For All Mankind season 5 release schedule: When are new episodes on Apple TV?
Humanity’s next giant leap continues – here’s exactly when each episode of For All Mankind season 5 lands on Apple TV+.
For All Mankind is now nearing the end of its penultimate season, where trouble has been brewing on the show's ironically named Mars colony, Happy Valley. As they jump forward in time once again in their epic saga, creators Ronald D Moore, Matt Wolpert and Ben Nedivi have shown there are no sacred cows in For All Mankind by killing off an original character earlier this season. The alternative history sci-fi drama, which kicked off with the Soviet Union winning the space race (which is set to be revisited in new spin-off Star City), has now forged a fascinating vision for the future involving considerable expansion into outer space – but alas, still no utopia. If you're enjoying the Apple TV original, read on for your guide to the For All Mankind season 5 release schedule – including when to expect episode 6. How many episodes are in For All Mankind season 5? Season 5 is expected to follow a similar format to previous seasons, consisting of 10 episodes, delivering a weekly rollout across roughly two and a half months. For All Mankind release schedule: When are new episodes out on Apple TV? Barring any surprise double-bills or schedule changes, here’s when you can expect each episode to land: For All Mankind season 5 episode 1 – Friday 27 March 2026 For All Mankind season 5 episode 2 – Friday 3 April 2026 For All Mankind season 5 episode 3 – Friday 10 April 2026 For All Mankind season 5 episode 4 – Friday 17 April 2026 For All Mankind season 5 episode 5 – Friday 24 April 2026 For All Mankind season 5 episode 6 – Friday 1 May 2026 For All Mankind season 5 episode 7 – Friday 8 May 2026 For All Mankind season 5 episode 8 – Friday 15 May 2026 For All Mankind season 5 episode 9 – Friday 22 May 2026 For All Mankind season 5 episode 10 – Friday 29 May 2026 What is For All Mankind season 5 about? View Green Video on the source website Season 5 picks up years after the dramatic events of season 4, with Mars now home to thousands of residents and serving as a launchpad for even more ambitious missions deeper into the solar system. However, as Earth’s governments attempt to impose control over the Red Planet, tensions begin to escalate between Martian settlers and their home world – setting the stage for a new chapter of political intrigue and high-stakes drama. For All Mankind season 5 is available to stream on Apple TV – sign up now with a 7-day free trial. Add For All Mankind to your watchlist on the Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Sci-fi coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Doctor Who and Ted Lasso favourites confirmed for final two SNL UK episodes
Hannah Waddingham and Ncuti Gatwa will close out the first season of Saturday Night Live UK.
Saturday Night Live UK has confirmed the hosts and musical guests for its final two episodes, with Hannah Waddingham and Ncuti Gatwa set to close out the first season. Ted Lasso favourite Waddingham will host the penultimate episode on Saturday 9 May, joined by singer-songwriter and BRIT Award winner Myles Smith as musical guest. The following week, Doctor Who star Gatwa will take on hosting duties for the season finale on Saturday 16 May, with indie-pop singer-songwriter Holly Humberstone set to perform. Before then, this Saturday’s episode will be hosted by BAFTA-winning Sex Education and The White Lotus star Aimee Lou Wood, with music from British breakthrough artist MEEK. The first season has already welcomed a string of major names, with Tina Fey launching the run before Jamie Dornan, Riz Ahmed, Jack Whitehall and Nicola Coughlan all stepped up to host. Musical guests so far have included Wet Leg, Wolf Alice, Kasabian, Jorja Smith and Foo Fighters. SNL UK arrived with plenty of attention thanks to its connection to the original US series, which was created by Lorne Michaels and has been running since 1975. Its ratings have also been closely watched, with the Tina Fey-hosted launch reaching 528,000 viewers after seven days, while the fourth episode, hosted by Jack Whitehall, drew 371,700 viewers, though the series has also made a significant impact online with more than 86 million social media views reported by Sky. SNL UK’s inaugural cast is made up of Hammed Animashaun, Ayoade Bamgboye, Larry Dean, Celeste Dring, George Fouracres, Ania Magliano, Annabel Marlow, Al Nash, Jack Shep, Emma Sidi and Paddy Young. Saturday Night Live UK airs live on Saturdays at 10pm on Sky and NOW. Check out more of our Entertainment coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Wrestling legend Paul Wight reveals "pressure" he faced during previous stints – and why AEW offers a "more authentic" experience
Paul Wight has lifted the lid on the intense pressure of his past – and why AEW feels different.
