Radio Times
type: channel
link: https://www.radiotimes.com
date: 2026-04-02T16:14:56.000Z
update period: hourly
update frequency: 1
update base: 2000-01-01T12:00+00:00
items: Steve Carell and Charly Clive talk new show Rooster's generational divide and dreams coming true
items: Waitress review: Carrie Hope Fletcher new staging is served to perfection
items: Under Salt Marsh’s production designer explains how to flood a set
items: Pixar at 40: from Toy Story, to sequels and tackling the AI boom
items: Pixar Animation Studios at 40: From Toy Story, to sequels and tackling the AI boom
items: Pete Wicks: "I don't understand why more people who have a platform don't give a voice to the voiceless"
items: Claudia Winkleman's stylist on the star's impeccable Traitors style and the brands she's faithful to
items: "I'm the Making a Murderer lawyer – what you didn't see changed my life"
items: Run Away's James Nesbitt and Minnie Driver on de-ageing technology in Netflix series: "It was quite shocking"
items: Minnie Driver on the explosive ending of Run Away episode 1: "I didn't find it fun at all"
items: How The Marvellous Miniature Workshop spent a combined 200 hours on making this Radio Times feature
items: Tom Fletcher on the power of Paddington the Musical and being “blown away by the response”
items: Wallace & Gromit creator teases a potential return for Feathers McGraw – and reveals hilarious hidden Easter egg moments
items: Gen V stunt coordinator reveals some stunts were too extreme to do – even for The Boys
items: Blue Lights season 3 is scary and dangerous – with "really heavy" storylines
items: The secrets of casting the next breakout child star – from Adolescence to the new Harry Potter series
items: Chris O’Dowd calls for more regional accents on-screen amid Celtic language "resurgence"
items: "You can sit and stand on it": Meet the UK company making TV and film sets out of cardboard
items: NHS surgeon discusses performing surgery on TV for new Netflix series
items: Call the Midwife's Helen George exposes personal vulnerabilities in new show: "It's not glamorous"
items: Charlotte Ritchie is "desperate" to make a Ghosts movie
items: The friendly detective
items: You season 5 ending explained: Who lives, who dies and Joe Goldberg's fate
items: Adrian Scarborough on The Chelsea Detective's future – and why he won't do a Gavin & Stacey spin-off
items: Nicola Coughlan on why she's the "biggest fan" of "imperative and brilliant" intimacy coordinators
items: 'I never wanted to play Martha as a villain – she's nuanced'
items: 'I feel like TV is often catching up with real life'
items: 'I was 22 in the first series of Industry. It was incredibly exposing'
items: View from my sofa: Alison Hammond
items: 'I’d love to play a very unlikeable woman that has no redeeming qualities'

Steve Carell and Charly Clive talk new show Rooster's generational divide and dreams coming true
type: item
date: 2026-04-02T16:00:06.000Z
creator: Laura Rutkowski
subject: Comedy
subject: TV
subject: Exclusive
subject: HBO Max
subject: News
subject: Video
description: The stars play father and daughter in the HBO series.
encoded: In the new comedy Rooster, from Bill Lawrence (Ted Lasso, Shrinking) and Matt Tarses, Steve Carell plays Greg Russo, a best-selling author who becomes a writer-in-residence at the New England college where his daughter Katie (Charly Clive) teaches. Katie’s husband Archie (Ted Lasso's Phil Dunster) recently cheated on her with one of his graduate students and Greg wants to make sure she’s alright. Danielle Deadwyler (The Piano Lesson), John C McGinley (Scrubs) and Lauren Tsai (Legion) also star. The series is HBO’s most-watched comedy debut in over 10 years and focuses on Greg and Katie’s father-daughter relationship. There are plenty of jokes about Greg, a Gen X professor, being out of touch with his Gen Z students, who frequently challenge him, with misunderstandings leading to disciplinary action for Greg. Meanwhile, he’s navigating how to relate to Katie as an adult. “They both make mistakes in the relationship. It's not perfect, and they don't always like each other, but they always love each other,” Carell tells Radio Times exclusively. View Green Video on the source website We also asked Carell how he’s experienced the generational divide with his own adult children, Elisabeth Anne – or Annie – and John, who he shares with his wife, actor Nancy. “I think when your kids transition from being little kids to adults, everything changes, and their needs change,” he says. “Your responsibility to them is still intact, but it's a different responsibility, and the most difficult aspect is letting them make their own mistakes, as opposed to trying to make everything good all the time, because otherwise you don't learn. “That's something I'm definitely working through with my own kids at this point. But they're turning into such interesting, fun, smart, kind adults. I talked to friends who have had kids and everyone feels like the time they're in right now is their favourite time. “Your kids are five and you think, ‘Oh my gosh, this is the most fun. It'll never be better…

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Waitress review: Carrie Hope Fletcher new staging is served to perfection
type: item
date: 2026-04-01T14:49:16.000Z
creator: Laura Rutkowski
subject: Going Out
subject: Reviews
subject: Review
description: This is a firm favourite on my musical menu that I would order over and over again.
encoded: I last saw Waitress in London in 2020, with the supremely talented Sara Bareilles (responsible for the stunning music and lyrics) and Gavin Creel, who sadly passed away in 2024, as the leads. I have been eagerly anticipating the show’s return, but thought it would be difficult to top such a brilliant casting. But I’m happy to say that the UK tour that premiered in Wimbledon for a 10th anniversary production is just as magical in Abbey O’Brien’s restaging of Diane Paulus’s original work. Carrie Hope Fletcher effortlessly plays expert pie-maker Jenna, a waitress at Joe’s Pie Diner in small-town America, and Dan Partridge is very funny as the neurotic, but well-meaning Dr Pomatter. It’s based on the 2007 film written and directed by Adrienne Shelly. Jenna is married to the abusive Earl (played in the musical by a convincingly piggish Mark Willshire) and dreams of leaving him, but then she finds out she’s pregnant. A way out seems like a pie in the sky, until she hears about a pie-making contest that offers a prize of $20,000 to the winner. Where Earl thinks Jenna’s “no Sara Lee”, Dr Pomatter believes her pies are so good that they could win awards. In what could be seen as quite a sad story, it also has tons of humour that I think lands even better this time around, and I’m sure some gags have been added, and they really work. All the characters in Jessie Nelson’s script are well fleshed out, and realistically flawed – they never pretend to be anything but. Mark Anderson as Dawn’s besotted, eccentric love interest Ogie is a real scene-stealer and Les Dennis is great as the grouchy yet likable Joe, who owns the diner, and believes in Jenna’s abilities. Dan O’Brien does a good job teetering between appearing tough as diner manager Cal one minute, and as a big softie underneath it all the next. But it’s the female friendships that really shine here. The relationship between Jenna and fellow waitresses, Dawn (played with quirky charm by Evelyn Hoskins) and Becky (a hilario…

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Under Salt Marsh’s production designer explains how to flood a set
type: item
date: 2026-02-27T18:00:59.000Z
creator: Laura Rutkowski
subject: Drama
subject: TV
subject: NOW
subject: Sky Atlantic
description: Here’s how the show’s town was built in a giant water tank.
encoded: In Sky Atlantic’s Under Salt Marsh, which is set in the fictional Welsh town of Morfa Halen, an impending, catastrophic storm threatens to upend an investigation into a shocking crime. Former detective-turned-teacher Jackie Ellis (Kelly Reilly, Yellowstone) discovers the body of her eight-year-old student, Cefin, who appears to have been drowned. Ellis’s former partner, Detective Eric Bull (Rafe Spall, Trying), is leading the investigation, but they fell out three years previously, when Ellis’s niece Nessa disappeared and Bull accused Ellis’s sister. Time is of the essence to find out what happened to Cefin, with a storm that’s been brewing throughout the entire series threatening to wipe any potential evidence from the crime scene and cause general widespread chaos. While you can use pop-up water tanks, production designer Stevie Herbert and her team built their own unique tank for the huge, weighty build. As she explained to Radio Times: "It’s quite nerve-wracking building a tank. It’s not an ordinary thing to do and it was very difficult. You obviously can't flood real towns in north Wales and control it and not damage things, so we built an exterior set, a backlot, of Morfa Halen’s central hub of shops just outside Dragon Studios in Bridgend." The tank was 50 x 50 metres and made of steel walls that were 1.2 metres tall. They used timber, glue and expanding foam to seal it, with tarmac wrapping a seal around the tank. The flood scenes took a week to film. "Dragon Studios dealt with the license for the water, which turned up in these enormous bowsers that pumped water over the side with huge hoses," she says. "The water filled very slowly and shooting was scheduled around the different water levels – from 20 centimetres to almost a metre – and stunt sequences with vehicles and cast. It's a lot of weight. We had to do a bit of sandbagging and resealing. "Rain rigs went above the whole set. In a flood, you get a current, so special effects created the current in th…

