Buffy's reboot having a female-led creative team is essential – here's why
Nomadland director Chloé Zhao is among the talent crafting this potential new era for Sarah Michelle Gellar's iconic vampire slayer.
A sequel reboot of Buffy the Vampire Slayer is reportedly in the works, with Sarah Michelle Gellar anticipated to return to the titular role and the Oscar-winning director and long-time Buffy fan Chloé Zhao to direct the pilot episode. And, notably, no sign of Buffy creator Joss Whedon. Here's why the female-led creative team is vitally important. Buffy Summers's apocalypse prevention campaign began in 1997. Since then, a lot of time has passed – and we're all a little older and wiser. She was the pretty blonde high school student who didn't die in the opening credits but lived to be the hero, the once-in-a-generation girl picked by fate to be the vampire slayer. That was the simple genius of Buffy. It made a young female character central in a way not seen before – at least not done with such thought and such care. For all its horror, it felt homey. For all its surrealism, it felt grounded. The show was about a group of teens trying to find their way through: different Willow (Alyson Hannigan), uncool but trying Xander (Nicholas Brendon), cool Oz (Seth Green), and ex-demon Anya (Emma Caulfield) – and Buffy's love interest and very-much-not-a-teen vampire-with-a-soul, Angel (David Boreanaz). For all its serialism, you could feel the care in the detail. Its interest in, and respect for, what it is to be a teenager. It's an almost painfully, fully detailed account of trying to grow up. Over its seven seasons, we watched Buffy and her friends grow up through experiencing grief, heartbreak and the human and inhuman imperfections of the world around them. They leave school and go off to college and do more. Buffy develops into her slayer role, learning to cope with the new intricacies, resenting the new responsibilities and ultimately accepting having to bear them. I have been a fan of Buffy the Vampire Slayer since I was a little girl. I didn't fully grasp what it was to be a teenage girl – the aches of growing pains. But as the years passed, I returned to it as I headed toward the milestones Buffy had once hit. I didn't know what I was doing; neither did she. I'm now older than the Buffy on my screen, but I have often wondered what happened to her, as if she were an old friend whose life you once knew so intimately. That's why news of the Buffy reboot, with a female-led creative team, has thrilled me. Because I am not the same teenage girl I once was. Buffy, too, will have lived more life. She will feel more lived in, battle-hardened – we've all been knocked about a bit by the world. On Tuesday (4th February), Deadline said sources close to the project confirmed that the streaming service Hulu is "near a pilot order", with lifelong Buffy fan Zhao attached to direct the episode, penned by Poker Face writers Nora and Lilla Zuckerman. To have women so in control of telling the story is incredible. It brings something more and ensures even more care will be taken, especially as they know the value of being brought up around Buffy; it feels like it will be ever more nuanced and ever more complex, that up-close touch of experience – a modern Buffy who feels warmer and more familiar. It's also been reported that the Buffy creator Joss Whedon would not be participating in the reboot, years after he was accused of misconduct on the sets of some of his projects. Whedon has denied all allegations made by several actors, including the Buffy actor Charisma Carpenter. Given what the show has meant to so many women, Whedon's involvement would have been difficult to stomach. Yes, Buffy is the pretty blonde high school student who didn't die in the opening credits and whose story was carefully told. But we're all a little older and wiser now, and it's right that a female-led creative team is in control. Buffy the Vampire Slayer is available to stream on Disney Plus. Check out more of our Fantasy 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.
Red Dwarf's return is sorely needed – imperfections and all
A comeback is on the horizon – but it's had its complications.
Since its inception in 1988, Red Dwarf has provided comfort to its fans with its weird, gutsy, and even slightly naff British nature. Despite apparent recent complications with its planned comeback, it sorely needs to return for them. For those not in the know, the beloved BBC comedy followed slobbish Dave Lister (Craig Charles) as he wakes up on a mining vessel 3 million years after the radiation leak that wiped out the crew. The last human in the universe, his only mates are stiff with supposed refinement hologram Arnold Rimmer (Chris Barrie), perpetually miffed yet Messiah-like ship’s computer Holly (Norman Lovett and, subsequently, Hattie Hayridge), and a humanoid descendent of Lister’s pet cat (Danny John-Jules). Once Robert Llewellyn joined as pernickety mechanoid Kryten, it was such a gifted cast that you believed in every mythical and mundane element, even if you could’ve sworn you saw the sellotape and spit holding it all together – so handcrafted you could see the handprints. In the midst of the glossy TV landscape of today, it would be refreshing to see Red Dwarf return with that same level of care, gutsily marking its place amid the multi-million dollar streamer releases. With Red Dwarf, Doug Naylor and Rob Grant meticulously crafted a lived-in, curry-stained universe with a sharp sense of self-awareness, not allowing budgets to act as a break on a good old time. The ideas Red Dwarf explored were compelling and, for the time, often far-fetched and even groundbreaking – from the possible consequences of AI to the Pleasure GELF, talking toasters to gazpacho soup to Mr Flibble and Ace Rimmer. Its humour came from the innate melancholy and odd-couple dynamic central to all great sitcoms – it was lad banter but with a flicker of the emotional and complex. A strange creature of a thing: kids being allowed to play grown-up for a while. Red Dwarf is at its best when it focuses on Lister and Rimmer and their dynamic. As in the season 1 episode Balance of Power, Rimmer is on a power trip thanks to his new role as the most senior officer on board, while Lister is disheartened at the prospect of being stuck with him forever. It’s an episode which allows the comedy to emerge just from their strained interactions. It’s beautifully simple. I watched it as a child, barely knowing what any of it meant, hardly caring. My mind would catch on a funny word or phrase – a smirking smile. When I had major surgery years later, I watched Red Dwarf on DVD from my year-long sickbed; a line from Rimmer I hardly remember was the first time I laughed in two months. I owe a lot to Red Dwarf, and it’s down to that unapologetic imperfection of the human touch. Other TV shows taught me the importance of being brave and never giving up on perfection. Red Dwarf taught me the value of accepting that we’re all a bit snarky and snide and imperfect, and that’s OK. Think of the episode exploring Rimmer’s psyche, Terrorform, when he and Kryten encounter an artificial planetoid that transforms into the manifestation of an individual’s consciousness, proving that Rimmer’s mind is a hellish place ruled by all his worst qualities. He is a prisoner and victim of his own personality, and in the season 5 episode Quarantine, Rimmer imprisons Lister, Cat and Kryten inside the ship quarantine, and the strain between the trio is all too honest – and accurate. Red Dwarf is sci-fi that has unapologetically unappealing bits. As fans, we feel like we own it because those could be our smudged fingerprints on its sets, scripts and special effects. It still feels like a cult sitcom in a niche genre, even with an International Emmy. Outsiders might look in and not quite get it, but it’s survived many issues and disagreements for more than 35 years. View Green Video on the source website After all of that, now feels like the right time for its comeback – even with Craig Charles, Lister, saying that it might not return, as he stated exclusively to RadioTimes.com: "It’s not that we don’t want to do it, it’s a case of we’re trying to get it done... [it’s] happening in television all the time at the moment, there doesn’t seem to be that much money around." But for a show that has always been about its characters and their close-quarters relationships, a stripped-back approach seems fitting. If you ask me, four actors in an ocean or military grey room would be more than enough for fans. The actors are clearly on board, and the new episodes seem to recapture the essence of Dwarf, as Charles reflects on the new script and Lister coming face-to-face with his younger self. There’s been distaste over the idea of a finale from those involved in Red Dwarf; as Charles observes, "We always said we’d never do a last episode. We’d just not make it anymore – and we might be at that point now." But letting Red Dwarf just fade away feels wrong, and it’s clear from Charles’s warm words that he believes this script is worth it. And, as people who still have our guts in the game, we owe something to Red Dwarf – so whether it’s a stripped-back version of the show, or the version that the creators have been dreaming of, we’re willing to wait to see the new episodes realised. But we’ll be safe in the knowledge that if and when Red Dwarf does return, it’ll be in the gutsy and unapologetic manner we’ve loved so much. Red Dwarf is available to watch on BBC iPlayer. Check out more of our Sci-Fi coverage or visit our TV Guide and Streaming Guide to see what's on tonight. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Danny Dyer – and Rivals – aren't above the soaps, actually
Rivals has the very best of a soap at its heart.
Danny Dyer has been praised by viewers watching the highly-anticipated Disney Plus adaptation of Jilly Cooper’s 1988 "bonkbuster" Rivals. The EastEnders actor stars as Freddie Jones in the series, set in 1986 and follows the cut-throat world of television production. But as one fan wrote on X: "Danny Dyer is so fun to watch in Rivals, more of this, please, don’t waste him on soaps or football factories." This soap snobbery ignores that Rivals presents a captivating, quintessentially camp blend of the Kardashians and Emmerdale’s Tate family – it has soap in its DNA; it's sensual slapstick with a bit of Barbara Windsor’s Carry On charm. Soaps have become synonymous with vibrant storytelling and characters that resonate with audiences across generations. From the set of EastEnders to the cobbles of Coronation Street, soaps have perfected a formula which clearly influences Rivals. Even though that must stick in the throat of some diehard soap snobs, TV, it seems, cannot be mere fluff or a bit of fun; it has to be something altogether more substantial and worthwhile. But this notion fails to take into account that soaps are substantial in the way that they live and breathe beyond mere entertainment. There is no shame in inviting audiences to come and get close to a world of pure heightened imagination: frivolous, nonsensical, camp. And in fairness, a Jilly Cooper "bonkbuster" hardly seems more highbrow, substantial or "worthy" – that comes from a place of deep affection and respect, to be clear: in a world where it often feels like we have to care and care deeply, about every push notification and talking point, where anxiety is being trodden ever deeper into every groove of our brain, it’s right that we are fed, and experience, some simple escapism. The snobbery was even present in Rivals producer Dominic Treadwell-Collins's experience when he was trying to get the show made. He also had a lengthy stint working on EastEnders (which accounts for the show’s soapy goodness). "There’s a snobbery about [Jilly Cooper]," he recounted. "Throughout my career I had kept mentioning Jilly and everyone sort of laughed at and ridiculed me." This snobbery also means many people fail to acknowledge that soap contributes significantly to the industry, offering opportunities for people in front of and behind the camera, creating passionate fan bases, and addressing real-life experiences. Many famous actors, including Danny Dyer, have benefited from being on soaps. The unique environment of soap productions equips performers with a wide array of skills, and working in soaps allows actors to develop their craft while demonstrating their talents in a visible and often intense setting. Moreover, the iconic statuses of actresses like Margot Robbie, Sarah Lancashire, and many writers, producers, and directors prove that soap can be an invaluable training ground. It’s fair to suggest that many of today’s leading talent couldn’t have found their footing within the industry without the foundational experience soaps provided them. It’s also important to keep in mind the effort that goes into bringing TV shows to life, many of whom gain important lessons from soaps. The soap opera industry boasts a wealth of opportunities within the broader entertainment economy – but recent soap changes have meant these opportunities are becoming few and far between. Recently, many Hollyoaks actors publicly lost their jobs. The same can be said for the BBC soap Doctors – people had years and decades of work ripped away and the industry as a whole will be no doubt poorer for it. So, Rivals, rather than being used to bash and belittle a struggling industry, should prove that it works beautifully and still has steel in its backbone. It blends drama, sex, and cliffhangers, keeping viewers glued to their screens. Far from being a guilty pleasure, the inherent fun in soaps positions them as an enjoyable escape and a vital component of popular culture – and for what it’s worth, Danny Dyer looked like he enjoyed most of his time as an East End pub landlord, perfecting the cheeky chappy scowl. Soaps are more than wasteful fluff and do not waste anyone’s talent; they are critical to a hardy entertainment industry. They foster community, create careers and tell compelling, critical stories – all while remaining engaging and a little trivial to watch. The long line of actors whose careers began in soap and the industry’s ability to reflect real life – albeit in a heightened state – proves that soaps have a critical role in the landscape. The soap snobs who have been entertained by Rivals have only helped to prove the soap formula works. Whether it’s the thrilling storylines that keep us on the edge of our seats, the connections fostered through compelling narratives, or the necessary functions soap fulfils in the entertainment world, from Kim Tate to Kim Kardashian — soap runs richly in its DNA. Rivals is streaming now on Disney Plus – sign up to Disney Plus now for £4.99 per month or £79.90 for a full year. 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.
Shannen Doherty raised a generation in Charmed
Fans are grieving the loss of the Prue Halliwell actress.