Paul Wight has opened up about the "pressure" he faced during previous chapters of his wrestling career, while explaining why he believes AEW offers talent a "more authentic" experience. The wrestling icon, formerly known worldwide as Big Show, is currently signed to All Elite Wrestling, where he works as both an in-ring competitor and commentator. Speaking exclusively to Radio Times ahead of AEW All In: London, which takes place at Wembley Stadium on Sunday 30 August, Wight reflected on the difference between his current role and the demands he previously faced in the industry. "I can't explain what it's like where I used to work, and the demands that were put on you – personally, professionally, the kind of pressure that was on you every day – it didn't matter if it was 3am in the morning, you get a phone call, you better have your wits about you – to having a guy that is very cool and very appreciative and very comforting in the way he lets his talent explore their own identities... like he's not micromanaging everything you do," Wight said. "Tony [Khan, AEW owner] is very encouraging for the talent to discover their own and that makes the product, to me, a lot more authentic." Wight joined AEW in 2021 after more than two decades with WWE, where he became one of the most recognisable stars of his generation under the Big Show name. View oEmbed on the source website But the 54-year-old admitted that adapting to a different role in wrestling was not immediately easy after years spent as a regular in-ring performer. "I think at first it was a little hard to swallow, because I was fighting all the time, I was in the trenches, I was on the road with the guys all the time," he explained. He added that the physical toll of his career eventually forced a change, saying: "I had to have a hip replacement... I had a couple years, right? A major surgery every year, like the bill came due all at once. It was, you know, left hip, left knee, right hip, right knee." However, Wight said he has now found peace with where he is in his career and is focused on helping AEW’s roster develop. "I’m at a place now where I’m actually really good with everything," he said. "I know that, OK, I’ve done well. I’ve had a solid career. I’ve had a fantastic career. I’m grateful. "What can I do now to be a part of the business, to contribute to my company and my talent and my fans? And I’m finding ways to do that." Part of that contribution, Wight explained, comes in his work with younger talent – although he stressed that he does not see his role as telling them exactly how to perform or shape their characters. "It’s not for me to tell you how to go do your character. That’s not what I’m here for. I’m not going to tell you that. We’re going to talk about the choices you made, why you made them, what you were thinking." For Wight, the key to connecting with wrestling audiences is authenticity. "You have to come from an authentic place to make an authentic connection, because that’s what wrestling is," he said. "Not everybody gets to be Ric Flair, not everybody gets to be Hulk Hogan, not everybody gets to be Kenny Omega... How do we get the best out of you? "You want to be the best version of you. I’ve done the best version of me. They’ve seen the best version of me. Let’s see the best version of you." Read more: How to watch AEW on TV and live stream in the UK Wight also spoke about how the rise of social media has changed the environment for wrestlers, with fans now having greater access to backstage discussion, contracts, ratings and creative decisions than ever before. But his advice to younger talent is to avoid getting too caught up in online noise. "Even with as much input as social media and all these things have now, I advise younger talent to pull a little back from that and stick to the nuts and bolts," he said. "Get it done between the ropes." AEW All In: London 2026 will see AEW return to Wembley Stadium for another night of stadium-scale wrestling, following previous record-breaking events in the UK and US. Fans can expect high-impact action, dramatic title clashes, unpredictable brawls and a star-studded card, after past All In events delivered unforgettable moments involving the likes of Will Ospreay, Bryan Danielson, Mercedes Moné and Swerve Strickland. AEW All In: London takes place at Wembley Stadium on Sunday 30 August – tickets are on sale now. Check out more of our Sport coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
007 First Light developer teases sequels with 'spectacular' Patrick Gibson as 007
IO Interactive has hinted 007 First Light is only the start for Patrick Gibson’s James Bond, with more stories potentially on the horizon.
IO Interactive has teased that 007 First Light could be just the beginning for its take on James Bond, with one of the game’s directors praising Patrick Gibson’s performance as the iconic spy and hinting at more stories to come. Speaking about Dexter: Original Sin star Gibson’s turn as 007, Dominic Vega (missions and audio director on 007 First Light), said the actor has already made a striking impression in the role. "He has filled the shoes of James Bond spectacularly," Vega told Radio Times. "Patrick’s confidence and his poise are very Bond-like, even just in his own day-to-day, but when he takes on the character, it’s something special and I’m really excited for people to see it." Gibson’s casting has already prompted plenty of discussion among Bond fans, and Vega’s comments suggest the developer is feeling confident not only about this first outing, but also about the possibility of building something bigger around this version of the character. In fact, Vega went a step further by suggesting that 007 First Light may not be a one-off. "We want to see Patrick as Bond for a long time. As a studio, we have a long history of expanding things and remixing, so it’s certainly not the last we’ve seen of Patrick. It is the beginning – it’s up to the audience to decide how that goes, but yeah, more to be discovered." While Vega stopped short of confirming any direct sequel plans, the suggestion that this is "the beginning" points to a potentially long future for Gibson’s Bond if players connect with the character and the game itself proves a hit. 007 First Light will chart the rise of a younger James Bond as a "resourceful, and sometimes reckless" recruit in MI6’s training programme, whose sharp instincts and bravery in combat secure him a place in the agency’s newly revived 00 section. IO Interactive has also unveiled a strong cast surrounding Gibson as the young Bond, with Priyanga Burford as M, Alastair Mackenzie as Q and Kiera Lester as Miss Moneypenny. Elsewhere, Lennie James plays Bond’s mentor John Greenway, Noemie Nakai appears as Miss Roth, and Lenny Kravitz takes on the role of villain Bawma. View oEmbed on the source website James Bond music legend explains why Lana Del Rey was the perfect fit for 007 First Light How 007 First Light can learn lessons from James Bond novels and films to tackle the hero's origins 007 First Light releases on 27 May 2026 for PC, Xbox Series X/S, PS5 and Nintendo Switch 2. Check out more of our Gaming coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
James Bond music legend explains why Lana Del Rey was the perfect fit for 007 First Light - and talks her previous Bond song attempt
David Arnold reveals what made the Born to Die singer such a natural match for the new 007 game’s sweeping theme.
