Joseph Fiennes talks Young Sherlock origin story and playing his nephew’s on-screen father
'Exploring where Sherlock's demons evolved from is really interesting', says the Young Sherlock actor, who plays Holmes's father Silas.
Add Young Sherlock to your watchlist Joseph, why did you take this role? I love the idea of an origin story, where we see how Sherlock evolves from a misfit to a brilliant mind – and I loved the idea of ripping up a piece. The purists might be anxious, but I think it gives it a great vitality, muscularity, wit and adventure. View Green Video on the source website Were you a Sherlock Holmes fan? I grew up with the Jeremy Brett version [on ITV], he was wonderful. There was a suspicion that Sherlock might be on opioids, but we never knew what led to the solitude and the reclusiveness. Exploring where the demons evolved from is really interesting. What was it like to work with your nephew, Hero? Once you get past the, "Oh my God, we’re relatives in the same scene together", you’re just actors doing a job. Playing father and son, we get the connection for free, which is lovely. And it was sheer joy. He’s a real talent; charismatic, hard working. I’m really proud of his grace on set. He maintains absolute composure, which is adorable. I knew all those qualities were there since I first held him in my arms. Seeing him flourish made me so happy. Aside from being a rollicking adventure, what themes lie at the heart of Young Sherlock? There’s a bit of the underdog about Sherlock. There are so many gifted, brilliant young people out there that don’t get chances in life, and you can see that in him. He could easily have fallen by the wayside. Is it daunting to take on a story about a much-loved character, reimagined for a new audience? There’s a whole spectrum of people who love Sherlock Holmes, from purists to people who like the zany iterations of him. Sir Arthur Conan Doyle’s stories will always survive a good reimagining, because their foundation will always remain true.
'There’s a form of love between Sherlock and Moriarty'
Young Sherlock stars Natascha McElhone and Dónal Finn on playing Cordelia Holmes and James Moriarty in Guy Ritchie's new series
Add Young Sherlock to your watchlist For irish actor Dónal Finn, who plays James Moriarty, Young Sherlock is much more than just a ripping yarn. As much as he loved filming stunts and fight scenes, Finn believes the heart of the series is about two misfits finding common ground and a love for each other – even if that love is never expressed in so many words. “We had a great reference in Butch Cassidy and the Sundance Kid, which I rewatched before we made this,” Finn explains. “I was really moved by these two men who were in one of the most masculine atmospheres, the Wild West, and they’re not saying exactly what they feel, but they’re willing to die for the other person. “That’s what we’re aiming for, because Sherlock and Moriarty do take risks for each other. That’s a form of love, and it’s not something that we see very often, although we are talking more about male loneliness these days. They both feel an element of loneliness at times, so this connection is important to them.” View Green Video on the source website Like his co-star Fiennes Tiffin, Finn was a Holmes devotee, citing the Benedict Cumberbatch version as one of the key reasons he became interested in acting as a teenager. So the 30-year-old was aware that his character would later become the ultimate baddie, but had to put that out of his mind. “It’s like watching Titanic – you know how it’s going to end, but what are the circumstances that lead to that?” he says. “Moriarty’s internal code of ethics is still being developed when we see him, and he’s in a malleable place. I don’t think he was born with qualities of immorality; he’s having experiences that are going to shape the way he sees the world. “I think there’s a blessing in that, although the characters are widely known, we’re meeting them at a point that no one has ever really met them. It’s just about them being young people, discovering they’re good at something in quite an innocent way.” Finn can relate. As a teenager growing up in Cork, Ireland, he enjoyed weekend acting classes but had no idea it would become his career. In fact, he had no idea there was such a thing as drama school until a teacher told him he should apply. Thanks to the Overstall Charitable Trust, he got a scholarship to Lamda, later landing roles in the original West End production of Hadestown as well as in the BBC’s SAS: Rogue Heroes and Prime Video’s The Wheel of Time. “Acting was just a thing I did until it was time to go to university,” he says. “It was amazing to find out that drama school wasn’t a fictional place, and to be encouraged by a teacher who had belief in me. He didn’t make me feel like I was a farmer from Cork. I felt like there was a place for me, for the first time. “I never thought in my wildest dreams I’d get a place at Lamda, never mind be playing Moriarty, a role that Andrew Scott and Jared Harris have both played. I understand the weight of that and I’m very conscious of how lucky I am to be playing a part that has been played by actors I deeply admire.” Finn’s performance is complex: as in the washerwoman prison-breakout scene, Moriarty and Holmes often wear disguises to keep one step ahead of the police, with Moriarty putting on different accents. “It’s so fun to impersonate a police officer and do a mad accent,” Finn says. “Moriarty is like a cat with a ball of string: he and Holmes are sure they’re never going to get caught, they’re just exercising their wit and playing. “Moriarty has a chameleon-like quality and draws on details of society to move up in the world without being noticed.” Another dream for Finn was working with Guy Ritchie. One of Ritchie’s key trademarks, says Finn, is characters who have an innate ability to handle high pressure situations in a cool and calm manner. “Guy’s characters are in high-stake situations, but they’re able to adapt to them because their blood pressure is low and they’re managing not to stress out because they’re so cool,” he says. “It’s so pleasing to watch a character attaining a level of serenity and peace that you yourself could never access. And it’s so interesting, taking Sherlock back to ten years before the first Conan Doyle books, and asking what has to happen to a person in order for him to work in such a place of survival and instinct,” he adds. “It’s a great question because he’s one of the most widely recognised figures in literature.” Natascha McElhone plays Cordelia Holmes Why did this role appeal? I loved the fact it wasn’t part of the Holmes canon, so we weren’t going to be disappointing avid devotees. It’s adventurous and irreverent and cheeky. As Cordelia doesn’t appear in the books by Sir Arthur Conan Doyle, was there less pressure than if you’re playing a known character? When I did [the film] Mrs Dalloway, there was certainly a pressure to realise what was in Virginia Woolf’s brilliant mind. It was nice not to be following lots of iterations of a story with this. I didn’t have any template for Cordelia and there was no competitive element in my mind. It’s an original piece of work. Where do we first see Cordelia? She’s in an asylum. It’s a gilded cage, and psychologically she’s definitely imprisoned, which must be terrible. You start to doubt your own reality, because if nobody is relating to what you’re experiencing, is it even true? Do we see the real Cordelia after she leaves the asylum? Yes, and that was joyous. She was locked up for 10 years; after that you would want to taste and experience everything that’s available to you. Any risk aversion goes out the window, because nothing can be worse than that. Did you enjoy working with Hero? Hero lives up to his name. He is truly heroic, charming and talented. Being from the acting stock that he’s from, he approaches it with endless questions and curiosity and humility. I’m going to get sentimental here, but there’s something very tender about working with young actors. The media would have you believe this generation is entitled and has no work ethic, but I would say the absolute opposite.
Young Sherlock star Hero Fiennes Tiffin: "I'm not going to get a 'nepo baby' tattoo, or put it in my bio!"
A new series from Guy Ritchie imagines how the young Sherlock Holmes developed his powers of deduction, spurred on by family tragedy
Add Young Sherlock to your watchlist On the set of the latest series revolving around the character of Sherlock Holmes, there’s not a deerstalker or pipe in sight. In fact, Holmes is dressed as a Victorian washerwoman for a scene in which his future arch-rival James Moriarty breaks him out of prison – a scene full of fisticuffs and larger than life derring-do. That’s because this is an origin story of the famous detective, directed by Guy Ritchie, and shows the genius as a young man, long before he develops his skills or wears his trademark outfit. Hero Fiennes Tiffin, who plays the lead role in Young Sherlock, explains: “We meet him way before he becomes the character we know and love. He’s ridiculously intelligent but there are things he needs to refine, like his deduction skills. He’s youthful, excitable – the tragedies that ultimately make him distant and cold haven’t happened yet. It was bold of the original stories to depict him as a character with addiction issues, and you can become curious as to why that happens. That’s part of our challenge.” View Green Video on the source website There are Holmes tropes drip-fed throughout the eight-part series – including the moment he first utters his catchphrase, “The game is afoot” – which were a thrill for Fiennes Tiffin, who watched all four series of the BBC’s Sherlock, starring Benedict Cumberbatch, three times. “The deerstalker, the pipe, the trench coat – they’re valuable poker chips that you don’t want to spend all at once,” he says. “It’s not a new character, we want to show the slow progression.” T he action begins with a young Holmes drifting through life, in and out of prison. In a bid to get him on the right path, older brother Mycroft (Max Irons) gets him into Oxford University – not as a student, but as a porter cleaning rooms and waiting tables. At Oxford he meets Moriarty (Dónal Finn). But while anyone familiar with the books or past series will know him as Holmes’s nemesis in later life, throughout this series, the pair are friends, embarking on a mission to solve a Holmes family mystery: his first detective work. What ensues is a typically Ritchie-esque escapade – a bold mix of period drama with a contemporary spin, big stunts and whip-smart dialogue. “We’re not slaves to the period,” explains Fiennes Tiffin. “At first glance, we’re in accurate period dress, but if you look closely, it’s all designer wear, like Ralph Lauren. Our Sherlock’s not Brad Pitt in Snatch level of cool, but he does some cool things. One of Guy’s most consistent notes was, ‘Be cool. Be cooler’.” While Moriarty teaches Holmes to fight, Holmes reciprocates by showing Moriarty his famous “mind palace”, where he re-creates the scene of a crime in his imagination and spots minute details. One of the pleasures of watching their relationship is knowing they will later become deadly enemies. “They’re already rivals; they want to ‘one up’ each other,” says Fiennes Tiffin. “If they can’t be friends, they would be enemies – they never want to be strangers. They elevate each other, and they both have a narcissistic streak. It’s like Ronaldo and Messi, two footballers at the top of their game, pushing each other to keep surpassing themselves. Or to use another football analogy, it’s like the local derby: playing your biggest rivals is always the most fun match.” For now, they’re working together on the series’ big mystery, which revolves around the death of Holmes’s sister, a tragedy that led to his mother Cordelia (Natascha McElhone) being admitted to an asylum, his father Silas (Joseph Fiennes) working abroad, and Holmes going to boarding school. The series marks the first time Fiennes Tiffin – son of writer-director Martha Fiennes and film-maker George Tiffin – has worked with his uncle, Joseph Fiennes. “I was filming for months before Joe came on set,” Fiennes Tiffin says. “You start off a show with imposter syndrome then, after a while, you start to have self-belief. Then Joe came on set, and it was all depleted back to zero again! I was, like, I need to prove to him that I’m a half-decent actor. But those feelings quickly went away.” When I bring up the subject of nepotism, Fiennes Tiffin insists he’s happy to talk about his famous family – his other uncle is Ralph Fiennes. “I completely understand the intrigue about nepotism and the opportunities you get for and from your family,” he says. “I’d be the first to admit that I don’t think I’d be here if it wasn’t for them. But I’m not going to get a ‘nepo baby’ tattoo, or put it in my bio! “I appreciate how lucky I’ve been to get a foot in the door, but I feel I’ve proved that I deserve to be here through the work that I’ve done. I’m not shy about talking about these things.” In fact, the 28-year-old resisted the idea of acting until his mother saw his potential and gently pushed him towards it. “What your parents do often doesn’t seem very cool,” he explains, “and you want to pave your own way. My mum would say, ‘I know you want to play football with your mates, but do this audition quickly, I’ll help you’. With the wages from the first acting job I did, I got a West Ham kit with my name on the back and I thought, ‘Yeah, this acting stuff’s not too bad!’ My love for acting has grown gradually, but I’m so grateful for Mum’s support and so thankful to be in this position.”
The Crown star reveals all about playing Sherlock Holmes’s mysterious mother who spends 10 years in an asylum
Natascha McElhone, who plays Sherlock's mum in new Prime Video series Young Sherlock, talks to Radio Times about bringing the lesser-known member of the Holmes family to life.
This article first appeared in Radio Times magazine. Why did this role appeal? I loved the fact it wasn’t part of the Holmes canon, so we weren’t going to be disappointing avid devotees. It’s adventurous and irreverent and cheeky. As Cordelia doesn’t appear in the books by Sir Arthur Conan Doyle, was there less pressure than if you’re playing a known character? When I did [the film] Mrs Dalloway, there was certainly a pressure to realise what was in Virginia Woolf’s brilliant mind. It was nice not to be following lots of iterations of a story with this. I didn’t have any template for Cordelia and there was no competitive element in my mind. It’s an original piece of work. Where do we first see Cordelia? She’s in an asylum. It’s a gilded cage, and psychologically she’s definitely imprisoned, which must be terrible. You start to doubt your own reality, because if nobody is relating to what you’re experiencing, is it even true? Do we see the real Cordelia after she leaves the asylum? Yes, and that was joyous. She was locked up for 10 years; after that you would want to taste and experience everything that’s available to you. Any risk aversion goes out the window, because nothing can be worse than that. View Green Video on the source website Did you enjoy working with Hero [Fiennes Tiffin]? Hero lives up to his name. He is truly heroic, charming and talented. Being from the acting stock that he’s from, he approaches it with endless questions and curiosity and humility. I’m going to get sentimental here, but there’s something very tender about working with young actors. The media would have you believe this generation is entitled and has no work ethic, but I would say the absolute opposite. The latest issue of Radio Times is out now – subscribe here. 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.
A new series from Guy Ritchie imagines how the young Sherlock Holmes developed his powers of deduction, spurred on by family tragedy.