Fans have been grieving the loss of Shannen Doherty, star of witchcraft fantasy Charmed, who has passed away at the age of 53. There is grief for the big sister, the soft-hearted badass and the woman and actor who sold no one fairytales. Growing up with the Charmed Ones was like growing up with sisters from a slightly mystical world; they were diamond-encrusted but cosy, messy and well-meaning. Charmed was always about the humanity behind the magic, the sisterhood of it all. Prue Halliwell, played by Shannen Doherty, was the anchor that grounded the series. As the eldest of the Charmed Ones, Prue's practicality, responsibility, and no-nonsense attitude balanced her sisters' more free-spirited nature. She made it all so real. Her power as an actor was that she was this iconic, era-defining presence who still felt like the put-upon big sister ready to tell you off - she was just always there. I say the Charmed Ones raised me, and I mean it. This show wasn't just about entertainment; it was a guide that taught me about the ups and downs of life, helping me grow and learn. It offered advice on everything from fashion to dating. So much entertainment, then and now, is telling women how they should be. Charmed didn't dictate what I should want or how I should be. For all its whimsical, homespun charm, the show's power lay in its unflinching honesty about relationships and the complexities of being human. Wrapped in a cosy, nostalgic package, it tackled feminist themes and said, 'Here are these women, flaws and all - because being a woman is hard and being a sister is hard too.' As Prue Halliwell once said: "Don't worry. We'll be safe here." View oEmbed on the source website Prue represented the quintessential strong and responsible persona. She's the strength and the group’s de facto leader, characteristics that earned her the reputation as the most powerful witch of the Halliwell sisters. Lines like, "While I admire your confidence and your fearlessness, your utter lack of responsibility frustrates me to no end" meant she could be anyone's big sister, and Charmed found its pulsing, thrumming, endearing, realness in that. She was fearless in going braless or strapless. Beneath her tough exterior lies a vulnerability that makes her all the more relatable. As women, we're often told we must choose between being soft or strong, but Prue is both. She's the epitome of a grounded and tough individual, yet there is a vulnerability to her hardness. Prue's scepticism towards magic is a testament to her realistic reaction to the notion. She's not immediately swept up in the whimsy of it all, instead choosing to approach it all with vigilance; she's pragmatic in recognising that there will be a sacrifice in the fairytale, fantasticalness of it all. She so often found the ordinary and pulled it into their world: "Listen, I shot a magazine cover yesterday, I had a date last night, and then this morning I am searching for evil. You can't get more balanced than that." I thought of this when Charmed star Alyssa Milano remembered her on-screen sister in a press statement after years and years of a well-documented feud, saying: "It's no secret that Shannen and I had a complicated relationship, but at its core [she] was someone I deeply respected and was in awe of." <img src="https://images.immediate.co.uk/production/volatile/sites/3/2023/10/GettyImages-908808-2407459-e1696583092360.jpg" width="1501" height="998" alt="Holly Marie Combs as Piper Halliwell, Shannen Doherty as Prue Halliwell and Alyssa Milano as Phoebe Halliwell in Charmed." title="Holly Marie Combs as Piper Halliwell, Shannen Doherty as Prue Halliwell and Alyssa Milano as Phoebe Halliwell in Charmed." /> If there is one thing Charmed taught us, it is that real relationships and heartache are muddled and complicated. We might yearn to think of them as straightforward or something else, but real life is in the flaws. Charmed was all about the strengths and imperfections of women, which could get messy and complicated but be no less beautiful for it. As Rose McGowan, who played the youngest Charmed one, Paige Matthews, put it: "We laughed at dark forces who wanted us to hate each other. Instead, we chose love and respect. A soft-hearted badass as there ever was. A force of energy that will live forever in hearts." Shannen Doherty has left an indelible mark on our collective pop culture consciousness thanks to her iconic roles in Charmed and Beverly Hills, 90210. Through her memorable performances, she taught us the value of authenticity, humanity, and a healthy dose of realism in the most idealistic places. Charmed created a world that offers, and still offers, escapism through overstuffed armchairs, beautiful stained glass and compelling, almost handmade villains. It says come in and get close, a warm hug that will, for a time, give you a reprieve; it will provide you with a human connection. I am so grateful for the four Halliwell sisters in a world that often feels designed to overwhelm us, to be just a little too much. It was just enough – and so much more. Thank you to the best big sister, a soft-hearted badass, the woman who never wanted to sell fairytales – the Charmed One.
Doctor Who's ratings are a success for Russell T Davies in a way that's crucial to its future
The show needs to focus on its younger audience.
Doctor Who has always felt like a hand-me-down, and that feeling and Russell T Davies’s approach to engaging with a younger audience are crucial to its future. The first question that often comes up in conversation with a Doctor Who fan, whether at Comic-Con or a nail salon, is, "Who is your Doctor?" It so often brings warmth to the other person’s eye. Each fan usually has one — the one who evokes a story, nostalgia, or a time of life. Usually, it’s their first. They narrate their first memory of their Doctor or a scene that pulled them in; years or decades later, a smile will come across their face, a "Do you remember when...?" That’s the DNA of Doctor Who - the magic of it, that indescribable something. Russell T Davies gets that as a fellow Doctor Who enthusiast who could pull apart and put back together the history of Doctor Who, who still gets that warmth in his eye when he recalls a Doctor Who memory from his own youth. He commented on his push for younger viewers, saying: "The under-16s and the 16-34 audience, as well, is massive. It's not doing that well in the ratings, but it is doing phenomenally well with the younger audience that we wanted." That younger audience will one day answer the question, "Who’s your Doctor?" with a smile and two words: Ncuti Gatwa. As Davies has also stated, "In coming back, I wanted to make it simpler, and I wanted to make it younger." We often think of Doctor Who as something that has always been there and always will be. But that hasn’t always proven to be true. Doctor Who has lived across generations, has evolved across eras, and has meant so much to so many — it has a careworn, handmade quality. It belongs to the fans, to Davies as a 10-year-old who read The Making of Doctor Who with care. But it also needs to survive. Its survival rests on its ability to continue to appeal and snag onto the hearts and minds of younger audiences so that a Baker fan can meet a Tennant fan, a Gatwa fan, and so on and on it must go. It’s too simple to be self-righteous, to want things, to expect things to be just so, and forget that for all its handmade charm, it’s nostalgia and personal meaning. There also needs to be shrewdness, a method of future-proofing; Davies understands that it’s crucial to everything the show was, is, and wants to be. His plan appears to be working. A BBC spokesperson recently said: "Overnight ratings no longer provide an accurate picture of all those who watch drama in an on-demand world. "This season of Doctor Who premiered on iPlayer nearly 24 hours before broadcast, and episode 1 has already been viewed by nearly 6 million viewers and continues to grow. "Doctor Who remains one of the most-watched programmes on iPlayer and is the BBC’s top drama for under-35s this year, making it one of the biggest programmes for the demographic across all streamers and broadcasters." So, children and young people now comprise the majority of viewers, which is how it should be. The show should be catering to the tastes of a younger audience; many Doctor Who fans have benefitted from their formative years with the Doctor, learnt lessons, or seen themselves represented. We were all young once, and the Doctor was there for us as we went through it, as we came to understand the world and our place within it. Davies has also previously spoken about the show’s LGBTQ+ representation and the importance of disability representation and further diversity, which are elements children and young people need to see. By resolving to make the show more accessible and easier to follow, he has successfully made it possible for new viewers to join the fandom, not by betraying the show’s core values but by returning to them. Doctor Who has always been a family show, often made for children. That question, "Who’s your Doctor?" It can be asked of viewers, young and old, and shifting that focus doesn’t alter that truth. I will still watch Doctor Who in many decades, appreciating it and relishing every moment. I am less than a handful of years away from the cut-off point. Soon, I won’t be under 35, which doesn’t bother me. I grew up with the Doctor and will continue growing with the Doctor. I don’t need or want to be the target audience; I want the show to evolve and change and not quite be for me at some point, to be able to say, "Look how far it’s come since back in my day." It should be thrilling to any Doctor Who fans to see that the show has such impressive ratings among the under-35s this year; remember that feeling the first time you saw the Doctor or something about it snagged at you? We should want to pass it on. This demographic is crucial to the show’s future growth and success. Targeting a younger audience ensures that it can attract new fans who will grow up with the show, whatever their age, and become lifelong enthusiasts. In the end, it’s a strategic approach that will help secure the show’s continued popularity, relevance and survival. Ultimately, Doctor Who has always felt like a well-loved hand-me-down, which remains crucial to its success. Doctor Who will return at Christmas on BBC iPlayer and BBC One. Previous seasons are available to stream on BBC iPlayer with episodes of the classic series also available on BritBox – you can sign up for a 7-day free trial here. Check out more of our Sci-Fi coverage or visit our TV Guide and Streaming Guide to see what's on tonight. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Sorry Buffy fans, Angel's controversial ending was actually perfect
Twenty years on, Angel's finale still stands up.
Angel often gets overshadowed by the show it was spun off from, Buffy the Vampire Slayer. However, its controversial ending has sparked much debate over the years — it isn’t a finale; it’s the show’s ever-present, nitty-gritty mission statement. From the pilot’s opening moments to the finale’s closing seconds, a well-thought-out plan seemed consistently in place, although it often felt muddled in the middle. In the debut episode, vampire-with-a-soul Angel (David Boreanaz) moves to LA to start a new life and help those in need. He joins forces with the resourceful Cordelia (Charisma Carpenter) and the half-demon Doyle (Glenn Quinn) to battle supernatural threats. We should always go back to the beginning, because it skillfully establishes the setting, develops characters, and lays the groundwork for the entire series. It also, almost effortlessly, ties in the last seconds of the finale. In showing Angel’s pain and how troubled Doyle coaxes and persuades him out of the darkness, it does so much work in its stripped-backness. Two troubled men, one-on-one, "'Cause you got potential. And the balance sheet ain’t exactly in your favour." When the final episode aired, I felt ripped off. But decades later, I get it. I have grown into it. It’s now my favourite ending — I have the biggest soft spot for the characters. After all, it’s so painfully, quintessentially Angel to end with the team still fighting, half already dead, and more clearly on their way out. Buffy fans who treat Angel as a continuation, an add-on, do it a disservice. Many popular fandom criticisms focus on comparing it to Buffy’s essence and foundations rather than what its own was meant to be — different. In aesthetics, mission statements, thesis, and the way they pull from various eras of life. Buffy is about growing up — Angel is about being grown. From the first episode, Angel is an intimate, up-close, staring-you-right-in-the-face experience of addiction, the need for redemption, and how a person earns it. Always with the knowledge that if he experiences pure happiness, he will lose what separates him from the inner monster. Those scenes tell us to come and get close. It won’t be pretty; it will get a little gritty and intense, but it’s a conversation we need to have. For all the show’s bravado and charisma, for all its reliance on glamourous grime, chiselled jawlines, murderous stare-offs, artfully swishy leather trench coats, trapped ballerinas, a wee little puppet man, "shiny" demons, dubious Irish accents, and even dodgier wigs, there is always a tightness to Angel, a clawing angst, something burrowing under his skin, throwing him off balance. After all, the character went from being Liam, the young, drunken layabout, to Angelus, a bloodthirsty serial killer lacking a soul, and then having one thrust upon him as a punishment for his crimes. Separate from the otherworldly nature of the show, Angel is a man who has to live with himself. The show ponders the question: What would it do to a man to hear the screams of pain of his victims over and over, to listen to them pleading and begging to carry the knowledge that you were responsible for the most heinous acts imaginable, that your hands had inflicted torture, and that you, in a far-off era of life, relished it? How would that eat at a person? View Green Video on the source website Returning his soul was the ultimate retribution, forcing him to live with and live in his crimes. Angel has hand-me-down pain, self-doubt, and a dose of self-pity. In a famous and oft-quoted stand-off with Spike (James Marsters), that other soul-having vampire, Angel’s voice is laced with resentment and petulance: "You asked for a soul. I didn’t! It almost killed me. I spent a hundred years trying to come to terms with infinite remorse." There are dips, notes and cycles to everything. It never lets up. From the first episode, the first scene, and the ups and downs of five seasons, it all led up — built up, up, and up — to this emotional series finale, punctuated with the ultimate cliffhanger, perhaps more justifiably labelled an unknowable ending. In the finale, Gunn (J August Richards), the long-term human ally, asks, "What if I told you it doesn’t help? What would you do if you found out that none of it matters? That it’s all controlled by forces more powerful and uncaring than we can conceive, and they will never let it get better down here? What would you do?" In those scenes, those questions, we go back to that earlier up-close, stripped-back simplicity. As they all bow their heads in grief and exhaustion, covered in yet more blood, LA grime and shadows in an alleyway as they are fading, Spike asks, "In terms of a plan?" and Angel responds, "We fight," and, "Let’s go to work." It is fitting that the last image is Angel’s determined face when he was once so unsure, the last sound of his weapon being used as the last of the team confronts a seemingly endless army of foes — and a dragon. Did they live? It hardly matters. All it was ever about was a person, a group, putting everything they had into it — trying. The show fades out and leaves it open for viewers to participate however they want - you can stay in the conversation. It’s still being discussed, dissected and speculated on. For me, it ended in that first second of darkness. I didn’t read about what happened after that in other forms then, and I have consciously chosen not to read about it since. We should be comfortable saying goodbye and thanks for the memories. We can grieve a set of characters — and know their story is done once the screen fades to black. I’ve loved this TV show for most of my life, but it took some growing up and growing into it to really get it. Back in the day, I was scribbling David Boreanaz’s name in hearts all over my school books; there is nothing wrong with that. But, as time has passed, my appreciation has become more nuanced, a more grown-up thing. The ending of the show - particularly the closing moments before it fades to black - stands out as its most poignant lesson and overarching reason for being. It represents the world as it messily is rather than as it neatly could be. It also gives us the possibility — what could’ve been, what might’ve been, and what ought to have been. View Affiliate Playlist on the source website Angel is available to watch on Disney Plus. Check out more of our Fantasy 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.
Doctor Who's schedule change is inevitable – but still heartbreaking
The major change will diminish the event nature and experience of watching the series.