007 First Light will be the first James Bond video game in 14 years – and developers IO Interactive are pulling out all the stops, recruiting award-winning singer-songwriter Lana Del Rey to perform the title song. Del Rey's track debuted last week to a positive reception from critics and fans, with David Arnold, who scored five Bond films between 1997 and 2008, returning to co-write the song. Speaking to Radio Times, Grammy winner Arnold suggested that Del Rey's "timeless" style – with her music drawing on both mid-20th-century Americana and late-20th-century melancholy pop – made her a perfect fit for the enduring 007 franchise. "What I love about her is that as an artist she feels timeless to me," said Arnold. "I think she could be 'Lana Del Rey' in any of the last eight decades and still be Lana Del Rey – it seems to be that no matter what fashion is doing, she’s being herself. "I’ve always loved that in an artist and certainly most of the ones that I’ve ever worked with are so absolutely, confidently and supremely themselves that you know what you’re going to get is pure, and you know it's going to be well thought through and examined, and there is an honesty and a believability and a credibility in that." Back in 2024, Del Rey revealed that she had previously pitched her song '24' (featured on her 2015 album Honeymoon) to the Bond producers as a potential title theme for Spectre, only to lose out to Sam Smith's 'Writing's on the Wall'. "She’s a big fan of the songs – she submitted a song for Spectre – and so I think she was excited about the idea of doing one for real," Arnold explained. "I was obviously super thrilled that she said she would, because there is something about her which transcends a lot of issues that you might have with an artist that maybe feels like they need to be a certain way to do a Bond theme – she is just effortlessly herself, which is why it feels right." The final effort blends classic 007 grandeur with Lana’s melancholic glamour and feels unmistakably true to the franchise – though Arnold still isn’t entirely sure what the essential ingredients are, only that you "know when it is [a Bond song] and also when it isn’t." "I still don’t know after all these years what makes a Bond song 'a Bond song'," said Arnold. "If you think about the history of them, they’re all incredibly different but yet somehow the spirit of them is the same. "I think people can spot a fake a mile away and if you’re committed to it, then it’ll work." View oEmbed on the source website 007 First Light is a wholly original Bond origin story from IO Interactive, following a young James Bond as a "resourceful, and sometimes reckless" recruit in MI6’s training programme. The game re-imagines Bond before he becomes 007, with the character described by IOI as a promising but rebellious former Royal Navy air crewman whose instincts and combat heroism earn him a place in the agency’s newly reinstated 00 section. IO Interactive has also confirmed a sizeable cast around Bond, with Patrick Gibson playing the young 007, alongside Priyanga Burford as M, Alastair Mackenzie as Q and Kiera Lester as Miss Moneypenny. The supporting line-up also includes Lennie James as Bond’s mentor John Greenway, Noemie Nakai as Miss Roth, and Lenny Kravitz as villain Bawma. How 007 First Light can learn lessons from James Bond novels and films to tackle the hero's origins Why James Bond's biggest 'failure' was actually a trailblazing moment for the 007 franchise 007 First Light releases on 27 May 2026 for PC, Xbox Series X/S, PS5 and Nintendo Switch 2. Check out more of our Gaming coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Why James Bond's biggest 'failure' was actually a trailblazing moment for the 007 franchise
Though it earned a mixed reception, 1989's 007 outing starring Timothy Dalton now feels like a trailblazer.
