: "It's definitely a reimagining and it's been adapted, but when you read the books, the characters are so rich and fully rounded and descriptive, and you get to learn all their idiosyncrasies and their nuances. "And I think what's been lovely is that there's this lovely synergy that Ian has had with Greg in terms of how Greg's been able to reflect that in the in the screen on screen, in terms of his writing." Read more: Rebus star: 'Reboot is a response to books, not faithful adaptation' Inside No. 9 duo reveal spin-off ideas but warn "don't hold your breath" The new series sees a Rebus drawn into "a violent criminal conflict that turns personal when his brother Michael, a former soldier, crosses the line into criminality". The synopsis continues: "Rebus finds himself torn between protecting his brother and enforcing the law to bring Michael to justice. "This epic series explores family, morality and class through an emotionally-charged story, set against the Scottish landmarks that Rankin’s readers know so well." View Green Video on the source website Rebus will launch on Friday 17th May. All episodes will be available on BBC iPlayer from 6am, with episode one airing on BBC Scotland on Friday 17th May at 10pm and on BBC One on Saturday 18 May. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Rebus’s Richard Rankin says reboot is written "so wonderfully"
Rankin has heaped praise on the writing for the new BBC crime drama adapted from Ian Rankin's novels.
The latest adaptation of Ian Rankin's beloved Inspector Rebus novels, Rebus, is arriving on BBC One later this month, following John Rebus as a young detective sergeant, who finds himself drawn into a violent conflict, one which becomes personal when his brother crosses the line. The series arrives with lofty expectations, not only because of the popularity of the books, but also because of the inevitable comparison's with ITV's version which starred John Hannah and, later, Ken Stott. However, speaking ahead of the show's arrival, Outlander's Richard Rankin (no relation to Ian), who stars in the title role in the new show, has suggested fans have nothing to fear, as he has heaped praise on its "excellent" writing. Speaking with RadioTimes.com exclusively, Rankin said: "It’s a very popular genre anyway, isn't it, the Crime genre? There is such an appetite for it, there always has been in one form or another. The source material is so well-written, so wonderfully written by Ian Rankin. Rankin continued: "And then we've got the screenwriting and it is so, so good from Greg Burke, I think he's an excellent writer, and I think his take on it is exciting. I think that we have such a rich world to draw from, and Greg's from that world himself. Read more: Rebus confirms BBC air date and unveils new look at reboot Rebus star: 'Reboot is a response to books, not faithful adaptation' "He's coming to it with such experience, such honesty, such a story to tell, and he understands this world as a character, the political and social landscape of it all, he writes it, puts it in there, and gives it to us to take and put it on screen. "I feel very lucky to have had that. Those scripts and the source material that it came from, because it just really enriches it all and fills it with something substantial on screen." Brian Ferguson, who stars as Rebus's brother Michael, also emphasised that the reboot is "a response to the books, not a faithful adaptation". "They are built on the Rebus novels, which is such an amazing foundation and source material to work from," he explained. "But then I think what's really exciting is that at the beginning of this, Ian Rankin did say to Gregory Burke, 'You take these and make them yours.' And Greg really has. "So I think that they do, in a way, feel like a response to the original novels rather than a faithful adaptation. And what that's given Greg licence to do is well, A - and in the most immediate sense - to take Rebus back kind of 20 odd years to when he's 40 and also set it right now, 2023 when we made it ... because I think things have changed so much, and those 20 years." Lucie Shorthouse, who plays DC Siobhan Clarke, echoed Ferguson's comments. "It's definitely a reimagining," she said. "Even though the characters are obviously different, I think if you're a fan of the books, hopefully you'll spot the similarities. "And it's another way to enjoy the story. It's another format to appreciate that level of storytelling in the end." View Green Video on the source website As well as Rankin, Ferguson (The Ipcress File) and Shorthouse (Line of Duty), the series also stars Amy Manson (The Diplomat), Neshla Caplan (The Rig), Noof Ousellam (Vigil), Stuart Bowman (The Serpent) and Caroline Lee Johnson (Trying), among others. Rebus will launch on Friday 17th May. All episodes will be available on BBC iPlayer from 6am, with episode one airing on BBC Scotland on Friday 17 May at 10pm and on BBC One on Saturday 18 May. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Rebus star: 'Reboot is a response to books, not faithful adaptation'
"I think there's something really exciting about looking at those characters and that kind of world but with the lens 20 years on."
With BBC's new TV adaptation of Ian Rankin's Inspector Rebus novels, all eyes are on Rebus to see just how it will adapt the book series. Well, Rebus cast members Brian Ferguson and Lucie Shorthouse have revealed that the new TV drama isn't the most faithful adaptation but is a response to the novels that is more fitting for diving into that world decades after the novels were released. Chatting exclusively to RadioTimes.com, Ferguson (who stars as Michael Rebus) said of the new series and how it's incorporated the original novels: "I mean, I think partly that they are built on the Rebus novels which is such an amazing kind of foundation and kind of source material to work from. "But then I think what's really exciting is that you know, essentially, at the beginning of this, Ian Rankin did, kind of essentially, say to Gregory Burke, yeah, I mean, you take these and, you know, make them yours." He continued: "Greg really has so I think that they do, in a way, feel like a response to the original novels rather than a faithful adaptation. And what that's given Greg licence to do is well, A - and in the most immediate sense - to take Rebus back kind of 20 odd years to when he's 40 and also set it right now, 2023 when we made it ... because I think things have changed so much, and those 20 years. "And I think there's something really exciting about looking at those characters and that kind of world but with the lens 20 years on. Yes, so I think that by blending those two together, it gives out a whole new life." Similarly, Shorthouse (who stars as Siobhan Clarke in the series) said: "It's definitely a reimagining and it's been adapted but when you read the books, the characters are so rich and fully rounded and descriptive, and you get to learn all their idiosyncrasies and their nuances. "And I think what's been lovely is that there's this lovely synergy that Ian has had with Greg in terms of how Greg's been able to reflect that in the in the screen on screen, in terms of his writing." Shorthouse added: "I think even though the characters are obviously different, I think if you're a fan of the books, hopefully you'll spot those similarities. And it's another way to enjoy the story. It's another format to appreciate that level of storytelling in the end." The new series has been Gregory Burke and sees Outlander star Richard Rankin take the lead as Detective Sergeant John Rebus. It's not the first time that the Rankin novels have been adapted for TV as ITV's adaptation aired between 2000 and 2007 and starred John Hannah and Ken Stott in the title role. Speaking about his portrayal of the character in the upcoming BBC series, Rankin said: "It is definitely my take. I mean, it has to be if you are going to do any sort of justice, or, you know, come out of any sort of integrity you need to make it your own. "Because we're trying to make this as real as it can be. I think we were given the material with which to do that. There's no point in trying to go back and rehash or mimic or copy anything that was done before." Read more: The Boys season 4 trailer is here – and it teases an intense, violent war Gavin & Stacey confirms final ever episode and air date with BTS pic He continued: "I watched a lot of Ken Stott's version. I think I saw all of John Hannah's version, but I didn't go back to reference them in any way, I didn't think that was going to be in any way helpful. Plus, we're not we're not quite the same characters anyway. "So yeah, you know, I was very excited to get into this and sort of had a lot of my own ideas and how I wanted to portray the character and what I wanted to bring to and yeah, I'm hoping that that's, that's what I've done." The new series sees a younger Rebus drawn into "a violent criminal conflict that turns personal when his brother Michael, a former soldier, crosses the line into criminality". The synopsis continues: "Rebus finds himself torn between protecting his brother and enforcing the law to bring Michael to justice. "This epic series explores family, morality and class through an emotionally-charged story, set against the Scottish landmarks that Rankin’s readers know so well." View Green Video on the source website Rebus will launch on Friday 17th May. All episodes will be available on BBC iPlayer from 6am, with episode one airing on BBC Scotland on Friday 17th May at 10pm and on BBC One on Saturday 18 May. Check out more of our Drama coverage or visit our TV Guide and Streaming Guideto find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
The Bad Batch is Star Wars' unsung hero – it needs to end in style