With the decision being made to debut new Doctor Who episodes at midnight on BBC iPlayer, many Whovians have expressed their disappointment. They argue that the choice was made for US-based audiences, and it undeniably was. When the first two episodes are released on BBC iPlayer at midnight on Saturday 11th May, they will also be available on Disney Plus at 7pm ET on Friday 10th May, before BBC One airs them again later in the day on Saturday. This means that while viewers on the US East Coast can enjoy the premiere episode in the late evening, UK fans will have to stay up into the late hours of the night to watch, diminishing the event nature and experience of watching the series. For many fans, watching Doctor Who live on Saturday nights has been a tradition. My father used to share stories of watching Doctor Who as a boy crouched behind the couch. It has always been a special event to look forward to each week. It’s not just about watching the show itself, but also about being part of a shared experience. Releasing the episodes at midnight on streaming takes away from this communal aspect. The threat to Doctor Who's loyal communities is the most concerning issue, as these dedicated fans have fully embraced the show's intricate history, nuanced politics and profound themes. They find joy in analysing its storylines and actively engaging with the narrative as it happens. Doctor Who has a community that has played a key role in building the show up and has crafted its own spaces with care. However, if we all watch at different times, this sense of collective experience may be lost online and in-person. The show has become a part of many fans' lives, providing a source of immediate connection and camaraderie through creating memes, reactions, trends, a unique shorthand and handmade costumes. What if a push to make it bigger, grander or more polished ruins its charm? Ultimately, what makes Doctor Who special is that it feels like ours; we all have a hand in it, it feels personal. I was initially a little unmoved when I heard about the plans, because there is a bitter inevitability to it all, but I get it - it should anger us that that mystical, magical, uniquely British thing has been changed. But Disney doesn’t change to fit you; you change to fit it. That is the hard truth. The Doctor Who of my father’s generation, my generation, is gone. Doctor Who is now more cool, glamorous, poised and polished. The DNA of Doctor Who is being remade. Doctor Who has always thrived because of its fans sparking watch parties and community - this will mean there may be less opportunity for people to gather together to have watch parties and discussions. This shift may also result in fans having to dodge spoilers more often, potentially taking away some of the excitement and enjoyment of watching the show as it airs. As a fan of Succession, I would set my alarm, eyes bleary, so that I didn’t miss seeing an important scene in real-time, and I was endlessly thankful that I saw that one episode before obituaries flooded not just my timeline but my everyday conversations. This shift in watch time and distribution strategy could significantly shape the future of Doctor Who, and it has felt bitterly inevitable for some time. The show’s ability to adapt to changing viewing habits and technology may be crucial in maintaining its relevance and popularity. We must acknowledge our new reality: it’s getting more investment, and we are in an ever-evolving television landscape in which streaming-first is becoming a staple. Ultimately, though, we’re mourning an era of Doctor Who that was magically, whimsically ours, that hand-me-down and handmade feeling of it all, we should be gutted — and feel a sense of loss for the generations that come after us. View Affiliate Playlist on the source website Doctor Who will return on 11th May. Doctor Who is available to watch on BBC iPlayer and on BritBox – you can sign up for a 7-day free trial here. Check out more of our Sci-Fi coverage or visit our TV Guide and Streaming Guide to find out what's on. Try Radio Times magazine today and get 10 issues for only £10 – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Sam Waterston quitting Law & Order feels like losing a TV dad
The police procedural is losing one of its greats.
Sam Waterston has played Jack McCoy for almost as long as I have been alive, so the news that the iconic, fearsome, fedora-wearing district attorney was leaving Law & Order after over 400 episodes hit me hard. After so many years, it feels like saying farewell to a TV dad – a character I’ve grown up watching and a source of great comfort, accompanying me through the ups and the downs of my life. McCoy is a fundamental part of Law & Order, along with its trademark two-part structure, the shoddy, flimsy false alibis, and the iconic, ever-reverberating dun-dun. The formula is reliable and well-worn in an ever-changing world, with the cases, so often ripped from headlines, neatly resolved in a one-hour episode – in turn satisfying our longing for simple solutions to hard truths. My introduction to the character came through re-runs, when he first appeared in the season 5 premiere. It was all there: the swagger and confidence, the unrepentant self-righteousness, the lapses in professionalism, the McCoy coolness. But he's mellowed since, as we all have, going on to become the face and steady presence of Law & Order. One of the show's and McCoy's most important moments occurs in season 6's Aftershock, when he witnesses an execution. What follows is a thoughtful, subdued discussion about the moral complexities of capital punishment, which humanises him and the issue itself, proving that the best, most impactful television happens in its quieter moments. My own favourite McCoy moment happens during his cross-examination of a defendant in season 15's Fluency, when he uses a poignant analogy from an Orson Welles film to cut through his excuses. The man claims he couldn't have known that distributing counterfeit vaccines would lead to 16 people's deaths, but McCoy's response shatters his lies by cleverly exposing his apparent indifference to the dead: "And you couldn't foresee the risk to those patients? They were just dots to you, weren't they? Far away, insignificant. And if they suddenly stopped moving, who'd care? Not you!" McCoy has a knack for dragging the jury and the audience along with him, and making them truly care, also. We often become numb to the issues that are explored on screen, but McCoy has a way of engaging a viewer. He is, beyond all of his talents, an ordinary, imperfect man at his core, often encouraging us to trust our gut. McCoy is law bound up in passion and emotion, an infectious trait that draws us in further. That approach is on display in 1994's Virtue, in which he passionately defends a victim of sexual coercion. At a time when women and girls continue to be failed by the criminal justice system, his words still feel progressive, designed both then and now to make the audience think, to drag them out of their detachment numbness. "Sarah Maslin worked," he said. "For eight years, she was the best, the most productive associate in her firm. She had clearly earned a partnership. But the only way that she could get it was to have sex with a man who had the power to make or break her career. Sarah Maslin laid down on that couch for Mr Talbert. But can any of us say that she really had a choice?" Amid all his legal prowess, the raw authenticity of his human response to the many victims and cases that coloured his career stands out, as we see in Gunshow, when he empties a box of bullets onto the courtroom table while prosecuting a gun manufacturer. The sound chillingly reverberates as each one strikes the wood, just as they would victims. Of course, the character is an ideal, and since its creation, Law & Order has arguably offered a sanitised view of police work and built stories based on false narratives about the fairness of the criminal justice system. The police will find a suspect; the district attorney will convict them without bias or prejudice. Case closed. That's a key part of why we become so attached to is characters: the emotional connection, the ease, the continuity and the familiarity they provide. Counsellor Georgina Sturmer puts it this way: "TV programmes elicit an emotional response from us, in the same way as stories about people in real life. We build emotional bonds and feel the whole range of human emotions." It also gives us a place to direct our own emotions, a catharsis of sorts. "TV programmes allow us to connect with feelings that we might ignore or suppress in real life. This all explains why we can feel a genuine sense of connection to our TV family," she adds. That is absolutely true of McCoy. Saying goodbye to him was never going to be easy; he's become something of a mentor, a role model and a blueprint for life. In a world where we all need something to believe in, I had McCoy. But at least we'll always have the reruns, as Waterston noted upon the show's earlier return: "It's nice to come back and just witness the thing we made." Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. Try Radio Times magazine today and get 10 issues for only £10 – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
From exclusion to inclusion: Celebrating soaps' disability history
Melissa Parker explores the history of disability representation in soap.
Marking Disability History Month provides a unique opportunity to reflect on disability representation in soap – our past, present and future – where we’ve been and are going. Over the years, there has been a transformation, a vulnerable and imperfect transformation: through the aches and pangs of growing pains as disability representation evolved from reinforcing stereotypes and excluding disabled people to building – sometimes imperfectly – us up, up, and up. The staring-you-right-in-the-face experiences, the uncomfortable conversations, the righting of deep wrongs and, increasingly, the joy of disabled lives. As a disabled person who grew up watching soaps, I feel fortunate to have personally witnessed this shift, but I also recognise the damage that comes with a painful history. For every new introduction of a disabled character, piece of increased visibility, portrayal of disabled plot lines, or emergence of disabled actors as advocates, there are hard-fought, hard-won personal histories. Nowhere is this history or evolution more evident than when speaking to two disabled actors whose experiences, both personal and professional, have helped shape their perspectives and firmed their voices. Cherylee Houston made history as Coronation Street’s first disabled actress. Remembering her own early encounters with disabled characters on screen, she cites Maud Grimes (Elizabeth Bradley) in Coronation Street. While Maud, who used a wheelchair, was played by a non-disabled actress, there are unmistakable parallels between her bold and formidable persona and Houston’s character, Izzy Armstrong. Both women exude strength and confidence across generations, embodying the spirit of formidable northern women with a natural grace and poise. But that early character could only grasp half a reality as, throughout history, disabled people have fought tirelessly for recognition of their lived experience; building upon those early memories, disabled people have advocated for their unique perspectives and first-hand knowledge. That history can be seen in Houston’s passion. Few things feel more personal than communicating our history in our own words, which can also be seen in her career. From the imperfect beginning of characters like Maud, there has been a shift, which Houston is a part of and has pushed forward. She is emphatic: “There’s lived experience behind it all now. You can actually tell a massive difference.” Ultimately, now disabled people can see themselves completely and thoroughly. Without having to half see themselves through a non-disabled person’s imagining of a disabled existence. Soaps have led the way in making that a reality, as they have bedded disability in; stories aren’t as often solely about a disability, as she concludes: “In my career, the first half of my career, there was nobody with lived experience of disability as an actor working in soaps.” Ellie Henry, a disabled actress in her first major role, playing the character of Freya Calder in Hollyoaks, has described how Houston’s work has, in turn, influenced her. She feels a warm connection to Izzy, but she also acknowledges that something was lacking when it came to her own experiences being reflected: “I’ve grown up watching soaps and have always been captivated by the stories told on television, so when I became disabled, it was the first place I looked to find the story being told.” Unfortunately, at the time, to her mind, there was hardly any representation of wheelchair users, and there wasn’t any representation of young disabled people. But from those beginnings, we’re seeing disabled people build up, up and up. It can be seen in the way that Henry reacted when she found the lack of young disabled lives represented in soap disheartening – it impassioned her. “It gave me a clear reason to continue with my training and be that representation within the industry for others.” She summarises her view with an emotion that will resonate with many from the disabled community: “I’m fortunate to now have the opportunity to be who I needed when I was younger.” As Alison Kerry, Head of Communications at Disability Equality Charity Scope, says: “Millions of people watch soaps every week, making them a great platform for disability representation. One in four of us are disabled, meaning more needs to be done to make sure that programmes truly reflect their audiences.” In discussing the past, present and future, possibly the most crucial question one can pose is how Henry sees her future within the industry unfolding. It is a testament to the work that has been done and is still being done by those who came before her. “At the minute, I believe we are still in the early stages of what can be achieved. Having disabled people within the cast and an accessible site should be the bare minimum!” While it is positive that we’re seeing more and varying disabilities, there is still a long way to go so that disabled characters and actors are involved in major soap storylines. Success for her looks the same as any other actor: “Every actor wants those juicy bits to really get their teeth into, and I would love it to be the case that I’m telling stories which haven’t been written specifically for a disabled actor or character.” We have come a long way since those early days of soap when it was the norm for non-disabled actors to play disabled roles. Back then, we endured clichéd and stereotypical portrayals, lacking authenticity built on half-truths. But now, we have evolved to a point where we demand to see genuine lived experiences on our screens. This shift didn’t happen without effort: it came about because generations of disabled people grew up only seeing half of themselves reflected on television, and over time, it became increasingly difficult to stomach, so they fought tirelessly and put the work in for the better. We have fought, and continue to fight, to have our stories told on-screen at every stage of life, and disabled actors now rightfully expect the same opportunities as their non-disabled counterparts. Reflecting on the history of disability representation in soap, we can also trace its future and how it came to be. The history of disability representation in soap is a testament to the power of storytelling and its impact on people and society. From the introduction of more disabled characters to the increased visibility and portrayal of disabled plotlines to disabled advocates, each step has contributed to a positive shift. Still, as disabled people in the industry keep building up, up, and up, we should reflect on the hard-fought and hard-won victories. If you're looking for more to watch, check out our TV Guide and Streaming Guide. Try Radio Times magazine today and get 10 issues for only £10 – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Doctor Who's disability representation proves why small moments matter
Ruth Madeley made her on-screen Doctor Who debut as Shirley Anne Bingham.
Doctor Who fans worldwide are being charmed by the highly anticipated 60th anniversary specials. However, one character has sparked excitement and intrigue among disabled viewers: Shirley Anne Bingham, played by Ruth Madeley. This more nuanced portrayal of a wheelchair user in Doctor Who is an extraordinary step forward for representation in the beloved series — but amid the fantastical, fairytale things, there can still be hard realities. Ruth Madeley’s work has never been about perfection, but complex, hard-fought realities, and the same can be said of Russell T Davies. Both can get to the personal, up-close, staring-you-right-in-the-face experience through their writing and performances. They possess a unique ability to bring audiences close, allowing them to leave a lasting impact. In these seconds on screen, we see the full power of disability representation. Often, the small, up-close moments have the most unforeseen consequences. Upon close inspection, a subtle, perhaps unconsciously done detail becomes apparent in a scene: Ruth Madeley’s character crosses her legs. This seemingly insignificant moment holds profound meaning for disabled people as it was picked apart across social media by non-disabled people. We understand all too well the scrutiny and misunderstanding we often face regarding our own bodies. As a wheelchair user, I have endured so much: uncomfortable gazes from men on buses, questions about why my leg is “bent” or “warped,” and unsolicited comments about my muscular legs not appearing “disabled enough” not to work. One of the earliest questions I ever asked a stranger was, “Why are you looking at my legs like that?”, instinctively adjusting protectively. So, the abundance of social media reactions about a wheelchair user in Doctor Who crossing her legs on screen, frequently mistakenly assumed to be a continuity error, was unsurprising. Non-disabled people know nothing of what it’s like to live in and around our wheelchairs through various stages and moments in life and health. This is still our burden, having to be explicit and clear on social media and everyday interactions. Knowing that this is a conversation that we very much need to be in control of — we need to be able to have these moments and question non-disabled ignorance — and get through it. That is the core of good disability representation, even if it’s unconsciously done: the chance to acknowledge that ordinary disabled people still have these hard conversations and live in these moments. Amid these fantastical fairytale things, there can still be small moments, small details that speak to an everyday truth — eliciting knowing nods from a disabled audience. As Shirley asserts: “Don’t make me the problem, just get in there” when faced with a staircase that UNIT officers need to climb. This line serves as a knowing nod to the social model of disability, reminding viewers that people are disabled by barriers in society, not their impairments or differences. But imagine disabled children getting to be Shirley. View Green Video on the source website Getting to play make-believe — to be the scientist, the leader. Getting to dress up or replicate and imitate that image, getting an earlier understanding that our society is built on half-truths and incomplete histories. As a child, Doctor Who offered an escape, a reprieve from my “othered” existence, from the growing pains of existing in a disabled body, a place to rest my tattered mind. From the first “Fantastic!” we had each other with matching northern accents. We each wore muted clothing and a black leather jacket for a time. I can’t imagine not pushing parts of myself down to relate to a character or escaping into other worlds without compromising my identity. But, from the UNIT-branded wheelchair to including weapons as wheelchair accessories and the casual, calm confidence of “I don’t just fire darts, mate”, the show now embraces diversity in a way that will continue to resonate with disabled viewers for generations, and the disabled community will now go into inaccessible places and proudly proclaim, “Even the TARDIS is accessible now”. View oEmbed on the source website Ultimately, it’s not just about the accessibility of the TARDIS or the ongoing conversations with those who aren’t disabled. It’s about this new generation of disabled children finally seeing themselves represented in Doctor Who. During frightening points, they will still experience the familiar jitters of monsters hiding under their beds or behind the couch, clutching at a cushion. They will have “their” Doctor, “their” companion, and “their” era. One day, they will fondly recall that chilling moment when a Russell T Davies villain gave them nightmares. However, amid all the heartwarming nostalgia, they will also find comfort in knowing that disabled characters exist within the expansive Doctor Who universe, woven in whatever incredible guises they may take now or in the future. Action figures will bear their likeness and be beaten down in over-enthusiastic child’s play; drawings will proudly adorn fridges with the help of multicoloured magnets, and homemade or shop-bought Halloween costumes will be worn. The inclusion of a nuanced portrayal of a wheelchair user in Doctor Who’s 60th-anniversary specials is a positive step towards greater disability representation — but it’s also a reminder that even amidst the fantastical, fairytale somethings, we can still experience the harshest of our realities. Doctor Who continues Saturday 2nd December at 6:30pm on BBC One. Previous episodes are available on BBC iPlayer and on BritBox – you can sign up for a 7-day free trial here. Check out more of our Sci-Fi coverage or visit our TV Guide and Streaming Guide to find out what’s on. Try Radio Times magazine today and get 10 issues for only £10 – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Doctor Who's Davros reinvention is crucial for disabled fans
Russell T Davies made clear that the change was a conscious decision to move away from troubling tropes.