Add Licence to Kill to your watchlist It's not often that you'll see Licence to Kill celebrated as the best of Bond – too frequently, Timothy Dalton's second outing as 007 languishes near the bottom of lists, written off as a misjudged attempt to compete with violent '80s action cinema. The film strayed too far from the classic Bond formula, its critics would argue, and failed to connect with audiences as a result. Not helping its muddied reputation is the fact that following its release the Bond franchise went on a then-unprecedented six-year hiatus, with Dalton replaced as leading man when the series did eventually resume with 1995's GoldenEye. It's true that the film is a significant departure from what came before. Drawing more heavily on the source material of Ian Fleming's novels than any movie in the series since the early Sean Connery entries, Licence to Kill sees Bond on a mission of vengeance, our hero ousted – at least temporarily – from MI6 as he seeks bloody retribution against Franz Sanchez (played by Robert Davi), a drug lord responsible for maiming Bond's CIA ally Felix Leiter (David Hedison) as well as the murder (and, it's implied, the rape) of Felix's new bride Della (Priscilla Barnes). The Man with the Golden Gun, this ain't. It's also undeniable that the movie earned a mixed reception from contemporary critics – though there were some positive notices for Dalton's performance and attempts made to modernise 007. The Guardian argued that Licence to Kill lacked "flair", the Daily Express called it "dull" and "tiresome", while The Sunday Times lamented that "any vestiges of the gentleman spy [...] by Ian Fleming" had disappeared, with Bond they claimed now a vengeful vigilante akin to the protagonist of the same year's Batman movie. The numbers also speak for themselves – though it grossed more than four times its budget, Licence to Kill earned the lowest box office return of any Bond film to date (adjusted for inflation). The notion though that the film's producers regarded it as a failure, pulling the brakes on Bond until they were able to return with a revived franchise and new star in the form of Pierce Brosnan, is provably false. Pre-production on the 17th film in the franchise, intended to again feature Dalton as Bond, began in May 1990 – a poster for the planned sequel was even displayed during the 1990 Cannes Film Festival. It was a lengthy legal tussle between MGM, parent company of the Bond series' distributor United Artists, and Danjaq, owners of the Bond film rights, that led to production stalling for a number of years, with Dalton's original contract expiring by 1993. In April the following year, he released a statement announcing his "difficult decision" to step away from Bond, explaining that while he'd been asked to resume his role, it was "now time to leave that wonderful image behind and accept the challenge of new ones". With the benefit of hindsight, Licence to Kill also feels less like an anomaly in the 007 franchise and more like a trailblazer. Bond going rogue, not carrying out a government-assigned mission but instead pursuing a more personal mission with extreme prejudice? You might be describing either Licence to Kill or any of the Daniel Craig-starring films that followed his debut in 2006's Casino Royale. The similarities don't end there, though. As in Craig's entries, the mood is dark, the puns are sparse, and Bond's womanising is kept to a minimum, with both female leads – Carey Lowell as ex-Army pilot and DEA informant Pam Bouvier and Talisa Soto as Sanchez's girlfriend Lupe Lamora – having a part to play in the narrative other than acting as "disposable pleasures". Bond's relationship with Sanchez is also pleasingly complex, an undercover 007 psychologically toying with his unwitting opponent in a foreshadowing of the games of cat-and-mouse he would play with Casino Royale's Le Chiffre (Mads Mikkelsen) or Raoul Silva (Javier Bardem) from 2012's Skyfall. There is absolutely a strong flavour of '80s action cinema to Licence to Kill – Frank McRae, known for a memorable turn as an irascible police captain in 1982's 48 Hrs, plays Bond's accomplice Sharkey, while both primary antagonist Davi and supporting player Grand L Bush (Leiter's DEA colleague Hawkins) are lifted from the cast of the previous year's Die Hard. But, remove its 1980s skin and the film sits neatly alongside Craig's less outrageous, more personal Bond outings which were so warmly received by critics and audiences over the past two decades. Dalton's Bond, it appears, simply landed at the wrong time – the series faced the almost impossible task in the late 1980s of segueing from the frothier films starring Roger Moore that fans had become used to into the types of movies that could compete with the action movies du jour, violent thrillers like 1987's very un-Bond-like Lethal Weapon. Reverting to formula might have left 007 looking outdated, but changing too much risked inviting criticism that the franchise had lost its flavour. Craig – for all the unwarranted flack he earned over his casting – actually faced less of a challenge, with the popular Jason Bourne series of films having set a precedent for escapist spy thrillers that nonetheless featured a flawed, vulnerable protagonist. It's no surprise, then, that Dalton was such a fan of his successor. "There’s a case to be made that Daniel Craig is the best Bond ever, or at least in a very long time," he told the Los Angeles Times in 2012. "With Roger Moore it was a pastiche that almost became a parody at the end. And with Pierce [Brosnan], I think he wanted to go darker and deeper but that wasn’t what those movies were. "Daniel Craig’s Bond movies are absolutely modern, up-to-date versions, but they’re also the legitimate heir of [the first two Bond movies] Dr No and From Russia with Love." Looking past the reviews and the disappointing box office – both perhaps symptoms of a contemporary audience simply not being ready for the stripped-back Bond that Dalton was offering – and an unrelated hiatus, what's left when examining Licence to Kill is in fact a formula for future success, albeit one that wouldn't profit 007 for another 17 years. Ironically, where the Bond franchise goes next feels now more uncertain than at any point since that post-Licence to Kill hiatus, with long-time custodians Barbara Broccoli and Michael G Wilson stepping back from creative control. As Amazon takes a greater role in shaping 007’s future, the series is once again at a crossroads, not unlike the one it faced in the late 1980s. View Green Video on the source website There are, however, early signs that the lessons of Licence to Kill – and the tonal reset later embraced during the Daniel Craig era – haven’t been forgotten. The appointment of Denis Villeneuve as director of the next Bond film points towards a continuation of that more serious, textured approach. Known for the brooding grandeur of Dune and the meditative intensity of Blade Runner 2049, Villeneuve has described Bond as "sacred territory", signalling an intent to honour the franchise’s traditions while opening up "a new path". If his past work is anything to go by, that path may well lean into a more deliberate, atmospheric style of storytelling – one that prioritises character, mood and visual weight over quips and spectacle. That instinct appears to be shared by Bond 26 screenwriter Steven Knight, who has described Bond as a "modern myth", suggesting a renewed focus on the character’s symbolic power rather than simply his surface-level thrills. Reflecting on what comes next, Timothy Dalton himself has suggested that while evolution is inevitable, the core of Bond should remain intact. "It's a wonderful franchise," he told Radio Times last year. "The movies have taken different courses over the years, but there is something very good about the original and I hope Amazon latch onto that and give us the kind of film that's brought so much excitement and fun to so many people." If Dalton’s Licence to Kill was once dismissed as an outlier, history has been kind to its instincts. As Bond prepares for yet another reinvention, it’s striking that the qualities once criticised – seriousness, emotional stakes, a willingness to break from formula – now look less like missteps and more like a blueprint.