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Pixar at 40: from Toy Story, to sequels and tackling the AI boom
type: item
creator: Laura Rutkowski
subject: App
subject: App features
description: Chief creative officer Pete Docter, Pixar's third-ever animator, explains how the company continues to evolve, while keeping its heart.
encoded: You wouldn’t know it now, but Pixar Animations Studios began small, so small that its chief creative officer reflects, “I'm not sure exactly why I went to Pixar.” Peter Docter says, “I'd always grown up thinking, ‘I'm going to work at Disney. Someday, I'm going to draw Mickey Mouse.’ Then instead, I went to this place that no one had heard of... literally no one.” The same cannot be said today, of course, as the award-winning company responsible for beloved films including Toy Story, Monsters, Inc, Ratatouille, WALL•E, Cars, A Bug’s Life and Inside Out celebrates its 40th anniversary this month. In 1979, George Lucas hired Ed Catmull to head Lucasfilm’s Computer Division, which in 1982 completed the first fully computer-animated scene in a feature film for Star Trek II: The Wrath of Khan. In 1986, Steve Jobs purchased the Computer Division from Lucas and officially founded Pixar as an independent company, made up of about 40 employees. In 1988, the short film Tin Toy was released and it became the first computer-animated film to win an Oscar in 1989. Docter joined in 1990 at the age of 21 after graduating from CalArts (California Institute of the Arts), where he studied character animation, as Pixar’s third-ever animator. He began animating and directing adverts, including his work on Listerine’s “Boxer”. “Friends of mine from CalArts were working on The Little Mermaid and I was animating happy products bouncing, thinking, ‘This is a waste of time,’” Docter says, but it was good practice for what was to come. “It's actually surprising how much story you can tell in 30 seconds, so it was very instructive. It was also fast, so if you hated one commercial, you’d wait a couple of weeks and be on to the next one.” It wouldn’t be long before he started working on Toy Story (which evolved out of Tin Toy), contributing to story and character development and serving as supervising animator. “Steve [Jobs] put up with us losing basically a million dollars a month before Toy St…

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Pixar Animation Studios at 40: From Toy Story, to sequels and tackling the AI boom
type: item
date: 2026-02-04T12:00:40.000Z
creator: Laura Rutkowski
subject: Movies
subject: Contains Trailer
subject: Interview
subject: RT Rewind
description: Chief creative officer Pete Docter, Pixar's third-ever animator, explains how the company continues to evolve, while keeping its heart.
encoded: You wouldn’t know it now, but Pixar Animations Studios began small, so small that its chief creative officer reflects, “I'm not sure exactly why I went to Pixar.” Peter Docter says, “I'd always grown up thinking, ‘I'm going to work at Disney. Someday, I'm going to draw Mickey Mouse.’ Then instead, I went to this place that no one had heard of... literally no one.” The same cannot be said today, of course, as the award-winning company responsible for beloved films including Toy Story, Monsters, Inc, Ratatouille, WALL•E, Cars, A Bug’s Life and Inside Out celebrates its 40th anniversary this month. In 1979, George Lucas hired Ed Catmull to head Lucasfilm’s Computer Division, which in 1982 completed the first fully computer‑animated scene in a feature film for Star Trek II: The Wrath of Khan. In 1986, Steve Jobs purchased the Computer Division from Lucas and officially founded Pixar as an independent company, made up of about 40 employees. In 1988, the short film Tin Toy was released and it became the first computer‑animated film to win an Oscar in 1989. Docter joined in 1990 at the age of 21 after graduating from CalArts (California Institute of the Arts), where he studied character animation, as Pixar’s third-ever animator. He began animating and directing adverts, including his work on Listerine’s “Boxer”. “Friends of mine from CalArts were working on The Little Mermaid and I was animating happy products bouncing, thinking, ‘This is a waste of time,’” Docter says, but it was good practice for what was to come. “It's actually surprising how much story you can tell in 30 seconds, so it was very instructive. It was also fast, so if you hated one commercial, you’d wait a couple of weeks and be on to the next one.” It wouldn’t be long before he started working on Toy Story (which evolved out of Tin Toy), contributing to story and character development and serving as supervising animator. “Steve [Jobs] put up with us losing basically a million dollars a month before Toy St…

Pete Wicks: "I don't understand why more people who have a platform don't give a voice to the voiceless"
type: item
date: 2026-01-19T17:18:46.000Z
creator: Laura Rutkowski
subject: Documentaries
subject: TV
subject: Interview
description: The presenter of For Dogs' Sake discusses crying, not watching reality TV and why dogs and motorbikes are his happy place.
encoded: Pete Wicks is very much a dog person. In fact, he thinks they’re “better than people”, he tells Radio Times exclusively. In Pete Wicks: For Dogs’ Sake, now in its third series, he follows the work of the Dogs Trust centre in Basildon, where he rescued his French bulldog Eric in 2016. His French bulldog Peggy, who he adopted in 2018, recently passed away, and he revealed he’s adopted four-month old Rodney from Dogs Trust. “Whatever love you give dogs, you get back tenfold. People are quite cruel. I cannot abide by people who don't treat animals with respect. I don't understand why more people who have a bit of a platform don't give a voice to the voiceless. That’s what I try to do in any way I possibly can. It means a lot to me,” Wicks says. Series one of Pete Wicks: For Dogs’ Sake was awarded the Best Popular Factual Programme at the Broadcast Digital Awards. At the rehoming centre, the 37-year-old works with the staff who he calls “heroes”. In tonight’s episode, which airs on U&W at 9pm, he helps them rescue three puppies who were illegally brought into the country. He also meets new mum Keira (in the video below), who has arrived on the brink of starvation. She’s given immediate care, but her case becomes even more complicated. View Green Video on the source website It makes for a tear-jerking watch, and Wicks doesn’t mind crying on camera when he’s touched by the stories. “It's something I didn't grow up with – that being the right response to things. It was: men are supposed to be a certain way, but it's absolutely wrong. Being vulnerable is one of the bravest things you can do. That release is important. Men cry too.” When was the last time he cried? “About a week ago [at the time of interview], but I’m not gonna say over what. “I imagine a lot of people think I'm quite arrogant, and I would hope that I'm not, because it's a horrible trait to have. I think people probably misjudge me based on the way I look, the tattoos and everything else. Actually, really, I'…