The decision made by Russell T Davies to change the appearance of malevolent evil-doer Davros in Doctor Who to remove the scarring and wheelchair use is so significant for disabled fans across past, present, and future generations. As a disabled child growing up with Doctor Who, I was instantly drawn to the mysterious and chilling character of Davros; from the moment he appeared on screen, his presence captivated and unsettled me. Love Doctor Who? Listen to our podcast interview about Doctor Who games! But as I matured, an unsettling feeling of unease crept into my consciousness. I couldn’t get rid of the idea that Davros and countless other Doctor Who villains, such as John Lumic (Roger Lloyd Pack), another wheelchair user, fell into a troubling trope that profoundly impacted me and others. As a character, Davros embodies a particular trope that has been present in storytelling for centuries. It is the notion that a character’s moral and physiological nature are intrinsically linked. This idea is as universal as it is old. It suggests that physical disability is telling of inherently villainous or tragic characteristics, strengthening the harmful notion that disabled individuals are somehow flawed, lesser or tainted. My memories of Doctor Who are of the good sometimes mingled too tightly with the bad. The power of the trope can be felt before it is fully understood or seen – disabled people feel it in the way we’re taken apart and put back together again. Our experience of the prejudice and stigma such ideas provoke is still fraught and muddy – a mess of feelings. Over time, you could gradually watch the light behind my eyes change from innocent devotion to betrayal. For years, Doctor Who had told me, unwittingly, something was wrong with me. But recently, Doctor Who returned to screens with a particular scene featuring Davros, who was played once again by Julian Bleach, without a wheelchair or scarring – and while viewers might have thought that it was simply because this special scene was set before the accident that left the character scarred and needing a support unit and means of mobility, Doctor Who showrunner Russell T Davies has clarified that it was a conscious attempt to consider the sometimes uncomfortable history of the show, and broader society, and how it ought to evolve. On the new BBC Three companion series Doctor Who: Unleashed, Davies said: "We had long conversations about bringing Davros back, because he's a fantastic character, [but] time and society and culture and taste has moved on. "And there's a problem with the Davros of old in that he's a wheelchair user, who is evil. And I had problems with that. And a lot of us on the production team had problems with that, of associating disability with evil.” I had tears in my eyes as I watched a man I admire utter these words; it was cathartic. But I wish they had been spoken earlier by someone who looked, moved or talked like me. Many have now risen to address and denounce these former practices and, as Davies further comments: "I say, this is how we see Davros now, this is what he looks like. This is 2023. This is our lens. This is our eye. Things used to be black and white, they're not in black and white anymore, and Davros used to look like that and he looks like this now, and that we are absolutely standing by." View oEmbed on the source website Their voices resonate with a generation searching for validation because we've been told for so long that our concerns, feelings, and unease don't matter. However, changing how Davros was portrayed elicited strong emotions from many fans, who quickly expressed their displeasure. Many argued that they had never perceived Davros as a wheelchair user and believed the character should remain untouched. But this reaction misses a critical point. The significance of altering Davros's image lies in the experience of disabled viewers. It is about allowing them to watch and engage with the show without feeling a creeping unease, without that early recognition that they are being othered by their heroes or condemned even in other worlds. One Doctor Who fan shared their perspective on social media, stating that the change in Davros's portrayal had "ruined" their childhood. I encourage anyone who shares this sentiment to consider the impact of a consistent stream of disabled villains on disabled children. What it teaches them about their bodies and minds – what it puts in their imaginations. While it is crucial to avoid removing disabilities or attempting to "fix" disabled characters, their histories, their narratives or their identities, Davros, being an archetypal villain, exists in that form only to feed on prejudice and misconceptions. As Dr Kirsty Liddiard from the University of Sheffield puts it, these characters must be more than the "sum of their impairments". Past, present, and future generations of Doctor Who fans will feel the impact of this change. It allows for more inclusive and representative storytelling, where disabled individuals are seen as equals, and their voices and feelings are listened to – it's also a moment of validation, of catharsis, for those of us told that our feelings of unease didn't and still don’t matter. Doctor Who's first 60th anniversary special The Star Beast airs at 6:30pm on Saturday 25th November on BBC One and BBC iPlayer. Classic episodes are available on BritBox – you can sign up for a 7-day free trial here. Check out more of our Sci-Fi coverage or visit our TV Guide and Streaming Guide to find out what's on. Try Radio Times magazine today and get 10 issues for only £10 – subscribe now and celebrate the 60th anniversary of Doctor Who with a special issue of Radio Times. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Netflix's Bodies doesn't need to "fix" its disabled characters
Bodies goes further with its disability representation - and is better for it.
Warning: Spoilers ahead for Netflix's Bodies. New Netflix series Bodies, an eight-part adaptation of the graphic novel by Si Spencer, observes four distinct detectives in past, present and future London as they investigate a mysterious murder in their separate periods. DS Hasan (Amaka Okafor) stumbles upon the body of a mysterious victim, naked and featureless but for an unfamiliar tattoo and an evident gunshot wound to the eye. Then, an on-screen clock rewinds us to 1941 and 1890, before cutting ahead to a half-dystopian 2053. As roughly identical findings occur, DI Hillinghead (Kyle Soller) in 1890, DS Whiteman (Jacob Fortune-Lloyd) in 1941 and DC Maplewood (Shira Haas) in 2053 discover the same body. It’s a Doctor Who, Goodnight Sweetheart and Glass Onion hybrid — with more autopsies. It’s pretty, gritty, stylised, squalor. In these surroundings and through the forlorn and semi-bionic DC Maplewood, the show considers something deeper about disability representation and the reality of being a disabled person - the strain of it, which will resonate with many disabled viewers. View Green Video on the source website As Maplewood visits her half-brother Alby’s (Edwin Thomas) rundown home to ask for his assistance in secretly identifying the body, we see he is a wheelchair user. The tension is palpable as she spits, "We were born with this condition, Alby, but we don’t have to live with it." Alby responds with a fierce, "F**k you!" But Maplewood presses, "The grass is greener." He states plainly, significantly, "I’m not okay with giving up my freedom, just so I can f**king walk!" Read more sci-fi: Doctor Who's Scream of the Shalka deserves to be celebrated If Loki can’t save the MCU, no one can After all, sci-fi and fantasy have a long history of "fixing" disabled people without effort, sanitising the experience. Here, we see the human reaction up close: Alby’s revulsion and the tension on Maplewood’s face. As disabled people, we’re often told we need to be fixed, to focus all our efforts on that ambition — to destroy ourselves in the process if we must. One famous example of this urge to "fix" disability in the media is the character of Barbara Gordon, also known as Batgirl, who was paralysed in Alan Moore’s graphic novel The Killing Joke. Though unable to walk, Barbara’s character was not defined solely by her disability. Rather, she was given a new identity as Oracle, an adept hacker who assisted superheroes in their missions. She was an influential early example for many disabled readers, including myself – until she was cured. Another example from TV is Geordi La Forge from Star Trek: The Next Generation, who was born blind but later uses devices that allow him to see - a VISOR in the series and the first film, and then, later, ocular prosthetic implants in the last three films and on Picard. This scene, this fight, and these visceral human reactions are essential to show because there are no effortless solutions, no quick fix and no straightforward resolutions; both characters have skin in the game, but there is no right way to be a disabled person, to respond to the physical and mental stress it puts on our bodies and minds. Often, TV shows don’t want to explore the darker inner workings of the disabled mind — the conflict, the murkiness, the areas of moral grey. Through these characters, we see a head-on, honest, bitter, unvarnished back-and-forth. As a disabled person, do you want to be "fixed"? Does it feel morally right? What parts of yourself are you willing to sacrifice to achieve it? Alby’s parting shot echoes in the billboards, buzzwords and propaganda surrounding this world, "Where are you walking to, Iris?" In later scenes, she is questioned by the cult leader of the regime, Commander Mannix (Stephen Graham), about her honest motivation for entering his new world. She seems to work to push it up her throat: "I wanted... to walk." As disabled individuals, we face a complex dilemma, an internal conflict. Society expects us to aspire to find a cure or solution. Yet, we are often shamed for expressing this desire — Maplewood isn’t selfish for clinging onto a system that she believes can repair her supposed physical shortcomings. Her desire to be "fixed" is a natural response to feeling broken and incomplete, so she uses the available technology to mend herself. Later, we see the technology, a SPYNE, as it rattles and whirs away and the marks on her back that connect it to her body. Professor Gabriel Defoe (Tom Mothersdale) asks her when she received her "augmentation" and questions whether the state should offer all its citizens such treatment even if they don’t believe in a "better world". She responds, "I think they choose to be left behind." After, she is slowly persuaded that they are living in Mannix’s flawed utopia, his "fix". A brittle tension takes over her body as she realises that the new world was built on mass murder and that going back in time to change that means she must sacrifice her tech and ability to walk. Despite being understandably weary of her personal loss, she returns to 1890 to offer a warning. While there, unable to walk, she is forced to drag herself across dirty ground, imprisoned and repeatedly called a "cr*pple". That is the abrasive, abusive reality for many disabled people even now — living in a disabled body wears you out and down. We need this honesty on our screens. The representation of disabilities in Bodies is crucial because it goes beyond the often-sanitised world of science-fiction and technology to recognise that disabled people are not one-dimensional, surface characters to be cured without thought — they are people with their own experiences, desires, hard choices, reactions and limits. People who need to process, understand and define what "fixed" means to them. Bodies is available to stream on Netflix from Thursday 19th October 2023. Sign up for Netflix from £4.99 a month. Netflix is also available on Sky Glass and Virgin Media Stream. Check out more of our Sci-Fi coverage or visit our TV Guide and Streaming Guideto find out what's on. Try Radio Times magazine today and get 10 issues for only £10 – subscribe now and celebrate the 60th anniversary of Doctor Who with a special issue of Radio Times. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Emmerdale needs to do one thing with Aaron Dingle as he returns
The atmosphere felt calculated and moody as Cain's victim unbowed their head to reveal a bruised face, hidden behind a hoodie in a dingy room as they flexed their knuckles against his restraints. It sparked a sense of initial elation. I know and love this character; it’s like welcoming home an old friend in a manner so quintessentially Aaron Dingle — hunched over, ready to lash out. But this was quickly followed by disappointment, a weariness. Here we go again, as the storyline appeared to be setting up for another traumatic event for the character — any Aaron fan will tell you it’s often an emotional slog. He is banged up, bruised, and almost impossibly still going. Aaron is my favourite soap character; we grew up together, and Danny Miller is undoubtedly one of the most talented actors in soap. He has an innate ability to convey the raw, unfiltered emotions that connect viewers to the human experience underneath, producing fierce, rough, phenomenal performances — even as his tear ducts must ache. Understandably, Emmerdale wants to showcase such a gifted actor’s talent by giving him intense storylines and wringing them out, draining every emotional moment. Other soaps have been equally heavy-handed in the present and past. But it is also crucial for the audience to see how these characters deal with everyday situations to fully invest in their traumatic experiences, to see them lick their wounds and process, rather than continuously, callously, reopening them. Without this balance, these highly emotional moments begin to feel manufactured and lack the human touch and reality that makes them relatable. As viewers, we have invested countless hours watching Aaron endure an endless stream of traumatic events, each seemingly chipping away at him, smashing into him. We have been constantly given close-up shots showcasing his emotional burdens and bloodied fists, the tension that seems to radiate from his skin perfectly, ever-coiled to react to the next misfortune. Hasn’t he been through enough? From coming out as gay after trying to reject it, to struggling with mental health issues and being the victim of physical and sexual abuse, and the loss of loved ones, each storyline has been expertly crafted and brought to life through Miller’s acting. While it’s important to address these crucial and sensitive issues through storytelling, it’s equally essential for the show to explore other storylines and themes that don’t necessarily involve the character’s suffering. I can’t remember when I last saw Aaron show a positive emotion or even smile. His return could be an opportunity to explore new storylines and showcase Miller’s acting range beyond portraying trauma. By bringing him back without mining him for trauma, Emmerdale can showcase a more nuanced approach to storytelling that is still compelling and sensitive. After all, the endless spiral has led to many fans feeling burnt out and desensitised. The show needs to explore other storylines and themes to give more than just the character barely scraping himself up off the floor before the next trauma hits him square in the jaw. One of the reasons why Emmerdale is so successful is that it manages to balance drama and realism. The show has always been grounded in real-life issues, but it has also created some of television’s most compelling and layered characters. But, over the years, Aaron has simply become the body on which to place the trauma until it becomes expected routine drudgery. He has faced a relentless cycle of hardships and challenges, never getting a chance to take a step back and process these experiences. Unlike others who can reflect and resolve storylines between life events, Aaron has been constantly pushed forward into the next challenge. He rarely experiences anything that delves deeper than the surface, due to the continuous onslaught of hard knocks that leave no room for introspection or reflection. With the permanent return of a beloved character, Emmerdale can showcase a more nuanced approach to storytelling by bringing back Aaron without relying on his trauma. By doing so, they can offer a fresh perspective on the character and create new, captivating storylines that allow Miller’s acting range to shine through. It’s time to move past the character’s defining characteristic, his frequently mined but never thoroughly explored pain, and allow him to live a fuller, more varied life onscreen. Welcome back, old friend. I can’t believe you’re still going — and coming back for more. Read more: 5 Emmerdale spoilers: A new Sharma arrives with a secret and Sam wants Dingle justice Emmerdale’s Danny Miller teases "completely different" Aaron amid return story Is Adam Barton returning to Emmerdale amid Aaron Dingle shock? Emmerdale airs on weekdays at 7:30pm on ITV1 and ITVX. If you’re looking for more to watch, check out our TV Guide and Streaming Guide or visit our Soaps hub. Try Radio Times magazine today and get 10 issues for only £10, PLUS a £10 John Lewis and Partners voucher delivered to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Charmed was a silly show - and that made it magic
25 years on, we look back at the magic of Charmed.