Matt Baker announces new podcast Petcast in collaboration with Radio Times
Matt Baker is launching a brand new podcast celebrating the nation’s love of pets, featuring famous faces and heartfelt stories.
Matt Baker is set to front a brand new podcast series, Matt Baker’s Petcast, launching soon in collaboration with Radio Times. The upcoming series will see the popular presenter – best known for his work on Countryfile, The One Show and Blue Peter – explore one of the UK’s most beloved topics: the special relationship between people and their pets. Across the series, Baker will sit down with big names from the world of TV, entertainment and beyond for relaxed, wide-ranging conversations about the animals that have played a meaningful role in their lives. From the pets they grew up with to the companions they have today, each episode will offer a personal and often nostalgic look at how animals shape our experiences and memories. As well as celebrating those bonds, Petcast will delve into the realities of modern pet ownership. Discussions are set to cover everything from balancing busy lifestyles with caring for animals, to the responsibilities that come with choosing and looking after a pet. The podcast will also touch on the growing conversation around pets and mental wellbeing, exploring the comfort, companionship and routine animals can bring to everyday life. The collaboration with Radio Times marks an exciting expansion into podcasting for both Baker and the brand, building on their shared focus on storytelling and audience connection. Further details, including the full guest line-up and episode schedule, will be announced in due course, but listeners can expect a series filled with humour, honesty and heartfelt moments. Matt Baker’s Petcast will be available soon via major podcast platforms. Check out more of our Audio coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Daredevil: Born Again season 3 appears set to bring back Marvel legends as cast spotted on-set
A new set photo has Marvel fans buzzing about who might be returning next.
A newly surfaced set photo from Daredevil: Born Again season 3 appears to confirm what Marvel fans have long been hoping for – the return of Luke Cage and Iron Fist to the MCU. The image, taken during filming in New York on Thursday 3 April 2026, shows Krysten Ritter (Jessica Jones) walking alongside Mike Colter and Finn Jones, who previously starred as Luke Cage and Danny Rand in Marvel’s Netflix era. While Marvel Studios has yet to officially announce their involvement, their presence on set strongly suggests both characters are being reintroduced into the franchise. Luke Cage and Iron Fist were first introduced during Marvel Television’s Netflix era, which ran from 2015 to 2019 and focused on a more grounded corner of the superhero universe. Colter’s Luke Cage debuted in Jessica Jones before leading his own series, where the bulletproof hero became a symbol of Harlem, balancing street-level crime with broader questions of power and responsibility. Jones’s Danny Rand, meanwhile, returned to New York after years presumed dead, reclaiming his role as the Iron Fist – though his series took a more mystical approach, exploring the mythology of K’un-Lun alongside corporate intrigue at Rand Enterprises. The two heroes eventually joined forces with Daredevil and Jessica Jones in The Defenders, where they teamed up to take down the ancient organisation known as the Hand. Following the cancellation of those shows, fans have consistently campaigned for the characters to return, particularly after Cox and Vincent D’Onofrio were brought into the MCU. Momentum behind that campaign grew even stronger when Ritter reprised her role as Jessica Jones in Daredevil: Born Again season. The latest set sighting now appears to take things a step further, hinting at a much broader reunion of Marvel’s street-level heroes. If confirmed, the return of Luke Cage and Iron Fist would mark the first time all four core Defenders – Daredevil, Jessica Jones, Luke Cage and Iron Fist – have appeared together on screen since 2017. The timing of the photo aligns with production on the third season of Daredevil: Born Again, which is currently filming in New York City after cameras began rolling in March 2026. The series is expected to continue shooting through the summer, with a likely release window in 2027 on Disney+. Daredevil: Born Again season 2 is currently streaming on Disney+. Read more: Daredevil: Born Again season 2 episode 2 confirms fate of beloved key character from original Daredevil: Born Again boss reveals cryptic Kingpin line was an "inside joke" about Marvel franchise Daredevil: Born Again is available to stream on Disney+. Sign-up to Disney+ from £5.99 a month. Check out more of our Sci-fi coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast. Add Daredevil: Born Again to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more.
Sinners director Ryan Coogler developing new adaptation of best-selling book series that previously inspired cult TV show
Ryan Coogler is bringing cult ’90s sci-fi hit Animorphs back to screens with a new Disney+ adaptation.