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Claudia Winkleman's stylist on the star's impeccable Traitors style and the brands she's faithful to
type: item
date: 2026-01-12T11:00:56.000Z
creator: Laura Rutkowski
subject: Entertainment
subject: Reality TV
subject: TV
subject: BBC
subject: Interview
subject: Magazine
description: Plus, Sinead McKeefry uncloaks her top looks from every series.
encoded: The original brief given to Claudia Winkleman’s stylist, Sinead McKeefry, for the first series of The Traitors was providing 12 outfits for 12 episodes, with just four weeks to pull everything together. “We didn’t really know what we were doing,” she recalls. “Everyone was working out what the format was. There was talk of Claud wearing a parrot on her shoulder. She’s up for anything, but I was like, ‘I don't think we should make it pantomime.’ I believe there are enough beautiful things out there.” The celebrity stylist, who is based in London, was introduced to Winkleman by Fearne Cotton, who McKeefry was working with at the time, during a photoshoot. They’ve now worked together for almost 20 years. “Strictly was the most glamorous we’d ever go, but it still had a masculine edge to it and we kept it quite chic and pared back. The Piano is where you'll see the real Claudia. That's how Claudia would naturally dress, just a little more polished. She loves a Uniqlo jumper, and that's what she gets,” McKeefry explains. “With The Traitors, we can be a lot more editorial, edgy and creative.” For series 1, she focused on textures and patterns and, far from parrots and pantomime, she turned to high-quality heritage brands including Barbour, Brora, Dubarry of Ireland, and Johnstons of Elgin for countryside chic, keeping it “quite neat and obvious” to suit the backdrop of Ardross Castle in the Scottish Highlands, where you could “wear anything and look amazing”. It’s there that 22 contestants compete for up to £120,000, with the Faithful attempting to banish the Traitors. With the show now in its fourth series, Winkleman requires 36 outfits, three per episode, with breakfast, the mission and the round table all being treated differently. They take three months to prepare, with loads of back-up options and wet weather gear for any eventuality. “We lock everything down in London,” McKeefry says. “It's almost like prepping for a catwalk show and moving everything from one locat…

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"I'm the Making a Murderer lawyer – what you didn't see changed my life"
type: item
date: 2026-01-05T07:00:53.000Z
creator: Laura Rutkowski
subject: Documentaries
subject: True Crime
subject: TV
subject: Interview
subject: Magazine
subject: Netflix
description: Steven Avery's attorney reflects on the Netflix documentary a decade after it was released.
encoded: When Moira Demos and Laura Ricciardi made a short film for their Master of Fine Arts in Film course at Columbia University, they didn’t expect it to turn into a Netflix viral juggernaut. Making a Murderer is a 2015 documentary about Steven Avery and his nephew Brendan Dassey, from Manitowoc County, Wisconsin, filmed over 10 years. At the age of 22, Avery served 18 years in prison from 1985-2003 after his wrongful conviction for the sexual assault and attempted murder of Penny Ann Beerntsen, before being exonerated through DNA testing. In 2005, 25-year-old photographer Teresa Halbach was murdered. Avery and Dassey were convicted in separate trials and were both sentenced to life in prison for this crime. However, the documentary presents the possibility that Avery and Dassey, who was 16 at the time and has learning difficulties, were not responsible for Halbach's death. Lawyers Dean Strang and Jerry Buting defended Avery, and became cult heroes, with more than 19 million people in the US watching the series in its first five weeks. Now Strang, who has a new podcast, I Rest My Case with Jonathan Goldberg KC, explains how it impacted his life, 10 years after the documentary was released. Why did you want to become a lawyer? I didn't want to become a lawyer. Since being young, I had my heart set on being an editorial cartoonist, but my dad was never excited about it – he thought it was doodling. During my undergraduate degree at Dartmouth College [in New Hampshire], I realised as much as I love cartooning, it wasn’t a full-time job. My dad’s sister was a lawyer and he pushed law school, and at the time there was a huge demand for new lawyers. I got into University of Virginia School of Law [he graduated in 1985]. During my first year, I got a call from the editor of the Milwaukee morning paper I had freelanced for offering me the cartoonist role as theirs was leaving. I already really liked law school. Within a week or two, I was like, “Wow, I had no idea this would be …

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Run Away's James Nesbitt and Minnie Driver on de-ageing technology in Netflix series: "It was quite shocking"
type: item
date: 2026-01-02T09:00:24.000Z
creator: Laura Rutkowski
subject: Drama
subject: TV
subject: Netflix
subject: News
description: It’s the first time the actors have both experienced it in one of their projects.
encoded: **Warning: Contains spoilers for Netflix's Run Away episodes 1 and 2** Run Away is the latest binge watch based on one of Harlan Coben’s novels to hit Netflix, making it his 12th for the streamer, with all episodes released on New Year’s Day. Simon Greene (James Nesbitt) is a distraught dad who’s searching for his missing daughter Paige (Ellie de Lange). He finds her busking in a park and addicted to drugs, but she refuses to go back home with him. Her boyfriend Aaron shows up, who Simon blames for getting her hooked on drugs, and it leads to a violent confrontation. When Aaron winds up dead in his flat, the last place Paige was living, Simon and his wife Ingrid (Minnie Driver) decide to take matters into their own hands and visit the location. Things spiral out of control, and after meeting with Paige and Aaron's drug dealer, who operates in the basement of the building next door, and who they think might help locate Paige, Ingrid is shot by one of his associates. All of this action takes place in episode 1, with Ingrid in hospital and her fate uncertain in episode 2. While Simon’s at her side, there’s a flashback scene to their first date in a restaurant, and de-ageing technology has been used to make Nesbitt and Driver appear younger, using advanced visual effects provided in post-production by Space VFX. “I didn’t realise they were doing that,” Nesbitt tells Radio Times exclusively. “I was watching it thinking, ‘God, I look quite good there,’ and then I realised they’d done something.” He remembers wearing prosthetics for a previous project where he was made to look older, which “looked really incredible and was a bit frightening”, but this is the first time he’s been de-aged. “I think it looks quite good. I mean, it's odd. People know it’s obviously de-ageing, so that's sort of in your mind, but it’s an extraordinary technique.” It's also Driver’s first experience with the technology, confirming she and Nesbitt didn’t know that’s what they were going to do in t…

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Minnie Driver on the explosive ending of Run Away episode 1: "I didn't find it fun at all"
type: item
date: 2026-01-01T20:00:41.000Z
creator: Laura Rutkowski
subject: Drama
subject: TV
subject: Exclusive
subject: Netflix
description: "I haven't done anything like this before. It was horrible."
encoded: **Warning: Contains spoilers for Netflix's Run Away episodes 1 and 2** The action-packed first episode of Run Away ends with Ingrid Greene (Minnie Driver) being shot. In the story, based on Harlan Coben’s novel, she and her husband Simon (James Nesbitt) decide to investigate the last place that their missing daughter Paige (Ellie de Lange) was living, without the police knowing. She was living with her boyfriend Aaron, and both were addicted to drugs, but Aaron was recently found murdered in the flat. A man in the building called Cornelius Faber (Lucian Msamati), who knew them both, tries to help Ingrid and Simon by introducing them to Paige and Aaron’s drug dealer Rocco, who operates out of the basement in the building next door. Aaron also worked for him. Simon is desperate and offers Rocco £10,000 for any information about the whereabouts of Paige, but before he can respond, one of Rocco’s associates, Luther, appears and shoots Ingrid. “I haven't done anything like this before, and I’ve never had someone point a [fake] gun at me before in a show or a movie. It was horrible – I didn’t like it at all,” Driver tells Radio Times exclusively. “It's just make-believe, but nonetheless, it's really strange having to act being shot and your body doesn't know that you're not going through the trauma of being frightened. I’m surprised I haven’t read more interviews with actors saying it’s really awful having a gun pointed at you. I don't know how people make all those big action movies, because it’s really scary.” In episode 2, Ingrid is rushed to the hospital where she works as a paediatrician and it’s revealed that the bullet did a lot of damage. Driver adds: “I love the prosthetics and how brilliant that is – the mechanisms they use for gun wounds, blood and the pumps and all of that, because it's super creative – but the actuality of miming being shot by a bullet is horrible. The stunt guy is saying, ‘Well, this is actually what happens to your body when you get shot. T…