The Bad Batch hasn’t had nearly as much attention as Star Wars’ other animated shows – but it’s actually essential viewing, especially when it’s about to bow out with season 3. The animated arm of the Star Wars franchise has helped to flesh out the universe significantly. The Clone Wars in particular proved a huge hit with fans and gave us the likes of Ahsoka Tano, Saw Gerrera and Bo-Katan, who have all gone on to feature prominently in live-action and expanded media. While Rebels also proved a big hit, bridging the gap between The Clone Wars and the original trilogy, The Bad Batch, which premiered in 2021 and continued the adventures of the titular crew of defective clones who first featured in season 7, has been slightly overlooked. The Bad Batch has certainly not had the levels of attention that the previous two shows have, but with ties to so many corners of the universe, it is key for fans, diving into the psyche of The Empire like few other projects. With so many components carried over and the involvement of the likes of Dave Filoni and Kevin Kiner, fans who haven’t given it a chance to date will find so much to appreciate. The series focuses on the batch’s efforts to survive in a constantly changing galaxy, looking to keep themselves out of Imperial surveillance and working for Cid, who provides them with mercenary work. The show being set so soon after the prequel films means this is a side of the universe that is starkly different to the likes of Andor, Solo or Rebels, where Imperial authority is dominant. Here, there are pockets out of the Empire’s reach and the visual style retains some of the Blade Runner, neon feel of Episodes I-III. The show does a fine job of connecting many of the threads from across the franchise in season 1. The Mandalorian’s Fennec Shand appears, hunting Omega who has a bounty placed on her. Ming-Na Wen reprises her role from The Mandalorian and Book of Boba Fett, fleshing out some of her backstory, set some 25 years before she first encountered Din Djarin. There are other links, with Kanan and Hera from Rebels making cameo appearances. There is a prominent role for Grand Moff Tarkin, of course introduced in the first Star Wars film in 1977 played by Peter Cushing and voiced here by Stephen Stanton, giving us a sense of his involvement from the very first days of The Empire. Crucially, there are hints at a larger conspiracy involving Emperor Palpatine – we know that he somehow survives the events of Return of The Jedi and his interest in cloning here could well be how that came about, something that might well feature more in the final season, helping to flesh out some of the story of the Sequel trilogy. With such a lengthy period between Clone Wars and Rebels, The Bad Batch is a crucial way of bridging the tonal and aesthetic shift, as well as showing us early iterations of resistance to the Empire through Saw Gerrera before he became the jaded fighter, we see in Andor and Rogue One. We also see Rex long before he meets Kanan, Ezra and co in Rebels. The final season promises more links to all corners of the universe, with appearances from Fennec, Cad Bane from Clone Wars and most tantalisingly, Asajj Ventress, one-time pupil of Count Dooku and a major antagonist in Clone Wars’ original 2D Clone Wars series from 2003 and the latter series. View oEmbed on the source website With a tighter focus than Clone Wars and Rebels following the crew of Hunter, Tech, Echo, Omega, Wrecker and Crosshair, we get a sense of the camaraderie between them and how important each is to the other. Each feels fully formed and distinct. But season 3 is what it all comes down to – the batch are not mentioned in later works, so their final fate is up in the air. It promises to be an action-packed final season, with ambiguity over the crew’s ultimate fate. If a totally happy ending might be out of the question, it would be a relief to see something resembling one for at least some of the crew – after all, they have been put through the wringer across both this show and The Clone Wars. With the show connecting to so many corners of the universe it seems safe to say there will be more references and appearances, and we might see fledgling signs of rebellion that have been hinted at. It will be important for a show that has flown under the radar somewhat to stick the landing as one of Star Wars’ most under-appreciated properties. Here’s hoping the batch goes out in the style they deserve. View Affiliate Playlist on the source website Star Wars: The Bad Batch season 3 will begin on Disney Plus on 21st February. Seasons 1 and 2 are available to stream on Disney Plus. Sign up to Disney Plus now for £79.90 for a year or £7.99 a month. Check out more of our Sci-Fi coverage or visit our TV Guide and Streaming Guide to find out what's on. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Doctor Who’s 60th anniversary specials could learn from past milestones
A look back at how Doctor Who celebrated its big moments.
Doctor Who, remarkably, is now celebrating its 60th anniversary with a much-anticipated return for showrunner Russell T Davies, and David Tennant and Catherine Tate making a huge comeback to the show. Of course, this is not the first time the sci-fi has marked a milestone with special appearances. The 10th anniversary saw the Third Doctor Jon Pertwee cross paths with his two predecessors, Patrick Troughton and William Hartnell. The trio faced off with a cast-out Timelord Omega, who was residing within a black hole in an antimatter universe, looking to exact revenge on the Timelords. We also saw many Doctors and companions reunited in the 20th. anniversary serial The Five Doctors, which saw the Doctors trapped inside the Death Zone on Gallifrey, facing an array of threats. Most recently, Matt Smith and David Tennant united with War Doctor John Hurt to fight a threat from The Zygons involving Queen Elizabeth I and the 21st Century National Gallery and prevent Gallifrey’s destruction in the Time War. While much is being kept under wraps about the nature of Tennant’s return as the Fourteenth Doctor, and whether we are likely to see more friends and foes appearing, there are certain lessons these new specials learn from previous celebrations on how to honour the show's past and drive it forwards into a new era with Ncuti Gatwa’s Fifteenth Doctor. The Three Doctors being the first multi-Doctor storyline set a precedent for others to follow. The interplay between Troughton and Pertwee remains a particular delight, but it never cheapens the storyline being told, with the Time Lords breaking the first rule of time to get the Doctors to help prevent Omega’s return. Omega posed a formidable threat, and the Doctors combined were needed to keep him at bay. Omega would return to face the Fifth Doctor in the Arc of Infinity. The conclusion of the storyline sees the Doctor given a new time circuit for the TARDIS and restored memory of how to operate it fully, taken away at the end of The War Games and thus helping shape the direction for the remainder of The Third Doctor’s adventures. The Five Doctors, a feature-length special from 1983, sees Doctors One, Two, Three and Five trapped in Gallifrey’s Death Zone. The episode saw the return of a number of companions and adversaries including Daleks, Cybermen and The Master alongside the likes of Sarah Jane Smith, The Brigadier and Susan. The Five Doctors feels heavier on nostalgia with so many reunions throughout, although it introduces Rassilon, who would return as an adversary for the Tenth and Twelfth Doctors and brings up the concept of The Doctor being president of Gallifrey. It is still a thrill to see various Doctors interact and so many familiar faces, even if it doesn’t wholly change the thrust of the show. With the show off-air between 1989 and 2005, there were limited opportunities to celebrate the 30th and 40th anniversaries, with a crossover skit with EastEnders and Dimensions In Time in 1993. 2013’s Day of The Doctor saw our heroes save Gallifrey from presumed annihilation, something which had been a major theme of the revived era, especially for Ninth Doctor Christopher Eccleston. Coupled with the minisode The Night of The Doctor, the episode explored John Hurt’s War Doctor, filling in the gap between the Eighth and Ninth Doctors, something that occurred offscreen. The saving of Gallifrey opened up the return in future appearances and was a key part of Peter Capaldi’s tenure in the TARDIS, and also came into play in the following storyline The Time of The Doctor, when Matt Smith’s Doctor was granted another set of regenerations. Read more: Doctor Who's Blink episode remains the perfect introduction to horror Doctor Who's best guest star isn't who you'd expect The Day of The Doctor also saw the return of The Zygons after a near 40-year absence. The Zygons posed a threat for both Elizabethan England and 21st Century London. This plot thread would be followed up directly in the 12 Doctor serials, The Zygon Invasion and Zygon Inversion in 2015. The Day of The Doctor and its supplementary materials showed that the show could look back to its past in both the original and modern runs of the show, but also tell a story that changed the narrative of the show in the future, driving it forward. We have since seen other multi-Doctor episodes like Twice Upon A Time and The Power of The Doctor, perhaps meaning we might see fewer crossovers in these upcoming episodes. Having multi-Doctor appearances outside of the main celebrations does slightly rob us of their impact. While we know little about the upcoming specials, it is clear that they will have a direct influence on Russell T Davies’s second stint as showrunner. The return of The Celestial Toymaker, a villain from William Hartnell’s era, and the first TV appearance for Beep The Meep, already ensures that the show is acknowledging its history. The reason behind the familiar appearance of The Fourteenth Doctor and the return of Donna Noble adds a sense of mystery. The three episodes seem likely to address past friends and foes, with the likes of Kate Stewart appearing, but also pushing us into a new era for the show in time for Ncuti Gatwa’s first full episode at Christmas just weeks after the specials’ conclusion. Doctor Who is available to stream on BBC iPlayer with episodes of the classic series also available on BritBox – you can sign up for a 7-day free trial here. For more, check out our dedicated Sci-Fi page or our full TV Guide and Streaming Guide. Try Radio Times magazine today and get 10 issues for only £10 – subscribe now and celebrate the 60th anniversary of Doctor Who with a special issue of Radio Times. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Ahsoka composers on Easter eggs and foreshadowing Anakin Skywalker
The team behind Ahsoka's sound chat to RadioTimes.com about the most iconic themes of the series.