Ryan Coogler is lining up his next major TV project, with a new adaptation of the hugely popular Animorphs novels in early development at Disney+. The acclaimed filmmaker – fresh from Oscar success for Sinners – will executive produce the series, with writer Bayan Wolcott attached to pen the project, Variety reports. Based on the best-selling book series by Katherine Applegate and Michael Grant, Animorphs follows a group of teenagers who discover a secret alien invasion and gain the ability to morph into animals in order to fight back. The series blends sci-fi action with coming-of-age drama, as the characters balance high school life with a covert war for Earth’s survival. First published in 1996, the franchise became a global phenomenon, spanning 54 main books and selling more than 35 million copies worldwide. This won’t be the first time the series has been adapted for the screen. A live-action Animorphs show aired on Nickelodeon between 1998 and 2000, running for two seasons and later gaining a cult following among fans of the books. View oEmbed on the source website The new Disney+ version is described as following “a group of teenagers who uncover a hidden threat lurking beneath their everyday lives, all while juggling relationships, curfews, and the chaos of high school”. Coogler has become one of Hollywood’s most celebrated directors thanks to a back catalogue that includes Fruitvale Station, Creed and Marvel juggernaut Black Panther, cementing his reputation for combining blockbuster scale with character-driven storytelling. He is currently working under an overall deal with Disney, which also includes a reboot of The X-Files. Sign-up to Disney+ from £5.99 a month. Check out more of our Sci-fi coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
50 greatest kids' TV shows it's worth children watching
The children’s TV shows that don’t just entertain – but help young minds grow.
Children’s television has always done more than just pass the time. At its best, it sparks imagination, builds confidence and helps young viewers make sense of the world – all while delivering plenty of laughs along the way. Of course, screens are now part of everyday life for most families, and the conversation has shifted from whether children should watch TV to what’s actually worth watching. Guidance for parents increasingly focuses on balance: choosing age-appropriate programmes, mixing screen time with play and conversation, and remembering that how children watch can matter just as much as what they watch. The good news? Great children’s TV has never been more varied. From gentle, curiosity-led shows and clever educational favourites to gloriously silly, laugh-out-loud classics, the best programmes prove that screen time doesn’t have to be passive – or purely "good for you" – to be valuable. With that in mind, here are 50 of the greatest children’s TV shows — the ones that entertain, inspire and, above all, are truly worth children watching. 1. Blue Peter Six decades after a BBC producer first spied a flag on the side of a ship, everyone has a favourite Blue Peter memory, whether it’s John Noakes swinging from Nelson’s Column, Valerie Singleton battling with sticky-back plastic or a rogue animal stealing the show. At its peak, the programme received thousands of letters a week from viewers hoping to earn the coveted Blue Peter badge. The world’s longest-running children’s TV show may no longer dominate the ratings, but its cultural significance remains unrivalled, continuing to evolve for new generations across broadcast and digital platforms. 2. Grange Hill When Phil Redmond first devised a drama set in a North London comprehensive, he couldn't have guessed it would become a cultural reference point for a generation. Celebrated for its gritty portrayal of school life, the show made heroes of pupils Tucker, Trisha and Roland, and balanced serious issues with lighter moments. Landmark plotlines included Zammo’s drug addiction, heralding a campaign telling the nation’s children to ‘Just Say No’ and, memorably, Gonch and Hollow making off with Mr Bronson’s hairpiece. 3. Newsround There have been dozens of presenters of this pioneering news programme over its long run, though for many it will always be associated with its original host, John Craven. Newsround has broadcast continuously since 1972, adapting seamlessly to a fast-changing media landscape. Whether covering major global events or issues closer to home, it continues to strike a careful balance — informing young viewers clearly and sensitively, without ever patronising its audience. 4. Tiswas This influential TV landmark started out as a series of links between other children’s programmes, but soon eclipsed them, as millions tuned in for seemingly spontaneous mayhem. Armed with a running order but no script, presenters including Chris Tarrant and Sally James simply channelled the energy of a studio full of overexcited children, throwing buckets of water over parents, spoofing other TV shows and failing to dodge custard pies, while Lenny Henry built a career on impersonating Trevor McDonald. 5. Multi-Coloured Swap Shop There is possibly no stronger image to epitomise children’s TV, or perhaps the entire late 1970s, than that of perennially-jumpered Noel Edmonds smiling into his red telephone, talking to a small child who wanted to shift her Kerplunk. For 146 episodes, Noel and cohorts Maggie Philbin, John Craven and the irrepressible Keith Chegwin presided over competitions, prize picks, maverick mascots and celebrity slots to create the template for youthful viewing. Will we ever see its like again? Answers on a postcard… 6. Vision On For 12 years, this BAFTA-winning programme drew a huge audience while maintaining its primary commitment to include deaf children. Embracing visual action over text or speech, presenters Pat Keysell and Tony Hart showcased art, animation, clowning, impressive stunts and the miming magic of a future Doctor Who, Sylvester McCoy. Taking its title from the sign in TV studios, ‘Vision On’ proved it was possible to be sensible and silly, anarchic and inclusive – a triumph of the creative imagination. 