This article first appeared in Radio Times magazine. On the set of the latest series revolving around the character of Sherlock Holmes, there’s not a deerstalker or pipe in sight. In fact, Holmes is dressed as a Victorian washerwoman for a scene in which his future arch-rival James Moriarty breaks him out of prison – a scene full of fisticuffs and larger than life derring-do. That’s because this is an origin story of the famous detective, directed by Guy Ritchie, and shows the genius as a young man, long before he develops his skills or wears his trademark outfit. Hero Fiennes Tiffin, who plays the lead role in Young Sherlock, explains: “We meet him way before he becomes the character we know and love. He’s ridiculously intelligent but there are things he needs to refine, like his deduction skills. He’s youthful, excitable – the tragedies that ultimately make him distant and cold haven’t happened yet. It was bold of the original stories to depict him as a character with addiction issues, and you can become curious as to why that happens. That’s part of our challenge.” There are Holmes tropes drip-fed throughout the eight-part series – including the moment he first utters his catchphrase, “The game is afoot” – which were a thrill for Fiennes Tiffin, who watched all four series of the BBC’s Sherlock, starring Benedict Cumberbatch, three times. “The deerstalker, the pipe, the trench coat – they’re valuable poker chips that you don’t want to spend all at once,” he says. “It’s not a new character, we want to show the slow progression.” The action begins with a young Holmes drifting through life, in and out of prison. In a bid to get him on the right path, older brother Mycroft (Max Irons) gets him into Oxford University – not as a student, but as a porter cleaning rooms and waiting tables. At Oxford he meets Moriarty (Dónal Finn). But while anyone familiar with the books or past series will know him as Holmes’s nemesis in later life, throughout this series, the pair are friends, embarking on a mission to solve a Holmes family mystery: his first detective work. What ensues is a typically Ritchie-esque escapade – a bold mix of period drama with a contemporary spin, big stunts and whip-smart dialogue. “We’re not slaves to the period,” explains Fiennes Tiffin. “At first glance, we’re in accurate period dress, but if you look closely, it’s all designer wear, like Ralph Lauren. Our Sherlock’s not Brad Pitt in Snatch level of cool, but he does some cool things. One of Guy’s most consistent notes was, ‘Be cool. Be cooler’.” While Moriarty teaches Holmes to fight, Holmes reciprocates by showing Moriarty his famous “mind palace”, where he re-creates the scene of a crime in his imagination and spots minute details. One of the pleasures of watching their relationship is knowing they will later become deadly enemies. “They’re already rivals; they want to ‘one up’ each other,” says Fiennes Tiffin. “If they can’t be friends, they would be enemies – they never want to be strangers. They elevate each other, and they both have a narcissistic streak. It’s like Ronaldo and Messi, two footballers at the top of their game, pushing each other to keep surpassing themselves. Or to use another football analogy, it’s like the local derby: playing your biggest rivals is always the most fun match.” For now, they’re working together on the series’ big mystery, which revolves around the death of Holmes’s sister, a tragedy that led to his mother Cordelia (Natascha McElhone) being admitted to an asylum, his father Silas (Joseph Fiennes) working abroad, and Holmes going to boarding school. The series marks the first time Fiennes Tiffin – son of writer-director Martha Fiennes and film-maker George Tiffin – has worked with his uncle, Joseph Fiennes. “I was filming for months before Joe came on set,” Fiennes Tiffin says. “You start off a show with imposter syndrome then, after a while, you start to have self-belief. Then Joe came on set, and it was all depleted back to zero again! I was, like, I need to prove to him that I’m a half-decent actor. But those feelings quickly went away.” When I bring up the subject of nepotism, Fiennes Tiffin insists he’s happy to talk about his famous family – his other uncle is Ralph Fiennes. “I completely understand the intrigue about nepotism and the opportunities you get for and from your family,” he says. “I’d be the first to admit that I don’t think I’d be here if it wasn’t for them. But I’m not going to get a ‘nepo baby’ tattoo, or put it in my bio! “I appreciate how lucky I’ve been to get a foot in the door, but I feel I’ve proved that I deserve to be here through the work that I’ve done. I’m not shy about talking about these things.” In fact, the 28-year-old resisted the idea of acting until his mother saw his potential and gently pushed him towards it. “What your parents do often doesn’t seem very cool,” he explains, “and you want to pave your own way. My mum would say, ‘I know you want to play football with your mates, but do this audition quickly, I’ll help you’. With the wages from the first acting job I did, I got a West Ham kit with my name on the back and I thought, ‘Yeah, this acting stuff’s not too bad!’ My love for acting has grown gradually, but I’m so grateful for Mum’s support and so thankful to be in this position.” The latest issue of Radio Times is out now – subscribe here. 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.
The Wheel of Time star talks becoming Moriarty in Young Sherlock - and the “form of love” between these iconic characters
Actor Dónal Finn is thrilled to be exploring a classic literary villain's early years: 'Moriarty is like a cat with a ball of string'.
This article appears in the new issue of Radio Times magazine, out Tuesday 24 February. For Irish actor Dónal Finn, who plays James Moriarty, Young Sherlock is much more than just a ripping yarn. As much as he loved filming stunts and fight scenes, Finn believes the heart of the series is about two misfits finding common ground and a love for each other – even if that love is never expressed in so many words. "We had a great reference in Butch Cassidy and the Sundance Kid, which I rewatched before we made this," Finn explains. "I was really moved by these two men who were in one of the most masculine atmospheres, the Wild West, and they’re not saying exactly what they feel, but they’re willing to die for the other person. "That’s what we’re aiming for, because Sherlock and Moriarty do take risks for each other. That’s a form of love, and it’s not something that we see very often, although we are talking more about male loneliness these days. They both feel an element of loneliness at times, so this connection is important to them." Like his co-star Fiennes Tiffin, Finn was a Holmes devotee, citing the Benedict Cumberbatch version as one of the key reasons he became interested in acting as a teenager. So the 30-year-old was aware that his character would later become the ultimate baddie, but had to put that out of his mind. "It’s like watching Titanic – you know how it’s going to end, but what are the circumstances that lead to that?" he says. "Moriarty’s internal code of ethics is still being developed when we see him, and he’s in a malleable place. I don’t think he was born with qualities of immorality; he’s having experiences that are going to shape the way he sees the world. "I think there’s a blessing in that, although the characters are widely known, we’re meeting them at a point that no one has ever really met them. It’s just about them being young people, discovering they’re good at something in quite an innocent way." Finn can relate. As a teenager growing up in Cork, Ireland, he enjoyed weekend acting classes but had no idea it would become his career. In fact, he had no idea there was such a thing as drama school until a teacher told him he should apply. Thanks to the Overstall Charitable Trust, he got a scholarship to Lamda, later landing roles in the original West End production of Hadestown as well as in the BBC’s SAS: Rogue Heroes and Prime Video’s The Wheel of Time. "Acting was just a thing I did until it was time to go to university," he says. "It was amazing to find out that drama school wasn’t a fictional place, and to be encouraged by a teacher who had belief in me. He didn’t make me feel like I was a farmer from Cork. I felt like there was a place for me, for the first time. "I never thought in my wildest dreams I’'d get a place at Lamda, never mind be playing Moriarty, a role that Andrew Scott and Jared Harris have both played. I understand the weight of that and I’m very conscious of how lucky I am to be playing a part that has been played by actors I deeply admire." Finn’s performance is complex: as in the washerwoman prison-breakout scene, Moriarty and Holmes often wear disguises to keep one step ahead of the police, with Moriarty putting on different accents. "It’s so fun to impersonate a police officer and do a mad accent," Finn says. "Moriarty is like a cat with a ball of string: he and Holmes are sure they’re never going to get caught, they’re just exercising their wit and playing. Moriarty has a chameleon-like quality and draws on details of society to move up in the world without being noticed." Another dream for Finn was working with Guy Ritchie. One of Ritchie’s key trademarks, says Finn, is characters who have an innate ability to handle high pressure situations in a cool and calm manner. "Guy’s characters are in high-stake situations, but they're able to adapt to them because their blood pressure is low and they’re managing not to stress out because they’re so cool," he says. "It’s so pleasing to watch a character attaining a level of serenity and peace that you yourself could never access. And it’s so interesting, taking Sherlock back to ten years before the first Conan Doyle books, and asking what has to happen to a person in order for him to work in such a place of survival and instinct," he adds. "It’s a great question because he’s one of the most widely recognised figures in literature." Read more: Joseph Fiennes talks Young Sherlock origin story and playing his nephew’s on-screen father Young Sherlock is available from Wednesday 4 March on Prime Video. The latest issue of Radio Times is out on Tuesday 24 February – subscribe here. 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.
This article appears in the new issue of Radio Times magazine, out Tuesday 24 February. Joseph, why did you take this role? I love the idea of an origin story, where we see how Sherlock evolves from a misfit to a brilliant mind – and I loved the idea of ripping up a piece. The purists might be anxious, but I think it gives it a great vitality, muscularity, wit and adventure. Were you a Sherlock Holmes fan? I grew up with the Jeremy Brett version [on ITV], he was wonderful. There was a suspicion that Sherlock might be on opioids, but we never knew what led to the solitude and the reclusiveness. Exploring where the demons evolved from is really interesting. What was it like to work with your nephew, Hero? Once you get past the, 'Oh my God, we're relatives in the same scene together', you’re just actors doing a job. Playing father and son, we get the connection for free, which is lovely. And it was sheer joy. He’s a real talent; charismatic, hard working. I’m really proud of his grace on set. He maintains absolute composure, which is adorable. I knew all those qualities were there since I first held him in my arms. Seeing him flourish made me so happy. Aside from being a rollicking adventure, what themes lie at the heart of Young Sherlock? There’s a bit of the underdog about Sherlock. There are so many gifted, brilliant young people out there that don’t get chances in life, and you can see that in him. He could easily have fallen by the wayside. Is it daunting to take on a story about a much-loved character, reimagined for a new audience? There’s a whole spectrum of people who love Sherlock Holmes, from purists to people who like the zany iterations of him. Sir Arthur Conan Doyle’s stories will always survive a good reimagining, because their foundation will always remain true. Young Sherlock is available from Wednesday 4 March on Prime Video. The latest issue of Radio Times is out on Tuesday 24 February – subscribe here. 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.
Lisa McGee’s new leading ladies had chemistry from the start
Add How to Get to Heaven from Belfast to your watchlist Actors Caoilfhionn Dunne (Dara), Sinéad Keenan (Robyn) and Roisin Gallagher (Saoirse) on the Irish invasion, creating best-friend chemistry, and what they’d tell their 16-year-old selves... What drew you to this show? Roisin I heard through the grapevine that Lisa was writing something new, and I was like, “Great, how can I get a part?” Caoilfhionn You hear the name Lisa McGee, you know it’s going to be good. Also, I was a bit tired of being paid to cry, so comedy was appealing. Sinéad I’m lucky enough to have worked with Lisa a couple of times. You don’t say no to her. This show is bonkers — I guffawed every day. You play old friends — how did you create that chemistry? Sinéad The moment we met to read together, it was an instant feeling of, “This is going to work”. Caoilfhionn The shoot was intense, so it was like a bootcamp, but for six months. Roisin You’re buckled into a rollercoaster: you just keep going and it’s probably a bit of Stockholm Syndrome. We spent so much time together that you get that familial vibe quickly. Can you describe your characters? Roisin Saoirse’s this brilliant, creative whirlwind of a woman who deals with things right in front of her but forgets she has a fiancé somewhere back in London. Sinéad Robyn’s perpetually stressed, highly strung, aggressive. But if you dig deep enough, there’s a good heart there. Caoilfhionn Dara’s often afraid, but very loyal. She’s childlike in her optimism and her desire for goodness. Do you identify with your characters? Sinéad I have two boys and we’ve got a touch of hormones coming in now, which is quite something. I love them dearly, of course, but I can relate to Robyn’s stress. I think it’s nice to see a mother stressed out. You often see perfection on screen, which doesn’t exist in my life. Roisin I did have a chuckle when I read about Saoirse banging on about living in London, a place where they understand the difference between a flat white and a cappuccino. I managed about three and a half days in London before I came back home, but I understand her wanting to escape, reinvent herself — then realising she can’t shed where she’s from. Caoilfhionn Dara’s a gentle soul. I’m not as soft as she is, but I do recognise that desire to please. The most interesting thing for me was squaring her religion and her sexuality. I’m not religious but it was fascinating. You don’t often see a woman who goes to mass — and not because she’s dragged there! — while grappling with her sexuality. Roisin It sparked loads of conversations. We bonded over shared experiences of Catholicism and discovered we’d all wanted to be nuns at some point. Sinéad I thought it looked like an easy life. No exams. I was 12, so sex wasn’t a thing at that point. Does the theme of female friendship resonate for you? Roisin I have a trio of friends I grew up with, and there’s something really special about these people you’ve gone through life milestones with. You can’t match that with anyone else. These are the women you love before you meet the one you’re going to marry, the children you might have. They know the bones of you — sometimes better than you know yourself — and you regress back to teenagers when you’re together. Sinéad Those years are so formative. We’re looking at secondary schools for my eldest and you can lose yourself in worrying about how academic the school is, but actually you just want them to find friends who will carry them through life. Friends where you can tear strips off each other, but woe betide anyone else who tries to. Caoilfhionn It’s so rare to see women of our age on adventures. Usually somebody’s got a relationship or a work problem, or they’re on the school run. Those things come into our show but at the centre it’s a caper. If you could speak to your 16-year-old selves, would they be surprised by who you became? Roisin This will make me bawl. There’s a line about not wanting to let that fearless girl down — the one who thought anything was possible. That resonated with me. Not wanting to let that wee girl down can be a driving force. Caoilfhionn I don’t think I’d approach my 16-year-old self — she hated strangers. I’d probably just leave her be and let her figure it out herself! Sinéad I’d say: you’ll make terrible choices and funny decisions, but it’ll be OK. As a therapist once said to me, “It takes you a while, but you get there in the end.” It feels like Irish TV has really taken off recently. Do you agree? Sinéad For such a small country, we punch above our weight. We’ve always told good stories, and the film industry exploded in the nineties with movies like My Left Foot and The Commitments. Streamers have helped Irish stories reach a global audience, and long may it continue.