Sometimes, we all need to experience uninhibited handmade hockiness — with an edge. For 25 years, Charmed, the iconic TV series about three powerful sisters, Prue (played by Shannen Doherty), Piper (Holly Marie Combs), Phoebe (Alyssa Milano), and later, Paige (Rose McGowan), collectively known as The Charmed Ones, fighting demons and navigating love and life, has been providing just that. It’s pop culture comfort food, diamanté-encrusted, rose-tinted villainy, '90s shabby chic — feminism 101. I say that with immense love, admiration and gratitude because, as a disabled child, that attitude and space helped me endure. Even today, at 31, I still revisit — because who doesn’t occasionally crave the comfort and loving embrace of home? The manor, with its mouldings, enormous windows, staircase and stained glass, forms the very foundation of this world. And then there’s the decor—the quilts, the rugs, the lampshades, the dollhouse manor, the family photos, the overstuffed, mismatched, rumpled furniture, and an overall lived-in look which oozed comfort. I still yearn for that warm hug that the Charmed universe exudes. The show has crafted a vivid and enchanting world full of a unique female lineage and mythology, along with relatable growing pains — it has a knack for reminding you that you’re human and letting you lick your wounds about it. Its power also lies in its ability to seamlessly blend the female experience with raw, sincere human emotion and mythic, surreal, and silly. It also delved into important themes such as love, loss, and personal growth. Prue’s sober burden of responsibility as the elder sister after losing both her mother and grandmother, Piper’s desire for a life outside of magic, Phoebe’s relationships and later search for love while balancing her career and studies, and Paige’s introduction and her eventual search for her individual identity. As '90s fashion gave way to tighter clothes and glossier lips, they were transported through time and past lives, alternative universes, underworlds and other worlds often filled with impossibly attractive populations, playing roles such as genies, mermaids, queens of the underworld, and warrior princesses. One moment they were wearing superhero costumes; the next, Uncle Phil was an Elder (James Avery), or there was a witch-Whitelighter affair, and sometimes, they donned full-on leather getups or a Ms Hellfire ensemble. Piper channelled her inner “Coyote Ugly,” and then they became reality TV stars. Paige tapped into her Evil Enchantress past self, and the iconic Golden Gate Bridge was often in view. Interwoven, there were also compelling evildoers. Julian McMahon as Cole Turner/Belthazor/The Source of All Evil /Husband/ Ex-Husband of a Charmed One, and Barbas (played by Billy Drago), the Demon of Fear, who could pop up and mine all their old and developing near-the-knuckle fears — with small moments of sneering that twisted the knife even further. Nowadays, escapism often takes the form of shows that feature more gritty settings and complex narratives with characters and plotlines that make us reflect on complex societal and political issues. However, not every program needs in-depth analysis or a supposed grand purpose to be valuable. Personally, Charmed has provided a distraction from real life and a guide for navigating it. The four women of Charmed have been an ever-present part of my life, accompanying me through every phrase. My relationship with them began when I was eleven, watching reruns after school while living in another country as an outsider with blonde hair and a wheelchair. It was like having older sisters whose clothes I wanted to borrow. I have never felt more confident, more assured, even if the sleeves were too long. View oEmbed on the source website Learning the language was tough, but I stumbled onto an episode of Charmed one day, and slowly, everything changed. I followed the Spanish dubbed version of “Embrujadas” closely, carefully studying the subtitles, which allowed me to piece together words and ideas. Through this process, I started to learn the language and began to settle in. But that feeling of having a lifeline — having something comforting and warm to hold onto — has stayed with me through the years. As a teenager, I underwent around thirteen surgeries on each leg. Desperate to save them, I rebuilt my body from cut muscles and broken bones. But, internally, my body and mind were not connected. The characters, voices, and storylines provided me with a comforting familiarity to rest on — a balm for tattered nerves. When the pandemic first hit, I felt a constant ache of anxiety and found myself, almost overnight, having to shield myself within only a few rooms. I returned to a place I knew so well, within the walls of that grand old house. I have come to realise just how important Charmed was in shaping my understanding of what it is to be a woman. Looking back, what stuck with me was their unwavering dedication to fighting for what’s right and that there is no one 'right way' to be. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2023/10/GettyImages-908808-2407459-e1696583092360.jpg" width="1501" height="998" alt="Holly Marie Combs as Piper Halliwell, Shannen Doherty as Prue Halliwell and Alyssa Milano as Phoebe Halliwell in Charmed." title="Holly Marie Combs as Piper Halliwell, Shannen Doherty as Prue Halliwell and Alyssa Milano as Phoebe Halliwell in Charmed." /> Although the show and the sisters had their flaws — the humanising element of fantastical things — it was a product of its time and still progressive. It provided an essential platform for conversations about gender equality and representation. I still recognise how much my early exposure to Charmed influenced my perceptions and beliefs — we’re too often dismissive of children’s critical first introductions to such complex themes. So much of who I am and who I grew to be stemmed from Charmed. As a young disabled girl, I often felt disconnected from mainstream media. I didn’t see anyone who looked like me or any representation of what I could become. Charmed reassured me by providing me with a flawed — imperfect — relatable blueprint, hazy around the edges, but I knew more about the woman I wanted to be. For 25 years, Charmed has enchanted audiences with its demon-infested storylines and hokey-yet-dark atmosphere and has been an important part of many fans’ lives. We grew up with the Halliwell sisters. As we celebrate the show’s anniversary — we are its living, breathing legacy. Charmed is available to stream on Prime Video - try Amazon Prime Video for free for 30 days. Plus, read our guides to the best Amazon Prime series and the best movies on Amazon Prime. Find something to watch tonight with our TV Guide and Streaming Guide, or visit our Sci-fi hub for more news and features. Try Radio Times magazine today and get 10 issues for only £10, PLUS a £10 John Lewis and Partners voucher delivered to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Hollyoaks: Behind-the-scenes at soap's groundbreaking disability-focused episode
Hollyoaks will air a special episode which will tell the stories of disabled people.
Soap fans have come to associate advertised special episodes with explosions, death, destruction... So, on a notepad, before a Zoom call with the writer of Hollyoaks’ upcoming special ‘What’s Your Normal?’, I had simply scrawled, “no stunt (?)”. No. This is different. Hollyoaks is dedicating an entire episode to the lives of disabled people – showing their intimate, ordinary and staring-you-right-in-the-face experiences. This episode has been part of a process undertaken by the actors, writers and production team to craft a broader narrative around disability to unravel some truths – and some untruths – away from stunts and sensationalism. It was written by Jonathan Boam, who is neurodivergent, and directed by Bim Ajadi, who is deaf. When I spoke with actors and production behind-the-scenes of the special, it was clear they wanted it to be an up-close, personal experience. They have skin in the game, as illustrated by Rory Douglas-Speed’s experience of having diabetes. Douglas-Speed recalls: “I actually flagged up a few years ago [when Joel had a drug addiction]. I thought, ‘OK, it may tie in quite nicely’, because when you have diabetes, obviously you take insulin to live every day. And when he was a heroin addict, he was almost taking something to die every day.” The idea didn’t get picked up until later; as he tells the story, his excitement is palpable, “I went in for a meeting this time. And I’m told, ‘Oh, we’re making Joel diabetic.’ I was buzzing.” In the episode, Joel has been feeling unwell for a while and after collapsing, is diagnosed with type 1 diabetes. He struggles to come to terms with it and doesn’t want to be seen differently by his friends and family. So, he keeps it a secret. For both the writer and actor, it was important to capture that transition, show the vulnerability and the effort of acceptance, and show why he needs that layer of secrecy – and protection – as he goes through it. The actor reflects: “So many things can be misconstrued, or there are extremes. And I think, ‘How accurate is the information out there?’ But what we can bring to the table is the real life of it.” The importance of this realism is later unmistakable on set when someone suggests ways to appear as if he is injecting insulin. With a hint of amusement, he instinctively responds: “I know what I’m doing.” With all this life experience that Rory has, it feels like he can take everything he is and has been and put it into this character. “I was on death’s door half the time. I experienced some crazy things when I was younger, but as part of the learning curve, because I was eight years old when I was diagnosed.” For many disabled people, this simple, restrained account will be familiar: quietly accepting and at times yelling, screaming and fighting our way through. “It was a lot, to be honest. I sort of took it all on board easy enough. It did have a huge impact... I had to sort of shift my mentality from being a child to then, I suppose, having ownership on what I’m doing with my life because every decision I made was key to whether I live or die, essentially.” Other small details that make up a disabled life can be written into scripts, those moments from direct experience – some of the in-jokes and culture of our community: “If Joel and Leela were to go upstairs, and do what they need to do, you’re coming back downstairs and getting some Lucozade or whatever. Like, that’s just a little authentic thing. Only people with diabetes will know what’s going on.” Sitting down with Annabelle Davis at a time when it often feels like, as a disabled woman, you don’t get the final say in your identity is a reassurance. She has a distinctive vision of how she wants to present herself, her body, her voice and perspective in character, while representing the views and experiences of so many others. When it came to reshaping the early ideas for her character, Lacey, she was committed to fleshing her out, making her a woman other disabled women would see themselves in. “We had a few meetings discussing the character, and we’ve had to tweak it a bit. I wanted it to be different.” She was keen for Lacey to be a professional: “Little people in certain professions, you don’t see it, and you don’t think it and see that on screen. ‘It’s like, Oh, wow. Yeah, of course. Why? Why not?’” Part of her vision for her character is to embody a sense of ordinariness. “Part of my discussion with the disability episode is that with soaps, every storyline is a little bit more sensationalised. But when doing some of the disabled storylines, it brings it back, really, to that kind of ground base level – and it works.” In scenes from the episode, Minnie Minniver (Eva Lorente), who has Down’s Syndrome, is not allowed to join in with swimming lessons, so her mum Maxine Minniver (Nikki Sanderson) seeks legal advice. Paralegal Lacey helps Maxine and takes her to the leisure centre to help educate them and represent the case, having faced similar problems herself growing up as a disabled person. This storyline echoes that of Shauna Hogan, who has since become a Special Olympian and appears in the episode. By stripping back these simple moments and echoing reality, the focus is placed on the core of humanity, staring you right in the face and highlighting the profound impact of discrimination and stigma. Maxine’s wish to take legal action against the leisure centre resonates as a human response to discrimination. View oEmbed on the source website At the same time, Yazz Cunningham (Haiesha Mistry) struggles with her hearing and is reluctant to use a hearing aid because a bad joke makes her uneasy. It’s an unflinching account of the raw emotions and self-consciousness which are a day-to-day reality for many – every day, as a community, we text and tweet about the ignorance and cruelty we experience. But the importance of shared experience, and community, is also seen in how Oscar Osborne (Noah Holdsworth) recognises and understands her difficulties and works with Brooke Hathaway (Tylan Grant) to help encourage Yazz to admit she is struggling. Brooke shares how their autism can make people feel awkward, and Yazz is encouraged to wear her hearing aids again. Annabelle’s message to writers? “Hey, you, you don’t need to come up with stories. There are so many that are and have been lived and authentic, and are probably even wilder than anything you can imagine – you just need to talk to people.” The episode relies on personal experience and authenticity, carefully and thoughtfully fleshed out and stripped back. By incorporating the lived experiences of disabled actors and writers, there’s a directness, an unflinching, staring-you-right-in-the-face honesty about intimate aspects of disability and ordinary disabled lives. Dr Kirsty Liddiard from the University of Sheffield concludes: “Disabled actors and writers can bring a sense of understanding and an important lived perspective to the role. Lived experience can, and should, bring authenticity.” Read more: Hollyoaks 2023 preview: 12 spoilers ahead as producer teases big plots Hollyoaks recasts Ste's son Lucas as new actor revealed Has Matthew-Jesus left Hollyoaks for good? Who are the longest-serving actors in soap? ‘What’s Your Normal?’ episode can be seen on Friday 30th June on E4 and on Channel 4 on Monday 3rd July. Hollyoaks is available to stream on All4 and airs every weeknight at 6:30pm on Channel 4 and 7pm on E4. Check out more of our Soaps coverage or visit our TV Guide and Streaming Guide to see what's on tonight. Take part in the Screen Test, a project from Radio Times and the Universities of Sussex and Brighton, to explore the role of television and audio in our lives. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Why Strictly's 'plan' to cast a wheelchair user is important for the disabled community
The backlash was inevitable, but future generations need to see such representation on big shows like Strictly, writes Melissa Parker.