7. Live & Kicking Like its preceding Saturday morning magazine shows, this featured a familiar mix of celebrity interviews, phone-ins, competitions, cartoons, comedy and capers, elevated by the chemistry between original hosts Emma Forbes and Andi Peters, and then Zoë Ball and Jamie Theakston who earned a BAFTA for their farewell episode. L&K highlights included the video review slot, ‘Hit, Miss or Maybe’, resident leprechaun puppets Sage, Onion, Shamrock and later appearances by a certain Mr Blobby. 8. Going Live! For six years from 1987, no self-respecting pop star’s Saturday morning was complete without sitting on the sofa, fielding questions from a live audience, just one part of a packed magazine show, which included comic duo Trevor and Simon, ‘chef’ Emma Forbes, fashionista Annabel Giles, agony uncle Phillip Hodson and, at the helm, Phillip Schofield and Sarah Greene – all effortlessly upstaged by Gordon the Gopher squeaking his way into cult status. 9. Play School In a world of simple pleasures for pre-schoolers, toys Humpty, Hamble and co played host to presenters who danced, pranced and painted a lot. Highlights included a film excursion through the round, square or arch window – often to a biscuit factory, a waste disposal unit or somewhere equally glam. Back in the studio, it was time for a story after checking the big clock, which once went on strike as two BBC unions fought over whose job it was to turn the hands. 10. Crackerjack! It’s Friday, it’s five to five... which could only mean one thing for young viewers, tuning in for competitions, comedy, catchphrases and semi-controlled chaos. During its 30-year run, presenters ranged from Max Bygraves to Basil Brush, Eamonn Andrews to Ed Stewart. Little and Large and the Krankies provided the funnies and Stu Francis gamely crushed a grape, but all played second fiddle to the show’s crown jewel, the much-coveted propelling pencil handed out to runners-up of Double or Drop. 11. Play Away Play School’s wackier cousin, ‘Play Away’ brought youngsters to their feet with its irrepressible hosts, songs, games and pranks. It made household names of bendy Derek Griffiths, musical maestro Jonathan Cohen and the beloved Brian Cant. 12. Pingu The world’s most expressive stop-animation clay penguin first graced our TV screens in 1990. From his Antarctic home, Pingu claimed hearts all over the world, most recently inspiring a Japanese reboot Pingu in the City. 13. Rentaghost From a potentially dark idea of unhappy ghosts trying to find work, this surprisingly successful comedy was created, due in large part to unlikely screen icon Timothy Claypole and regular scene-stealing antics by Christopher Biggins. 14. SM:TV Live For five years, SM:TV Live ruled Saturday morning airwaves, blending irreverent humour with games, sketches and interviews that entertained children and adults alike. Hosts Ant & Dec, alongside Cat Deeley, became household names thanks to segments packed with chaos, catchphrases and just enough mischief to keep parents watching too. 15. Animal Magic Grown-ups might have had David Attenborough, but children could lay claim to Johnny Morris. His enthusiasm was contagious in a show that made stars of parrots Cocky and Brolly and gave gorillas, quite literally, a voice. 16. Byker Grove Celebrated as the nursery slopes of primetime supremos Ant & Dec, this drama’s alumni also includes Jill Halfpenny, Donna Air and Charlie ‘Sons of Anarchy’ Hunnam – an eclectic roll call for a teenage soap set inside a Gateshead youth club. 17. Jackanory For three decades, Jackanory was a sleepy, irreplaceable part of children’s TV. On paper, it was intended to inspire an interest in reading. In practice, it gave everyone time for a quick nap before Bagpuss. 18. Box of Delights Based on John Masefield’s fantasy novel, this became the most expensive children’s drama ever made when it debuted in 1984, due to a mixture of live action, animation and the ever so quaint-sounding Quantel Paintbox. 19. Thunderbirds From the mind of Gerry Anderson, Thunderbirds combined groundbreaking Supermarionation with big-screen ambition to create one of the most iconic children’s series of all time. Following the Tracy family and their high-tech rescue organisation, International Rescue, each episode delivered action, jeopardy and unforgettable set pieces. 20. How! This series did what it promised on the tin, answering ‘How…’ to thousands of questions on science, maths and history. Originally pitched at adult viewers, it found children to be a more enthralled audience and lasted 15 years. 21. The Borrowers Based on Mary Norton’s books, this 1992 adaptation told the story of the Clocks, a tiny family living under the floorboards, and gave many enthralled young viewers their first taste of a proper cliff-hanger. Now, they're asking again, what's that? 22. Record Breakers The world record for best-suited TV host will always belong to Roy Castle, who tap-danced into history, claimed nine Guinness Book entries himself, and proved over and over again that dedication really is all you need. 23. Bagpuss Bagpuss may not have been the most energetic of cloth cats, but with his striped coat and tall tales, he remains the most memorable. Only 13 episodes of his iconic show were ever made. His producers wanted to make more, but their title star wouldn’t take any calls. 