Composer Kevin Kiner has been integral to the sound of Star Wars on TV, starting work on the animated Clone Wars series as far back as 2006 and working on the follow-up animated shows, Star Wars Rebels, The Bad Batch and Tales of The Jedi. Now, Kiner steps into the world of Star Wars live-action television with Ahsoka, continuing the journey of the character he has become so familiar with. To coincide with the finale of the latest Disney Plus Star Wars adventure, we sat down with series composers Kevin, Deana and Sean Kiner to discuss how the show’s sound fits into the wider sound of the Star Wars universe at this point in time and how it expands on the palette Kiner has been crafting since The Clone Wars. As well as scoring Ahsoka herself in live-action, Kiner talked scoring Hayden Christensen’s Anakin Skywalker and the much-anticipated return of Grand Admiral Thrawn. Kiner spilt the beans on how, collectively, they have learned to use John Williams’s iconic themes and motifs at the right points so as not to spoil their legacy. Kiner also discussed new themes for the show’s mysterious villains, Morgan Elspeth, Shin Hati and Baylan Skoll. Ahsoka is a later point in the Star Wars universe than you've been before. Were the original films a reference point at all? Kevin Kiner: I don't think so much. We did a lot with Rebels. Rebels was this really cool reboot. So, for a little history, going back to Clone Wars, when Dave Filoni and I were working with George Lucas, George was intent on not using too many of the original Star Wars themes. So, all through Clone Wars, we stayed away from any John Williams and then when Rebels started we had just straight-up used some of the music from the TIE Fighter attack in Empire Strikes Back. That was in the first episode of Rebels. So Dave said yeah, let's go back to the John Williams score. Sean: It's very much baked into the DNA of the Rebel sound. Deana: It really is just cooking and John Williams's themes are the strongest spice in our arsenal. So if we overuse them, it starts to kind of like lose their potency. Sean: We try to be very reverent about when we use it. Deana: It makes those moments really effective. It's basically when we say this is really important. This is like, this is a moment and you really should be paying attention to it. Thrawn has finally arrived in the show - how have you found building on his score and sound from Rebels? Kevin: One thing that's interesting, I will say, is that when we first approached Thrawn's entrance, it was crazy organ-heavy, because that's his theme, and it was originally on the organ. That was Dave Filoni's idea and got a lot of positive fan reception. It didn't really work having that much organ in it. It's still there. But it just didn't work as well and this was where we had to take time to polish things and bounce ideas around. I mean, it's so marvellous. We were just talking about other composers I know who kind of complain about some of the gigs they get or whatever. And it's such a dream gig to be doing Ahsoka because, one, it's marvellous material and you get to play in this unbelievable playground, but also, Dave Filoni is just a great guy to work with him in that you can make mistakes, or you can do things that that he feels aren't working and he's probably right. Without getting fired, without getting yelled at. He's just super positive and super open and George was like that, too. You know, George really liked to hear new things and he was okay if it didn't work because he understood that you're pushing boundaries or whatever like that and I think Dave understood we were you know, swinging for the organ and he said I think that's where have to pull back on that and we did and I mean, the end result I think really kicks ass, when Thrawn comes. Deana: We wanted to add a lot of weight to his early entrance and that's where we ended up like with the final piece of music in there - we needed to make him feel as substantial as his his character was. Initially, I think we were just playing his music and making it about the music instead of about that moment. And that's how we got to that point where it's just like slow drawn out, like distort the chords like he's in a different state, his troopers, his army are in a different state, they've had to repair their armour with like Kintsugi. We just had to match it to the picture that we needed to accomplish. How have you found the shift from animation to live-action? Kevin: Ahsoka took more time to do, you know, in many ways they're similar because we use some of the same themes although we expanded them and made them relevant to Ahsoka. Ahsoka was more like doing a feature film. We wound up doing five hours of music for Ahsoka, which is insane. That's three popcorn movies pretty much. You've scored Ahsoka from a young child to where she is now. How have you found that evolution in her sound? I've kind of gone down some YouTube rabbit holes since Ahsoka came out because there are these crazy people who know more than anybody about the little details. I've watched some of the early Clone Wars, I completely forgot - I mean, I started in 2006 on this - and in a way, I'd forgotten how small of a girl she was. The first theme I ever wrote for George Lucas and Dave Filoni was Ahsoka's. And that was I remember where I was, I remember what the scene was, it came out quickly, you know, it was, which to me are the better themes, you know, the ones that just naturally kind of flow, you're channelling and it's just happening. I'd forgotten how young she was. And just looking back at that, I mean, Rosario Dawson brings her to maturity in such an elegant way. And I think our music kind of helps reflect that. And I think Sean and Deana brought an aspect of, you know, a variation on Ahsoka's theme, that that really fits meshes nicely with the maturity and the regal-ness that Rosario Dawson brings to the character. Episode 5 features Anakin heavily and is a call back to a lot of Clone Wars events. How did you find revisiting some of those themes and characters? Kevin: So, I think these two first just lost it because we don't really know what's coming and we kind of like it that way, we like to have it fresh, we don't read the scripts or anything we just kind of react the way the audience does. So, when we saw especially young Ahsoka, so I think that was a great inspiration and then going back to the Clone Wars and going back to all of the different battles, and then even the Battle of Mandalore, it was a lot of stuff that was super for the geek in us and we're all geeks. Sean: We got to dig out the old synths from the Siege of Mandalore and the final season of Clone Wars, you know, some surreptitious references to Burying the Dead made it in there. Kevin: It's so subtle. It's hard to find. We hear several John Williams motifs in that episode like the Force theme and Imperial March how do you approach using his themes? Sean: That's such a huge moment when we see Hayden for the first time. So we kind of picked apart little bits of here and there are chords from Anakin theme from The Phantom Menace, when he's a boy, but then we bring in the Vader theme, to kind of foreshadow what was going to happen in episode five, where Ahsoka's going to have to face the reality of the implications of his legacy. Kevin: One of the things I was talking about is like, let's not just repeat this theme verbatim, let's not just go, Ahsoka's theme and play it exactly. Let's reference it and John Williams is the master of this and that's where I probably learned it. Oh, he's not really playing the whole theme. He's coming in the middle then he's putting in new chords. I think that's the most elegant way to drive your themes home. The end credits is a standout and there are several themes in it, are you able to talk us through your process there? Sean: Kevin mentioned that we wanted to make Ahsoka's theme more mature. There's such a samurai streak throughout Ahsoka. So, we knew that we had to go into more of a samurai direction, we actually kind of tested it out in the end of Tales of the Jedi, experimenting with variations on Ahsoka's theme. Now at the beginning of the end credits, we have that kind of Ronin motif and the low strings peddling along, and then you have her Ronin theme. It's a variation on a theme. You can hear her notes in there. But it's a variation on her and it's like her as a warrior her as a mature adult. Deana: We initially had the approach of every episode was going to have different end credits. And then logistically, we realised that, oh, we need to reevaluate that approach, and decided upon having a main end titles sequence that was consistent for every episode. We practiced over and over, through different episodes had different ideas for the end credits that grew into this final form. Kevin: I had forgotten all about that. It was a lot of work and at one stage we had maybe four or five end credits which caused lot of logistical problems. Plus, I think it just made more sense, just to have this kind of anchor, because every main title is different, which I think's really fun and the show is different for every main title. So we need to play that dramatically. So to have that kind of anchor at the end is cool. Baylan and Shin are obviously very different to traditional Jedi and Si. So how did you approach scoring those two? Sean: Baylan specifically, we made a variation of this thing called DSRA, which is a long standing sound. It comes from Gregorian monks. It’s associated with death and the ending of things. And so we made a variation of that. We voiced it on piano using this kind of Rachmaninoff style in the piano and then played it in the orchestra, kind of heavy metal when he first showed up in that hallway. Heavy metal with DSRA. So there's a lot of, you know, there's classicism still rooted in there but it's an ancient kind of classicism mixed with, you know, more modern sensibility of rocking out. Kevin: Baylan’s theme, Shin's theme and Morgan's theme are all new for Ahsoka and I'm really pleased with all three of those and how they turned out. Is there anything else you'd like to cover about the score for the show? Kevin: The score is out now. We're really proud of it every single minute. That is, in the show, as far as I know, or very close to it is, is in the soundtrack, and there's going to be a second release after episode 8 comes out, where we do everything. I've never been involved with a soundtrack that we've been able to do that. Deana: It feels like such a strong reflection of us as artists, you can really hear like the diversity that we try to implement in our soundscape of just like we all are coming from very different places musically. Like we have different kinds of tastes and, and things that have been informed us growing up, but like, at the heart of it is Star Wars music, and you can really hear it more woven through the entire thing. Sean: We've been really lucky to get to work all three of us together on this. It was a really wonderful and positive experience. You know, as afraid as we were when we first got the call. Having each other's backs, I think really made the difference so that we can make creatively courageous decisions. Ahsoka is streaming now on Disney Plus. Sign up to Disney Plus for £7.99 a month or £79.90 per year. Visit our Sci-Fi hub for more news and features, or find something to watch with our TV Guide and Streaming Guide. Try Radio Times magazine today and get 10 issues for only £10, PLUS a £10 John Lewis and Partners voucher delivered to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
The Continental expands the John Wick universe in a refreshing way
The miniseries sees familiar favourites in uncharted territory for the action franchise.