Following her Bafta-winning Derry Girls, Lisa McGee is pivoting to something a bit creepier – but with friends, laughter and fun at its core
Add How to Get to Heaven from Belfast to your watchlist If you ever catch an Irish brunette staring as you argue with friends, beware: it might be Lisa McGee, and she might write you into her next comedy. McGee’s huge hit Derry Girls, about a group of teenagers growing up during the Troubles, hit the mark with viewers thanks to its precise and hilarious observations about the way family and friends often talk to each other. And while writing her new series, which also follows a group of bickering pals, McGee admits she takes a lot of inspiration from real life. “I love watching people argue,” she says. “I have a group of close friends from school and when we go away together, I just listen. The arguments are unbelievably funny.” While McGee changes and embellishes the real-life stories she hears – and usually asks permission – she admits getting into trouble once when she forgot to tell a friend she was pinching her story about a family feud. “My friend was like, ‘Lisa, what the hell?’ But I just go, ‘Well, you shouldn’t tell me’. Everyone knows it’s all up for grabs, my mum especially. You can see it dawning on her as she’s telling me a story and she’ll go, ‘Don’t you dare’. With my mum – tough. I’ll use it anyway.” Her new series, How to Get to Heaven from Belfast, has the same DNA as Derry Girls but is edgier, according to McGee. And that’s not the only difference – rather than a six-part sitcom this is an eight-part thriller going out on Netflix, which means a bigger budget than Derry Girls had on Channel 4. The plot revolves around three schoolfriends now in their 30s – Saoirse, Dara and Robyn – who discover their fourth friend has died suddenly. They haven’t seen Greta since school and when they go to her wake, they realise the cause of her death may not be all it seems. Soon, they’ve stumbled into investigating what really happened while facing up to their own past lives – and lies. The idea came to 45-year-old McGee when she visited her old school in Derry, which had been derelict for 20 years and become a favourite location for ghost hunters. “It was really weird,” she says. “There were school skirts hanging up and writing on blackboards. I was walking down a little path and I got this freaky feeling I was going to bump into myself as a teenage girl. I didn’t, but it made me ask, what would she think of me and my choices? That’s where the idea started. “As you get older, I think you go back to the true person you were. I was a little girl that just liked writing and the older I get, the closer I get to that person, because she had it all worked out, actually. The death of their friend shakes these women and connects them to the teenagers they once were, and that spirit they thought they’d lost. It’s about friendship and self-discovery.” While Derry Girls was an out-and-out comedy set around a very specific area and time (the mid-1990s), How to Get to Heaven from Belfast is much harder to place tonally. It’s certainly a very funny thriller, but it also includes moments that are fantastical, spooky and heartfelt. Aware of how bonkers it may sound, I tentatively ask McGee if the likes of Daphne du Maurier’s Rebecca and the cartoon Scooby-Doo were influences on the show… “I love you!” she laughs. “Scooby-Doo was our biggest reference, and people thought I was mad. The director Michael Lennox and I would go, ‘Let’s make it 30 per cent more Scooby-Doo’. We wrote a list of unhinged references. And yes, Rebecca is one of my favourite books. The A-Team was also in there, Murder, She Wrote, Father Ted. I’ve got away with doing two insane shows, and no one’s stopped me. I count myself so lucky.” It’s a more complicated series with more money behind it, and as the follow-up to the Bafta- and Emmy-winning success of Derry Girls, I assume McGee must have felt pressured to deliver another hit. But when I put this to her, McGee says she felt far less pressure than during the third series of Derry Girls, which ended with a poignant episode about the Good Friday Agreement. “Derry Girls started to feel like it wasn’t mine,” she says. “I really felt I had to deliver, because it wasn’t just for me any more, it had become this thing people were invested in. With this, I’m not representing a big moment in history, or my town or my people. I’m just trying to tell a banging story. “I’ll be disappointed if people don’t enjoy it, but it’s not the same level of scrutiny as Derry Girls. It’s been quite freeing. I had to not be the Derry Girls writer, because it could cripple you to be worrying about that.” As in Derry Girls, the protagonists in How to Get to Heaven from Belfast are a varied group: Saoirse is a high-flying writer based in London; Dara is a gay Catholic who lives at home with her mother and sister; and Robyn is a glamorous, stressed mum. McGee agrees they could absolutely be seen as grown-up versions of Erin, Orla, Clare and Michelle, but says she didn’t find herself slipping into repeating jokes or cadences from Derry Girls. “I love writing about female friends,” she says, “but the thriller aspect meant I couldn’t do some of the cartoonish stuff I would have done in Derry Girls. The stakes are higher for these women because they’ve got careers, kids or a mum to look after – stakes that Michelle and Erin didn’t have. I also found myself, for the first time, stripping out a lot of jokes because they detracted from the tension. That would have been unthinkable on Derry Girls.” How to Get to Heaven from Belfast may not tackle as serious a storyline as the Good Friday Agreement, but it doesn’t shy away from jokes that are close to the knuckle. One gag has the women breaking down after filling the car up with the wrong type of petrol, to which a Garda [police officer] from the Republic of Ireland tells the Northern Irish women, “It’s not like you lot to waste petrol.” There are also running jokes about Dara having “an attack of the Catholics” every time she feels guilty. Still, McGee says she knows where to draw the line to avoid upsetting her Northern Irish compatriots. “You can’t separate us from what’s happened here, you just can’t. It never really goes away, and I think it can be funny.” However, she does concede that there are subjects that are definitely off limits since becoming a mother (she has two young sons with writer husband, Tobias Beer). “Being a mum, with all the crazy and chaos, is good for comedy,” she says. “There’s more I can write and access now. But there are certain topics I won’t go near because they’re just too dark. When people write well about things like sexual violence, it’s very important, but there needs to be space for women to just enjoy and laugh and have escapism. I was a very silly person when I wrote Derry Girls, and a very hopeful person, so everything was positive. It could still have been a brilliant show written by someone else, but it might have been bleaker. “I want people to come away from my shows feeling a wee bit better about things. My characters are never cool, they’re always eejits. I think people respond to that: my characters make people feel a bit better. I’m very comfortable writing silly women being silly.”
Derry Girls creator talks new Netflix show How to Get to Heaven from Belfast: "You can't separate us from what's happened here"
Following her BAFTA-winning Derry Girls, Lisa McGee is pivoting to something a bit creepier – but with friends, laughter and fun at its core.
This article first appeared in Radio Times magazine. If you ever catch an Irish brunette staring as you argue with friends, beware: it might be Lisa McGee, and she might write you into her next comedy. McGee’s huge hit Derry Girls, about a group of teenagers growing up during the Troubles, hit the mark with viewers thanks to its precise and hilarious observations about the way family and friends often talk to each other. And while writing her new series, which also follows a group of bickering pals, McGee admits she takes a lot of inspiration from real life. “I love watching people argue,” she says. “I have a group of close friends from school and when we go away together, I just listen. The arguments are unbelievably funny.” While McGee changes and embellishes the real-life stories she hears – and usually asks permission – she admits getting into trouble once when she forgot to tell a friend she was pinching her story about a family feud. “My friend was like, ‘Lisa, what the hell?’ But I just go, ‘Well, you shouldn’t tell me’. Everyone knows it’s all up for grabs, my mum especially. You can see it dawning on her as she’s telling me a story and she’ll go, ‘Don’t you dare’. With my mum – tough. I’ll use it anyway.” Her new series, How to Get to Heaven from Belfast, has the same DNA as Derry Girls but is edgier, according to McGee. And that’s not the only difference – rather than a six-part sitcom this is an eight-part thriller going out on Netflix, which means a bigger budget than Derry Girls had on Channel 4. View oEmbed on the source website The plot revolves around three school friends now in their 30s – Saoirse, Dara and Robyn – who discover their fourth friend has died suddenly. They haven’t seen Greta since school and when they go to her wake, they realise the cause of her death may not be all it seems. Soon, they’ve stumbled into investigating what really happened while facing up to their own past lives – and lies. The idea came to 45-year-old McGee when she visited her old school in Derry, which had been derelict for 20 years and become a favourite location for ghost hunters. “It was really weird,” she says. “There were school skirts hanging up and writing on blackboards. I was walking down a little path and I got this freaky feeling I was going to bump into myself as a teenage girl. I didn’t, but it made me ask, what would she think of me and my choices? That’s where the idea started. “As you get older, I think you go back to the true person you were. I was a little girl that just liked writing and the older I get, the closer I get to that person, because she had it all worked out, actually. The death of their friend shakes these women and connects them to the teenagers they once were, and that spirit they thought they’d lost. It’s about friendship and self-discovery.” Add Radio Times as a Preferred Source on Google Keep up to date on what’s worth watching with your favourite entertainment news from Radio Times – see more of our exclusive news and interviews featured prominently in Top Stories when using Google. While Derry Girls was an out-and-out comedy set around a very specific area and time (the mid-1990s), How to Get to Heaven from Belfast is much harder to place tonally. It’s certainly a very funny thriller, but it also includes moments that are fantastical, spooky and heartfelt. Aware of how bonkers it may sound, I tentatively ask McGee if the likes of Daphne du Maurier’s Rebecca and the cartoon Scooby-Doo were influences on the show… “I love you!” she laughs. “Scooby-Doo was our biggest reference, and people thought I was mad. The director Michael Lennox and I would go, ‘Let’s make it 30 per cent more Scooby-Doo’. We wrote a list of unhinged references. And yes, Rebecca is one of my favourite books. The A-Team was also in there, Murder, She Wrote, Father Ted. I’ve got away with doing two insane shows, and no one’s stopped me. I count myself so lucky.” It’s a more complicated series with more money behind it, and as the follow-up to the BAFTA-and Emmy-winning success of Derry Girls, I assume McGee must have felt pressured to deliver another hit. But when I put this to her, McGee says she felt far less pressure than during the third series of Derry Girls, which ended with a poignant episode about the Good Friday Agreement. “Derry Girls started to feel like it wasn’t mine,” she says. “I really felt I had to deliver, because it wasn’t just for me any more, it had become this thing people were invested in. With this, I’m not representing a big moment in history, or my town or my people. I’m just trying to tell a banging story. “I’ll be disappointed if people don’t enjoy it, but it’s not the same level of scrutiny as Derry Girls. It’s been quite freeing. I had to not be the Derry Girls writer, because it could cripple you to be worrying about that.” As in Derry Girls, the protagonists in How to Get to Heaven from Belfast are a varied group: Saoirse is a high-flying writer based in London; Dara is a gay Catholic who lives at home with her mother and sister; and Robyn is a glamorous, stressed mum. McGee agrees they could absolutely be seen as grown-up versions of Erin, Orla, Clare and Michelle, but says she didn’t find herself slipping into repeating jokes or cadences from Derry Girls. “I love writing about female friends,” she says, “but the thriller aspect meant I couldn’t do some of the cartoonish stuff I would have done in Derry Girls. The stakes are higher for these women because they’ve got careers, kids or a mum to look after – stakes that Michelle and Erin didn’t have. I also found myself, for the first time, stripping out a lot of jokes because they detracted from the tension. That would have been unthinkable on Derry Girls.” How to Get to Heaven from Belfast may not tackle as serious a storyline as the Good Friday Agreement, but it doesn’t shy away from jokes that are close to the knuckle. One gag has the women breaking down after filling the car up with the wrong type of petrol, to which a Garda [police officer] from the Republic of Ireland tells the Northern Irish women, “It’s not like you lot to waste petrol.” There are also running jokes about Dara having “an attack of the Catholics” every time she feels guilty. Still, McGee says she knows where to draw the line to avoid upsetting her Northern Irish compatriots. “You can’t separate us from what’s happened here, you just can’t. It never really goes away, and I think it can be funny.” However, she does concede that there are subjects that are definitely off limits since becoming a mother (she has two young sons with writer husband, Tobias Beer). “Being a mum, with all the crazy and chaos, is good for comedy,” she says. “There’s more I can write and access now. But there are certain topics I won’t go near because they’re just too dark. “When people write well about things like sexual violence, it’s very important, but there needs to be space for women to just enjoy and laugh and have escapism. I was a very silly person when I wrote Derry Girls, and a very hopeful person, so everything was positive. It could still have been a brilliant show written by someone else, but it might have been bleaker. “I want people to come away from my shows feeling a wee bit better about things. My characters are never cool, they’re always eejits. I think people respond to that: my characters make people feel a bit better. I’m very comfortable writing silly women being silly.” The latest issue of Radio Times is out now – subscribe here. How to Get to Heaven from Belfast arrives on Netflix on Thursday 12 February. Check out more of our Comedy 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.
Michael Palin couldn’t resist Small Prophets
Add Small Prophets to your watchlist You don’t act much these days. What made you want to play Michael’s dad Brian? Travelling and writing books take up most of my time. I really enjoy acting. I’ve done A Fish Called Wanda, The Death of Stalin and GBH, which were wonderful, but they don’t come along often. What Mackenzie writes is very special. I enjoy his humour, his understanding of people. There was no question of saying, “No, I can’t do this, I’m busy travelling.” Brian lives in a care home and is the first elderly person you’ve played. Did you have any reservations? I found playing this part fine. He’s old and forgetful but able to interpret extraordinary text and put old bits of machinery together again. He’s definitely not the archetype in a care home. I wouldn’t like to just be in a chair, dribbling away, and then you die. As you get older, you do forget the most obvious things — names, places — I sometimes find that tricky. But if I’m going filming in Venezuela, say, I’ll know everything about Venezuela for a bit. My children keep saying, “Careful, careful,” but they’re being overcautious. In the show, Brian is not cautious and likes doing mad things, like trying to ride a motorbike aged nearly 90. Do you think that’s quite true for a lot of people of your generation? I was lucky to grow up in a period where being young was great — which my parents’ generation couldn’t because they’d been embroiled in two world wars. After university in the 60s, it was the Beatles, Mary Quant, Pete and Dud, and Spike Milligan. You could do anything. There was no real censorship, not to the degree there is now. In Monty Python we could write what we wanted. Now you’d have to be more careful. We just thought, let’s be silly. The way that Mackenzie writes is quite Pythonic because it’s understated. The best humour is done without a smile. When people take themselves absolutely seriously, that makes me laugh more. That’s what Python was all about: the absurd things that we all do.
Michael Palin talks returning to acting in new comedy from The Office legend – and how he approaches old age
Sir Michael Palin couldn’t resist Small Prophets.
This article first appeared in Radio Times magazine. You don’t act much these days. What made you want to play Michael’s dad Brian in Small Prophets? Travelling and writing books take up most of my time. I really enjoy acting. I’ve done A Fish Called Wanda, The Death of Stalin and GBH, which were wonderful, but they don’t come along often. What Mackenzie writes is very special. I enjoy his humour, his understanding of people. There was no question of saying, “No, I can’t do this, I’m busy travelling.” Brian lives in a care home and is the first elderly person you’ve played. Did you have any reservations? I found playing this part fine. He’s old and forgetful but able to interpret extraordinary text and put old bits of machinery together again. He’s definitely not the archetype in a care home. I wouldn’t like to just be in a chair, dribbling away, and then you die. As you get older, you do forget the most obvious things — names, places — I sometimes find that tricky. But if I’m going filming in Venezuela, say, I’ll know everything about Venezuela for a bit. My children keep saying, “Careful, careful,” but they’re being overcautious. In the show, Brian is not cautious and likes doing mad things, like trying to ride a motorbike aged nearly 90. Do you think that’s quite true for a lot of people of your generation? I was lucky to grow up in a period where being young was great — which my parents’ generation couldn’t because they’d been embroiled in two world wars. After university in the 60s, it was the Beatles, Mary Quant, Pete and Dud, and Spike Milligan. You could do anything. There was no real censorship, not to the degree there is now. In Monty Python we could write what we wanted. Now you’d have to be more careful. We just thought, let’s be silly. The way that Mackenzie writes is quite Pythonic because it’s understated. The best humour is done without a smile. When people take themselves absolutely seriously, that makes me laugh more. That’s what Python was all about: the absurd things that we all do. The latest issue of Radio Times is out now – subscribe here. Check out more of our Comedy 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.
Michael Palin and Mackenzie Crook team up for new series, Small Prophets
Sir Michael Palin’s latest role is playing an elderly man living in a care home. But don’t be fooled: his character, Brian, is far from a typical resident. In Small Prophets, a new BBC Two comedy written by Mackenzie Crook, Brian believes he can solve the mysterious disappearance of his son Michael’s girlfriend with the help of homunculi, spirits grown in jars. You read that correctly. Brian was given a recipe for homunculi on his travels in Egypt years ago, and now wants to pass on the knowledge. “Brian’s an eccentric pensioner, but he’s done an awful lot in his life,” says Palin. “Though he’s in a care home, his room is like a wonderful museum. “Mackenzie’s writing is hilarious, but he also knows when to get more serious. With Small Prophets, he’s dealing in a world which is fairly fantastical, and he’s got to make that world convincing.” Small Prophets has similar elements — a sense of magic sitting alongside the banal — to Crook’s previous hits, Worzel Gummidge and Detectorists. But there is one big difference. “I’d always wanted to write something about a hoarder, and I liked the idea of a lonely man wanting answers to a mystery,” Crook tells RT. “I’ve done lots of stuff in rural settings, but I’m from suburban Kent, and I find the curtain-twitching fascinating.” Crook wrote central character Michael for his pal Pearce Quigley after casting him as Russell in Detectorists. “Detectorists was brilliant,” Quigley says. “That was Mackenzie’s soul on the screen. When he said he wanted to write this for me, I couldn’t believe it.” “This is essentially a show about lonely people,” adds co-star Lauren Patel, who plays Michael’s DIY store colleague Kacey. “Kacey’s stuck, forgetting what she once dreamt of. She’s lost her sparkle. Then she meets Michael and is intrigued…” Small Prophets is coming soon to BBC Two
Best friends Amanda Holden and Alan Carr are old hands at renovating properties abroad – but how did they cope with a crumbling wreck in Corfu?