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How The Marvellous Miniature Workshop spent a combined 200 hours on making this Radio Times feature
type: item
date: 2025-12-20T11:00:22.000Z
creator: Laura Rutkowski
subject: Entertainment
subject: TV
subject: BBC iPlayer
subject: Christmas
subject: Interview
subject: Magazine
description: Hannah Lemon and Abi Trotman reveal the painstaking skill and creativity behind their enchanting Christmas miniature snowscape.
encoded: This article first appeared in Radio Times magazine. Making miniatures is no small task. Hannah Lemon and Abi Trotman, who star in The Marvellous Miniature Workshop (iPlayer) spent a combined 200 hours creating the Christmas snowscape for Radio Times' Christmas double issue (on sale now). Trotman, from south Wales, specialises in 1/12th scale miniatures for doll’s houses and dioramas and started making miniatures with her gran for her doll’s house when she was 11. Lemon, who’s from Japan and now based in the UK, started making tiny houseplants in lockdown on a break from work. Both have now made it their full-time career. Using toolkits containing tweezers, brushes, paints and glues – not to mention a steady hand – Lemon explains that RT’s snowy scene (all compiled and photographed by her in her living room) is Styrofoam, so it’s light and easy to stick items into and to carve with a blade. Then she used frost and snow effect spray and placed fake snow powder on top. The tree is made out of tinsel wrapped together to create different-sized branches. The snowmen and their miniature carrot noses are made from clay, with black glass “caviar beads” for eyes – but what about their knitted hats? “I used my old socks, but I promise I washed them!” Lemon laughs. Lemon’s biggest challenge was the reindeer – “I wanted to make something realistic, so I needed to study their anatomy.” She started with wire to create a skeleton, then wrapped masking tape around it to mimic tissue, and applied modelling paste to create the body shape. Once that was dry, she coated it with acrylic paint and applied fake fur. “Working on the face is always challenging in miniature. I wanted him to look straight at the camera, happy and proud, like he owns the place.” Trotman’s gingerbread house, meanwhile, proved to be a real construction project. “Measurements and getting the angles of the roof right took a lot of time,” she says. “You want things to look in proportion, so it’s important to scale …

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Tom Fletcher on the power of Paddington the Musical and being “blown away by the response”
type: item
date: 2025-12-15T15:00:48.000Z
creator: Laura Rutkowski
subject: Going Out
subject: TV
description: “The story and what it actually means is so important and feels more relevant now than ever before.”
encoded: As RadioTimes.com chats to Tom Fletcher on the phone, he’s on his way to London’s Savoy Theatre, where Paddington the Musical, which he wrote the music and lyrics for, is playing. “We’ve been just so blown away by the response,” he says. “We all hoped it, and our bear, would have a warm welcome, but I don't think any of us were really prepared for just how much everyone went absolutely crazy for him.” In the show, which has received rave reviews, the role of Paddington is shared by Arti Shah (who portrays him onstage) with James Hameed voicing him offstage, as well as remote puppeteering Paddington’s face. It has also recently extended its run at London’s Savoy Theatre until 14 February 2027. The polite, marmalade-loving bear from Peru has gone on to meet the Prince and Princess of Wales backstage at the Royal Variety Performance, was photographed by Vogue at The Savoy Hotel and performed one of the songs from the musical, The Explorer and the Bear, with Fletcher on Strictly Come Dancing. “I think the reason why it's resonating with so many people is it's amazing seeing this character we know and love literally come to life on stage, and being in the same room as him is just amazingly powerful and emotional,” explains Fletcher, who has worked on bringing the musical to life for five years. “But, also, the story and what it actually means is so important and feels more relevant now than ever before. A small bear has come from another country to London with no belongings, apart from a few jars of marmalade, and he’s looking for a home and a family, but most of all, just looking for this city to be kind to him, and that is such a powerful thing to be putting out in the world right now.” Not only did Fletcher help Paddington make his stage debut, but the McFly singer and best-selling children’s author is also bringing another very special bear to life for the first time, BBC Children in Need’s mascot Pudsey. The 25-minute animation Pudsey and the Thread of Hope is based…

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Wallace & Gromit creator teases a potential return for Feathers McGraw – and reveals hilarious hidden Easter egg moments
type: item
date: 2025-12-13T08:00:53.000Z
creator: Laura Rutkowski
subject: Movies
subject: Christmas
subject: Exclusive
subject: News
subject: Wallace and Gromit (franchise)
description: Nick Park tells us what’s next for the evil bird after Vengeance Most Fowl.
encoded: Criminal mastermind Feathers McGraw, the penguin who cleverly disguises himself as a chicken, returned last Christmas in Wallace & Gromit: Vengeance Most Fowl, much to the delight of fans. He first appeared in 1993’s Wallace & Gromit: The Wrong Trousers, where he stole the Blue Diamond. For his recent revenge, he escaped his prison (the zoo) and hacked Wallace’s smart gnome, Norbot, to create a whole army of evil minions to help reunite him with the precious gem. But he was once again thwarted by inventor Wallace and his loyal pooch Gromit, who swapped the diamond for a turnip. We last saw Feathers, outsmarted and deflated, escaping on the back of a train, but crucially, he was not caught by the police, which means he’s still at large, always a firm fixture on a “wanted” poster. Where exactly is he then, if not in prison? Talking exclusively to Radio Times, Wallace & Gromit creator Nick Park reveals, “He’s somewhere in Yorkshire. Well, who knows where he is? He doesn't let us know these things or what his plans are. A lot of people ask about Feathers McGraw, and the response since last Christmas has been brilliant. We're still reeling from it to be honest.” Does that mean we can expect Feathers to return with another cunning plan? Park teases, “Watch this space... who knows? He’s unpredictable.” With lots of unfinished business with his enemies Wallace and Gromit, he might come out of hiding when the time is right. Until then, you can catch plenty of Easter eggs when rewatching Vengeance Most Fowl, a big part of any Aardman Animations film. Remember when Feathers actually made a very brief cameo at the end of Chicken Run: Dawn of the Nugget?! Park, who directed Vengeance Most Fowl with Merlin Crossingham and co-created the story with Mark Burton, tells us some of his favourites. For instance, Feathers’s pet seal actually has a name. “No one would ever know this, because it was more of a joke we had among ourselves, but we called him Ronseal, which is, I guess, a ver…

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Gen V stunt coordinator reveals some stunts were too extreme to do – even for The Boys
type: item
date: 2025-10-15T08:00:42.000Z
creator: Laura Rutkowski
subject: Sci-fi
subject: TV
subject: Amazon Prime Video
subject: Interview
subject: On demand
subject: Video
description: "I've been told a couple times, 'Dude, we can't do that!'"
encoded: Gen V and The Boys are known for their out-of-this-world stunt scenes full of explosions, blood, fight choreography and wirework. RadioTimes.com was invited to try out some stunt work for ourselves during a very special day of training with Gen V and The Boys’ Emmy-winning stunt coordinator John Koyama to learn a sequence from season 2 of Gen V, which you can watch above. During our exclusive chat, we ask Koyama how he continues to up the ante in the series that love to shock. He explains: “My team and I will break down the writing and have meetings with Eric Kripke [who created The Boys and developed Gen V] and the writers to make sure we’re still staying within the story, the tone and the characters. It's really specific what we do. “The creators of the shows have a lot of trust in me, so they let me have a big, open canvas where I can paint and do my thing. Sometimes I go too crazy and they're like, ‘Whoa.’ I've been told a couple times, ‘Dude, we can't do that!’ Now I know where the limit actually is on The Boys... I thought there were no limits!” Can he reveal where that limit is? “I can't really say, because sometimes we think of things and we’re told we can't do them, but we keep them in the bank, just in case... I don't want to spoil it – maybe they will be approved.” He can confirm, though, that the stunts have “definitely levelled up for the rest of Gen V – it just gets bigger and crazier in storytelling and action”. In season 2 of Gen V, there’s a new dean of Godolkin University, where young Supes learn to be heroes. Cipher's (Hamish Linklater) aim is to test the students’ powers to their limits, making them stronger than ever, with a particular interest in Marie Moreau’s (Jaz Sinclair) blood manipulation abilities. As for the final season of The Boys, set to be released in 2026, “It’s gonna be epic and absolutely crazy and constant,” says Koyama. “While shooting, our saying was, ‘All gas, no brakes.’ We were all gas all the way down to the floor, no brak…