It’s being reported that BBC bosses plan to cast a wheelchair user in the forthcoming season of Strictly Come Dancing following the recent success of disabled contestants Rose Ayling-Ellis and Ellie Simmonds. However, the backlash proves that radical on and off-screen representation will only happen when we have conversations which remove ignorance; so that disabled people can see themselves fully on screen. As Dr Kirsty Liddiard from the University of Sheffield states: “The hateful comments directed at BBC Strictly’s [reported] plans to include a wheelchair-user contestant in the 2023 series speak loudly to the ignorance that many disabled people face in their everyday lives.” But it can be a learning experience for those who diminish us – letting the truth ring out. We can be creative, sensual, refined, and coordinated on a dance floor and off. Ru, a disability rights activist with a significant online following, understands this natural reaction, saying: “Unsurprisingly, it has been met with ignorance and bigotry from the public.” They note that their initial response, along with many other wheelchair users, was to smile, because such representation in shows like Strictly will offer insight. We are the largest minority group, and yet we’re so often omitted, so having such visible representation which is joyful and inclusive allows disabled people to be themselves. Social media has given trolls an unmediated voice, but disabled people have had their voices uplifted by a community that understands the struggles and how far we’ve come. Within hours of the rumours, Kate Stanforth, a wheelchair-using ballerina and the owner of an inclusive dance academy, had posted a screenshot shared by a user online reading: “I’m sorry about anyone in a wheel chair, but if this is for real then sorry then we stop watching. Then they will have dancing dogs or cats as partners. Include everything on gods earth. Why not ?” These comments should be in the open. We need to acknowledge that this prejudice exists. The actor James Moore, who has cerebral palsy, notes how other people often tell us to “get over it” and “that it isn’t as bad as it used to be”. However, incidents like this “prove their ignorance and need to insert themselves into a conversation they have no part in”. To have influential disabled people such as JJ Chalmers be so publicly biting in their response to ableism is also essential. The former Strictly contestant and Invictus Games medalist wrote in response to the reports: “A Wheelchair User has the same right as anyone else to take part in a made-up dance show.” In reality, Ayling-Ellis and Simmonds also experienced abuse in social media word counts and national newspaper column inches during their time on the show — we shouldn’t allow others to edit out that rough truth. Seeing and reading the abuse which was present across social media was difficult – though well-trodden ground – for many disabled people, but both used the opportunity to spark conversations about ableism. Ayling-Ellis used her platform to denounce the idea that her success meant that she could be used as a Deaf pioneer – a single poster girl for the entire community. Seeing these voices raise and claim the narrative for the first time, rejecting old ideas and notions, has been transformative. As a wheelchair user and a disabled child, I absorbed many negative beliefs about what it was to be disabled, but we’re starting to see ourselves as fleshed-out human beings on screen. And if the reports are true, this will only improve representation. As Dr Liddiard commented: “The notion that wheelchair users can’t dance, or be artful, sexy, graceful, coordinated, or anything else normally shown on Strictly, is, of course, a fallacy.” Future generations of disabled children need to see this. Jasper Williams, a profoundly Deaf wheelchair user, shares his experience of having spent years finding a teacher who even allowed him into a dance studio. Strictly emphasises celebrating diversity which he thinks will seep into ordinarily disabled lives if reports to include a wheelchair user are accurate. The dance industry is “notoriously inaccessible”. Much of this is due to attitudes and societal views, which we have seen reflected in these online commentaries. But, ultimately, with the influence and power of shows such as Strictly, we continue to defy the currently limited imaginations of those non-disabled commentators and show them what disabled bodies can do. “In 2023, there is also still a severe lack of support in place, falling through the gaps and Strictly – with such a big platform - must lead the way forward,” Williams says. The backlash from some was inevitable following the speculation – but the response from many within the disabled community shows that representation is essential. We’re gaining our voices and using them to demand more to reject old ideas and participate in a made-up dance show on our terms. Strictly Come Dancing returns to BBC One later this year. Looking for something else to watch? Check out our TV Guide or Streaming Guide, or visit our Entertainment hub for the latest news. The latest issue of Radio Times magazine is on sale now – subscribe now. For more from the biggest stars in TV, listen to the Radio Times View From My Sofa podcast.
Coronation Street's Stephen is the Mr. Bean of soap killers - and we love him for it
Bumbling Stephen gives us much-needed light relief.
Stephen Reid (Todd Boyce) has stumbled accidentally into murder on Coronation Street and slightly strained villainy — the Mr. Bean of soap killers. After all, the character had to kill his second victim, Teddy Thompkins (Grant Burgin), when he discovered that Stephen had killed his son Leo (Joe Frost). He had to pick up the nearest heavy object, the office’s hole punch, and fatally strike Teddy. Moments later, he tells an unsuspecting Michael Bailey (Ryan Russell), “I think I’ve done enough punching for today”. In later scenes, his face turns from pulsating to seemingly slack with shock, his voice ravaged by terror, “come on.” He implored when the roof box containing Teddy’s body floated — until he threw rocks at it, it miraculously lowered as a passerby wished him a good evening. Earlier, a neighbourly Abi Webster (Sally Carman) had asked. “Blimey, what have you got in here?” This is the simple gift of it all; ordinary life continues around him. His storyline and increasing desperation have been woven through the most mundane realities of family life: as David Platt (Jack P Shepherd) fiercely yearned for a wood chippings bargain. Audrey Roberts (Sue Nicholls) drove to visit an old friend as Teddy’s hidden corpse remained — though she grumbled about the weight and her son’s nagging. The family simply sniped and bickered on. It’s also woven around Summer Spellman’s (Harriet Bibby) experiences as an anxious teenage girl still coming to terms with her father’s death, her health concerns and other traumatic events — diabetes, bulimia, pregnancy, surrogacy, miscarriage. These essential storylines should be on our screens, in ordinary living rooms, to convey the pressures on today’s young people and to give viewers a prod. However, audiences have often felt pummeled. Coronation Street has also portrayed some critical issues around Max Turner (Paddy Bever), including raising awareness about the dangers and impact of date rape drugs, up-skirting, and his own vulnerability to alt-right terrorism and propaganda. But suspending belief — shirking reality a little — is also what Coronation Street viewers need to see. Few moments can better summarise this storyline’s wild nature than when Stephen finally gets the car back from his mother. It wouldn’t start. His nephew David and policeman Craig Tinker (Colson Smith) assisted him. He winced, ashen, but slowly laughed as he realised he had gotten away with the body in his mother’s roof box as it remained locked, and everyone was unsuspecting — not so much cosy crime as Carry on Corrie. Few could claim that Craig was the Sherlock to Stephen’s Moriarty. In fairness, soaps have rarely offered a realistic portrayal of the criminal justice system, police officers or detectives — their prowess with crime detection is hardly equal to Morse or Poirot’s. No one has even noticed that he’s developed a sickly pallor and an unhinged manner since he whacked Leo’s head off a railing and watched his body fall off the factory gantry and into a bin — Stephen has gotten himself into a right state. He follows that grand tradition in soap—the unsubtle pantomime villains: the ones who bound onto our screens in a puff of smoke and a black cloak. View Green Video on the source website The scenario itself is farcical and requires some suspension of reality. Would Jenny Connor (Sally Ann Matthews) not recognise that he always loiters and looms within hearing distance? Why would a seething Teddy agree to go into the factory alone with Stephen, who he believed had murdered his son? Why would he turn his back on him after the altercation? What about Sarah Barlow (Tina O’Brien) casually mentioning the CCTV in the office with instructions on how to wipe it? Which Stephen hadn’t considered and which otherwise would have wholly incriminated him? The most absurd part is that Stephen managed to get a grown man’s very dead weight in the roof box and then get it off the roof without assistance when it had taken four adults earlier — and Tim Metcalfe (Joe Duttine) pulled a muscle. Every character is in on the farce — gritty reality, long-held personalities and common sense set aside for a new no-thoughts-just-vibes approach to life. The timing also lends itself to farce as Stephen hurries and hustles from one almost-gotcha moment to another. Carla Connor (Alison King) ominously remarks just before one ad break begins, “you were getting rid of the evidence,” and Sarah states before another, “so...tell me everything”. He doesn’t pull off the heightened evil of the restrained, cooly calculating one-man crime enterprise that was Pat Phelan (Connor McIntyre). Rather, it’s a more spittle-flecked performance. Nor does he have the swagger of Meena Jutla (Paige Sandhu), who strutted her way mercilessly through victims with Britney Spears’ Toxic as her macabre mood music. Stephen Reid may be the Mr Bean of soap killers — but he should stumble on. Let’s all shirk reality a little. Read more: 7 Coronation Street spoilers: Max's plea revealed and Hope takes new revenge Visit our dedicated Coronation Street page for all the latest news, interviews and spoilers. If you’re looking for more to watch, check out our TV guide and Streaming Guide. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to the Radio Times View From My Sofa podcast.
We can't overstate the importance of a disabled character in Doctor Who
We don’t know anything about Ruth Madeley's character – but a generation of disabled viewers know how she should be handled.
Ruth Madeley's casting in Doctor Who is already a game-changing piece of disability representation. The BAFTA nominee, who was born with spina bifida and uses a wheelchair, will appear as a character named Shirley Anne Bingham and was featured in the trailer for the 60th anniversary of the BBC sci-fi series. Madeley’s performances throughout her career reveal a simple truth: being disabled is not a shorthand for pitiable. Whether a disabled mother fighting to keep her newborn child or a pioneering disability rights campaigner, her characters all have one tie that connects them – they are ordinary, 3D, disabled women. They're the sort of women seldom seen on screen who remain ever-present in our communities, our vibrant histories and our culture. We are the generation with the vision to want progress, who knew things could be better but didn’t see it in the media growing up. Now we are witnessing disabled people in the media whose voices are ringing loud and clear for change – who keep pushing on. We didn’t see disability representation as children or teenagers, but the next generation will. View oEmbed on the source website There’s a refusal to be confined by the stereotypes that have littered our history. A refusal to accept discrimination or received wisdom about what it means to be disabled and the way they are fighting to replace limiting notions with something so much more humanly compelling, relatable, and authentic. We don’t know anything yet about Shirley Anne Bingham – but a generation of disabled viewers know how she should be handled. As Dr Kirsty Liddiard from the University of Sheffield states: “It’s brilliant to see the wonderful Ruth Madeley join Doctor Who – a disabled woman actor in a primetime role is, sadly, still a rarity. "She brings her own lived experience to the role, which is crucial towards countering tokenism and offering audiences accurate portrayals of disability.” It is important to channel lived experiences and the unique hopes and fears of a disabled person. Their motivations and methods are undoubtedly too nuanced and complex to learn or teach. “Cripping up” – the term commonly used to describe actors without a disability mimicking the characteristics of specific conditions to play disabled characters – is unjust and negates the impact of the disabled experience: being ostracised, othered and maligned. View oEmbed on the source website This sentiment is echoed by Rachel Charlton-Dailey, a disabled Doctor Who fan, who believes that Madeley’s passion for telling meaningful stories will be reflected in her new role as she hopes to give new generations a role model who has an insight into their reality. “Ruth is such a fierce advocate for disability rights and the portrayal in film and TV, I think this is going to be done exceptionally well," she says. "The authenticity and importance of having people from all walks of life shines through when it’s done well." As Shalida A Askanazi, another disabled Whovian, observes, we still want to be portrayed respectfully: “It’s so important to have a disabled character on a popular show. Because there remains so much stigma around what it is to be disabled. She points to statements she often receives: “I don’t think of you as being disabled.” It’s a limited view of what it is to be disabled. A mainstream disabled character has the potential to dispel harmful myths which continue to linger. “It’ll show that disabled people aren’t just tucked away. We’re real people doing real things." Concluding thoughtfully, Shalida adds there needs to be a balance of quiet acknowledgement “without turning each episode into an ableism fest”. These small interactions have been the danger of harmful disability representation for generations: the made-up bits passing into the public consciousness as fact. Growing up and living within ableist cultures categorising disability as a defect can mean that disabled people internalise negative messages about disability. Much of the disability imagery society consumes is wrong or oppressive. After the news of Madeley's casting was made public, the joy and outpouring of affection demonstrated how deeply rooted the problem has been. It shouldn’t be so revolutionary, but it is. Disabled people have waited for this for generations. A disabled actress in a prime-time role is perhaps still a rarity, but once it was fantastical. View Green Video on the source website I have been a wheelchair user all my life, and as a child, playing make-believe was an outlet to scrub my disability. I didn’t understand what it was to be disabled. I had to unlearn a great deal as I internalised many negative messages about disability. I was seven the first time I saw a disabled person on screen. I remember instinctively thinking that it was exceptional as a child of the '90s. There were no disabled cover girls in fashion magazines or the sci-fi or children’s programming I devoured. How do we expect disabled children of any era to accept themselves when we don’t see ourselves anywhere? As a teen, I was obsessed with Doctor Who. Our lives became entangled. I would consume content endlessly. Inspired by Christopher Eccleston, I had my leather jacket and some iconic throwaway lines. There are images of me in my wheelchair next to an inflatable TARDIS, reminiscent of the photos of Madeley’s debut. Fiction, like life, has historically told disabled people that their lives have less significance. Still, the next generation might not have to unlearn negative messages, might not be shaped by stereotypes and have their lived experience minimised – we can pass on better to the next generation. We don’t know anything about Madeley's Doctor Who character – disabled people have various personalities, after all – or how she will be handled. But disabled voices insist it should be about telling human stories reflecting our experiences – undercutting the trite. So, whoever Shirley Anne Bingham is, she should reflect us. Doctor Who is available to stream on BBC iPlayer with episodes of the classic series also available on BritBox – you can sign up for a 7-day free trial here. For more, check out our dedicated Sci-Fi page or visit our full TV Guide and Streaming Guide. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to the Radio Times View From My Sofa podcast.
Drama, death and dalliances: a love letter to Christmas time in soaps
It's the most wonderful time of the year.