When John Wick premiered in 2014, few could have foreseen the cultural impact it would have, with each instalment in the film series outgrossing the previous – culminating in a $400 million gross for 2023’s Chapter 4. The series is, of course, set to expand further with the Ana De Armas-led Ballerina, which will also feature the likes of Keanu Reeves and Ian McShane. Before then, we have the first small-screen project in the franchise, The Continental, which focuses on the early days of the hotel’s eventual manager Winston Scott (portrayed by McShane in the films and here by Colin Woodell), as he is drawn into a conflict with the hotel’s '70s proprietor, Cormac, played by Mel Gibson. The 1970s setting helps to significantly differentiate the series from its film predecessors, which are set in the present day, featuring an assortment of hitmen using various Continental sites to prepare for their missions. The New York depicted here is an unglamorous one, grimy and brimming with street-level crime, with The Continental itself a far cry from the classier establishment Winston and his trusted concierge, Charon, will come to run. We see many links and references to events that occurred in the '70s, with the Winter of Discontent in the UK and the rise of the Mafia to power in New York being influences on the show. Winston is initially based in the UK, and there are a number of references to pop culture icons of the era - including David Bowie and The Who. This extends to the soundtrack, which choreographs many of its action sequences to some of the best-known hits of the decade, from the likes of Harry Nilsson, James Brown and more, opening with Donna Summer’s I Feel Love. One of the most obvious references to the late '70s is the frequent mention of the Vietnam War and how it impacted several of the characters. This is an interesting shift from the films, which rarely mention real-world events or politics, and are often less grounded. The social issues of the day are best explored through newcomers Miles (Hubert Point-Du Jour) and Lou (Jessica Allain) and their family Dojo, which comes to blows with other businesses in Chinatown, reflecting racial tensions between several communities in the Big Apple. Again, this is something left unexplored in the films, and could be a virtue of the lengthy runtimes of the episodes, with each one coming in at around 90 minutes. In a sense, The Continental feels less like an assassin show and more a story about the dynamic between various groups in New York City. That said, the action is still breathless and retains the energy of the films, showing the involvement of creators Chad Stahelski and David Leitch (credited as executive producers). We also see a younger Charon – brought so memorably to life by the late Lance Reddick in the films, with Ayomide Adegun filling those big shoes here – working under the tutelage of Cormac and having his first interactions with Winston, who he will work so memorably alongside in later years. We find out more about his past, family and motivations for coming to New York and working at The Continental. While Winston features prominently in all four Wick films, we don’t know much about his background, and the series fills much of this in, largely focused on the '70s - but flashing back several times to his childhood with his brother Frankie (Ben Robson). The pair’s relationship is a major driving factor here, and provides motivation for his involvement in later events. Beyond Winston and Charon, we see references to several institutions from the films. The High Table, with whom John is frequently at odds, is represented through Katie McGrath’s Adjudicator. The shadowy organisation is a more peripheral presence at this stage, but still shows their influence and how closely they are monitoring the situation. Additionally, The Bowery King (Laurence Fishburne) is a major player in three of the Wick films, and the earlier days of that operation are shown, along with its indifference to Cormac and his running of The Continental. Whether or not it continues beyond this limited series, The Continental serves its purpose of expanding the world of John Wick and its inhabitants showing the evolution of the titular institution and those who come to call it home. Tying it more to the culture and societal issues of the '70s helps give it a sense of place and time to feel truly different to the films. It will be intriguing to see whether there are further forays into the small screen beyond this, with the film universe set to continue with Ballerina – although there are rumours of a fifth outing for Mr Wick himself. View Green Video on the source website The Continental: From the World of John Wick is available to stream on Prime Video from Friday 22nd September 2023. Sign up for Amazon Prime's 30-day free trial. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. Try Radio Times magazine today and get 10 issues for only £10, PLUS a £10 John Lewis and Partners voucher delivered to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Star Trek: Strange New Worlds season 2 is the perfect blend of old and new
Far from showing signs of fatigue, Strange New Worlds has breathed new life into a franchise close to its 60th anniversary.
Star Trek has been a mainstay in popular culture since 1966, when we first encountered the USS Enterprise and its crew comprising of James T Kirk, Spock, Uhura, Bones, Sulu et al. Since then, there have been a remarkable 12 series in total, across live-action and animation, and 13 feature-length films. It's safe to say diving into the franchise for the first time might prove a daunting task, and even casual fans might be put off by the sheer scale of the canon, which now spans several different centuries and timelines. Launching in 2022 on Paramount Plus, Strange New Worlds has united fans as few Star Trek shows have, earning praise for its sense of fun and capturing the spirit of Gene Roddenberry’s original show while forging its own distinct identity. Strange New Worlds takes place in the decade leading up to the events of the Original Series, before William Shatner’s Kirk and Leonard Nimoy’s Spock's time on the Enterprise. Here, she is helmed by Anson Mount’s Christopher Pike, assisted by a younger Spock in the shape of Ethan Peck and Rebecca Romijn’s Number One. The series has proved such a sensation its second season airs this month and a third is already in development. Read more Star Trek’s Leonard Nimoy nearly directed the Doctor Who TV movie Sir Patrick Stewart not ruling out return as Star Trek's Jean-Luc Picard While a spin-off from Discovery, Strange New Worlds is incredibly accessible for newcomers, focusing more on a new storyline each week, especially in its first season. The worlds and friends and foes the Enterprise encounters along the way, while including some species and names that will be familiar to Trek fans, for the most part avoid becoming too convoluted. There are few mentions of the events of Discovery, which no longer shares the same part of the Star Trek universe - instead jumping ahead to the 32nd Century at the end of its second season. If we compare this to something like Picard, for the uninitiated there is far more to consume to truly understand Patrick Stewart’s return to the Star Trek world; seven seasons of The Next Generation spanning 178 episodes, in addition to four feature films with the Next Generation crew and story threads from Star Trek (2009) and Star Trek Voyager, which also ran for seven seasons. Strange New Worlds offers plenty of variety in its storytelling and character development, making it far from a rehash of Trek gone by. Anson Mount’s Pike is charismatic but torn by events that may occur in his future and over the knowledge that Number One is a genetically-modified Illyrian, outlawed by Starfleet - which becomes a major plot thread over the course of season 2. Christina Chong’s La'an Noonien-Singh is a descendant of Khan, a major antagonist in the Original Series and famously the film The Wrath of Khan, and her heritage is a large part of her character development. While several characters go on to appear in the Original Series, it never feels cheap here, with the new actors putting their spin on them while still honouring those who have come before. View oEmbed on the source website The array of scenarios shows the endless potential for the franchise, from Spock and his fiancée T'Pring swapping bodies to Chief Medical Officer Joseph M'Benga’s storybook coming to life and the Enterprise becoming its characters. This culminates with Pike witnessing an alternate future and interacting with one James T Kirk. Alternate timelines and Kirk also come into play in season 2 which, again, offers a further variety of adventures and developments for the Enterprise, often taking the decision to isolate members of the crew, giving them more growth and showing the strength of its ensemble cast. Another clever plot has a planet that gradually causes those on it to lose their memory. For those worried about the quality of the second season, they can rest assured that it delivers more of the same blend of thrills and surprises as the first, maintaining the cast dynamic and allowing other cast members to take centre stage. We are due a crossover with the well-received animated series Lower Decks which will whet fans’ appetites, and it will be interesting to see how this is incorporated into the show and received by fans unfamiliar with the animated flick. Far from showing signs of fatigue, Strange New Worlds has breathed new life into a franchise close to its 60th anniversary, showing the potential Star Trek still has to offer in the 2020s. It brings the sense of wide-eyed wonder and escapism that classic Trek does while still offering plenty of philosophical musings and commentary on the state of society in 2023. If fans are looking for somewhere to dive into Star Trek without having to watch endless seasons or movies, then Strange New Worlds is the perfect jump-off point, offering a gateway to the wider Star Trek universe - with the second season more than matching the high bar set by the exemplary first season. Star Trek: Strange New Worlds season 2 will land on Paramount Plus on 15th June. Check out more of our Sci-Fi coverage or visit our TV Guide and Streaming Guide to see what's on tonight. Take part in the Screen Test, a project from Radio Times and the Universities of Sussex and Brighton, to explore the role of television and audio in our lives. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Don't underestimate Doctor Who's UNIT spin-off
The reported spin-off could live up to Torchwood's legacy. Here's how.