Add Amanda and Alan's Greek Job to your watchlist Interviewing people “off the telly” is rarely how you’d imagine: celebrities are frequently more serious or less friendly than you might expect. Happily, however, I can report that Amanda Holden and Alan Carr are everything you could possibly hope for in the flesh. They’re finishing off lunch when I walk in, and there’s an irresistible atmosphere from the off, with roars of laughter, outraged screams and overlapping answers. It’s clear why they’re best friends, and why their chemistry makes such good telly on their overseas renovation show: with a third series, Greek Job, currently on our screens. “We’re the same people,” says Carr. “People ask if we really get along, but I couldn’t do this show if we didn’t. We’re filming in 40° heat, and she’s trying to put up hideous wallpaper and a disco ball. We have to get on. I hate putting that bloody jumpsuit on. I like the fun bits: the drinking, dancing, lighting candles, fluffing cushions. But whenever we’re doing something less fun she’s like, ‘Come on Alan, we can do it’. You couldn't do this with a Debbie Downer.” Holden adds, “We’ve been friends for 20 years, but we’ve become closer in the last eight. He has no ego. He might have to stop for a cup of tea now and again, but that’s his biggest demand. We read each other well. There are moments when we’re quiet, when we’re nuts, tired, happy.” Carr interjects, sparking another of Holden’s trademark cackles, “There are even moments when we’re sober, although I can’t remember any!” Each series sees the pair given a rundown property to renovate. The latest is in Corfu, a favourite holiday destination for Holden who loves the family-friendly vibe for her teenage daughters Lexie and Holly – and the fact they do “huge measures” in local bars. Their hearts sank when they first saw the building, though: a wreck with crumbling walls and ceiling, and a waste pipe running through the living space. “It was the first time we wanted to get back in the car and go home,” sighs Holden. “We had family coming out for a holiday and we thought that there was no way we would have time to do anything with them. It looked like an impossible task.” “But it was a good project,” adds Carr. “We made a herb garden and an outside barbecue. It’s the first property that’s got a sea view from the main bedroom, or the Aphrodite Suite as we called it, where I’d look over to Albania in case I spotted my future husband. “Amanda loves a disco ball and garish colours but there are lots of building regulations in Corfu, so it was nice to see her wings clipped. She did get more freedom in the bathroom, but I did laugh when she showed her dream bath to the builder who had to tell her she’d fallen in love with an AI-generated image.” “We weren’t allowed to build stairs indoors,” adds Holden. “So you have to get your jim-jams on and use the exterior stairs, which is actually quite cute.” Carr chips in, “Amanda said to the builder, ‘I often sleep naked, can I walk up the stairs naked?’ His eyeballs were like BOING. He’s now bought the house opposite…” Amanda and Alan’s Greek Job is Carr’s first show to air since he won Celebrity Traitors last year. Although celebs are meant to be tight-lipped about their involvement before entering the castle, Holden knew he was filming it. “And I knew he must have done well because I didn’t speak to him for two weeks: normally we speak every day!” she says. “He’s been around for so long, but everyone’s suddenly like, ‘Oh I love Alan Carr’, and I think, ‘How is he a new thing to you? He’s always been this brilliant!’ “My daughter Holly, who’s always loved him, said to me, ‘Everyone’s asking me about Alan and I say to them, you’ve met Alan, he was in the back garden at our party, and you weren’t bothered about him then!’ Alan’s literally brought them a cup of tea in bed or been on holiday with them! But now they’re really into him, it’s brought a whole new generation because of all the TikToks and the memes, which is lovely.” Shy on the subject of the Traitors, Carr admits it’s odd to be recognised by new fans in the queue for a sausage roll at Greggs or in the aisles at Lidl. Trying to divert attention away from the subject, he suggests Holden should be cast in the next series, not least because it would give him a two-week break from her. “I do love the cloak,” she says. “I think I’d look like the woman from the Scottish Widows advert if I could customise it with a red lip. They’d make me a Faithful, though, and that’s boring. You don’t remember the Faithfuls. You ask anyone in a few months, who else was in the show other than Alan Carr? But I couldn’t do it anyway because it clashes with Britain’s Got Talent.” “Well,” says Carr with pursed lips. “A Traitor would say that. Wouldn’t they?” Amanda and Alan's top DIY TIPS TAKE THE LOW-COST OPTION Amanda You don’t have to spend lots of money. Lighting can add so much. You can get rechargable lighting that you can move anywhere to brighten up a boring corner, or put the focus on a painting. Alan Or you can take a leaf out of Amanda’s book and go along the beach and find bits of old driftwood and turn it into a lamp! TRY UPCYCLING Alan We had a front door that would have been a burglar’s dream, but I didn’t want to throw it out because it was the most gorgeous colour, so we repurposed it as a headboard for the Aphrodite Suite and it looks fantastic. Talking of which, we need to start loving our doors a bit better: the Greeks love a beautiful front door and it adds so much character to a property. They’re like art installations in Greece. Amanda They love a doorknob and a knocker, too. We need more of those. EXPERIMENT WITH PAINT Amanda The thing we loved doing the most in Corfu was the colour washing. If you’ve got a new, well-plastered wall, you can get two colour options and sponges and wash the wall with them together. We tried a blush tone and a pink-ish tone but it looked like a bruise, so then we did a green and a minty green and it worked really well, and it’s so easy. EMPLOY LOCAL CRAFTSMEN Alan We get artisans and proper craftsmen wherever we go, to do traditional stonework and so on. Amanda It’s nice to put your money into the smaller villages up in the hills and embrace the traditional methods of working. Although I don’t recommend hand-building a brick barbecue in 40° heat!
Alan Carr and Amanda Holden talk secret to their 20-year friendship – and why she won't do Celebrity Traitors
This article first appeared in Radio Times magazine. Interviewing people “off the telly” is rarely how you’d imagine: celebrities are frequently more serious or less friendly than you might expect. Happily, however, I can report that Amanda Holden and Alan Carr are everything you could possibly hope for in the flesh. They’re finishing off lunch when I walk in, and there’s an irresistible atmosphere from the off, with roars of laughter, outraged screams and overlapping answers. It’s clear why they’re best friends, and why their chemistry makes such good telly on their overseas renovation show: with a third series, Greek Job, currently on our screens. “We’re the same people,” says Carr. “People ask if we really get along, but I couldn’t do this show if we didn’t. We’re filming in 40° heat, and she’s trying to put up hideous wallpaper and a disco ball. We have to get on. I hate putting that bloody jumpsuit on. I like the fun bits: the drinking, dancing, lighting candles, fluffing cushions. But whenever we’re doing something less fun she’s like, ‘Come on Alan, we can do it’. You couldn't do this with a Debbie Downer.” Holden adds, “We’ve been friends for 20 years, but we’ve become closer in the last eight. He has no ego. He might have to stop for a cup of tea now and again, but that’s his biggest demand. We read each other well. There are moments when we’re quiet, when we’re nuts, tired, happy.” Carr interjects, sparking another of Holden’s trademark cackles, “There are even moments when we’re sober, although I can’t remember any!” Each series sees the pair given a rundown property to renovate. The latest is in Corfu, a favourite holiday destination for Holden who loves the family-friendly vibe for her teenage daughters Lexie and Holly – and the fact they do “huge measures” in local bars. Their hearts sank when they first saw the building, though: a wreck with crumbling walls and ceiling, and a waste pipe running through the living space. “It was the first time we wanted to get back in the car and go home,” sighs Holden. “We had family coming out for a holiday and we thought that there was no way we would have time to do anything with them. It looked like an impossible task.” “But it was a good project,” adds Carr. “We made a herb garden and an outside barbecue. It’s the first property that’s got a sea view from the main bedroom, or the Aphrodite Suite as we called it, where I’d look over to Albania in case I spotted my future husband. “Amanda loves a disco ball and garish colours but there are lots of building regulations in Corfu, so it was nice to see her wings clipped. She did get more freedom in the bathroom, but I did laugh when she showed her dream bath to the builder who had to tell her she’d fallen in love with an AI-generated image.” “We weren’t allowed to build stairs indoors,” adds Holden. “So you have to get your jim-jams on and use the exterior stairs, which is actually quite cute.” Carr chips in, “Amanda said to the builder, ‘I often sleep naked, can I walk up the stairs naked?’ His eyeballs were like BOING. He’s now bought the house opposite…” Amanda and Alan’s Greek Job is Carr’s first show to air since he won Celebrity Traitors last year. Although celebs are meant to be tight-lipped about their involvement before entering the castle, Holden knew he was filming it. “And I knew he must have done well because I didn’t speak to him for two weeks: normally we speak every day!” she says. “He’s been around for so long, but everyone’s suddenly like, ‘Oh I love Alan Carr’, and I think, ‘How is he a new thing to you? He’s always been this brilliant!’ “My daughter Holly, who’s always loved him, said to me, ‘Everyone’s asking me about Alan and I say to them, you’ve met Alan, he was in the back garden at our party, and you weren’t bothered about him then!’ Alan’s literally brought them a cup of tea in bed or been on holiday with them! But now they’re really into him, it’s brought a whole new generation because of all the TikToks and the memes, which is lovely.” Shy on the subject of the Traitors, Carr admits it’s odd to be recognised by new fans in the queue for a sausage roll at Greggs or in the aisles at Lidl. Trying to divert attention away from the subject, he suggests Holden should be cast in the next series, not least because it would give him a two-week break from her. “I do love the cloak,” she says. “I think I’d look like the woman from the Scottish Widows advert if I could customise it with a red lip. They’d make me a Faithful, though, and that’s boring. You don’t remember the Faithfuls. You ask anyone in a few months, who else was in the show other than Alan Carr? But I couldn’t do it anyway because it clashes with Britain’s Got Talent.” “Well,” says Carr with pursed lips. “A Traitor would say that. Wouldn’t they?” The latest issue of Radio Times is out now – subscribe here. Amanda and Alan's Greek Job continues on Friday 16 January at 9:30pm on BBC One and iPlayer. Check out more of our Entertainment 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.
Meet the cast of Agatha Christie's Seven Dials
Writer/producer Chris Chibnall and stars Helena Bonham Carter, Martin Freeman and Edward Bluemel on what we can expect from Agatha Christie's Seven Dials
Add Agatha Christie's Seven Dials to your watchlist 'I find Christie fascinating – why would somebody write so much about how to kill?' Helena Bonham Carter plays Lady Caterham Why did you want to take this role? I’m a fan of Agatha Christie, and of Chris Chibnall. The story is witty, fun and has lots of energy. There were changes to the book with permission from the Christie estate, but it retains the mood and has some ingenious twists. It almost out-Agathas Agatha. Who do you play? Bundle’s mother, Lady Caterham. She’s in a deep well of despair and grief and loss but she’s also very funny. I love her pretend absent-mindedness, which gets her off the hook in lots of situations. She pretends she’s impractical and useless, and she hates people. She wants a moat to keep everyone out. All she can really cope with is her dog who, by the way, was one of the best dogs I’ve ever worked with. What do you love about Christie? I’ve always wanted to play Marple, who’s a great heroine. The first film I remember was Death on the Nile, which was beautiful and full of famous people, and felt very exotic. But Christie was prolific – the best-selling author of all time – and wrote so many lesser-known books. I find her fascinating – why would somebody write so much about how to kill? She was a nurse in the war and learnt all about poison, which is a feminine way to kill if you don’t have much strength. Then after her husband left her, she met a much younger man who was an archaeologist and that informed her later books, set in Egypt and so on, because she travelled with him. He was digging, and she was digging in a different way. You always find some empathy with her murderers because they’re doing it from a place of pain. Do you have a favourite parlour game? We play a giant version of Cluedo on family holidays. Everyone pulls a piece of paper out of a hat. One person is the murderer and they get an object and a location – so it might be the swimming pool and a flipper – and they have to murder people by handing them the object in that location. It can go on for days, it’s wonderful. Nobody trusts anybody, and the kids love it. Would you be a good sleuth in real life, or would you be better at getting away with murder? I think both; one informs the other. I like detective work. I love being able to detect things and look at someone and deconstruct them. That’s what I do as an actor. 'It's Christie meets PG Wodehouse' Writer/producer Chris Chibnall How did you come to write this adaptation? I’m a massive Christie fan so when I was asked to write an adaptation, it was an easy “yes”. I chose The Seven Dials Mystery because Bundle is an amazing character, it’s only been adapted once and it’s really funny. It’s Christie meets PG Wodehouse, with wit and energy. You’ve made a major change: Lord Caterham has become Lady Caterham. Why? It’s a really hard part to cast and we needed someone with gravitas and comic timing. John Gielgud previously played him, so that was our benchmark. We changed it to Lady and asked Helena Bonham Carter, which gives a fresh dynamic. You’re drawn to crime: from ITV drama Broadchurch to your novel Death at the White Hart. Why? Broadchurch was basically Agatha Christie by the sea, and my book definitely owes her a debt. I like the structure of those Golden Age detective novels, but set in a modern world. It also allows you to write an ensemble of different ages and experiences. Do you have a favourite fictional detective? Miss Marple. She’s there in plain sight but people ignore her, which allows her to observe everything. Do you have a favourite fictional murder? Agatha Christie’s A Murder Is Announced. Starting a novel with an advert for a murder in the village paper? Incredible. Would you be a good sleuth in real life, or would you be better at getting away with murder? I wouldn’t be a good sleuth, but people might say I do get away with murder! 'We did laugh a lot. I don't want to be there if it's not fun' Martin Freeman plays Superintendent Battle You’re back in the world of murder mysteries — what appealed about this adaptation? Chris’s scripts bring it up to date in a way that feels relatable without trying to be hip and cool. It has a contemporary feel, while not cheating on the period. I didn’t really grow up with Christie, but the character of Bundle surprised me because she’s much younger than Marple and Poirot. There are scenes filmed at Badminton House. Did you enjoy that? I loved it, actually. I’m normally in a car park in Croydon, so it was a nice change. Now I can say I’ve done one of those scenes where one person is a murderer and I’m explaining the trajectory of the bullet. Your character has some funny moments — did you enjoy embracing a comedic role again, after more serious recent parts such as The Responder? Some of it is genuinely laugh-out-loud funny and not just polite, Sunday-night funny. Battle’s not smooth like Poirot. He’s trying to explain this thing, but he keeps being interrupted by these posh idiots, and it drives him bananas. The frustration of someone being constantly thwarted is funny. Mia said you kept making her corpse and break character… Not actively, because that’s a dangerous game and it can end up boomeranging on you. There’s nothing more exciting than corpsing, but once you’ve started it can be very hard to stop, and that’s scary. But we did laugh a lot. I don’t want to be there if it’s not fun. Do you have a favourite fictional detective? I love the brilliance and arrogance of Sherlock Holmes, and how he’s so far ahead of everyone else in the room. I also like Columbo; the way people underestimate him, and he takes advantage of that. It’s such a great device having a detective leave the room then turn around and say, “One more thing…” I also love him having to deal with people of a higher social class. Battle’s the same, he’s not from an aristocratic background. It’s the revenge of the little guy or gal. Do you have a favourite fictional murder? Off the top my head, because I was in it, I know there were some great ones in Sherlock. Andrew Scott’s version of Moriarty was delightful to watch, the evil and dastardliness of his murders… Would you be better at sleuthing in real life, or getting away with murder? I’m too disorganised to be a good sleuth, and I don’t think I could get away with murder – as soon as I’m questioned, I start acting guilty. '1925 is a period I haven't done yet, and I'm trying to tick them all off before I retire!' Edward Bluemel plays Jimmy Thesiger What appealed about this role? I love a whodunnit, and I can’t resist a period drama; 1925 is a period I haven’t done yet, and I’m trying to tick them all off before I retire! And the costumes: high waist, wide leg, and a little cricket jumper. I’m so shallow, I love the fancy houses and outfits. And Bundle is such a great character, like a gender-flipped Tintin. What do you love about a whodunnit? They’ve come back into fashion with things like Knives Out. I love the big Christie adaptations but it’s exciting that this one is lesser known, because with Death on the Nile or Murder on the Orient Express, we all know who did it. This will keep everyone guessing. What can you tell us about Jimmy? I play Bundle’s friend. He’s probably living off a trust fund, and he’s a peacock, who unwittingly becomes Bundle’s sidekick in solving this mystery. Who’s your favourite fictional detective? I grew up on the Benedict Cumberbatch version of Sherlock Holmes, so I had a couple of “pinch me” moments working with Martin on this [who played Dr Watson in the BBC series]. Favourite fictional murder? Bunny’s death in [Donna Tartt novel] The Secret History was shocking. Would you be better as a sleuth, or getting away with murder? Neither. I’m not a good liar, and I’m too easily distracted and misled to be a good sleuth.