The origins of a festive tradition: a simple two-hander between EastEnders' Angie Watts (Anita Dobson) and her husband, Den Watts (Leslie Grantham). “This, my sweet,” Den snarled, “is a letter from my solicitor, telling you that your husband has filed a petition for divorce.” “Happy Christmas, Ange,” echoed across generations. Thus, they became the festive East End demigods. It’s estimated that more than 30 million people watched Dirty Den serve his wife with divorce papers on Christmas Day in a now-iconic episode. It’s often claimed that soaps have an exquisitely non-existent grasp of reality. Still, at their core, soaps have always depended on and roused human connections because these characters are drawn from life – we’re still being told human stories. Dirty Den serving his wife divorce papers on Christmas Day is a comparatively minor revelation, but it’s the blueprint for all who came after. There’s still a cosiness, a homeliness to it – the grasp on reality might be ever more tenuous, but these people still occupy a unique position within the public consciousness. The characters on the screen share our festive schedule, gifts, Christmas dinner, and TV. Even if they deviate slightly: gifts, Christmas dinner, bludgeon your arch-nemesis with a bust of Queen Victoria, and, if time allows, gather around the TV. As a child, I underlined what I wanted to watch in the festive edition of the Radio Times with clumsy, chubby fingers, scarcely understanding words though able to recognise photographs of soap characters – and that personal connection is still present. The choice has grown – and soaps have evolved. These specials are billed more often as “events”. It’s a rite of passage to have a formative Christmas soap memory, such as seeing Emmerdale favourite Tricia Dingle (Sheree Murphy) being crushed in the debris when the storm hit The Woolpack. But few could forget the Christmas which unfolded as the Brannings gathered around to watch Bradley Branning’s (Charlie Clements) and Stacey Slater’s (Lacey Turner) wedding video in EastEnders. A family is shattered in close detail as the groom’s father unzips the bride’s wedding dress. It appeals to our desire to experience TV collectively – even as social media has replaced the fabled water cooler. Or perhaps it reassures us that few are having a picture-perfect Christmas. After all, it isn’t Christmas without a family spat, as the most iconic screech in British soap history conveys, “you ain’t my muvva!” Who better illustrates that truth than the most famous families across our land? The Dingle Dynasty, the Mitchell Empire, the House of Barlow. We relate to soap because it provides that rare thing. A little honesty regarding what it is to be a working-class family, a working-class community, and a working-class woman. British working-class women are so often hidden; when visible they are put upon and worn down. Soaps let us have a reprieve, particularly at Christmas when we’re shown the fabric of British life. Your grandmother might have lived at No. 1 Coronation Street, on Albert Square, or drunk in The Rovers when Hilda Ogden (Jean Alexander) led the regulars sing Silent Night, or was there when Peggy Mitchell (Barbara Windsor) wore her most glamorous clothing. Each was a golden age for their viewers, which captured a moment in time, their generation, and it continues to provide simple, comforting nostalgia. But soaps have also embraced the surreal. Emmerdale has given an innovative retelling of a Christmas Carol. The episode revolved around Robert Sugden (Ryan Hawley) dreaming after an accident – his moral guide? Val Pollard (Charlie Hardwick), wrapped in white fur, clutching a cigarette holder, accessorised effortlessly with a lace veil. View oEmbed on the source website And what about the romantic? Who can fail to reminisce fondly on the wedding of two icons: Kat Slater (Jessie Wallace) and Alfie Moon (Shane Richie). The pair married at the Queen Vic before they streamed into the streets to see the artificial snow. After all, for that final piece of festive warmth and catharsis, another Christmas cliché: at the end of the episode, everyone will simultaneously gather at the central point outside. Often while it snows and having set aside their adulterous or murderous intentions, they are in a festive mood, dancing and singing to Slade or Wham!. All is right with the world until the snow melts, and the body is uncovered in the cold Boxing Day light. There’s an important place for the traditional festive soaps if they are written for – and seen by – people who care about the characters and their stories. It offers us a place we know well, people we grew up with, and a community as it represents our lives just a little. Viewers might still live at No. 1 Coronation Street or on Albert Square, and there is a comfort to that little personal connection that remains, even if it is just once a year – there is no better time to return than Christmas. Read more: 11 EastEnders Christmas 2022 spoilers: Exits, lies and manipulations as Jada returns 11 Coronation Street Christmas and New Year spoilers: Wedding bells and sinister motives 10 Emmerdale Christmas and New Year spoilers: A new Dingle brings trouble Visit our dedicated Soaps hub for all the latest news, interviews and spoilers. If you’re looking for more to watch, check out our TV Guide or Streaming Guide. The Christmas double issue of Radio Times magazine is on sale now – subscribe now. For more from the biggest stars in TV, listen to the Radio Times View From My Sofa podcast.
8 Emmerdale spoilers for next week: Kyle struggles to hide killer secret
Plus, Jimmy tries to help Vinny with his grief, there are two candidates for a job at Home Farm, and a war over a choir spot. Also, Bernice has health news, Chloe has a revelation, Belle has suspicions, and Marlon returns to work.
Secrets weigh heavy in next week's instalments of Emmerdale. In the wake of the bombshell that Kyle (Huey Quinn) shot and killed Al Chapman (Michael Wildman), will Kyle’s troubles start to show? Jimmy King (Nick Miles) encourages Vinny Dingle (Bradley Johnson) to open up about his grief after the death of Liv Dingle (Isobel Steele), but will Mandy Dingle (Lisa Riley) appreciate his methods? Meanwhile, there are two candidates for a job at Home Farm. How will Kim Tate (Claire King) decide between Gabby Thomas (Rosie Bentham) and Dawn Taylor (Olivia Bromley)? Elsewhere, Charles Anderson (Kevin Mathurin) wants to attract younger people to his choir, and Ethan Anderson (Emile John) suggests he needs to modernize. There’s also a showdown between Cathy Hope (Gabrielle Dowling) and April Windsor (Amelia Flanagan), as Bernice Blackstock (Samantha Giles) grapples with some health news. Meanwhile, when Charity Dingle (Emma Atkins) makes a joke about Chas Dingle (Lucy Pargeter) cheating on her husband, Belle Dingle (Eden Taylor-Draper) is instantly sceptical of her hesitant response. Eric Pollard (Chris Chittell) becomes disgruntled with his son David Metcalfe’s (Matthew Wolfenden) gambling, and Marlon Dingle (Mark Charnock) prepares to return to work at the Woolpack. Read on for all you need to know on Emmerdale from 5th – 9th December 2022. 8 Emmerdale spoilers for next week: Kyle struggles to hide killer secret 1. Kyle Winchester struggles to cope In the wake of Kyle’s accidental shooting of Al and Cain Dingle’s (Jeff Hordley) imprisonment for the murder, it’s unsurprising that he begins to struggle with grief and remorse. As Kyle, Moira Dingle (Natalie J Robb) and Amy Wyatt (Natalie Jamieson) return from Belfast, Matty Barton (Ash Palmisciano) makes it clear he’s furious that they hid Karl’s involvement in Al’s death from him. Amy, in turn, insists that their relationship is over because she needs to prioritise Kyle’s wellbeing, but the pair later get back together. In the barn, Kyle memorialises Al and his distress continues to show. The following day, Moira visits Cain in prison and both are concerned about how fast the truth is seeping out – and how many people now know the secret they want to bury. How long until it spreads further than their inner circle? Meanwhile, Matty finds a collection of rocks in the middle of the barn and realises Kyle is constructing a memorial for Al. Elsewhere, Moira suggests finding Al’s real mistress, but Cain doesn’t admit the truth: it’s Chas. Given his efforts at building a memorial for Al, Matty fears it’s too soon for Kyle to return to school. The next day, Amy, Moira and Matty pretend nothing is amiss, but the truth about what Kyle could reveal sinks in, and their precarious position leaves their anxiety almost tangible. How will Kyle cope away from those who are protecting him? 2. Jimmy King distracts Vinny Dingle – but angers Mandy Dingle Vinny continues to struggle with his grief, and when Jimmy steps in to help, Mandy is initially grateful. Later, during a game of snap, Vinny tells Jimmy that he’s not coping. Watching Vinny soundly beat Jimmy at poker, Will Taylor (Dean Andrews) invites the pair to play a game at the pub. Later, the poker attracts other players as Ryan Stocks (James Moore), David, and Mackenzie Boyd (Lawrence Robb) join the original three, and Vinny soon shows flashes of his old self. Mackenzie’s distracted by the showy arrival of Kim’s business associate Darren as he becomes interested in the game. The next day Vinny, Mack and Jimmy meet for another secret poker game. They conceal their game from Charles, and soon more of the village are playing, and a talented Vinny is grateful to be distracted from his grief. Meanwhile, Jimmy accidentally tells Mandy, who then accuses an irritated Vinny of being his father’s son—leaving Jimmy feeling guilty for initially encouraging it. The following day, Mack and Vinny discuss strategy in the cafe ahead of the poker game with Darren. But can it end well? Can Mandy respond calmly? Elsewhere, Eric is displeased that David is focused on gambling rather than staffing the struggling shop. 3. Gabby Thomas vs Dawn Taylor at Home Farm A new rivalry is brewing at Home Farm and Gabby is determined to rise to the challenge when Kim suggests she takes a crucial meeting with business associate Darren about the stud farm project. Desperate to impress, Gabby is mortified when she makes a mistake, and Dawn, in turn, impresses Kim. Later, Kim encourages Dawn to be more ambitious. Then, she offers Gabby and Dawn a job share, a move which irritates Gabby and causes resentment. How will Gabby react? The next day, Dawn refuses her offer and Kim accuses Will of interfering, and berates him for not pushing his daughter to want more for herself. Later, Dawn comes to Kim with her concerns about managing childcare in the role. Kim suggests finding a nanny to help, and Dawn agrees to consider her options and the position. The next day, she tells Rhona (Zoe Henry) about the job at Home Farm, and Rhona is stunned by her lack of self-confidence and encourages her to accept Kim’s job offer – she assures Dawn that she has been an incredible asset at the surgery. Meanwhile, Gabby approaches Kim with her concerns about Dawn. Kim proposes that Dawn and Gabby should shadow her for a few months to ensure that the best candidate will get the job, and the battle at Home Farm begins. Meanwhile, Rhona is stunned by the news that Kim is opening a stud farm and feels deceived. 4. The village choir falls apart Charles wants to attract some younger people to the choir, but he’s unsuccessful. So, Ethan proposes that Charles modernises his approach. Elsewhere, due to boy trouble, there’s an air of hostility between Cathy and April in the cafe. When Charles invites them to audition for the choir, the determined teenagers prepare to vie for a spot and the following day, the feud hasn’t waned. As the audition unfolds, Cathy’s alarmed as she watches Ethan perform a Mariah Carey song with verve, and April worries when Cathy gets upset. Likewise, a bewildered Bob Hope (Tony Audenshaw) is concerned for his daughter - but the next day, Cathy and April call a truce. 5. Chloe Harris reveals her pregnancy to sister Amy Wyatt Amy is also resolved to clear Moira’s name, as Chloe Harris (Jessie Elland) is confident that Moira was the woman having an affair with Al. Amy warns Chloe to stop searching for the mystery woman for Kerry Wyatt’s (Laura Norton) sake, fearing she won’t be able to handle any more revelations or twists – and Chloe has spent the last few weeks obsessing and accusing others. Finally, Chloe agrees to stop her search, but she’s wounded when Amy tells her to leave. With nowhere else to go, Chloe informs her sister she’s pregnant. Will Amy allow her to stay? Soon after, Amy tells Moira and Mackenzie that she made up with Matty and shares the news that Chloe is pregnant. Mack is visibly fearful, but it’s soon clear Amy doesn’t know who the father is. How long can that possibly last in this village? 6. Bernice Blackstock faces her menopause journey Bernice struggles to come to terms with menopause as she grapples with both loneliness and the symptoms of the condition. Despite Gabby and Rhona’s help, Bernice longs for more to do with her life and regrets leaving her job at the salon. Shortly after, Laurel Thomas (Charlotte Bellamy) and Bear Wolf (Joshua Richards) persuade Bernice to eat a portion of humble pie and ask Mandy for her job back. Later in the cafe, Bernice finds a joker card left after the morning’s poker game and interprets it as a sign that she should make an offer... 7. Belle Dingle remains suspicious of cheating Chas Dingle When Charity Dingle innocently teases Chas about the idea that she might cheat on Paddy Dingle (Dominic Brunt), Belle is immediately suspicious of Chas’s hesitant response. Later, Chas denies that her affair with Al continued after Belle told her to end it – but Belle remains sceptical given Chas’s increasingly odd behaviour. How long can Chas hide her secret? 8. Marlon Dingle prepares to return to work at the Woolpack Marlon has been longing to return to work in the Woolpack kitchen after suffering a stroke earlier this year. With the support of his wife Rhona and her mother Mary, he's ready to get back to work. Will it prove to be a good idea? Emmerdale airs on weekdays at 7:30pm on ITV and ITV Hub. If you’re looking for more to watch, check out our TV Guide or Streaming Guide, or visit our Soaps hub. The latest issue of Radio Times magazine is on sale now – subscribe now. For more from the biggest stars in TV, listen to the Radio Times View From My Sofa podcast.
8 Coronation Street spoilers next week: Hope holds séance for John Stape
Plus, Alya threatens far-right extremist Griff, Summer continues to hide her news, Maria plans to change the Christmas markets, Steve and Tim bicker, Ken’s torn and Sean invites Laurence for Christmas.