UNIT has been a mainstay in the world of Doctor Who since the days of Patrick Troughton’s Second Doctor – but after 50 years, it appears it’s finally getting its moment in the spotlight. The reports that the BBC will launch a new spin-off focused on the organisation and starring Jemma Redgrave as Kate Lethbridge-Stewart is incredibly welcome – and long overdue. After all, while UNIT featured prominently in Classic Who, its impact on New Who has faded somewhat. But that could all be about to change. Brigadier Lethbridge-Stewart, played by Nicholas Courtney, first appeared in 1968's Web of Fear which saw the Doctor encountering the Yeti and Great Intelligence. UNIT would go on to become a regular fixture in the classic series, especially for Jon Pertwee’s Third Doctor who spent much of his run in exile in 1970s Earth and working alongside UNIT and Lethbridge-Stewart. UNIT also featured prominently during the initial part of Tom Baker’s stint in the TARDIS and appeared in the 20th anniversary serial The Five Doctors. We last saw the Brigadier in one of the final episodes of the Classic Era, in 1989’s Battlefield, working with Sylvester McCoy’s Seventh Doctor. The Brigadier would grace our screens one final time in the first of the modern spin-offs, The Sarah Jane Adventures, in 2008. The organisation has featured less prominently in modern Who, making brief appearances for the Tenth and Eleventh Doctors, perhaps most notably in the 50th Anniversary special The Day of The Doctor in 2013, facing off with the Zygons and returning for several story arcs for Peter Capaldi’s Twelfth Doctor in seasons 8 and 9. While Kate Lethbridge-Stewart has featured in the series since 2012’s The Power of Three and most recently appeared in the Thirteenth Doctor’s final episode, we have only scratched the surface of the character. A spin-off will provide an opportunity to dive deeper into her and her family legacy, and to develop the character beyond simply being the Brigadier’s daughter – something she’s long deserved. Prior to the UNIT series, we will see Kate and the organisation in action in the 60th anniversary specials alongside David Tennant’s Fourteenth Doctor and in the first season with Ncuti Gatwa’s Fifteenth Doctor. It’s a huge moment for the show, which hasn’t had UNIT as a regular feature since the days of the Second and Third Doctors, and will give fans an opportunity to see how the organisation has evolved in the years since. How does it fit into a modern-day version of the Doctor Who universe? It’s an exciting prospect that has only been briefly touched upon in recent years. The reported UNIT spin-off is currently being envisioned as a Torchwood style offshoot of the main show. A key part of Torchwood’s success was seeing characters and monsters from the main series cross over – and this could definitely happen again. Freema Agyeman, companion to the Tenth Doctor, was working for UNIT in season 4 when she put in a call to the Doctor for some help to battle against the Sontarans. Might she figure somehow in the show if she still has ties to the organisation? Or could other past companions make a return in this way? With Torchwood off screen for years, there is scope for this to bridge the gap – and with rumours circulating of a return for Eve Myles’s Gwen Cooper, this might be the place for her to appear. Matt Smith and David Tennant’s Doctors also both crossed over with The Sarah Jane Adventures, while Peter Capaldi made an appearance on Class, so there's plenty of room for Ncuti Gatwa to feature in some capacity in this show – and he should. The Sarah Jane Adventures would certainly still have had success without the Doctor's appearance, but there's no denying the thrill of seeing the Time Lord show up. Ultimately, a UNIT-centred show has the potential to follow on from the successes of not just Torchwood but The Sarah Jane Adventures, too, showing how the Doctor’s friends and allies face terrifying threats when the Time Lord is just not around to save the day. If UNIT only appears every few years in the main show, there is only so much room for development. The reported spin-off represents the perfect opportunity to make the Whoniverse feel larger and to honour the legacy of one of the most iconic elements of the classic series, fleshing it out further and facing foes both old and new. Of course, Russell T Davies’s previous tenure produced two hugely successful spin offs in Torchwood and The Sarah Jane Adventures. There is no reason why a UNIT-centric show can’t continue this and exist with other shows at the same time, expanding the Who universe further and introducing us to new characters and monsters that fans will hide behind the sofa from for years to come. View Green Video on the source website Doctor Who is available to stream on BBC iPlayer with episodes of the classic series also available on BritBox – you can sign up for a 7-day free trial here. To find out what's on telly tonight, check out our TV Guide and Streaming Guide or visit our dedicated Entertainment hub. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Daisy Jones & The Six - how does it compare to the book?
Riley Keough and Sam Claflin star in the Amazon adaptation of the smash-hit novel.
Daisy Jones & The Six, Taylor Jenkins Reid's 2019 smash hit novel, depicts the rise and fall of a fictional 1970s rock band. The story, which is loosely based on Fleetwood Mac, catches up with the group three decades on from their sudden split after the mammoth success of their breakthrough album, with the various players reminiscing about that transformative period in their lives. It has since been turned into a drama, with Riley Keough cast as Daisy Jones and Sam Claflin in the role of The Six's guitarist and singer Billy Dunne. The Amazon Prime Video series stretches the story across 10 episodes, covering the breadth of the '70s and its changes in music and society while exploring how a small family-led group became a global sensational. But how does the show compare to the source material? The good news is it's a largely faithful adaptation, which is unsurprising given Reid's involvement. But as with any retelling, some details have been altered, with certain storylines expanded and character arcs fleshed out. View Green Video on the source website The most obvious difference is the framing of the narrative. In the book, the majority of The Six’s story is told through interviews that take place in 2012, with the group reflecting on events. In the show, however, the interviews, while still serving an important role, bookend the episodes, allowing the action to predominantly unfold in the '70s. Those conversations also take place in the late '90s, which allows the same cast to be used throughout – albeit slightly aged-up – rather than drafting in a new set of actors to play the different generations. Daisy and the group's early years, which are covered in the first section of the book, are glossed over in the show, with original member Chuck losing his life in the Vietnam War. It makes total sense for the show to skip to the events that the interviews are concerned with, namely the band's sudden collapse at the height of their success. While Daisy's unhappy childhood is depicted in the show, it takes on a larger role in the book. The length of the series also allows it to tap heavily into the culture of the time, chiefly the music that defined it, including the Beach Boys, Roxy Music, the Rolling Stones, Earth Wind & Fire and Fleetwood Mac. By spending significant time and care on building the backdrop to The Six, you really get a sense of their standing in the musical landscape of that era. The nature of the group's meeting with prominent figures Rod Reyes (Timothy Olyphant) and Teddy Price (Tom Wright) differs somewhat, with it much more fleeting in the show. And Rod's role has also been reduced slightly, as has the role of Simone, Daisy's friend and fellow musician. In the novel, there's more focus on her friendship with Daisy, particularly when she falls on hard times. In the source material, Daisy travels to Thailand, where Simone comes to stay with her and her husband Nicky, but the location has moved to Greece in the show, with the storyline extended to fill the majority of the episode, in turn fleshing out that moment. Nicky is also now Irish rather than Italian. Daisy Jones & The Six brings Read's much-loved novel to the screen in style, capturing the '70s rock 'n' roll scene in all its glory, warts and all, as it charts The Six at their highest and lowest points. There are a number of departures from the novel, big and small, but the show never loses sight of what made it such a success: the dynamic between Billy and Daisy and, of course, the music. Daisy Jones & The Six is streaming now on Amazon Prime Video. Try Amazon Prime Video for free for 30 days. Taylor Jenkins Reid's original book Daisy Jones & The Six is also available now. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
The Mandalorian season 3 needs to learn some big lessons from Andor
The Mandalorian has been one of the most successful entries in Disney’s era of Star Wars content to date, depicting the adventures of Din Djarin (Pedro Pascal) and Grogu as they explore new and familiar worlds. But that doesn’t mean it’s without its flaws. From arbitrarily packing characters from every corner of the galaxy into episodes to squandering narrative opportunities, it’s got a lot to learn from another Star Wars series – the Diego Luna-led Andor. Perhaps one of the most surprising aspects of Andor was its lack of interaction with some of the players introduced in the original trilogy and Rogue One, making it a more self-contained entity. Yes, we got to explore more of Senator Mon Mothma’s backstory, but this felt earned. As she’s been kept to the sidelines, it was a welcome exploration of what made her want to get involved in the Rebel Alliance and also gave us something we haven’t seen before - the politics of the Star Wars universe between Episodes III and IV. It's to Andor’s credit that characters like Darth Vader, Galen Erso and Director Krennic weren’t used, giving us a largely new set of faces. The lack of existing characters allowed us to get a sense of who our new players are and their motivations, especially Stellan Skarsgård’s Luthen Rael and Denise Gough’s Dedra Meero, while helping to significantly expand the development of Cassian Andor himself. While Andor is set in a familiar time frame that has been explored in other projects like Solo, Obi-Wan Kenobi and Rebels, it didn’t take away from the series. It still felt urgent and fresh, offering a deeper exploration of the fledgling Rebellion and Imperial rule than we’ve seen before. While the first season of The Mandalorian largely succeeded with this in its later time period, the second season felt like it was trying to link almost every episode to other recognisable aspects of the franchise, be it Bo-Katan from Clone Wars and Rebels, Boba Fett, Luke Skywalker or Ahsoka Tano. Although some of these were organically integrated into the wider story, others felt out of place and simply there to set up arcs in other projects. Similarly, one of the biggest issues with The Book of Boba Fett was its over-reliance on other characters and storylines. Continuing Grogu and Din’s storyline away from their own show felt jarring and took away from the central narrative of the series, while cameo appearances from Cobb Vanth and Cad Bane felt shoehorned in. So, what can The Mandalorian do now? There’s a big opportunity for it to explore a largely uncharted timeframe between Episodes VI and VII. If the focus is kept on the main storyline and less on setting up further shows or separate plot lines, the series can be more effective and push the franchise as a whole forward as Tony Gilroy has done beautifully with Andor - hopefully the likes of Jon Favreau and Dave Filoni have taken note of this. The Mandalorian and The Book of Boba Fett aren’t the only shows guilty of squandering narrative opportunities at the expense of fan service. The much-anticipated Obi-Wan Kenobi fell into some traps after it spent time with a number of familiar faces, including a surprisingly prominent appearance from a young Princess Leia and of course a face-off with Darth Vader. Leia’s appearance seemed especially unnecessary with a previous link prior to Episode IV questionable, and it is entirely possible for an Obi-Wan project to exist without fighting his former padawan. The necessity for him to clash again with Vader prevented opportunities to expand the character away from Anakin and for the show to deepen its timeframe within the franchise. Andor showed how to integrate existing characters with new worlds and storylines rather than feeling tired or forced, as some of the cameos in The Mandalorian, The Book of Boba Fett and Obi-Wan Kenobi have done. The Mandalorian at its best has been a breath of fresh air for the Star Wars universe, offering glimpses at new worlds and characters. But at times, it’s felt distractingly like a launching pad for spin-offs. We can only hope Favreau, Filoni and company lean more into the fractured universe post Episode VI – that may well have been explored in the now-cancelled Rangers of the New Republic – with Andor’s success having shown how to handle a fresh corner of the universe. View Green Video on the source website The Mandalorian is available to stream on Disney Plus — sign up to Disney Plus now for £7.99 per month or £79.90 for a full year. Check out our list of the best movies on Disney Plus and best shows on Disney Plus, or visit our TV Guide and Streaming Guide to see what's on tonight. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Slow Horses season 2 differs from the book in a major way
Mick Herron's source material is expanded upon in the Apple TV+ series. **Warning: This article contains spoilers for Slow Horses season 2**
Slow Horses, based on the acclaimed espionage novels from Mick Herron, has been a considerable success for Apple TV+, with the drama now well into its second season. The series, as with its source material, is focused on a potential Russian sleeper cell, dormant since the Cold War, which is operating in the UK. Suspicions are aroused when washed up British agent Dickie Bow, a contemporary of Jackson Lamb and David Cartwright, is found dead. While the first season was largely faithful to the source material, there were some deviations as it rattled towards the end, one being the expansion on Lamb's involvement in the death of Charles Partner, colleague of fellow Slough House exile Catherine Standish. There were also hints that Olivia Cooke's Sid Baker may not have met her demise earlier in the series, which is alluded to much further down the line in the novels. Season 2, based on the second book in the collection Dead Lions, has also strayed from Herron's plotting in places, with the major divergences listed below. From Upshott with Love Season 2 follows the basic outline of the book but begins to deviate early on, with River Cartwright's undercover operation in the sleepy village of Upshott, where Dickie’s killer was last spotted, travelling in a different direction. River scopes out the village for clues about Dickie’s murder in both the series and the novel, but the manner in which the investigation unfolds varies drastically. In the series, the only locals we cross paths with are Kelly Tropper's parents Duncan (who owns the flying club) and Alex. In Dead Lions (the second novel), the investigation into events in Upshott is far grander in scope, with River encountering many of the locals in the pub and through his digging, whereas in the series it feels more intimate just focused on the Troppers, although this may have been in part due to COVID restrictions at the time of filming. The novel has a grander conspiracy at play including an MOD site and a larger portion of the village ultimately revealing themselves to be Cicadas. With much of the book focused on River’s storyline and the series spinning many plates, it makes sense for the show to streamline the story somewhat, expanding the role of some of the other Slough House members. Min's demise As in Dead Lions, Min Harper makes a surprisingly early exit after proving himself to be an integral part of the team in the first season. This forms a key part of the storyline in both, with heavy implications for Louisa Guy and the Slough House team more broadly. Min is drugged by the Russians that he's monitoring alongside Louisa but unlike the book, which is somewhat ambiguous, we see Min's death and the events leading up to the discovery of his body laid out in much more detail on screen, further emphasising Louisa's need for vengeance. Shirley & Roddy Shirley Dander is a new addition to the Slough House crew in season 2. Unlike the novels, which give her more to do further down the line, she has a meatier role in the adaptation. We see Shirley trying to help retrieve CCTV footage for the investigation into Dickie’s death, and she's involved in a thrilling chase on a train with Roddy, which wasn't the case at this stage in the novel. That decision ups the stakes for both characters and helps the audience to form more of a connection to Shirley. The team behind the show also ditched Shirley's cocaine habit, which is a key part of her character in the books. Lamb and Cartwright Beyond some of the changes to the plot of Dead Lions, some of the storylines alluded to in the first season are expanded upon, with Lamb doubling down on his involvement in the death of Charles Partner, something hinted at throughout the books but not directly addressed until much later. David Cartwright's role is also expanded, with the retired MI5 officer given a crucial role in the conflict's culmination. Surprisingly, light isn't shed on Sid Baker's whereabouts, but if the novels are anything to go, there's plenty more to come from that strand of the story. While still faithful to the core of Dead Lions, Slow Horses season 2 does expand on some of the book's details to give some of the characters meatier roles and to build on some of the work laid out in the first season. Far from proving detrimental, the majority of the changes make sense, helping to keep the narrative flowing and in some cases, increase the stakes. With seasons 3 and 4 on the way, there's plenty more where that came from. Episodes 1-3 of Slow Horses season 2 are available to watch now on Apple TV+, with further episodes airing weekly. Sign up to Apple TV+ now. Visit our Drama hub for more news, interviews and features, or find something to watch now with our TV Guide or Streaming Guide. The Christmas double issue of Radio Times magazine is on sale now – subscribe now. For more from the biggest stars in TV, listen to the Radio Times View From My Sofa podcast.
Shetland season 7 finale is the perfect send-off for Jimmy Perez
The latest episode marked Douglas Henshall’s last appearance in the hit BBC drama. **WARNING: Contains finale spoilers**
Led by Douglas Henshall’s Jimmy Perez and based on the acclaimed novels by Ann Cleeves, Shetland has been a huge success for the BBC since 2013. With the news Henshall was leaving after the show’s seventh season, fans may have worried that the series would struggle to wrap up Jimmy’s storyline and give him a satisfying ending. The finale of Shetland's seventh season wrapped up threads from across this series but also across the show as a whole, providing a lovely send-off for Perez and setting up the future of the show with several of its cast still on hand to lead the announced eighth run. The finale clears up who was responsible for the murders of Connor Cairns and his girlfriend Bryd, also tying up the environmental attacks planned on the island, but the storyline that most directly ties into Perez is that of Lloyd Anderson, a painter on the island who fled his past in the US and was to be deported for his suspected involvement in a murder in the '80s. When it became clear that Anderson might be innocent and that his partner was the real culprit, it provides a moral dilemma for Perez, who isn’t happy to send a man to his certain death in the US and so risks his career to help Lloyd live and escape the authorities. This ending is perfectly in keeping with Jimmy’s belief in right and wrong and sense of justice, and will be sure to please long-term fans of both Cleeves' novels and the show. This is a more impactful ending than Jimmy being killed off or simply resigning; it shows how his moral fibre and sense of conflict helped him continue to do good. The series had long been hinting at lingering doubts over remaining in the job through conversations with Lloyd, Tosh and Meg and ultimately it is his sense of guilt for those he hasn’t been able to save that helps Jimmy save Lloyd in his final role as a detective. The subtle hints at Perez’s departure had been deftly handled and let him to go out on his own terms with a well-timed departure, allowing his story to come full circle while also sowing seeds for what things might look like in his absence. The little touches at the end between Jimmy and Tosh show how far their relationship has come and how she will have an integral role for the future of the drama, having learnt a huge amount from her mentor. This ending also serves as a reminder of just how well Douglas Henshall and Alison O’Donnell have bounced off each other for the past nine years, with their relationship and chemistry a key point in the show’s long-standing success and an ingredient that will be absent moving forward. Perez’s relationship with Meg Pattison has been one of the series’ other strengths, even as it has moved past Cleeves’ source material. Meg has been a vital part of both season 6 and 7, initially looking after Perez’s father and the troublesome Donna Killick on her return to the island in the last season. There was immediate chemistry between the pair and a will-they-won’t-they thread soon developed, as viewers hoped Jimmy could finally have a future with someone who cares about him. After initially seeming like his chance with Meg may have sailed past, and with Meg’s reticence over Jimmy’s commitment to his job and seeming lack of care for others, the pair do – it seems – commit to something longer term, both making clear their affection for one another. Jimmy has struggled to connect to others following the death of his wife and with his mother and father's deaths in the past two seasons, it has been a rough time for him. So his commitment to a relationship with Meg is a truly uplifting ending for him and one sure to bring a smile to many viewers' faces. Jimmy saying he didn’t think he’d ever feel this way again demonstrates how important Meg has been in his life over the past two seasons, and it is a more than welcome ending for one of Britain’s best loved TV detectives. The subtle development of the pair's relationship and the clear strains at times, make this ending feel even more sweet and fitting. Shetland’s seventh season has been hinting at Jimmy Perez’s send-off, dropping hints about his future in the force, the insular nature of his existence and cutting off those close to him, so it's truly a treat to see a character who has been through the wringer get the happy ending he deserves. Douglas Henshall will be much-missed in the role, but it opens up some exciting new directions for the series – and viewers will no doubt be back to find out what life is like without Jimmy. Shetland season 7 is available to watch on BBC iPlayer. Ann Cleeves's Shetland novels are available to buy now. Check out more of our Drama coverage or visit our TV Guide to see what's on tonight. The latest issue of Radio Times magazine is on sale now – subscribe now and get the next 12 issues for only £1. For more from the biggest stars in TV, listen to the Radio Times podcast with Jane Garvey.