From Billy Elliot and Tracy Beaker to Baftas and Agatha Christie, bundle of energy Mia McKenna-Bruce is taking the lead
Add Agatha Christie's Seven Dials to your watchlist She stands at just five foot tall, but actor Mia McKenna-Bruce fills a room with her effervescent energy. It’s little wonder she was cast as Lady Eileen “Bundle” Brent (described by Christie as a “spirited, modern It Girl” and a “bright young thing”) in Netflix’s new adaptation of Agatha Christie’s novel The Seven Dials Mystery. “It’s all in the name – she’s a bundle of energy, a force to be reckoned with,” McKenna-Bruce explains of her character. “She doesn’t take no for an answer but she probes with charm and a smile on her face. “I’m completely shocked this story has only been adapted once before. Maybe it’s because we’re only now diving more into female-led narratives. Everyone falls in love with Bundle, she’s such a ray of sunshine.” McKenna-Bruce leads a starry cast in the three-part thriller, which has been adapted by Broadchurch creator and former Doctor Who boss Chris Chibnall. The story, set in 1925, begins with a murder at a lavish country party. Unhappy with the police investigation into the death of her friend Gerry, Bundle decides to do some digging herself, which leads her into a murky world of espionage. “It’s different to what we’ve seen before, but it still clings on to the things people love about Christie,” says McKenna-Bruce. “We’ve got the classic scene where all the suspects are in a room and Superintendent Battle is unpicking it all and revealing the killer. “It’s got the dark side to keep you hooked constantly, but it’s set in the roaring 20s and has this young, fresh, glitzy vibe. Visually, it’s stunning and, for me, watching it made me want to jump into that world, despite all the death!” Certainly, she’d be in good company if she did so. Bundle’s mother, Lady Caterham, is played by Helena Bonham Carter, while Martin Freeman is Superintendent Battle, and McKenna-Bruce says that both A-listers were a joy to work with. “Helena called us ‘the psychic sisters’ because we got on so well, and Martin was hilarious,” she says. “Whenever he forgets a line, he does a Chewbacca impression and it made me laugh every time. I was gone.” Not that sharing a screen with big names is unusual for McKenna-Bruce. She is only 28, but she’s been acting since she was seven years old, and is currently playing Ringo Starr’s first wife Maureen in the first of four Beatles biopics directed by Sam Mendes and co-starring Saoirse Ronan, Barry Keoghan and Paul Mescal. Her love of acting all began, she says, when she was just six and spellbound by the movie Titanic. “I couldn’t stop crying after I watched it,” she recalls. “So my mum got the director to ring and explain that it was a film, except that it wasn’t James Cameron on the phone, it was my grandad pretending. When he explained these people were acting, I was like, ‘I want to do that.’” With many kids, that dream would be put on hold for a while – but within two years, McKenna-Bruce was in the West End performing in Billy Elliot, and landing roles on TV shows such as EastEnders, where she played Jack Branning’s daughter Penny. Other soap roles included The Bill and Doctors, as well as kids’ TV shows Tracy Beaker Returns and The Dumping Ground for eight years. “They’re all incredible, fast-paced shows that gave me a springboard to switch in and out of character easily. It taught me not to cling onto a character or take home emotions,” she says. “You’ve only got a few minutes to do a scene, then you have to get out of that headspace and into the next. That’s been a real gift.” But everything changed when she hit 20. Despite all that experience McKenna-Bruce decided to give up acting, unsure if she could make the transition to adult roles. “Up until then it was just a hobby. I didn’t know how to approach the industry as an adult,” she says. “The auditions I was doing didn’t feel fun any more, because I put so much pressure on myself, so I gave it up and went to Australia with my best friend where we had the time of our lives.” But when she returned home, she felt a pull back towards acting and soon landed roles in Persuasion opposite Dakota Johnson and Richard E Grant, alongside her breakthrough lead role in How to Have Sex, a rite-of-passage teen film that won her the EE Rising Star Award at the Baftas in 2024. Yet it’s only now that McKenna-Bruce is really breaking through to the mainstream. There’s Agatha Christie’s Seven Dials, of course, and the Beatles project, but she also takes the lead as Jane Andrews in The Lady, an upcoming ITV drama about the Duchess of York Sarah Ferguson’s lady-in-waiting, who killed her boyfriend. Two decades on from her early jobs, it may seem a slow trajectory but McKenna-Bruce says the timing for her big roles is perfect, coming as they do after marrying and having her baby son Leo two years ago. “Acting’s all I’ve ever known, although I don’t know if people realise how much experience I’ve got. I get ID-ed trying to buy Calpol for my son! I feel I might not have done Bundle justice in the past, in the way that I can now. “For all that this story is fun and glitzy, there’s a lot of heart and grief behind it, and I don’t think younger Mia could have told the story in the same way. I have a lot more self-confidence now, I’m a mum and I’ve been through labour, so I’m really grateful that now is the time that I’m getting to tell this story.” Looking ahead, the four Beatles films aren’t coming out until 2028, which means McKenna-Bruce has to keep tight-lipped about details for a long time yet. But she does acknowledge that her life may be about to change in a big way. “It’s everything I could have dreamt of,” she says. “Everyone is pouring so much into it that I know it’s going to be pure magic. Sam Mendes has exceeded all my expectations and I pinch myself constantly that I’m a part of this masterpiece that’s going to take the world by storm. “But I never go on a job and think, ‘This could be big’, or ‘This could lead to other things’. I just enjoy making it, and then I’m excited to see what we’ve created. I’m a water sign, so I go with the flow, and I just love what I do.”
Dawn French and Mark Heap team up for a sitcom that deals with Parkinson’s disease, insurance fraud and intimacy in later life…
Add Can You Keep a Secret? to your watchlist Dawn French was adamant she didn’t want to star in another sitcom. Adamant. So, when her old friend Paul Mayhew-Archer, the co-writer of The Vicar of Dibley, asked her to star in his son Simon’s first sitcom, her heart sank. “Good sitcoms are as rare as hen’s teeth,” she says. “I honestly didn’t even want to read it, but Paul is very charming and he’s unsung in many ways. All the credit seems to go to Richard Curtis, but they definitely co-wrote Vicar and he was a very valuable part of it. So, I thought I’d have to reply and be kind about declining this script.” It may not have helped that French first met Simon as an 11-year-old who’d accompanied his dad to a Vicar read-through. But since then Simon has become a producer, making the award-winning This Country starring Charlie and Daisy May Cooper. Meanwhile, Paul has been diagnosed with Parkinson’s disease. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/01/032MMEXH8-copy-c2fc97c.jpg" width="2333" height="1555" alt="Paul Mayhew-Archer and Simon Mayhew-Archer wearing suits and smiling to camera" title="Paul Mayhew-Archer and Simon Mayhew-Archer pose for photographers upon arrival for the Parkinson's UK Big Comedy Shake Up gala event, at a central London hotel, Thursday, Sept 27, 2018. (Photo by Joel C Ryan/Invision/AP)" /> That diagnosis was the inspiration for Simon’s first script, Can You Keep a Secret?, a sitcom about a Parkinson’s sufferer called William who – through a set of farcical circumstances – is accidentally declared dead. His wife Debbie decides to keep up the pretence to claim money on their life insurance, and what unfolds is a six-part comedy about the family battling to keep their secret from a set of eccentric neighbours in the cosy village where they live. “I read it and I thought, actually, this is fantastic,” French says. “It’s about an oddball family who pull off a massive crime, but that’s almost by-the-by. Simon’s largely writing about his dad, who is cheerful and funny about having Parkinson’s, which is a devastating disease. “I loved how small Simon’s script was. It’s about this little family, and I could see Simon’s heart in it, all the love for his mum and dad, and the craziness of what real families are like, how ugly and awkward they can be.” So she agreed to play Debbie, and was thrilled when Friday Night Dinner and Green Wing star Mark Heap was cast as William, alongside Craig Roberts as their son Harry and Doctor Who’s Mandip Gill as Harry’s wife, Neha. Heap says that part of the role’s appeal was reuniting with French: the pair had already played a married couple in ITV’s 2020 comedy drama, The Trouble with Maggie Cole, and remained friends ever since. “I really felt I could do something with it,” says Heap. “I loved Simon’s humour. People might ask, ‘Should you be making light of Parkinson’s? It’s not funny, is it?’ But anything can be funny. I did some research and it does become a ghastly disease in later years, and if I had to play that, that would have been a hell of a lot more challenging, not just physically, but it would be harder to make humour out of it. But Paul made a very good documentary about living with Parkinson’s in the early days, and it was sweet and humorous.” He adds with a smile, “Also, taking the job meant living with Dawn as husband and wife for three months. This is a show about people who have tragic flaws, and I knew Dawn had lots of flaws she could bring to set.” French says she was never concerned about making light of Parkinson’s, adding, “There’s a sort of permission, because Paul’s involved. He came to read-throughs and absolutely approves of it. Simon and Paul are a family that survives through humour, and they’ve had a lot to survive.” Still, Can You Keep a Secret? has a big moral quandary at its heart: will audiences root for this family who are committing a crime and lying to their friends? The case is not clear-cut. Firstly, the family haven’t been allowed to claim for William’s treatment on their health insurance, as happens to many in real life, and so they feel ripped off and let down. Secondly, they give some of the pay-out to good causes. “People can easily persuade themselves, ‘Insurance companies are all trying to rip us off, so it’s ultimate justice that we keep the money’,” says Heap. “Or, ‘I pay too much tax anyway, so why can’t I have a bit extra?’ It’s moral weakness, but you often root for [William and Debbie] because they’re so charming and because they’re giving money to charity. That’ll be my excuse when I do a bank heist.” “Also, they want the money for their kids, like every set of parents,” adds French. “You want to make sure they’re left with a bit of a cushion, don’t you? But William and Debbie are also tempted along the way with little treats for themselves, like a patio pressure washer and an LED face mask.” French is, of course, best known for her sketch shows with Jennifer Saunders and The Vicar of Dibley, and has reached national treasure status with her twinkly, kind persona. So, I can’t help wondering if she had any reservations about taking on the role of Debbie, who often isn’t an entirely likeable character. “I accept that I do have a reputation as a trustworthy, cardigan-wearing decent human,” she says. “It’s part of the baggage I carry – happy baggage that people imagine I’m a very decent vicar. But even that vicar was greedy, selfish, very rude sometimes and susceptible to weakness with lust and sins: it was just wrapped up with a lovely bow. It was a show where we talked about bestiality, a show where quite shocking things happened: more shocking and edgy than almost anything else I did. “I’ve done dramas where I’ve played murdering nurses and lots of other edgy sketches with Jennifer, but I do accept I have that ‘decent’ reputation. That doesn’t mean I can’t explore this, though.” Another point of humour in the new series comes from William and Debbie talking openly about their sex life, which is mortifying for their son Harry. I tell French I find it refreshing to see an older couple having a healthy sex life, and she agrees. “I’m an older person and I might not talk about it much, but I’m certainly still trying to do it,” she says. “Why would it be off the table? It’s on the table for ever, I hope, unless something prevents it. Perhaps less on the table, more on a comfy horizontal bed at the correct height, these days!”
Agatha Christie's Seven Dials star Helena Bonham Carter: "I've always wanted to play Marple"
Bonham Carter spoke with Radio Times magazine about her new Netflix series.