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Blue Lights season 3 is scary and dangerous – with "really heavy" storylines
type: item
date: 2025-09-29T10:01:18.000Z
creator: Laura Rutkowski
subject: Drama
subject: TV
subject: BBC
subject: BBC One
subject: Exclusive
subject: Interview
subject: Video
description: The cast of the Northern Irish police drama reveal what's coming up in the "emotionally-driven" new episodes.
encoded: As season 3 of the BBC’s BAFTA-winning drama Blue Lights returns, it continues to follow officers at the fictional Blackthorn Station in the Police Service of Northern Ireland, as they navigate life on the front line in modern-day Belfast. Speaking exclusively to Radio Times from the Blue Lights set in Belfast, the cast teased what’s in store for their characters as the team find themselves up against a new kind of threat – white collar crime. Watch the full interviews in our Behind the Screens video series above, where we visited Blackthorn Station and private members' club The Deanery. “They are developing in the police force and learning more about themselves as they progress in their professions. The crime story gets even more complex,” says Siân Brooke, who plays social worker turned police officer Grace Ellis. Martin McCann, who stars as Stevie Neill, Grace’s love interest on the force, adds: “It’s kind of scary, kind of dangerous.” We also revisit a storyline from season 1 involving Annie Conlon (Katherine Devlin), who received an anonymous death threat, forcing her to leave her family home for her and her mother’s safety. “The death threat is constantly in the background,” says Devlin. “There’s also a lot of stuff going on back home for Annie. She’s constantly juggling the idea of, is the job worth it? Is the sacrifice worth it?” “There’s some really, really heavy topics this season and some really, really heavy scenes for Annie that are very emotionally-driven, but I’m well-supported, and it’s been my favourite season. We have become so much more comfortable in the roles, and it’s lovely to go back into these characters again.” Devlin also praises the writing, led by Northern Irish screenwriters Declan Lawn and Adam Patterson, former journalists for Panorama and BBC Northern Ireland’s Spotlight. “I think the script will always be, and it should be, the most challenging thing about our job, because it’s always so important to dissect, to try things out, and …

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The secrets of casting the next breakout child star – from Adolescence to the new Harry Potter series
type: item
date: 2025-09-15T10:47:43.000Z
creator: Laura Rutkowski
subject: Drama
subject: TV
subject: Interview
subject: Magazine
subject: Netflix
description: Stacey Burrows founded the Bradford-based Articulate drama school and casting agency, which secures significant film and television roles for children and young adults.
encoded: A shorter version of this article first appeared in Radio Times magazine. Articulate drama school and casting agency in Bradford, set up by Stacey Burrows, provided 150 child extras for Netflix hit Adolescence, which swept this year's Emmy Awards. Amélie Pease (who plays Lisa, Jamie’s sister), Fatima Bojang (Jade) and Austin Haynes (Fredo) also all came through the drama school – as did Austin’s brother Rocco, who is seen in the opening of 28 Years Later, and Rory Wilmot, who has been cast as Neville Longbottom in the new Harry Potter series in an eight-year deal. Here Burrows tells RT how she helps to nurture young talent. CHANGING CAREER In 2013, I was working as a barrister in county courts and magistrates’ courts across the North working on low-level cases, but I was doing a lot of public speaking in courtrooms. I was looking to give back, so I set up a public speaking school for kids one night a week and created a website for parents to track their children’s progress. CBeebies came across it and asked me to do a bit of vocal coaching on a series and I agreed as long as I could get some of the kids in as extras. Then they just kept calling me back asking for more children. I dropped the legal stuff and the agency really took off in 2015. SUPPORTING YOUNG PERFORMERS We've just opened up to adults, but our focus is on children and young performers up to the age of 25. We represent kids from all over the country, but a lot of them are generally from disadvantaged or diverse backgrounds. Yesterday, one of my actors couldn't afford to get to a recall, so we booked their train tickets and said, “Pay us back when you're rich and famous.” Our drama classes are about £8 a week, and we offer loads of scholarships. We also go to schools and run free workshops to teach people about what it's like to be an actor. WORKING WITH CASTING DIRECTORS We’ve got all the regulars on Waterloo Road and Emmerdale and a lot of people come to us for the gritty Northern dramas. A casting d…

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Chris O’Dowd calls for more regional accents on-screen amid Celtic language "resurgence"
type: item
date: 2025-09-08T23:01:19.000Z
creator: Laura Rutkowski
subject: Comedy
subject: TV
subject: Magazine
description: The Irish star on romcoms and regional identity – and why his dog is a Puffin
encoded: This article first appeared in Radio Times magazine. What’s the view from your sofa? A dark-green wallpapered wall, then a big TV over the fireplace, which I know you’re not supposed to do. Our two dogs, Meatloaf and Puffin, and two cats, Boo and Myrtle, are usually on the sofa. We also have a tortoise called Sandwich. Puffin as in Puffin Rock, the kids’ animated series you narrate about the marine birds on the coast of Ireland? Yes, Puffin is named in tribute, because the kids [O’Dowd has two sons with his wife, writer/presenter Dawn O’Porter] were watching a lot of it at the time. It’s basically me reading them a story! What have you been watching lately? I really enjoyed Bad Sisters and Colin from Accounts. My kids just finished watching all of The Simpsons. It’s been fun explaining some of those jokes. I’m also in an episode! We watch old movies with them, but I made a mistake… they were too young for Arachnophobia. Luckily, the younger one said, “I need to stop watching this now.” He’s absolutely obsessed with insects, so he watches a lot of YouTube videos about how to build terrariums. We’ve got a little pond in the garden and he’s been going bananas for all these newts and salamanders, and now the frogs have started coming. Puffin Rock features regional Irish accents. Do you think we’re hearing them more often on screen? We’re going through such a great phase for Irish actors achieving success, and it’s becoming more and more normalised. Regional accents are important because it’s all about representation. There’s no point everybody just sounding like posh English people, because that’s not what everybody’s like. Can you speak any Irish? Bits, but not well. I have been using Duolingo since the Celtic revival has been happening. I think the resurgence is wonderful, because through the suppression of language we’ve lost so much knowledge about ourselves. The last century in Ireland was just about the state standing on its own two feet and the actual identity un…

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"You can sit and stand on it": Meet the UK company making TV and film sets out of cardboard
type: item
date: 2025-08-18T10:20:38.000Z
creator: Laura Rutkowski
subject: Entertainment
subject: TV
subject: Channel 5
subject: Climate - Intentional focused content
subject: Interview
subject: Magazine
description: Chris Gilmour of Vectar Sets creates paper-based sets for film and TV that contain up to 90 per cent lower carbon than normal set materials.
encoded: A shorter version of this article first appeared in Radio Times magazine. Manchester-based Vectar Sets, established in 2022 by Chris Gilmour, creates paper-based sets for film and TV that contain up to 90 per cent lower carbon than normal set materials, and are 90 per cent lighter and 100 per cent recyclable. He’s worked on Coronation Street, Newsround, Alien: Romulus and pre-school series Treehouse, which was filmed at RD Studios, a fully sustainable production facility. Here he tells RT how he got into it, and why it matters. PAPER ARTIST I did a course called Art in Social Context at the University of Bristol. I was doing workshops with kids and mental health groups and that’s where working with cardboard started. It’s a very friendly, accessible material. I lived in Italy for a long time and was a fine art sculptor working with galleries and museums around the world. I used to do a lot of mechanical sculpture, and I was using cardboard to make prototypes – then I just started using cardboard for all of it! I’ve made life-sized motorcycles, bikes, cars…. I moved back to the UK in 2016, and after one Covid lockdown, I was asked to do an Old Spice advert. There was a shortage of wood in the UK, so we were trying to find a solution that was quick and cheap. I’m currently doing my PhD on how you can use paper materials to make film sets. ALL ABOARD There’s obviously a lot of interest in sustainability in film and TV, but it tends to be on lighting, power, transport, and reusable cups, and then it kind of ends there. Most film and TV sets are made from MDF (medium density fibre board) or plywood. MDF is made of a wood pulp, and it's got formaldehyde and resins in it, and it's completely unrecyclable. The dust is toxic and it's really heavy, but it's cheap. After filming, the sets are smashed up and put in a skip. There’s at least a tonne of set waste for a one-day advert, and for big TV shows and films, that’s 700 or 800 tonnes. A manufacturer in Sweden makes what we …