Rings of Power composer says soundtrack creates "continuity" with movies
"I wanted to create a continuous experience."
The Lord of the Rings: The Rings of Power made its long-awaited debut on 1st September, with many critics impressed with what's on offer in the opening two episodes of the series, which is set thousands of years before the events of the films. There's much that deserves praise, from astounding visuals to a cast who are pulling their weight to the sumptuous score, which RadioTimes.com spoke exclusively about with composer Bear McCreary. He said that while he's a "huge fan" of J R R Tolkien's books, it was "Peter Jackson's films in conjunction with Howard Shore's scores that brought Middle Earth to life" for him and subsequently "changed the trajectory" of his life. McCreary worked with Shore on the series, adding: "He was very supportive and just a delightful guy to get to know, and I'm so thrilled with the work that he's contributed. I feel like he created this fanfare that majestically takes us back to Middle Earth, takes us back to those Peter Jackson films." But he went on to emphasise that while there are parallels between the two scores, the music in The Rings of Power has its own identity: "I'm drawing from the colours and emotional tools that Howard Shore used in the films, but I'm using them in a different way. I think it sounds, technically, nothing like the [musical] cues Howard Shore wrote, but I think fans will hear the line that can be drawn from this, that will become the cues Howard Shore wrote for the film, so continuity is the word that I kept in my mind." McCreary cited the Dwarves to illustrate his point: "In the Peter Jackson films, the Dwarves are a people in diaspora. There is a sense of sadness and darkness to everything pertaining to the mines of Moria, to the Lonely Mountain. Yes, Gimli was a very comedic character, but at the end of the day we understood him almost to be like an orphan. I want to use those colours that Howard Shore used, in particular the deep male vocals. "But in contrast, in the Second Age [the films are set in the Third], we're not seeing the mines of Moria, we are seeing Khazad-dûm, we are seeing a society at its peak. They are a capital of industry, there is mining, there is agriculture, there is light. What does that sound like? Suddenly, those deep male vocals don't sound like a sad song of diaspora. It almost sounds like a nationalist Soviet work song. It's uplifting, it's energetic." He added: "What I want as a fan is to be able to sit down and watch 50 hours or so of the Rings of Power, then... marathon the director's cut versions of the Peter Jackson films in one day, and feel a continuous experience. So I'm doing my part to make that happen." Read more on The Rings of Power: Rings of Power release schedule: When are Lord of the Rings episodes out? How to watch The Lord of the Rings and The Hobbit movies in order Meet the cast of The Lord of the Rings: The Rings of Power What is Valinor in Lord of the Rings: The Rings of Power? Who is Halbrand in The Rings of Power? Theories for Charlie Vickers’s character What are Harfoots? The Rings of Power Hobbits and history explained Who is Morgoth in Lord of the Rings: The Rings of Power? Who is The Stranger in The Rings of Power? Daniel Weyman role theories Who is Galadriel’s brother? Meet Finrod actor Will Fletcher What is the Second Age of Middle-earth? Rings of Power timeline explained The Lord of the Rings: The Rings of Power episodes 1 and 2 are available now on Amazon Prime Video – you can sign up for a free 30-day Prime Video trial. If you’re looking for something else to watch in the meantime, check out our TV Guide or visit our dedicated Fantasy hub. The latest issue of Radio Times is on sale now – subscribe now to get each issue delivered to your door. For more from the biggest stars in TV, listen to the Radio Times podcast with Jane Garvey.
Shetland season 6 recap: Why was Jimmy arrested?
Season 6 ended very badly for the detective.
BBC crime drama Shetland, based on Ann Cleeves's hit novel series, returns tonight (Wednesday 10th August) for season 7, with DI Jimmy Perez and his team tasked with solving a missing person case on the titular Scottish islands. But that investigation isn't the only focus of the upcoming instalment. Lead actor Douglas Henshall recently announced that he has exited the series with season 7 his final outing as the detective – news which was met with great sadness by fans and cast members. Jimmy was in quite the pickle at the end of season 6 when he was suspended from the force and placed under arrest, which spills over into the new episodes. But why did he find himself in that position? View oEmbed on the source website We've recapped what happened below ahead of season 7. Shetland season 6 recap: Why was Jimmy arrested? The last season ended with Jimmy suspended from the force. Both the detective and Duncan (Mark Bonnar) were in the frame for the murder of Donna Killick, the mother of Duncan's son who had previously appeared in season 4. After her release from prison, Donna returned to the islands where it emerged that she had cancer and was dying. READ MORE: Shetland season 6 ending explained: What will happen to Jimmy Perez and Duncan? It was later revealed that Donna was a murderer after Jimmy reopened the cold case into the death of teenager Lizzie Kilmuir, which another woman had served time for. Jimmy was deeply concerned about her influence over Duncan, which culminated in Bonnar's character assisting Donna in taking her own life. He was later arrested after turning himself in. Jimmy, who was present when Duncan confessed, was later arrested for his involvement in the death of Donna, leaving our leading man in his most precarious position yet. In the season 7 trailer, the detective is back in the job and not behind bars. But it remains to be seen how that is resolved – and what happens to Duncan. READ MORE: Shetland author reacts to Douglas Henshall exit: "He was perfect" In season 6, Jimmy was also tasked with caring for his elderly father James who was suffering from dementia. That, and the death of his mother Mary, left him visibly distracted and fatigued. Could the toll that's taken on him, plus the events surrounding the death of Donna, be the reason for his upcoming exit? Alongside that, Jimmy was also investigating the death of renowned lawyer Alex Galbraith, who was shot at his home while on the phone to his teenage daughter. Galbraith had also helped facilitate Donna's early release on compassionate grounds, leading Jimmy to initially suspect that Donna was involved. There were multiple suspects in the killing, all capable of doing the deed, but the evidence eventually led the police to Alex's politician wife Eve. He wanted to come clean about the death of a teenager that he had been involved in 20 years ago, but Eve knew that would destroy both of their lives and careers and took steps to keep him quiet,. READ MORE: Shetland's Douglas Henshall says exit was "a little anticlimactic" The instalment ended with Tosh learning that she was pregnant. She had questioned whether she was ready to be a mother throughout the season, and on seeing the positive test, she initially looked extremely worried. But her expression morphed into a smile, suggesting that she's excited for the road ahead. With Jimmy not returning for season 8, could Tosh step into his shoes? She'll have more on her plate than ever before with a baby in the picture, but if anyone can do it, it's Tosh. But despite the uncertainty hanging over the drama, one thing's for certain: it promises to be another eventful season for Shetland's locals and its dedicated police force. Shetland season 7 begins on Wednesday 10th August on BBC One and BBC iPlayer. Ann Cleeves's Shetland novels are available to buy now. Check out more of our Drama coverage or visit our TV Guide to see what's on tonight. The latest issue of Radio Times magazine is on sale now – subscribe now and get the next 12 issues for only £1. For more from the biggest stars in TV, listen to the Radio Times podcast with Jane Garvey.
Can Shetland survive without Jimmy Perez?
With the BBC drama's leading man waving goodbye, what now?
Crime drama Shetland has been a huge success for the BBC following its debut back in 2013. The series, which is enjoyed by audiences in the UK, US, Australia, Scandinavia, Japan and multiple other regions, offers a compelling look at the island community which populates its episodes, including its police department, headed up by Douglas Henshall's Jimmy Perez. But with Henshall recently announcing that the upcoming seventh season will be his last outing in the role, we're left with two critical questions: who will step into his shoes in season 8? And what does the future hold for Shetland? While the series initially worked directly from Ann Cleeves's source material, several of the seasons in recent years have moved away from adapting her work, which leaves the team behind it free to write as they see fit, which will now include appointing a new lead. There's a possibility that the executive producers could pass the baton to a fan favourite supporting character, such as Alison O'Donnell's Tosh, who has been a key player in all six seasons to date. That would echo the trajectory of Inspector Lewis, which focused on Inspector Morse's sidekick and was not based on Colin Dexter's writing. But despite the success of the ITV series, which spanned nine seasons – a greater lifespan than its parent series – it feels unlikely that a Shetland spin-off is on the cards. There's also the possibility of Shetland following in The Bay's footsteps, with the ITV drama bringing in Marsha Thomason following Morven Christie's exit. That would give the series space to observe the island with a fresh pair of eyes, offering new avenues for discovery and, crucially, tension. The introduction of a newcomer would also inject the show with a fresh feel and tone, as is the case with the addition of each lead detective in Death in Paradise. Regardless of who takes the reigns, the shift in tone or personality might prove off-putting for audiences. While Tosh and Sandy (Steven Robertson) have quirks and traits that make them standout characters who offer an interesting counter to Perez, are they suited to being the central focus? A new addition also poses the same unknown. However confident the Shetland bosses are in their decision, it will be the viewers who decide if they've chosen correctly. Perez's exit could also signal the end of the road for other characters, such as Mark Bonnar's Duncan, who is heavily tied to the lead due to their Cassie connection. While the show is first and foremost a detective series, the human side of Perez and his relationships is a central part of its appeal and continued success. To ensure that remains a key aspect of the narrative moving forwards, the creative team behind it will need to establish a similar heart and focus with whoever the new lead is. If we do see Bonnar and other core cast members exit, Shetland's long-term survival would undoubtedly be under threat, with a mass exodus likely proving too drastic a shift, both for audiences and also those who operate behind-the-scenes. The ultimate question is whether a new lead can maintain the acute interest that has resulted in six seasons of the show to date, with two more instalments on their way? With the novels and subsequent series built around Perez, will audiences be able – or willing – to embrace change? There's currently ample appetite for it to continue in the short term, and the BBC is confident it can continue the story in season 8. But beyond that, it's unknown if Henshall's exit has signalled the beginning of the end. Shetland season 7 begins in August 2022 on BBC One and BBC iPlayer. Ann Cleeves's Shetland novels are available to buy now. Check out more of our Drama coverage or visit our TV Guide to see what's on tonight. The latest issue of Radio Times magazine is on sale now – subscribe now and get the next 12 issues for only £1. For more from the biggest stars in TV, listen to the Radio Times podcast with Jane Garvey.