New Netflix series Agatha Christie's Seven Dials marks the streamer's first time taking on the beloved crime writer's work, with Chris Chibnall scripting the three-parter. Set in 1925, the series stars Mia McKenna-Bruce as Lady Eileen ‘Bundle’ Brent, who becomes an amateur sleuth when a practical joke at a lavish country house party appears to have gone horribly, murderously wrong. The series also stars Martin Freeman as Superintendent Battle, while Helena Bonham Carter plays Bundle's mother, Lady Caterham. Bonham Carter spoke with Radio Times magazine ahead of the series airing, and revealed why she was drawn to the series, her love of Christie and one of her most famous creations, Miss Marple, and her Cluedo-centric family holidays. This article first appeared in Radio Times magazine. Why did you want to take this role? I’m a fan of Agatha Christie, and of Chris Chibnall. The story is witty, fun and has lots of energy. There were changes to the book with permission from the Christie estate, but it retains the mood and has some ingenious twists. It almost out-Agathas Agatha. Who do you play? Bundle’s mother, Lady Caterham. She’s in a deep well of despair and grief and loss but she’s also very funny. I love her pretend absent-mindedness, which gets her off the hook in lots of situations. She pretends she’s impractical and useless, and she hates people. She wants a moat to keep everyone out. All she can really cope with is her dog who, by the way, was one of the best dogs I’ve ever worked with. What do you love about Christie? I’ve always wanted to play Marple, who’s a great heroine. The first film I remember was Death on the Nile, which was beautiful and full of famous people, and felt very exotic. But Christie was prolific – the best-selling author of all time – and wrote so many lesser-known books. I find her fascinating – why would somebody write so much about how to kill? She was a nurse in the war and learnt all about poison, which is a feminine way to kill if you don’t have much strength. Then after her husband left her, she met a much younger man who was an archaeologist and that informed her later books, set in Egypt and so on, because she travelled with him. He was digging, and she was digging in a different way. You always find some empathy with her murderers because they’re doing it from a place of pain. Do you have a favourite parlour game? We play a giant version of Cluedo on family holidays. Everyone pulls a piece of paper out of a hat. One person is the murderer and they get an object and a location – so it might be the swimming pool and a flipper – and they have to murder people by handing them the object in that location. It can go on for days, it’s wonderful. Nobody trusts anybody, and the kids love it. Would you be a good sleuth in real life, or would you be better at getting away with murder? I think both; one informs the other. I like detective work. I love being able to detect things and look at someone and deconstruct them. That’s what I do as an actor. Chris Chibnall talks Doctor Who, Broadchurch and Seven Dials in The Radio Times Writers' Room: View Green Video on the source website Agatha Christie’s Seven Dials will launch on Netflix on 15th January 2026. Sign up for Netflix from £5.99 a month. Netflix is also available on Sky Glass and Virgin Media. Add Agatha Christie's Seven Dials 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.
Agatha Christie's Seven Dials star Mia McKenna-Bruce talks "bundle of energy" character, The Beatles biopics, and beginnings with EastEnders and Tracy Beaker
From Billy Elliot and Tracy Beaker to Baftas and Agatha Christie, Mia McKenna-Bruce is taking the lead.
This article first appeared in Radio Times magazine. She stands at just five foot tall, but actor Mia McKenna-Bruce fills a room with her effervescent energy. It’s little wonder she was cast as Lady Eileen “Bundle” Brent (described by Christie as a “spirited, modern It Girl” and a “bright young thing”) in Netflix’s new adaptation of Agatha Christie’s novel The Seven Dials Mystery. “It’s all in the name – she’s a bundle of energy, a force to be reckoned with,” McKenna-Bruce explains of her character. “She doesn’t take no for an answer but she probes with charm and a smile on her face. “I’m completely shocked this story has only been adapted once before. Maybe it’s because we’re only now diving more into female-led narratives. Everyone falls in love with Bundle, she’s such a ray of sunshine.” McKenna-Bruce leads a starry cast in the three-part thriller, which has been adapted by Broadchurch creator and former Doctor Who boss Chris Chibnall. The story, set in 1925, begins with a murder at a lavish country party. Unhappy with the police investigation into the death of her friend Gerry, Bundle decides to do some digging herself, which leads her into a murky world of espionage. “It’s different to what we’ve seen before, but it still clings on to the things people love about Christie,” says McKenna-Bruce. “We’ve got the classic scene where all the suspects are in a room and Superintendent Battle is unpicking it all and revealing the killer. It’s got the dark side to keep you hooked constantly, but it’s set in the roaring 20s and has this young, fresh, glitzy vibe. Visually, it’s stunning and, for me, watching it made me want to jump into that world, despite all the death!” Certainly, she’d be in good company if she did so. Bundle’s mother, Lady Caterham, is played by Helena Bonham Carter, while Martin Freeman is Superintendent Battle, and McKenna-Bruce says that both A-listers were a joy to work with. “Helena called us ‘the psychic sisters’ because we got on so well, and Martin was hilarious,” she says. “Whenever he forgets a line, he does a Chewbacca impression and it made me laugh every time. I was gone.” Not that sharing a screen with big names is unusual for McKenna-Bruce. She is only 28, but she’s been acting since she was seven years old, and is currently playing Ringo Starr’s first wife Maureen in the first of four Beatles biopics directed by Sam Mendes and co-starring Saoirse Ronan, Barry Keoghan and Paul Mescal. Her love of acting all began, she says, when she was just six and spellbound by the movie Titanic. “I couldn’t stop crying after I watched it,” she recalls. “So my mum got the director to ring and explain that it was a film, except that it wasn’t James Cameron on the phone, it was my grandad pretending. When he explained these people were acting, I was like, ‘I want to do that.’” View oEmbed on the source website With many kids, that dream would be put on hold for a while – but within two years, McKenna-Bruce was in the West End performing in Billy Elliot, and landing roles on TV shows such as EastEnders, where she played Jack Branning’s daughter Penny. Other soap roles included The Bill and Doctors, as well as kids’ TV shows Tracy Beaker Returns and The Dumping Ground for eight years. “They’re all incredible, fast-paced shows that gave me a springboard to switch in and out of character easily. It taught me not to cling onto a character or take home emotions,” she says. “You’ve only got a few minutes to do a scene, then you have to get out of that headspace and into the next. That’s been a real gift.” But everything changed when she hit 20. Despite all that experience McKenna-Bruce decided to give up acting, unsure if she could make the transition to adult roles. “Up until then it was just a hobby. I didn’t know how to approach the industry as an adult,” she says. “The auditions I was doing didn’t feel fun any more, because I put so much pressure on myself, so I gave it up and went to Australia with my best friend where we had the time of our lives.” But when she returned home, she felt a pull back towards acting and soon landed roles in Persuasion opposite Dakota Johnson and Richard E Grant, alongside her breakthrough lead role in How to Have Sex, a rite-of-passage teen film that won her the EE Rising Star Award at the Baftas in 2024. Yet it’s only now that McKenna-Bruce is really breaking through to the mainstream. There’s Agatha Christie’s Seven Dials, of course, and the Beatles project, but she also takes the lead as Jane Andrews in The Lady, an upcoming ITV drama about the Duchess of York Sarah Ferguson’s lady-in-waiting, who killed her boyfriend. Two decades on from her early jobs, it may seem a slow trajectory but McKenna-Bruce says the timing for her big roles is perfect, coming as they do after marrying and having her baby son Leo two years ago. “Acting’s all I’ve ever known, although I don’t know if people realise how much experience I’ve got. I get ID-ed trying to buy Calpol for my son! I feel I might not have done Bundle justice in the past, in the way that I can now. “For all that this story is fun and glitzy, there’s a lot of heart and grief behind it, and I don’t think younger Mia could have told the story in the same way. I have a lot more self-confidence now, I’m a mum and I’ve been through labour, so I’m really grateful that now is the time that I’m getting to tell this story.” Looking ahead, the four Beatles films aren’t coming out until 2028, which means McKenna-Bruce has to keep tight-lipped about details for a long time yet. But she does acknowledge that her life may be about to change in a big way. “It’s everything I could have dreamt of,” she says. “Everyone is pouring so much into it that I know it’s going to be pure magic. Sam Mendes has exceeded all my expectations and I pinch myself constantly that I’m a part of this masterpiece that’s going to take the world by storm. But I never go on a job and think, ‘This could be big’, or ‘This could lead to other things’. I just enjoy making it, and then I’m excited to see what we’ve created. I’m a water sign, so I go with the flow, and I just love what I do.” The latest issue of Radio Times is out now – subscribe here. Agatha Christie's Seven Dials is on Netflix from 15 January. 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.
Dawn French reveals why she had to star in new comedy Can You Keep a Secret and talks sitcom's emotive real-life inspiration
This article first appeared in Radio Times magazine. Dawn French was adamant she didn’t want to star in another sitcom. Adamant. So, when her old friend Paul Mayhew-Archer, the co-writer of The Vicar of Dibley, asked her to star in his son Simon’s first sitcom, her heart sank. “Good sitcoms are as rare as hen’s teeth,” she says. “I honestly didn’t even want to read it, but Paul is very charming and he’s unsung in many ways. All the credit seems to go to Richard Curtis, but they definitely co-wrote Vicar and he was a very valuable part of it. So, I thought I’d have to reply and be kind about declining this script.” It may not have helped that French first met Simon as an 11-year-old who’d accompanied his dad to a Vicar read-through. But since then Simon has become a producer, making the award-winning This Country starring Charlie and Daisy May Cooper. Meanwhile, Paul has been diagnosed with Parkinson’s disease. That diagnosis was the inspiration for Simon’s first script, Can You Keep a Secret?, a sitcom about a Parkinson’s sufferer called William who – through a set of farcical circumstances – is accidentally declared dead. His wife Debbie decides to keep up the pretence to claim money on their life insurance, and what unfolds is a six-part comedy about the family battling to keep their secret from a set of eccentric neighbours in the cosy village where they live. View oEmbed on the source website “I read it and I thought, actually, this is fantastic,” French says. “It’s about an oddball family who pull off a massive crime, but that’s almost by-the-by. Simon’s largely writing about his dad, who is cheerful and funny about having Parkinson’s, which is a devastating disease. “I loved how small Simon’s script was. It’s about this little family, and I could see Simon’s heart in it, all the love for his mum and dad, and the craziness of what real families are like, how ugly and awkward they can be.” So she agreed to play Debbie, and was thrilled when Friday Night Dinner and Green Wing star Mark Heap was cast as William, alongside Craig Roberts as their son Harry and Doctor Who’s Mandip Gill as Harry’s wife, Neha. Heap says that part of the role’s appeal was reuniting with French: the pair had already played a married couple in ITV’s 2020 comedy drama, The Trouble with Maggie Cole, and remained friends ever since. “I really felt I could do something with it,” says Heap. “I loved Simon’s humour. People might ask, ‘Should you be making light of Parkinson’s? It’s not funny, is it?’ But anything can be funny. I did some research and it does become a ghastly disease in later years, and if I had to play that, that would have been a hell of a lot more challenging, not just physically, but it would be harder to make humour out of it. But Paul made a very good documentary about living with Parkinson’s in the early days, and it was sweet and humorous.” He adds with a smile, “Also, taking the job meant living with Dawn as husband and wife for three months. This is a show about people who have tragic flaws, and I knew Dawn had lots of flaws she could bring to set.” French says she was never concerned about making light of Parkinson’s, adding, “There’s a sort of permission, because Paul’s involved. He came to read-throughs and absolutely approves of it. Simon and Paul are a family that survives through humour, and they’ve had a lot to survive.” Still, Can You Keep a Secret? has a big moral quandary at its heart: will audiences root for this family who are committing a crime and lying to their friends? The case is not clear-cut. Firstly, the family haven’t been allowed to claim for William’s treatment on their health insurance, as happens to many in real life, and so they feel ripped off and let down. Secondly, they give some of the pay-out to good causes. “People can easily persuade themselves, ‘Insurance companies are all trying to rip us off, so it’s ultimate justice that we keep the money’,” says Heap. “Or, ‘I pay too much tax anyway, so why can’t I have a bit extra?’ It’s moral weakness, but you often root for [William and Debbie] because they’re so charming and because they’re giving money to charity. That’ll be my excuse when I do a bank heist.” “Also, they want the money for their kids, like every set of parents,” adds French. “You want to make sure they’re left with a bit of a cushion, don’t you? But William and Debbie are also tempted along the way with little treats for themselves, like a patio pressure washer and an LED face mask.” French is, of course, best known for her sketch shows with Jennifer Saunders and The Vicar of Dibley, and has reached national treasure status with her twinkly, kind persona. So, I can’t help wondering if she had any reservations about taking on the role of Debbie, who often isn’t an entirely likeable character. “I accept that I do have a reputation as a trustworthy, cardigan-wearing decent human,” she says. “It’s part of the baggage I carry – happy baggage that people imagine I’m a very decent vicar. But even that vicar was greedy, selfish, very rude sometimes and susceptible to weakness with lust and sins: it was just wrapped up with a lovely bow. It was a show where we talked about bestiality, a show where quite shocking things happened: more shocking and edgy than almost anything else I did. “I’ve done dramas where I’ve played murdering nurses and lots of other edgy sketches with Jennifer, but I do accept I have that ‘decent’ reputation. That doesn’t mean I can’t explore this, though.” Another point of humour in the new series comes from William and Debbie talking openly about their sex life, which is mortifying for their son Harry. I tell French I find it refreshing to see an older couple having a healthy sex life, and she agrees. “I’m an older person and I might not talk about it much, but I’m certainly still trying to do it,” she says. “Why would it be off the table? It’s on the table for ever, I hope, unless something prevents it. Perhaps less on the table, more on a comfy horizontal bed at the correct height, these days!” The latest issue of Radio Times is out now – subscribe here. Can You Keep a Secret? begins at 9.30pm on Wednesday 7 January on BBC One and iPlayer. Check out more of our Comedy 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.
She’s reuniting with Stephen Graham following Adolescence’s success — but what about those Doctor Who rumours?
Add A Thousand Blows to your watchlist She came to prominence as a young Princess Anne in The Crown and as a wannabe influencer in Chloe, and hit the big time, winning an Emmy award as well as a Golden Globe nomination, for her role as a social worker in the acclaimed Netflix drama Adolescence. Now Erin Doherty is returning to our screens in series two of the Disney+ period drama A Thousand Blows in which she plays cockney thief Mary opposite Stephen Graham’s bareknuckle boxer Sugar. But despite her high hit rate, why is she happy to spend months out of work — and how does she feel about going viral on social media? You won an Emmy for your performance in Adolescence, but your acceptance speech had to be bleeped when you told the audience they were “all ****ing stunning”. How did that go down at home? I really tried not to swear but it just came out! I got back to the hotel and FaceTimed my sister to show her my award. We were both screaming, then my mum said, “You did swear, though.” So if I win anything again, I’ll shout out my mum and say sorry. Did you expect Adolescence to be such a huge hit? In my head, it was just going to be another phenomenal Stephen Graham thing. That man has made such gorgeous shows that haven’t exploded in America. He’s led by British culture and he wants to speak to the working classes about what’s happening here. I only filmed for three weeks and it was brilliant but I never thought, “This will be a defining moment of my life.” Your CV isn’t that long: are you choosy about the roles that you pick? If it doesn’t feel right, I don’t do it. I won’t just go, “Sure, that’d be a nice way to spend my time.” I can spend six months without work, and sometimes it’s scary, but I’d much rather do things that I’m deeply passionate about, or I’d feel a bit of a fraud. I’ve learnt to love it. How lucky am I that I get time in between projects? Creatively, the silence in between characters is useful to build momentum for the next one. I’ll watch people on the Tube and in coffee shops, and it’s all brewing and bubbling – it gives me a library to choose from. Have any of the roles you have played changed you? Mary in A Thousand Blows. Embodying someone so ambitious feels empowering. I found it exciting to be in her head and think, “What do I want, and how am I going to get there?” I’m still a nice person but I’ve latched onto that idea. I might go home and chat to my sister and think, “I could have framed that a bit softer,” but there’s something about spending time in these women’s shoes and removing those airs and graces that does rub off on you. Are you aware that the “Mary walk” has become a TikTok meme, with people copying it? I’ve just heard about that! The truth is, the walk was borne out of the costumes that are so heavy it’s like wearing a pair of curtains around your waist, and you’re walking on cobbles, so you’re lugging yourself around and that seemed to suit Mary. It’s bizarre that it’s become a TikTok trend but if Mary’s pierced into the culture, that’s great. You’re 33, so the roles you’re offered may change soon — you may be playing mums instead of influencers. How do you feel about that? There was a period when women my age would just fall off the face of the Earth, so I feel grateful that I’ve come into this industry at a time where people recognise there are fascinating stories to tell about women who only get more interesting and complex as we age. I’d be excited to play a mum. You’re rumoured to be playing the next Doctor Who, and there’s talk of a new series of Adolescence. Are either of those true? I’ve heard the Doctor Who rumour and I’m into sci-fi and fantasy but I can honestly say there have been no discussions! I haven’t heard anything about Adolescence either, but of course I would do it again. Is there another role or genre you’d love to try? I rewatched Avatar recently and I’d bloody love to do that. I watched a clip of Kate Winslet acting [in a motion-capture suit] with just this metal cage and I thought it was amazing that she could pull that off. I’m drawn to a challenge that frightens me. Famously, you played Princess Anne in The Crown. Some of your co-stars have said that job changed their view of the royal family. How about you? The royals have never been a prominent part of my life, which was helpful because it meant I didn’t bring much reverence to the role. I treated it the same as I would a fictional character. After hearing you play posh, are people surprised to hear you speak in your Crawley accent? People are used to it now but when I was doing The Crown, you could see the surprise when I was like, “’Ello, all right?” But that’s a compliment!