There's quite the week of drama ahead in Coronation Street. Stephen Reid (Todd Boyce) is put on the spot by Gail Platt (Helen Worth) and urged to lend his niece money. Desperate, his lies soon begin to spiral... Additionally, the ghost of John Stape looms once again as Tyrone Dobbs (Alan Halsall) and Fiz Stape (Jennie McAlpine) celebrate a momentous occasion. Troublingly, Alya Nazir (Sair Khan) threatens far-right extremist Griff (Michael Condron) over his recent racism-fueled behaviour. Naturally, he twists it to his advantage, but how far is he willing to go? Elsewhere, Summer Spellman (Harriet Bibby) continues to conceal the truth about her pregnancy, Maria Connor (Samia Longchambon) proposes changing the Christmas markets, and Tim Metcalfe (Joe Duttine) and Steve McDonald (Simon Gregson) are locked into their unique brand of endless bickering. Finally, Martha Fraser (Stephanie Beacham) offers her legendary coaching to a distressed Mary Taylor (Patti Clare), but Ken Barlow (William Roache) faces a predicament when there’s an unmistakable chemistry with Martha. Read on for all you need to know on Coronation Street from 5th - 9th December 2022. 8 Coronation Street spoilers next week: Stephen's desperation grows 1. Gail Platt puts Stephen Reid on the spot Tim Metcalfe (Joe Duttine) is curious when he sees Stephen and Elaine Jones (Paula Wilcox) enter the café. As Elaine reassures Tim that Stephen is honest, Stephen retrieves his phone. Lying to Audrey Roberts (Sue Nicholls) and Gail, he makes out he had one too much to drink, fell on his arm and slept at a friend’s place for the night. Having googled Six Fellas, Gail confronts Stephen about the call from his boss. Tim later interrogates Stephen about his intentions towards Elaine, explaining her terrible time with Geoff and how he used to control her. Meanwhile, Sarah is disheartened after she meets with a potential investor, but it goes wrong. Having told them how great her proposal is, Gail and Audrey pressure Stephen to invest the £10k Sarah needs. How will Stephen lie his way out of this one? 2. John Stape’s presence is felt as Tyrone Dobbs proposes to Fiz Hope Stape (Isabella Flanagan) is back at school following her suspension, but difficulties arise as the school counsellor questions Fiz and Tyrone about their family background. Later, Tyrone decides to propose to Fiz and the pair go on to celebrate their engagement. However, they’re interrupted by the appearance of the journalist who wrote the book about the life and crimes of John Stape. Apologising to the couple, the author hands over a bag to Fiz and explains it contains all his research into John. In response, Fiz asks her brother Chesney Brown (Sam Aston) to hide the bag of research, but troublesome Hope later finds it and suggests to cousin Joseph Brown (William Flanagan) and her best friend Sam Blakeman (Jude Riordan) that they hold a séance to contact her late father. As the séance unfolds, Joseph reaches into a cupboard and stumbles across the bag of research. The trio stare at the photos of the killer, understandably distressed. Later in the week, Fiz and Tyrone go on to present Hope with a birthday gift in the form of a new laptop, however Hope has other things on her mind and asks about an old cassette player, and manages to get one later in a game of pass the parcel. Later, Hope runs home and listens to a recording. Finally, Tyrone has a plan after Fiz admits her anxiety about all of the wedding planning to come, revealing to Chesney that he’s moved their wedding to Christmas Day as a surprise. Which is more chaotic: a soap Christmas wedding or a séance with a murderer? 3. Griff threatens Alya Nazir when she gets him fired After Griff’s recent campaign of racist abuse and attacks, Alya confronts him over his racist behaviour and threatens to call his employer. Griff threatens her and warns her that she’ll live to regret it if she does. As things progress, Griff twists Alya’s public condemnation when he stages an attack by four Muslim men. Max Turner (Paddy Bever) becomes even more embroiled when Griff instructs him to upload a video of his injuries with added racist commentary. Will anyone be able to stop Griff’s plan to radicalize Max further? 4. Summer Spellman struggles to keep her secret from coming out Amy McDonald (Elle Mulvaney) finds Summer's morning sickness pills in the bin, forcing Summer to admit that she lost the baby over a week ago. Will the truth of what Summer and Aaron (James Craven) have been hiding be revealed? 5. Maria Connor proposes a change to the Christmas markets After finding that nearly all the signatures on the Christmas market petition were from fake accounts, Maria addresses the Christmas market committee, revealing her intent to rename it as the Winter Market and to support the local refugee centre. In response, councillor Len Cameron (Mark Murphy) opposes her plans but Maria vetoes him, prompting him to grow only more angry with her. The good fight continues... 6. Ken Barlow's love triangle heats up Mary Taylor suffers a distressing panic attack at rehearsal, but after some coaching from talented actress Marth Fraser, she gives an outstanding performance. Afterwards, when Martha invites them all to join her at a play that evening, Ken suggests that his love interest Wendy Papadopoulos (Roberta Kerr) doesn’t have the time to attend, but he’d be delighted to go along. However, the obvious chemistry between Ken and Martha concerns Brian Packham (Peter Gunn). Is a love triangle for the ages emerging? And is Wendy set to be heartbroken? 7. Eileen Grimshaw is fed up with Tim Metcalfe and Steve McDonald's bickering With Steve and Tim still at each other’s throats, Eileen is totally frustrated with their behaviour. She leads the bickering pair into the solicitors’ office and instructs Adam Barlow (Sam Robertson) to help mediate between them both and their clashes once and for all. Will Tim and Steve manage to find a new peace between them? 8. What is happening with Todd Grimshaw? At Dylan Wilson’s (Liam McCheyne) suggestion, Sean Tully (Antony Cotton) invites his boyfriend Laurence Reeves (Robert Shaw Cameron) to join them for Christmas. Todd Grimshaw (Gareth Pierce) pretends to be happy for the trio, but George Shuttleworth (Tony Maudsley) notices how uncomfortable he is. Will George realise there’s more going on with Todd than meets the eye? Visit our dedicated Coronation Street page for all the latest news, interviews and spoilers. If you’re looking for more to watch, check out our TV guide or Streaming Guide, or visit our Soaps hub. The latest issue of Radio Times magazine is on sale now – subscribe now. For more from the biggest stars in TV, listen to the Radio Times View From My Sofa podcast.
6 EastEnders spoilers next week: Is Amy Mitchell's life in danger?
Plus, Sonia is overwhelmed by funeral preparations, Whitney turns 30 and gets some news, Janine gets paranoid, and the panto prep gets under way.
Albert Square faces life-changing announcements this week on EastEnders. It’s a tense environment at No.27 as Jack Branning (Scott Maslen) waits to find out if he will lose his job and Amy Mitchell’s (Ellie Dadd) guilt and a misunderstanding lead to heart-breaking scenes. As the pressure mounts – will Jack keep his job after all? Sonia Fowler (Natalie Cassidy) is overwhelmed by the reality of planning Dot Cotton’s (June Brown) funeral. Will she get the support she needs? Whitney Dean (Shona McGarty) turns 30 and has some news to share with Zack Hudson (James Farrar). How will he react? Elsewhere Janine Butcher (Charlie Brooks) gives into her paranoia about Mick Carter (Danny Dyer) and his ex Linda Carter (Kellie Bright). Meanwhile, Alfie Moon (Shane Richie) and Freddie Slater (Bobby Brazier) put their all into organising the Christmas panto. Read on for all you need to know on EastEnders from 5th – 8th December 2022. 6 EastEnders spoilers next week: Amy hospitalised – but will she be OK? 1. Amy Mitchell self-harms and ends up in hospital Amy feels guilty about reporting Jack's attack on Denzel Danes (Jaden Ladega), but Denise Fox (Diane Parish) tries to comfort and reassure her. Jack asks a hostile Howie Danes (Delroy Atkinson) to allow Denzel and Amy to spend time together again, but he's firmly rebuffed. Later, Kim Fox (Tameka Empson) intervenes and demands that Howie must at least try to get along with Jack, but he’s still reluctant. At The Vic, Jack and Denise persuade Howie that Amy is getting the support she needs, so he relents and lets his son see her. Denzel finds Amy in the café, and they have a heartfelt one-on-one conversation. But it's interrupted by Nugget (Juhaim Rasul Choudhury), who mistakenly tells Amy that Jack has lost his job. At home, a troubled Amy blames herself and self-harms. Later, Jack gets a call to say Amy didn’t attend her therapy session. He and Denise see her being put into an ambulance, and a visibly frantic Jack reassures his daughter that she’ll be fine. Jack feels he's to blame at the hospital and remains inconsolable at Amy's bedside. The nurse informs him and Denise that Amy must see a psychiatrist before she can be discharged. Then, in emotional scenes when she awakens, Jack pleads with her to get better. Finally, he's called into work, and Denise urges him to go while she waits with Amy. Elsewhere, Sam Mitchell (Kim Medcalf) lambasts Kim, Howie and Chelsea Atkins (Zaraah Abrahams) for leaving Ricky Jnr (Frankie Day) on his own. Jack comes home without news about his job, and Denise details Sam's speech. He attempts to find Ricky Jnr to console him, but he wants to spend time with his mum. Finally, Denzel reaches out to Amy, and they meet. During a heart-rending chat, Amy asks if they can get back together... 2. Sonia Fowler is overwhelmed by planning Dot Branning’s funeral Martin Fowler (James Bye) calls to see Sonia, who has been up in the night looking at photographs of Dot. He offers to help her arrange Dot's funeral with Reverend Mills (Melanie Kilburn), but she reassures him she'll cope alone. During her chat with the vicar, Sonia wants to know that Dot is in heaven, and they discuss how her faith gave her solace. During their meeting, Dotty Cotton (Milly Zero) rushes in, followed by Kathy Beale (Gillian Taylforth) and Rocky (Brian Conley). Sonia is dismayed over what to do about her. Sonia is also overcome when Reverend Mills says they can do Dot's funeral on Monday. With the help of Martin, Sharon Mitchell (Letitia Dean), Patrick Trueman (Rudolph Walker), Jay Brown (Jamie Borthwick) and Kathy, she can give Dot her final bittersweet send-off and she’s moved that so many want to support her. Later, when she's alone with Martin, they look through a box of Dot's possessions, and she can finally express her grief freely. Afterwards, Jay tells Sonia that he can't officiate Dot's funeral as he must go with Lola Pearce (Danielle Harold) to her radiotherapy session. Dotty locates a tape recorder so Sonia could listen to Dot's tape. Unfortunately, Sonia misses Whitney's party to listen to them and becomes emotional upon hearing Dot's iconic voice. Will it help with her grief? When they hear that Dot’s body is now at No 25, where Sonia is watching over it, Whitney, Dotty and Jack join her, feeling that she needs to be supported in her grief and that it’s what Dot would’ve wanted. Will Dot get the send-off she deserves? 3. Whitney Dean is pregnant - will she tell Zack Hudson? Finlay Baker (Ashley Byam) and Felix Baker (Matthew Morrison) are single-minded in their plan to throw Whitney a fantastic 30th birthday party, and they convince Sam to give them a deal on Peggy’s. Elsewhere, Zack is thrilled to discover he’s been hired as the new chef at Walford East. Meanwhile, important events are unfolding in another part of Walford... As Whitney sees Stacey Slater (Lacey Turner) at the pharmacy, it turns out they are both there with the same purchase in mind – a pregnancy test. With only one pregnancy test pack of two left, they buy it and take the tests together - but they are interrupted before they can share the results. In later scenes, Felix and Finlay excitedly tell Whitney the party news, and Whitney discloses she’s pregnant with Zack’s baby when she and Chelsea are alone. Zack is thrilled to start his new job, but Whitney struggles to tell him the news about the baby – fearing his reaction. Meanwhile, Jean Slater (Gillian Wright) and Eve Unwin (Heather Peace) find a positive pregnancy test in the bin and they believe it belongs to Stacey. In the market, Whitney asks Zack if they can talk, but he’s preoccupied with a call from a random former conquest. Hurt by Zack’s apparent dismissal, Whitney goes home and tells Chelsea that he’s too unreliable to be a father – Chelsea insists she needs to tell him and let him try. When Jean asks, Stacey tells Jean that the test is Whitney’s and swears her to secrecy. However, later at Walford East, Jean thinks Zack knows and mentions it – leaving an anxious and uneasy Zack to process the information. On the night of Whitney’s 30th birthday, she tells Finlay and Felix about the baby. They vow to help her raise the child – with or without Zack. So, strengthened, Whitney resolves to tell him... 4. Jack Branning keeps his job but his marriage struggles The relief is palpable when Jack gets the news that his job is safe. Kim decides to bring the family together by throwing a surprise dinner. Denise and Jack are horrified to find Kim’s circus of drama in their home and worry Amy will struggle with having everyone there, especially Denzel. A careless and brash moment from Kim sees Amy leave in anger. Later, Jack asks to postpone his return to work to be with Amy, but Denise thinks it’s a misstep which will only stifle her. However, as the day continues, Jack fails to pick up her son, Raymond Dawkins (Michael Jose Pomares Calixte), and Denise is hurt and angry that he could be so careless. Finally, Denise wants Jack to go to Whit’s party, but he refuses as he wants to remain with Amy. So, Denise leaves without him in search of a distraction. Are Jack and Denise growing further apart? 5. Janine Butcher's paranoia grows At The Vic, Shirley Carter (Linda Henry) tells Janine that Linda called in sick, and she becomes even more paranoid: obsessed with the idea that Mick was late because he was with his ex-wife. Then, Karen Taylor (Lorraine Stanley) accidentally reveals to Janine that Mick and Linda went shopping for their son’s school shoes, causing more concern and distrust before Janine's call with the registar. Finally, Mick lets Janine know that he and Linda are going to buy Ollie Carter’s (Harry Farr) Christmas presents together, and she’s seething, but she perks up when she gets some promising news. What will Janine have to tell Mick? 6. Albert Square prepares for a pantomime Alfie and Freddie need to raise more money for the Christmas panto, so they charm Sharon into giving them sponsorship money and promise they will promote Crunch Time all over the marketing for the show. Meanwhile, Alfie also recruits Rocky, Mitch Baker (Roger Griffiths) and Harvey Monroe (Ross Boatman) to be part of the panto. Still, he’s unable to convince Kat Slater (Jessie Wallace), who also forbids him from including their sons in the show, leaving him disheartened. Will Alfie be able to win round his ex-wife? Read more: 6 EastEnders spoilers next week: Sonia hears devastating news about Dot EastEnders' "moving", potentially life-saving Lola story praised by Macmillan EastEnders to show heartbreaking scenes as Lexi learns Lola's diagnosis Visit our dedicated EastEnders page for all the latest news, interviews and spoilers. If you’re looking for more to watch, check out our TV Guide or Streaming Guide, or visit our Soaps hub. The latest issue of Radio Times magazine is on sale now – subscribe now. For more from the biggest stars in TV, listen to the Radio Times View From My Sofa podcast.