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NHS surgeon discusses performing surgery on TV for new Netflix series
type: item
date: 2025-07-14T23:01:29.000Z
creator: Laura Rutkowski
subject: Documentaries
subject: TV
subject: Interview
subject: Magazine
subject: Netflix
description: In Critical: Between Life and Death, cameras follow the work of NHS trauma teams.
encoded: A shorter version of this article first appeared in Radio Times magazine. In the engrossing and shocking new Netflix documentary series Critical: Between Life and Death, 40 cameras are embedded for 21 days across the entire London Major Trauma System, which includes major trauma centres at The Royal London Hospital, St George's Hospital, King's College Hospital and St Mary's Hospital. Mr Ibraheim El-Daly, 41, who grew up in northwest London, has been a Consultant Trauma and Orthopaedic Surgeon at King's College Hospital for five years. Here he tells RT how it feels to be filmed on the job. DRILLING DOWN I studied at City St George's, University of London, and during my rotations, I fell in love with orthopaedic surgery. I liked the power tools – the screwdriver, mallet, and my favourite, the drill! I did my five-year orthopaedic training at the Royal London Hospital. I then spent a year at Pitié-Salpêtrière University Hospital, a major trauma centre in Paris. I came back to a job at King’s College and it was very fast-paced. I thrive on stress. THE NHS GOES GLOBAL I appeared in Channel 4’s Emergency and 24 hours in A&E. The same production company behind those shows told us Netflix loved them and would like to do their own medical series. With Netflix it’s a great opportunity to expose the NHS to the world. TEXTING ABOUT TRAUMA A lot of the problems you hear in the media about the NHS are true, like trying to get an appointment, but our major trauma network is second to none. We even have WhatsApp groups with all the major trauma surgeons – there’s a national pelvic group and a national upper limb group. We post cases and discuss them. I feel sad that we don't promote ourselves, because we have such amazing experience and expertise that we should be selling our services. The NHS could benefit by going to countries and helping them create the same level of trauma care that we deliver for citizens of the UK. ON-CALL FOR THE CAMERA The camera crew followed me everywher…

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Call the Midwife's Helen George exposes personal vulnerabilities in new show: "It's not glamorous"
type: item
date: 2025-07-07T23:01:14.000Z
creator: Laura Rutkowski
subject: Entertainment
subject: TV
subject: Interview
subject: ITV
subject: Magazine
description: In the new ITV1 series Shark! Celebrity Infested Waters, the star faces her fears.
encoded: A shorter version of this article first appeared in Radio Times magazine. Just when you thought it was safe to go back in the water… well, it is! Or at least, that’s what a batch of TV stars hope to prove in the new ITV1 series Shark! Celebrity Infested Waters. Its aim is to undo the damage Jaws did in demonising the sharp-toothed creatures as the film celebrates its 50th anniversary this year. In the series, Helen George, Lucy Punch, Sir Lenny Henry, Ross Noble, Rachel Riley, Ade Adepitan and Dougie Poynter get up close and personal with bull sharks in a diving cage, while interacting with hammerheads, stingrays and more on the islands of Bimini in the Bahamas, which is home to seven to ten different shark species. As the breeds get bigger and more dangerous across five episodes, they work themselves up to the ultimate challenge: diving with tiger sharks. Although the clue is in the name of the show, Call the Midwife star George didn’t really think they’d be swimming with sharks, because “it’s TV” and “who would actually do that?” When she agreed to take part, she was not only scared of sharks, but had a phobia of even putting her head under the water – something she hadn’t done for 15 years. “I'm quite gung-ho as a person, so I thought I’d be fine, but I genuinely wasn’t,” she says. “At that point, the sharks were small fry. It was more about the water!” In episode 1, she explains that when she was young, she went to a swimming party, and as she was trying to resurface from underwater, foam mats on the top prevented her from getting out. But she signed up for the show for her daughters, aged three and seven. “I wanted to get more confident for them. They were impressed I even went in the first place, because they didn't think I would. I was really terrified of the water, so I might be a bit embarrassed about some of the scenes! “I’m an actress and I play other people’s vulnerabilities, so playing my own is always terrifying. I’m ugly crying, there’s no hair and ma…

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Charlotte Ritchie is "desperate" to make a Ghosts movie
type: item
date: 2025-05-19T23:01:44.000Z
creator: Laura Rutkowski
subject: Comedy
subject: TV
subject: Magazine
description: The actor speaks to Radio Times about the hit sitcom's future, plus new thriller Code of Silence.
encoded: This article first appeared in Radio Times magazine. What's the view from your sofa? My boyfriend insisted on getting a big TV. His excuse was that I was away filming for five months, so he needed something to focus on. There’s also a PlayStation 4. I’ve always loved video games. On a beautiful summer’s evening, all the normal people are outside having pints, and I’ll spend six hours being chased by horrendous monsters. What have you been watching? I’ve been really enjoying the Apple TV+ series The Studio, where Seth Rogen plays a guy who’s promoted to head developer of a film studio. I also started watching The Royle Family again. I’m not really concerned with endings. If anything, I avoid them. I didn’t finish some of my favourite books. I’m sure I could be psychoanalysed and it would be quite revealing, but things aren’t tied up in life, so why should they be in art? You’re best known for your comedy roles in Ghosts and Fresh Meat, but You is a psychological thriller and Code of Silence is a crime drama. Was it challenging taking on different genres? Being more of a sitcom actor gave me a definite sense of imposter syndrome. You feel that you’ve got to earn your stripes a bit. I spoke to a bunch of older actors recently who said it only gets worse. I think back to the confidence I had early doors – the less you know, the better you think you are. In You, you play wealthy CEO Kate Lockwood, and she always looks perfect. Could you relate to that? It’s an image that is so completely unsustainable. Some people sustain it, but I can’t do that – it’s hours of work, prep, money and time. You have to work out what matters to you. I have this professional team that spend about two hours making me look like that, then I have to deal with the reality of myself, taking out the hair extensions, taking the heels off. But then I can breathe, and wear clothes I can spill my coffee down. The hardest thing is seeing people double-take me in the street: "Is that her? She doesn’t lo…

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The friendly detective
type: item
creator: Laura Rutkowski
subject: App
subject: App features
subject: App archive 100
description: Adrian Scarborough doesn’t want to outstay his welcome on TV, but would he do a Gavin & Stacey spin-off series?
encoded: This article was first published in Radio Times magazine in May 2025. Add The Chelsea Detective to your watchlist Adrian Scarborough has been acting for more than three decades – in television, film, radio and theatre. The accomplished character actor has played Villanelle’s violent and sinister handler Raymond in Killing Eve and Dawn’s awkward yet well-meaning husband Peter in Gavin & Stacey. He has two best supporting actor Olivier Awards and has appeared in acclaimed films including The History Boys and The King’s Speech. But it took until 2022, when The Chelsea Detective first aired, for Scarborough to be cast in a lead role on screen. Scarborough was actually ready to cut back on television work, but the part of DI Max Arnold convinced him to change his mind. “I never expected to go down this road,” says the 57-year-old who is now promoting the third series of his detective drama. “Playing the lead isn’t a responsibility that I really enjoy. People start looking at you like you must know the answer, because you’ve been there from the beginning.” Arnold and his partner DS Layla Walsh (Vanessa Emme) solve cases in the London borough of Chelsea, and in the new series’ first episode, a body is found in an allotment. Scarborough enjoyed watching John Thaw in Inspector Morse growing up and says Arnold has a bit of “bumbling Columbo” about him. It’s cosy crime at its finest. There’s no swearing, no sex and no bloodshed. “It appeals, because there’s quite a few people out there, myself included, that don’t like too much gore,” says Scarborough. “The crimes themselves are almost irrelevant. The most interesting bit is the process of working them out.” Scarborough was born in Melton Mowbray, Leicestershire. His father was a teacher and his mother was a lay worker at the local Methodist church, who inspired his love of theatre by taking him at a very young age. “I wanted to be a dancer, but it was very obvious from about the age of eight or nine I didn’t have the physique…