How Obi-Wan Kenobi's composer created new sounds for old characters
Natalie Holt opens up on her experience working on the Star Wars spin-off, how John Williams got involved and how it compared to her work on Loki.
Thanks to the work of legendary composer John Williams, the Star Wars saga has one of the most iconic soundtracks in movie history - which must make it a little daunting for new composers coming to the franchise to follow in his footsteps. Still, Obi-Wan Kenobi composer Natalie Holt faced even more pressure when Williams himself unexpectedly offered to contribute to the series alongside her own work, keen to finally write a theme for Ewan McGregor's Jedi Master. "[Williams] said to Kathleen Kennedy [executive producer] that he wanted to give Ben a theme, because Obi Wan is the only heritage character that he didn't really give a theme to originally," Holt told RadioTimes.com. "Having John scoring Obi-Wan’s theme just felt so appropriate. It had just the right balance for that character. John's got this 40-year history within the franchise, he's a genius, but he's also been scoring Star Wars from its infancy, so he is the voice of Star Wars." Still, he's not the only one any more. Following the conclusion of Disney Plus's latest Star Wars adventure, we sat down with Obi-Wan Kenobi series composer Holt to discuss how the show’s sound fits into the broader franchise, as well as what it was like working with Williams and director Deborah Chow while creating new music for iconic characters, such as Princess Leia and Darth Vader. Holt, who also composed for fellow Disney Plus series Loki, discussed how her creative process differed for Star Wars and the MCU, while still striving to bring the same sort of unorthodox sounds to Obi-Wan Kenobi that she worked into the Tom Hiddleston series. So, Natalie, were you a fan of Star Wars growing up? Yes. I watched it with my dad when I was a kid on VHS, so I saw it many times on repeat. I had a huge crush on Luke. I think it was my first romance, you know? How did you get into film and TV composing? Watching ET when I was a kid was the thing that made me really notice music in a film. I don't think I realised it was there before, but hearing that music when they're riding their bikes, and then having it stuck in my head, was a big moment for me. John Williams was a huge influence, too. When I met him, I said, "You're the reason I started composing." He was like "Oh, sorry about that." How was actually working with him? Getting to work with him was surreal. We weren't sure if he was going to give us permission to use his themes at first. Then he watched [Obi-Wan Kenobi], heard some of my music that I'd already recorded, and allowed us to use it. John said to Kathleen Kennedy that he wanted to give Ben a theme, because Obi Wan is the only heritage character that John didn't really give a theme to originally. [Obi-Wan] used the Force theme in A New Hope but he sort of died relatively early on, and I don't think John realised then that he was actually such an important character. John came on board with our project after a month. View oEmbed on the source website How did you find scoring some of the most iconic characters in the Star Wars franchise? We were very clear that Darth Vader isn't the Vader of Episode IV yet. He's still half Anakin. You've got the moment when his mask cracks and he says to Ben, "You didn't kill Anakin Skywalker, I did." Then you realise he's finally gone and he's full Vader. That’s when you hear the Imperial March. Everyone said we shouldn't hear it until then, because otherwise we'll lose the power of that moment. They wanted something visceral, angry and just full of rage [for the earlier scenes]. So I used the rhythm from the Imperial March underneath, but over the top there's a hunting horn and double bass, and it really goes dark. For example, when Vader is walking down the street in episode three, we've never seen him be that evil. I feel privileged that I got to score such an evil, iconic moment where we're seeing this legacy character find full power. Are there any other characters who stand out? With Leia, everyone wanted something driving, rhythmic and innocent. When she went up the tree, it was an opportunity to give her a childhood theme, something that was light and joyous. But this series is leading to her becoming the Princess Leia that we all know in A New Hope. And in episode six she puts Tyla’s holster on and we realise that she's changed, and then she's earned her more developed, mature Leia theme which we hear at the end of the finale. It was a question of working with the old and the new, and being respectful. It was a journey, walking that tightrope and making sure we were being the right amount of Star Wars. The series bridges the original two trilogies. Were you torn on where to pull influences from? I think Deborah [Chow] and I felt that we are witnessing a very sad, lonely Obi-Wan. He's reflective, he’s turned himself off from the Obi-Wan Kenobi that he used to be, and he's living this narrow life. You feel like he's on a treadmill – that if the events of episode one hadn't happened, this would be how he lived out his days. What happens in the series forces him to re-examine his separation from the Force and he eventually finds Qui-Gon. He gets that connection back in episode six. Having John scoring Obi-Wan’s theme just felt so appropriate. It had just the right balance for that character. John's got this 40-year history within the franchise, he's a genius, but he's also been scoring Star Wars from its infancy, so he is the voice of Star Wars. The trailer uses a bit of Duel of the Fates and Battle of the Heroes. Were you tempted to use those compositions at any point? I don't have the power to just go and use a Star Wars theme. John Williams decided where his music was going to be used, and I don't get to decide what trailer music goes together. I just got to write the original new bits under the direction of the Star Wars team. So unfortunately, that wasn’t down to me. How did you manage to find your own voice within the larger franchise? I think my Star Wars experience was more akin to John Powell's on Solo than Michael Giacchino’s for Rogue One or Ludwig [Göransson's] for The Mandalorian. Rogue One was a new thread of the story and Michael didn't use any of the heritage themes. The same goes for Ludwig and The Mandalorian – we're away from the classical canon, as it were. I suppose it's just myself and John Powell who have worked with those legacy characters here and on Solo. We've both worked with John Williams to set the tone and I think, yeah, it's really difficult. I spoke to John Powell about it. I met him in LA and he said when he first landed Han Solo and he was frozen with the enormity of it, after growing up with the franchise and being a huge fan of John Williams, like all composers. So it feels like an enormous weight of responsibility and you just hope that you're doing it justice. You must be happy to be breaking new ground, as the first female composer within the franchise ? Yes, definitely. It's obviously brilliant to know that I'm here and other women can see that it's about finding the right person to do the job. It's about so many more things though, too, like how difficult it is to have the money to learn an instrument, to train, and to go to music college to do a Masters. I went to state school, had a scholarship to go to music school, and I had a scholarship to study my Masters as well. So I came out debt-free from university and was able to do unpaid, short films and assist as a fun hobby. For me, it's important that people don't feel put off from entering into the industry, not just for gender reasons, but financial reasons, too. I think it would be sad if the only voices that we have in the industry are people wealthy enough to be there. View oEmbed on the source website How did your creative process differ on Loki and Obi Wan? Did you have more creative freedom on one than the other? During Loki, because of Covid-19 and lockdown, I had a huge period of time to work with the director Kate Herron. It was something like three months, whereas I had three months in total from beginning to end to score Star Wars. I had close to a year to do Loki, so I had the luxury of a bit more time. It was also more of an open, blank canvas. I still managed to bring some unusual flavours and instruments, like a nose flute, a hunting horn and a Nyckelharpa, into Star Wars. John doesn't use synths generally, so I felt like I was able to put my own spin on things. Are there any other franchises you're interested in scoring? Well, I'm scoring something with Warner Bros on Batgirl at the moment, so I'm pinching myself. I'm also going to Comic Con in July and I can't believe I'm going to with both Marvel and Star Wars projects to talk about. And before you go, we have to ask – are you already at work on Loki series two? Yeah, that's filming at the moment. I've signed up for it and I'm reading scripts. I’ve been toying around with ideas, including maybe creating a new theme for series two, but I said that to Tom Hiddleston and he was like, "There'll be outrage if we don't use the theme that you've [already] established." I was kind of happy to hear that. Obi-Wan Kenobi is now streaming on Disney Plus. Check out more of our Sci-Fi coverage or visit our TV Guide to see what's on tonight. The latest issue of Radio Times magazine is on sale now – subscribe now and get the next 12 issues for only £1. For more from the biggest stars in TV, listen to the Radio Times podcast with Jane Garvey.