Adolescence's Erin Doherty talks Doctor Who speculation - and whether she'd return for a second run of Netflix hit
She’s reuniting with Stephen Graham following Adolescence’s success – but what about those Doctor Who rumours?
This article first appeared in Radio Times magazine. She came to prominence as a young Princess Anne in The Crown and as a wannabe influencer in Chloe, and hit the big time, winning an Emmy award as well as a Golden Globe nomination, for her role as a social worker in the acclaimed Netflix drama Adolescence. Now Erin Doherty is returning to our screens in series two of the Disney+ period drama A Thousand Blows in which she plays cockney thief Mary opposite Stephen Graham’s bareknuckle boxer Sugar. But despite her high hit rate, why is she happy to spend months out of work – and how does she feel about going viral on social media? You won an Emmy for your performance in Adolescence, but your acceptance speech had to be bleeped when you told the audience they were “all f**king stunning”. How did that go down at home? I really tried not to swear but it just came out! I got back to the hotel and FaceTimed my sister to show her my award. We were both screaming, then my mum said, “You did swear, though.” So if I win anything again, I’ll shout out my mum and say sorry. Did you expect Adolescence to be such a huge hit? In my head, it was just going to be another phenomenal Stephen Graham thing. That man has made such gorgeous shows that haven’t exploded in America. He’s led by British culture and he wants to speak to the working classes about what’s happening here. I only filmed for three weeks and it was brilliant but I never thought, “This will be a defining moment of my life.” Your CV isn’t that long: are you choosy about the roles that you pick? If it doesn’t feel right, I don’t do it. I won’t just go, “Sure, that’d be a nice way to spend my time.” I can spend six months without work, and sometimes it’s scary, but I’d much rather do things that I’m deeply passionate about, or I’d feel a bit of a fraud. I’ve learnt to love it. How lucky am I that I get time in between projects? Creatively, the silence in between characters is useful to build momentum for the next one. I’ll watch people on the Tube and in coffee shops, and it’s all brewing and bubbling – it gives me a library to choose from. Have any of the roles you have played changed you? Mary in A Thousand Blows. Embodying someone so ambitious feels empowering. I found it exciting to be in her head and think, “What do I want, and how am I going to get there?” I’m still a nice person but I’ve latched onto that idea. I might go home and chat to my sister and think, “I could have framed that a bit softer,” but there’s something about spending time in these women’s shoes and removing those airs and graces that does rub off on you. Are you aware that the “Mary walk” has become a TikTok meme, with people copying it? I’ve just heard about that! The truth is, the walk was borne out of the costumes that are so heavy it’s like wearing a pair of curtains around your waist, and you’re walking on cobbles, so you’re lugging yourself around and that seemed to suit Mary. It’s bizarre that it’s become a TikTok trend but if Mary’s pierced into the culture, that’s great. View Green Video on the source website You’re 33, so the roles you’re offered may change soon — you may be playing mums instead of influencers. How do you feel about that? There was a period when women my age would just fall off the face of the Earth, so I feel grateful that I’ve come into this industry at a time where people recognise there are fascinating stories to tell about women who only get more interesting and complex as we age. I’d be excited to play a mum. You’re rumoured to be playing the next Doctor Who, and there’s talk of a new series of Adolescence. Are either of those true? I’ve heard the Doctor Who rumour and I’m into sci-fi and fantasy but I can honestly say there have been no discussions! I haven’t heard anything about Adolescence either, but of course I would do it again. Is there another role or genre you’d love to try? I rewatched Avatar recently and I’d bloody love to do that. I watched a clip of Kate Winslet acting [in a motion-capture suit] with just this metal cage and I thought it was amazing that she could pull that off. I’m drawn to a challenge that frightens me. Famously, you played Princess Anne in The Crown. Some of your co-stars have said that job changed their view of the royal family. How about you? The royals have never been a prominent part of my life, which was helpful because it meant I didn’t bring much reverence to the role. I treated it the same as I would a fictional character. After hearing you play posh, are people surprised to hear you speak in your Crawley accent? People are used to it now but when I was doing The Crown, you could see the surprise when I was like, “’Ello, all right?” But that’s a compliment! The latest issue of Radio Times is out now – subscribe here. A Thousand Blows season 2 will premiere on Friday 9th January 2026 on Disney+. 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.
Add A Thousand Blows to your watchlist. Series 2 will be available on Disney+ from 9 January 2026 A Thousand Blows, set in Victorian east London, is a lavish production involving dozens of supporting artists, not to mention horse-drawn carriages and tightly choreographed bare-knuckle boxing scenes. So you might expect executive producer Hannah Walters to have found the shoot for series two stressful. But she insists that being on set with her husband Stephen Graham, who plays boxer Sugar Goodson, and Erin Doherty, who plays Mary Carr, the head of a band of female thieves dubbed the 40 Elephants, was full of laughter. “Steve and I work together a lot and he says I do the grown-up stuff,” she says. “But when I’m on set, the grown-up stuff can wait. I want us all to skip into work.” Walters had the idea for A Thousand Blows after seeing a picture of the third lead character, Hezekiah Moscow, played by Malachi Kirby. “The picture was mesmerising,” she recalls, “so I delved into the history of this guy who’d come to England from Jamaica to be a lion tamer. Then we discovered the Goodson brothers and the Elephants, who also lived in that world. “I wanted Steven Knight to write it — my Steve had worked with him on Peaky Blinders and other things, so it was a match made in heaven,” says Walters, who also stars as a thief called Eliza Moody. A Thousand Blows is one of a string of successes for Matriarch, the production company Walters and Graham run together, which also made Adolescence and Boiling Point. “It’s been a nonstop rollercoaster, a glorious one that we’ve not wanted to get off. But Steve and I are very good at looking at each other and going, ‘We’ve done it, kid.’ It’s a happy marriage and a happy working marriage, and we’re very thankful for it all.”
The star of Wicked: For Good on tickling the ivories, sobbing in the cinema — and why he loves us Brits
Add Wicked: For Good to your watchlist Known for starring in blockbusters such as Jurassic Park, The Fly and Independence Day, Jeff Goldblum’s latest role sees him playing one of the most famous characters in film: the Wizard of Oz. He first appeared as the charlatan using smoke and mirrors to rule the Emerald City in last year’s Oscar-winning movie Wicked, an origin story based on the West End and Broadway musical. Now, Goldblum is reprising his role for the sequel Wicked: for Good. Were you a fan of the original 1939 film The Wizard of Oz, or the theatrical version of Wicked, before getting this role? That movie has slayed me since I was a kid. Those songs, and the way Judy Garland sings them: she was so gifted. It’s a foundational fairy tale, and there’s something about that phrase, “There’s no place like home” – which maybe means your subconscious life, or your dream life – it grabs the heck out of me. I saw the Broadway show 20 years ago and I was already mushy just seeing the pictures in the lobby. By the end, I was a mess. You have a fantastic set piece in the new film, singing and dancing with Cynthia Erivo and Ariana Grande, who play Elphaba and Glinda. Was that fun to do? So much fun. I’ve seen a lot of movies made of musicals, and you can really go wrong, but with that number the thrill of a stage show is mashed with cinematic, naturalistic acting and storytelling in a way that I’ve never seen before. The fans will go wild for it, but also I think it has a degree of difficulty – as they say in Olympic gymnastics – that may be underappreciated. Were you nervous about performing with two hugely successful professional singers? There’s a responsibility and some nerves. Everybody cares so much about this phenomenon of a show. It wasn’t the easiest thing to make into a movie, but they found something that hit the bullseye, and people love it so much, so I was very conscientious. I’m always bushy-tailed about acting, but on this one especially, you really don’t want to let the side down. You’re a very musical person, though, aren’t you? I play piano every day of my life, and I’ve snuck it into some movies, and now I play in a jazz band as often as we can. We’ve played at Glastonbury, Ronnie Scott’s [in London]… and we’re on our fourth album. I was on The Graham Norton Show a few years back, the great Gregory Porter was a guest and he asked if I wanted to play piano for him, so I did. I read that you made friends with Stephen Fry, too. Do you like British people? I’m enamoured of them. My first job was The Two Gentlemen of Verona by William Shakespeare, of course. I was in The Tall Guy, which was Emma Thompson’s first movie. Jurassic World: Dominion was shot here. I’ve read all of PG Wodehouse and I met Dudley Moore once. I have a lot of connections and I’m definitely an Anglophile. Your Wicked co-star Jonathan Bailey has been named People magazine’s “sexiest man alive”. Back in the day, you were well known for taking part in sexy photoshoots, with your shirt unbuttoned to your navel — have you passed the baton on to him? No, I never had the baton. My humility doesn’t allow me to accept that. Possibly I may be to some people’s taste, but I sit at his feet, he’s a sex god. I have no competition with Jonathan Bailey at all – or anybody for that matter. You’re still the world’s coolest man, though… Well, what is cool? I know I’ve had a fun time playing scientists. Scientists at one time would have been considered uncool, but my dad was a doctor and I always admired that expertise, so it was kind of fun for me to go, “Hey, maybe I can bring some jazz to this.” I don’t try to be cool, but the coolness of jazz thrills me. A lot of people talk about how nice you are in real life — but would you ever like to play someone really bad? Well, I played the devil [in Mister Frost], but I guess he had a bit of jazz hands, huh? I don’t know, I just like to play characters who think and do things that are different from my own personality. But I think my character as the Wizard of Oz is neither all good nor bad. Everybody’s a little complicated. You starred in the drama series Kaos last year, but it has been cancelled by Netflix. Were you disappointed? You never know when something is ready for its time. Martin Scorsese says that some of his movies worked, some didn’t, and it may have been the wrong time, who knows? I liked what we did. I had a ball, and I liked that character and I think we made something good. You have a great CV, but is there still a role on your bucket list? I’m sure there are many parts. There are directors I have a big appetite to work with. A lot of female directors are having a moment: Jane Campion, Lynne Ramsay, Sofia Coppola, Rebecca Miller. I feel like my best work is ahead of me, if I’m lucky enough to get an opportunity or two. I seem to be in a fertile state – unexpectedly, deliciously and gratefully.
Wicked star Jeff Goldblum dishes on working with "sex god" Jonathan Bailey and reacts to Netflix's Kaos cancellation
This article first appeared in Radio Times magazine. Known for starring in blockbusters such as Jurassic Park, The Fly and Independence Day, Jeff Goldblum’s latest role sees him playing one of the most famous characters in film: the Wizard of Oz. He first appeared as the charlatan using smoke and mirrors to rule the Emerald City in last year’s Oscar-winning movie Wicked, an origin story based on the West End and Broadway musical. Now, Goldblum is reprising his role for the sequel Wicked: For Good. Were you a fan of the original 1939 film The Wizard of Oz, or the theatrical version of Wicked, before getting this role? That movie has slayed me since I was a kid. Those songs, and the way Judy Garland sings them: she was so gifted. It’s a foundational fairy tale, and there’s something about that phrase, “There’s no place like home” – which maybe means your subconscious life, or your dream life – it grabs the heck out of me. I saw the Broadway show 20 years ago and I was already mushy just seeing the pictures in the lobby. By the end, I was a mess. You have a fantastic set piece in the new film, singing and dancing with Cynthia Erivo and Ariana Grande, who play Elphaba and Glinda. Was that fun to do? So much fun. I’ve seen a lot of movies made of musicals, and you can really go wrong, but with that number the thrill of a stage show is mashed with cinematic, naturalistic acting and storytelling in a way that I’ve never seen before. The fans will go wild for it, but also I think it has a degree of difficulty –as they say in Olympic gymnastics – that may be underappreciated. Were you nervous about performing with two hugely successful professional singers? There’s a responsibility and some nerves. Everybody cares so much about this phenomenon of a show. It wasn’t the easiest thing to make into a movie, but they found something that hit the bullseye, and people love it so much, so I was very conscientious. I’m always bushy-tailed about acting, but on this one especially, you really don’t want to let the side down. You’re a very musical person, though, aren’t you? I play piano every day of my life, and I’ve snuck it into some movies, and now I play in a jazz band as often as we can. We’ve played at Glastonbury, Ronnie Scott’s [in London]… and we’re on our fourth album. I was on The Graham Norton Show a few years back, the great Gregory Porter was a guest and he asked if I wanted to play piano for him, so I did. I read that you made friends with Stephen Fry, too. Do you like British people? I’m enamoured of them. My first job was The Two Gentlemen of Verona by William Shakespeare, of course. I was in The Tall Guy, which was Emma Thompson’s first movie. Jurassic World: Dominion was shot here. I’ve read all of PG Wodehouse and I met Dudley Moore once. I have a lot of connections and I’m definitely an Anglophile. Your Wicked co-star Jonathan Bailey has been named People magazine’s “sexiest man alive”. Back in the day, you were well known for taking part in sexy photoshoots, with your shirt unbuttoned to your navel — have you passed the baton on to him? No, I never had the baton. My humility doesn’t allow me to accept that. Possibly I may be to some people’s taste, but I sit at his feet, he’s a sex god. I have no competition with Jonathan Bailey at all – or anybody for that matter. You’re still the world’s coolest man, though… Well, what is cool? I know I’ve had a fun time playing scientists. Scientists at one time would have been considered uncool, but my dad was a doctor and I always admired that expertise, so it was kind of fun for me to go, “Hey, maybe I can bring some jazz to this.” I don’t try to be cool, but the coolness of jazz thrills me. A lot of people talk about how nice you are in real life – but would you ever like to play someone really bad? Well, I played the devil [in Mister Frost], but I guess he had a bit of jazz hands, huh? I don’t know, I just like to play characters who think and do things that are different from my own personality. But I think my character as the Wizard of Oz is neither all good nor bad. Everybody’s a little complicated. You starred in the drama series Kaos last year, but it has been cancelled by Netflix. Were you disappointed? You never know when something is ready for its time. Martin Scorsese says that some of his movies worked, some didn’t, and it may have been the wrong time, who knows? I liked what we did. I had a ball, and I liked that character and I think we made something good. You have a great CV, but is there still a role on your bucket list? I’m sure there are many parts. There are directors I have a big appetite to work with. A lot of female directors are having a moment: Jane Campion, Lynne Ramsay, Sofia Coppola, Rebecca Miller. I feel like my best work is ahead of me, if I’m lucky enough to get an opportunity or two. I seem to be in a fertile state – unexpectedly, deliciously and gratefully. The latest issue of Radio Times is out on Saturday – subscribe here. Wicked: Part I is available to stream on Prime Video. Wicked: For Good is currently showing in UK cinemas. Add Wicked: Part I to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" 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 Film 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.