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You season 5 ending explained: Who lives, who dies and Joe Goldberg's fate
type: item
date: 2025-05-13T14:11:24.000Z
creator: Laura Rutkowski
subject: Drama
subject: TV
subject: Netflix
subject: On demand
description: Major spoilers below!
encoded: *Warning: This article contains full spoilers for the final episode of You season 5.* You's final season has come to a dramatic end, revealing the fate of serial killer Joe Goldberg after five chapters of murder, obsessions, cover-ups and stalking – and he finally gets what he deserves. Things were looking very different for Joe at the start of the new season: his new partner Kate Lockwood (Charlotte Ritchie) had managed to use her newly inherited wealth to clear his name, enabling them to live a peaceful life together. But that all changed when Joe set his sights on new cast member Bronte (Madeline Brewer), an employee at his bookstore. Chaos ensued as Joe's darker side emerged once again, and Kate was left questioning whether she really knew who he was, while Bronte revealing she was duping him and was part of a Reddit community that wanted to take him down. We knew it was going to be a wild ride of a finale, but nothing could've quite prepared us for the heart-racing battle to the death that ensued between Bronte and Joe, as Bronte continued to wrestle with her true feelings and prospective future with a serial killer. Wondering who succeeded in this game of cat and mouse between Bronte and Joe, and whether anyone met a tragic fate? Read on for a full breakdown of the fates of each character in the final ever episode of Netflix's You, including some exclusive reflections on the finale from actress Charlotte Ritchie herself. You season 5 ending explained: What happened to everyone in the finale? Does Joe get caught in You season 5? Yes, Joe Goldberg is ultimately incarcerated for his crimes. After Maddie (Anna Camp) burns down Mooney's with her own sister Kate (Charlotte Ritchie) and Joe inside, Bronte came back to rescue Kate, but as she was seemingly dead and with Joe still alive, she ended up bringing up Joe to safety, where he popped the big question. The finale starts with the pair on a road trip just outside New York, driving round to find somewhere to rest …

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Adrian Scarborough on The Chelsea Detective's future – and why he won't do a Gavin & Stacey spin-off
type: item
date: 2025-05-12T23:01:36.000Z
creator: Laura Rutkowski
subject: Drama
subject: TV
subject: Magazine
description: Scarborough chatted exclusively to Radio Times magazine about the return of the U&Drama series.
encoded: This article first appeared in Radio Times magazine. Adrian Scarborough has been acting for more than three decades – in television, film, radio and theatre. The accomplished character actor has played Villanelle’s violent and sinister handler Raymond in Killing Eve and Dawn’s awkward yet well-meaning husband Peter in Gavin & Stacey. He has two best supporting actor Olivier Awards and has appeared in acclaimed films including The History Boys and The King’s Speech. But it took until 2022, when The Chelsea Detective first aired, for Scarborough to be cast in a lead role on screen. Scarborough was actually ready to cut back on television work, but the part of DI Max Arnold convinced him to change his mind. “I never expected to go down this road,” says the 57-year-old who is now promoting the third series of his detective drama. “Playing the lead isn’t a responsibility that I really enjoy. People start looking at you like you must know the answer, because you’ve been there from the beginning.” Arnold and his partner DS Layla Walsh (Vanessa Emme) solve cases in the London borough of Chelsea, and in the new season’s first episode, a body is found in an allotment. Scarborough enjoyed watching John Thaw in Inspector Morse growing up and says Arnold has a bit of “bumbling Columbo” about him. It’s cosy crime at its finest. There’s no swearing, no sex and no bloodshed. “It appeals, because there’s quite a few people out there, myself included, that don’t like too much gore,” says Scarborough. “The crimes themselves are almost irrelevant. The most interesting bit is the process of working them out.” Scarborough was born in Melton Mowbray, Leicestershire. His father was a teacher and his mother was a lay worker at the local Methodist church, who inspired his love of theatre by taking him at a very young age. “I wanted to be a dancer, but it was very obvious from about the age of eight or nine I didn’t have the physique,” he says. “As soon as I saw that acting was a job you coul…

Nicola Coughlan on why she's the "biggest fan" of "imperative and brilliant" intimacy coordinators
type: item
date: 2025-05-09T07:00:33.000Z
creator: Laura Rutkowski
subject: Drama
subject: TV
subject: Exclusive
subject: News
description: The Bridgerton and Big Mood star discusses her experience filming sexual scenes.
encoded: Nicola Coughlan, who we know and love for her roles in Derry Girls and Bridgerton, has received her first BAFTA nomination for Female Performance in a Comedy for Big Mood. She stars as Maggie, who has bipolar disorder, meaning she experiences periods of intense highs (mania) and intense lows (depression). She’s been best friends with Eddie (Lydia West, It’s a Sin) for 10 years, but recently their relationship has become strained. For half of her time filming Big Mood, Coughlan was also shooting the third season of Bridgerton. She stars as Penelope Featherington, who reveals her secret identity to the Ton as Lady Whistledown, the author of an anonymous gossip sheet. There are also plenty of steamy scenes with Colin Bridgerton (Luke Newton), her long-time crush who she ends up marrying. Coughlan even shared an Instagram photo in June 2024 of them both next to a piece of furniture they broke during a sex scene! Does she feel like she has more agency doing intimate scenes with an intimacy coordinator? "I'm the biggest fan of intimacy coordinators. They’re imperative and brilliant. Lizzy Talbot, who worked on Bridgerton, was so phenomenal," Coughlan told Radio Times exclusively. She added: "It's really interesting, because you see a lot of backlash from actors of an older generation saying they don't get why intimacy coordinators are there or why they want them. It's not poo-pooing the way that things used to be done or to shame anyone, but it just makes you feel so much safer and in control. "It's dealt with like a stunt, so it's left in your hands, but you never feel like things are going to go awry or that you don't know what's going to happen next. You leave the set feeling empowered and good, which is what everyone should leave their workday feeling like. There are no blurred lines, it's not scary." The highly anticipated fourth season of Bridgerton likely won’t be released until 2026. Luke Thompson’s Benedict Bridgerton and his love story with maid Sophie Baek (Yer…

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'I never wanted to play Martha as a villain – she's nuanced'
type: item
creator: Laura Rutkowski
subject: App
subject: App features
description: Jessica Gunning is nominated for Supporting Actress for Baby Reindeer
encoded: Add the Bafta Television Awards and Baby Reindeer to your watchlist It’s been a little over a year since drama Baby Reindeer was released on Netflix, and actor Jessica Gunning has been riding the wave of its success. She’s picked up an Emmy, Golden Globe, SAG Award and Royal Television Society Programme Award for her portrayal of stalker Martha Scott. Now she could be adding a Bafta to that already groaning shelf. Gunning is smiley and giggly and uses the word “special” a lot to describe her involvement in Baby Reindeer – with good reason. It has been seen by 252 million viewers, making it one of the most-watched Netflix shows of all time. It came out of nowhere, based on Richard Gadd’s one-man play of the same name from 2019, and then suddenly, it was all anyone was talking about. So, it might seem like Gunning is an overnight success, but she has been working for the better part of 18 years. The 38-year-old from Holmfirth, West Yorkshire, has appeared in David Mitchell and Robert Webb’s Back, the film Pride and Stephen Merchant’s The Outlaws, where she was also in the writers’ room. She used to give talks at her drama school, Rose Bruford College in London, to third-year students. “I’d tell them, ‘Think about the actors who you admire – they didn’t necessarily graduate from drama school and work straight away. The things you love them in are probably things they did in their 30s or 40s. These things do take time.’ “It took 17 years for the part of Martha to come around,” she continues. It’s one of several answers she starts with, “I’ve said previously,” which is understandable, as she’s been interviewed about Baby Reindeer a lot. Although not all coverage since its release has been positive. Fiona Harvey, who claims to be the real Martha, has filed a $170 million defamation lawsuit against Netflix in the US, with a court date set for 6 May. Did Gunning ever consider “the real Martha”? “As soon as I read the scripts, I was just playing a character. I never would ha…

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'I feel like TV is often catching up with real life'
type: item
creator: Laura Rutkowski
subject: App
subject: App features
description: Anjana Vasan is nominated for Female Performance in a Comedy in We Are Lady Parts
encoded: Add the Bafta Television Awards and We Are Lady Parts to your watchlist Indian-Singaporean actor Anjana Vasan, 38, plays lead guitarist Amina in We Are Lady Parts, about an all-female Muslim punk band. She’s also starred in Black Mirror, the film Wicked Little Letters and as Stella in a stage production of A Streetcar Named Desire, for which she won an Olivier Award. How does it feel to be nominated for a Bafta? We Are Lady Parts is a very special show and it changed my life. It was the first time I played a lead woman of colour on TV – but it’s not just me, it’s five women of colour leading the show, and that’s rare. I feel like TV is often catching up with real life. We Are Lady Parts isn’t the first time punk music has been represented, it’s not the first time women of colour have done punk, but there’s real power in seeing it on screen. How important is it for the industry to trust diverse voices and female writers like Nida Manzoor (the creator, writer and director of We Are Lady Parts)? People can be quite scared to make something different, but audiences aren’t scared. The biggest opportunities I’ve ever had have come from women. Bisha K Ali co-wrote the Black Mirror episode Demon 79 with Charlie Brooker, and her presence was a big part of how I came into the picture, and the same with Nida. Any news on We Are Lady Parts series three? I will ask Nida when I see her at the Baftas! I message her all the time – the WhatsApp group is still going very strong. The best thing that has come from the show is I found so many sisters that I never had growing up.

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'I was 22 in the first series of Industry. It was incredibly exposing'
type: item
creator: Laura Rutkowski
subject: App
subject: App features
description: Marisa Abela is nominated for Leading Actress for Industry.
encoded: Add the Bafta Television Awards and Industry to your watchlist The 28-year-old stars as investment banker Yasmin Kara-Hanani in finance drama Industry. She also recently played Amy Winehouse in the film Back to Black and appeared in Steven Soderbergh’s Black Bag. How does it feel to be nominated? I found out the news on set while filming Industry, so it felt like a win for all of us. Getting a third series of the show was such a triumph. I’m currently filming series four and I’ll still be filming when the Baftas happen, so to take the win back to everyone would be really fun. It’s definitely validating. It feels great that people appreciate your work. Are the best roles in TV now female? No, but I don’t think men’s parts are necessarily better, either. There is much more equity than there was, but there’s that quote: “When you’re accustomed to privilege, equality feels like oppression.” There was always this idea that people didn’t want to sit down and watch a show about women, but [the HBO drama] Big Little Lies changed the game. Does working with female directors make a big difference? I was 22 when I did the first series of Industry and it was incredibly exposing in a lot of ways. The way the public deal with women’s bodies on screen over men’s will always be different and when women are asked to do a lot on screen, they need a woman guiding them through that process. There were lots of articles about how naked I got, so having Lena [Dunham] talking me through that was really important. It was the same working with Sam [Taylor-Johnson] on Back to Black, because that story was told through a very specific female lens. With the arrival of intimacy coordinators, do you feel like you have more agency? Yeah, definitely – I’m fluent in intimacy coordinator language! There are people now starting out on Industry who are as young as me when I joined and I can say, “If you don’t know what you want to ask for, I’m more than happy to talk to you about what helped me.” It’s …

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View from my sofa: Alison Hammond
type: item
creator: Laura Rutkowski
subject: App
subject: App features
description: Her career may be on a high but she’d be just as happy swapping telly for Tesco
encoded: Add Alison Hammond's Big Weekend to your watchlist What’s the view from your sofa? Well, babes, let me set the scene… my sofa is massive. I’m talking a sink-in-and-you-don’t-get-up-for-hours sort of sofa. It’s a lovely rich brown, so cosy. My son Aidan and I chose it, because he normally brings about ten mates over, and they could never fit before. Right above the television, there’s a beautiful picture of my late mum, so she’s always watching TV with me. Who controls the remote? I’m the queen of the scroll. If Aidan is around, I might let him have a little go – it depends if he’s making the tea. What have you been watching? Black Mirror series seven properly messed with my head, but I loved it. I’m obsessed with Love Is Blind and Married at First Sight: Australia, and am catching up on Celebrity Big Brother. You appeared in Big Brother in 2002. How has reality TV changed? There was no social media. You didn’t have that instant judgement from people, apart from when you came out and heard people clapping or booing. Now people tell you how they feel online. You also appeared on Celebrity Fit Club in 2004, which doesn’t feel like a show that would be made now. It was a different time back then, wasn’t it? All about body shaming. I remember doing Hole in the Wall [in 2009] wearing that silver outfit and they didn’t care that we didn’t look great. They just let us wear it. I’m glad that times have changed and we’re embracing everybody, no matter what they look like. In your new show, Alison Hammond’s Big Weekend, you spend 48 hours with celebrities including Sir Lenny Henry, Jimmy Carr and Mel B. How do you get them to open up? The fact they’ve said yes to do my show, they know we’re going to go deep with the chat. I would never ask a question that I wouldn’t want to be asked myself, but I’m quite an open book. As long as it’s respectful and they’re comfortable, I’ll ask anything. And even if they’re not comfortable, sometimes you have to go there. I ask all the questio…

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'I’d love to play a very unlikeable woman that has no redeeming qualities'
type: item
creator: Laura Rutkowski
subject: App
subject: App features
description: Nicola Coughlan is nominated for Female Performance in a Comedy for Big Mood
encoded: Add the Bafta Television Awards and Big Mood to your watchlist Derry Girls has won several Baftas and Bridgerton has received nominations, but as brilliant as Nicola Coughlan is in both, she’s surprisingly never received an individual Bafta nod – until now, for Big Mood. The dark comedy is about the friendship between Eddie (It’s a Sin’s Lydia West) and Maggie (Coughlan), who has bipolar disorder, and it’s essentially been in the works for 16 years – ever since Coughlan and writer Camilla Whitehill met at the Oxford School of Drama. “Camilla made me laugh so much. I remember seeing her first short play, and in that moment, I knew she was going to be famous,” Coughlan says. “I was never asked to be in Big Mood. It was more, ‘I’m making a show, and you’re gonna be in it.’ I was like, ‘Right, OK!’ It was never a doubt.” When Coughlan, 38, left drama school, she remembers roles for women being mainly “someone’s girlfriend, or the woman who sits behind a desk”. She found it difficult to find work in her 20s and moved to London three times in four years, each time returning to her parents in Galway, Ireland. “There were definitely lots of moments where I thought, ‘Should I quit?’ It’s a difficult industry to break into and I didn’t have any connections or money. It didn’t seem sensible for me to keep going, but I got Derry Girls at 30, which was an amazing turning point.” Some of the Bridgerton shoot crossed over with Big Mood, with Coughlan filming one during the week and the other at the weekend. It took her two hours to get ready for Bridgerton, whereas no wigs or make-up were required to play Maggie. “We didn’t want to present mental illness in a pretty way. In the scenes where Maggie’s meant to look terrible, I said, ‘I have to look terrible. If she has dirty hair, my hair will be dirty.’” She adds, “I think we’re getting braver with what’s represented on television. There’s certain things that have broken out, like Baby Reindeer and Adolescence, but it also strikes …

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