David Duchovny plays a family man under threat in Malice. But it wasn’t just the script that drew him to the role…
Add Malice to your watchlist X-Files and Californication star David Duchovny might seem an odd on-screen pairing with UK comedian Jack Whitehall — but the Hollywood stalwart is a bit of an Anglophile, especially when it comes to TV and British jokes. “People don’t expect me to be as sarcastic as I am,” he says. “I’m more deadpan than most English people. I love British humour and television.” Beyond that, he would have originally said he was drawn to the part of Tanner patriarch Jamie for the usual actorly reasons — a great script, the concept, so on and so forth, darling. But now, he’s ready to come clean. “I’d be lying if I said coming to Greece wasn’t part of the reason, because I’ve never been here,” he admits. “Greece has figured prominently in my thinking my entire life. I loved Greek mythology as a kid; it’s the whole basis of Western civilization, thought, literature, poetry and music. But I also liked that the script was kind of a Ripley, where you know who the bad guy is all along, but the thrill is wondering when he’s going to get caught.” Interestingly, Duchovny was also drawing on his own experiences to play the part, having had a real-life male nanny — not a psychopath, he’s keen to emphasise — to care for his children. “Having a manny is a different dynamic,” he says. “Our manny was super macho, so it was like having a competitor in the house, and that’s what this is. “It’s fascinating. We invite these strangers into our lives in the most vulnerable sense by asking them to take care of our children. There have been horror movies about that, so it’s ripe for that interesting psychological treatment.”
James Wood created Malice with his star in mind
Add Malice to your watchlist Malice writer James Wood is best known for creating Rev, the award-winning BBC comedy starring Tom Hollander as a vicar in a deprived parish in east London. On that project, he worked closely with Hollander to create the part of Adam Smallbone — similarly, he wrote Malice with Jack Whitehall very much in mind. “I loved writing Rev for Tom,” says Wood. “We’d go and meet priests together. If you’re with the right person and your sensibilities match, it’s a lovely way to work. “I’ve always enjoyed building a role with and for a particular actor and in Malice Jack was involved in some of the early script meetings. “After we had the idea of a psychopathic manny, we all thought Jack was perfect because he’s charming and funny and would entertain your kids. And wouldn’t it be entertaining to see Jack play a sociopath?” <img src="https://images.immediate.co.uk/production/volatile/sites/3/2025/11/Jack-Whitehall-Malice-0603219.jpg" width="1909" height="1273" alt="Two men stand facing each other in a tense confrontation inside a modern, softly lit room. One man, wearing a blue polo shirt, leans slightly against the wall while speaking; the other, in a light green collared shirt, listens intently. The setting features neutral décor, wicker furniture, and a large window in the background." title="Malice" /> Given that Whitehall is best known for stand-up, was Wood worried about whether audiences would buy him as a terrifying presence in a psychological drama? “There’s a rich tradition of comedy performers playing against type,” he says. “Robin Williams did it incredibly well, as did Peter Sellers. The trick is to make something that feels emotionally honest, but entertaining and fresh. “There’s a version of Malice that could have had an established drama star playing Adam, and it would have been good, but with Jack I think it really pops. Also, there’s something about our era that loves stories about liars, whether it be The Tinder Swindler, Baby Reindeer or Traitors.”
Being a new dad is just one challenge for Jack Whitehall – in ,Malice, the comedian plays an unhinged “manny”
Add Malice to your watchlist For most parents, having a child involves a soundtrack of nursery rhymes, CBeebies and soothing music. But while comedian Jack Whitehall was bonding with newborn daughter Elsie, he was also preparing to play the psychopathic male nanny to a super-rich family in the thriller Malice. That’s not in the baby books. It led to an odd juxtaposition at home with his fiancée Roxy Horner, as he researched characters who are outwardly charming before revealing themselves to be dangerously insane. “The run-up to rehearsals was a strange time,” he explains. “I was in this blissful bubble with the baby but also trying to prepare for this part. “One day Roxy came down and I was watching Psycho with Elsie. She was probably a bit young to be watching Anthony Perkins doing his thing but she was tiny, so I got away with it! “About two weeks after Elsie was born, James [Wood, the show’s writer] brought me a book about a French serial killer, along with some flowers – ‘That’s a lovely baby, congratulations, here’s a story about a man who kills his entire family.’ That was my reading material during the first month of fatherhood.” And his preparation extended beyond reading and watching films. In Malice, the Tanner family, headed by Jamie and Nat (David Duchovny and Carice van Houten) fall for Adam’s charms when they meet him at their holiday home in Greece and, as such, Whitehall had to learn to cook, mix cocktails, dance and swim convincingly. “Adam’s very good at everything, and that’s been one of the major challenges!” Whitehall laughs. “I’m used to playing quite incapable characters, which is much easier.” As the series unfolds, it becomes clear that Adam isn’t what he first appears to be and, for reasons that don’t become clear until the final episode, he is determined to infiltrate and destroy the family. For Whitehall, 37, playing a charismatic villain was a dream role. Born to parents Michael, a theatre agent, and Hilary, an actor, and having Nigel Havers and Richard Griffiths as godfathers, he says he was always “completely obsessed” with becoming an actor. But, despite a handful of small TV parts as a child, he felt his talents weren’t enough to sustain a career and found himself moving towards stand-up comedy instead. Aged just 21, he was named Best Newcomer at the Edinburgh Comedy Awards for his debut show, and went on to win a string of plaudits, including being named ‘One to Watch’ by Hollywood bible Variety. He has since acted – notably as posh student JP in Channel 4’s sitcom Fresh Meat, and in Bad Education, which he co-created and co-wrote – but has always hankered after a part like Adam. “Growing up on a diet of American movies from the 80s and 90s, it was always the British actor stealing the scenes as the villain. I was obsessed with Alan Rickman as the Sheriff of Nottingham in Robin Hood. Malice is a totally different genre, but there’s part of you that wants Adam to succeed in ruining this family, because they’re so garish and their life is so charming. “It’s quite fun to see him messing with them, even if he does go a little bit over the top. You’re like, ‘You could have stopped at the mischievous high-jinks bit, you didn’t have to totally blow everything apart.’” Filmed partly on location in Paros, Greece, where the Tanners have a luxurious white-washed villa, Malice is easy on the eye. In that regard it’s already drawn comparisons to hit US drama The White Lotus, which has a similar mix of drama, crime, and humour. “There are a lot of really opulent settings on TV these days,” says Whitehall, “and people like watching that. Equally, part of the fun is watching privileged people being really put through the wringer. “Mike White [White Lotus writer] has written a lot in the comedy space as well as drama, and he’s able to marry those things expertly. Then there’s Jesse Armstrong, who’s gone from Peep Show to Succession: an amazing drama with humorous moments and funny characters. Increasingly there’s a blurred line between comedy and drama, which is reflective of life.” Alongside his own move into drama, Whitehall is also keeping his hand in with comedy. His stand-up tours remain sold out, and he’s had huge success with shows such as A League of Their Own. “I started out in comedy when I was 17,” he says, “which is a long time doing one thing. As fun as it is, you do constantly need new challenges, and that’s why I loved getting the opportunity to do this. “I’m currently writing a sitcom, and working on a couple of movies with writers: one is a broader comedy, the other is more dramatic. I just want to be able to do a wide variety of things and keep finding new challenges.” Balancing work and fatherhood is, of course, just one of them. In Greece, Whitehall was joined by Roxy and Elsie as he filmed scenes that involved Adam increasingly tightening the noose on the Tanners – from isolated incidents of cruelty to animals and creepy meddling to full-blown acts of revenge. “It’s been strange filming quite brutal material and then coming home and putting the baby to bed,” he says. “There are definitely worse places to be shooting, though. They were all too willing to come out and support Daddy playing a psychopath!”
Jack Whitehall talks his dark new psychopath role and his plans for an all-new sitcom
Jack Whitehall swaps baby bottles for bloodcurdling thrills as he plays a charmingly unhinged nanny in Malice — a dark new twist on family life.
This article first appeared in Radio Times magazine. For most parents, having a child involves a soundtrack of nursery rhymes, CBeebies and soothing music. But while comedian Jack Whitehall was bonding with newborn daughter Elsie, he was also preparing to play the psychopathic male nanny to a super-rich family in the thriller Malice. That’s not in the baby books. It led to an odd juxtaposition at home with his fiancée Roxy Horner, as he researched characters who are outwardly charming before revealing themselves to be dangerously insane. "The run-up to rehearsals was a strange time," he explains. "I was in this blissful bubble with the baby but also trying to prepare for this part. "One day Roxy came down and I was watching Psycho with Elsie. She was probably a bit young to be watching Anthony Perkins doing his thing but she was tiny, so I got away with it! "About two weeks after Elsie was born, James [Wood, the show’s writer] brought me a book about a French serial killer, along with some flowers – 'That’s a lovely baby, congratulations, here’s a story about a man who kills his entire family.' That was my reading material during the first month of fatherhood." And his preparation extended beyond reading and watching films. In Malice, the Tanner family, headed by Jamie and Nat (David Duchovny and Carice van Houten) fall for Adam’s charms when they meet him at their holiday home in Greece and, as such, Whitehall had to learn to cook, mix cocktails, dance and swim convincingly. "Adam’s very good at everything, and that’s been one of the major challenges!" Whitehall laughs. "I’m used to playing quite incapable characters, which is much easier." As the series unfolds, it becomes clear that Adam isn’t what he first appears to be and, for reasons that don’t become clear until the final episode, he is determined to infiltrate and destroy the family. For Whitehall, 37, playing a charismatic villain was a dream role. Born to parents Michael, a theatre agent, and Hilary, an actor, and having Nigel Havers and Richard Griffiths as godfathers, he says he was always "completely obsessed" with becoming an actor. But, despite a handful of small TV parts as a child, he felt his talents weren’t enough to sustain a career and found himself moving towards stand-up comedy instead. Aged just 21, he was named Best Newcomer at the Edinburgh Comedy Awards for his debut show, and went on to win a string of plaudits, including being named ‘One to Watch’ by Hollywood bible Variety. He has since acted – notably as posh student JP in Channel 4’s sitcom Fresh Meat, and in Bad Education, which he co-created and co-wrote – but has always hankered after a part like Adam. "Growing up on a diet of American movies from the 80s and 90s, it was always the British actor stealing the scenes as the villain. I was obsessed with Alan Rickman as the Sheriff of Nottingham in Robin Hood. Malice is a totally different genre, but there’s part of you that wants Adam to succeed in ruining this family, because they’re so garish and their life is so charming. "It’s quite fun to see him messing with them, even if he does go a little bit over the top. You’re like, ‘You could have stopped at the mischievous high-jinks bit, you didn’t have to totally blow everything apart.'" Filmed partly on location in Paros, Greece, where the Tanners have a luxurious white-washed villa, Malice is easy on the eye. In that regard it’s already drawn comparisons to hit US drama The White Lotus, which has a similar mix of drama, crime, and humour. "There are a lot of really opulent settings on TV these days," says Whitehall, "and people like watching that. Equally, part of the fun is watching privileged people being really put through the wringer. "Mike White [White Lotus writer] has written a lot in the comedy space as well as drama, and he’s able to marry those things expertly. Then there’s Jesse Armstrong, who’s gone from Peep Show to Succession: an amazing drama with humorous moments and funny characters. Increasingly there’s a blurred line between comedy and drama, which is reflective of life." View oEmbed on the source website Alongside his own move into drama, Whitehall is also keeping his hand in with comedy. His stand-up tours remain sold out, and he’s had huge success with shows such as A League of Their Own. "I started out in comedy when I was 17," he says, "which is a long time doing one thing. As fun as it is, you do constantly need new challenges, and that’s why I loved getting the opportunity to do this. "I’m currently writing a sitcom, and working on a couple of movies with writers: one is a broader comedy, the other is more dramatic. I just want to be able to do a wide variety of things and keep finding new challenges." Balancing work and fatherhood is, of course, just one of them. In Greece, Whitehall was joined by Roxy and Elsie as he filmed scenes that involved Adam increasingly tightening the noose on the Tanners – from isolated incidents of cruelty to animals and creepy meddling to full-blown acts of revenge. "It’s been strange filming quite brutal material and then coming home and putting the baby to bed,” he says. “There are definitely worse places to be shooting, though. They were all too willing to come out and support Daddy playing a psychopath!" James Wood created Malice with his star in mind Malice writer James Wood is best known for creating Rev, the award-winning BBC comedy starring Tom Hollander as a vicar in a deprived parish in east London. On that project, he worked closely with Hollander to create the part of Adam Smallbone — similarly, he wrote Malice with Jack Whitehall very much in mind. "I loved writing Rev for Tom," says Wood. "We’d go and meet priests together. If you’re with the right person and your sensibilities match, it’s a lovely way to work. "I’ve always enjoyed building a role with and for a particular actor and in Malice Jack was involved in some of the early script meetings. "After we had the idea of a psychopathic manny, we all thought Jack was perfect because he’s charming and funny and would entertain your kids. And wouldn’t it be entertaining to see Jack play a sociopath?" Given that Whitehall is best known for stand-up, was Wood worried about whether audiences would buy him as a terrifying presence in a psychological drama? "There’s a rich tradition of comedy performers playing against type," he says. "Robin Williams did it incredibly well, as did Peter Sellers. The trick is to make something that feels emotionally honest, but entertaining and fresh. "There’s a version of Malice that could have had an established drama star playing Adam, and it would have been good, but with Jack I think it really pops. Also, there’s something about our era that loves stories about liars, whether it be The Tinder Swindler, Baby Reindeer or Traitors." The latest issue of Radio Times is out now – subscribe here. All six episodes of Malice will be available to watch on Friday 14th November on Prime Video. Add Malice to your watchlist on the 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.