24. Art Attack Neil Buchanan’s endlessly inventive series turned everyday household items into works of art, inspiring generations of children to get creative. Whether it was giant outdoor masterpieces or simple kitchen-table crafts, Art Attack made creativity feel accessible to everyone. Blending practical skills with imagination, it encouraged children to experiment, problem-solve and express themselves — a perfect example of television that actively gets its audience thinking and doing. 25. Horrible Histories These tales of "history with the nasty bits left in" managed the unthinkable — making the past both factually accurate and laugh-out-loud funny. Blending sketch comedy, music and sharp writing, Horrible Histories has become a benchmark for educational entertainment. Its continued success across revivals, specials and spin-offs underlines its enduring appeal, proving that learning can be as entertaining as it is enlightening. 26. Postman Pat Pat Clifton was a simple postman, but an inexhaustible supply of perils and parcels made him the star of his own TV series for more than 30 years, leaving just one question – exactly how old was the cat? 27. Bluey Few children’s shows have achieved the universal acclaim of Bluey. This Australian animation follows an energetic Blue Heeler pup and her family, transforming everyday moments into imaginative adventures. Celebrated for its warmth, humour and emotional intelligence, it has become a rare crossover hit — as beloved by parents as it is by children — and a defining show of modern children’s television. 28. Press Gang Before he dazzled us with Sherlock and Doctor Who, Steven Moffat cut his writing teeth on this children’s drama, which earned plaudits for its honesty and humour, and made stars out of Julia Sawalha and Dexter Fletcher. 29. Bill and Ben A simple setting and reed-thin plots, consisting mainly of them saying "Flobbalob" while friend Little Weed chimed in with "Weeeed", didn’t stop two little men in clay pots and straw hats exerting a unique grip on the nation’s imagination. 30. Rainbow Many questions remain unanswered about this deceptively innocent show. Was Zippy our first small screen anti-hero? Did Geoffrey have any human friends? Was it all a psychedelic dream? And why did Bungle wear pyjamas? 31. JoJo & Gran Gran A landmark for British children’s TV, JoJo & Gran Gran centres on the everyday adventures of JoJo and her grandmother, exploring family life, community and culture. With its gentle storytelling and authentic representation, the series has earned critical acclaim and awards recognition, marking an important step forward for diversity and inclusion in preschool programming. 32. The Really Wild Show Terry Nutkins led the team bringing their enthusiasm for wildlife to screen. Viewers tuned in for dancing with dolphins, cuddles with koalas, and the wildest living thing of all, young Chris Packham’s hair. 33. Get Your Own Back Children ganged up on an adult guilty of a ‘crime’ and made them take part in a humiliating series of games, before being gunged in the finale. Look out for the 21st century reboot, Get Your Own Therapist. 34. Wacaday A man born for children’s TV, Timmy Mallett presided over an ambitious six series a year, with elements ranging from educational overseas cultural videos to the more simple delights of ‘ Drop Your Toast’ and Mallett’s Mallet. 35. Why Don’t You? Inspired by a theme tune every fan can still sing, teams of school children read out hobby suggestions from viewers who'd written in, and ended up riding horses or cutting out star-shapes. Definitely more innocent times. 36. Captain Scarlet and the Mysterons Darker and more complex than many of its contemporaries, Captain Scarlet and the Mysterons saw Gerry Anderson push children’s television into more ambitious territory. With its striking visuals, tense storytelling and underlying themes of identity and conflict, it stood apart from more straightforward adventure shows. 37. Chorlton and the Wheelies An animation series set in Wheelie World, where the wheelies’ peace of mind was oft-threatened by a lack of wheels and the evil machinations of Fenella the Kettle Witch. Fortunately, they also had Chorlton, the happiness dragon. 38. ChuckleVision The CBBC generation’s answer to Laurel and Hardy, the Chuckle Brothers got themselves into similar scrapes of slapstick farce, stepping into paint pots, standing on hosepipes and dishing out catchphrases for 21 series. 39. The Baby Club Designed for the very youngest viewers, The Baby Club offers a thoughtful mix of songs, sensory play and real-life interaction between babies and carers. Its research-led approach and emphasis on early development have made it a standout in preschool television, praised for creating a genuinely engaging experience for both children and their parents. 40. Take Hart From the first notes of Stanley Myers's mournful 'Cavatina', every fan will think instantly of The Gallery, one memorable part of the world of supernaturally calm Tony Hart, his diminutive assistant Morph and angst-ridden caretaker Mr Bennett. 41. The Tomorrow People This 1970s sci-fi drama followed a group of teenagers who all looked perfectly normal but were, in fact, superior beings, blessed with paranormal powers, including the ability to teleport at the touch of a belt buckle. 42. Watch with Mother This series deliberately included the word ‘Mother’ to allay fears that TV would somehow replace parenting. It included the era-defining titles 'Andy Pandy', 'Rag, Tag and Bobtail' as well as giving the 'Flower Pot Men' their debut. 43. Finders Keepers Teams had to raid rooms for hidden objects, clues and prizes. Highlights included children’s innate competitiveness, cameo celebrity appearances and, in Neil Buchanan, a host from the Timmy Mallett school of tireless enthusiasm. 44. Noggin the Nog Considered a cult classic of children’s TV, Noggin was a kindly, Viking-esque King of the Northmen, constantly fending off his uncle Nogbad the Bad to protect his citizens, his wife Nooka and his son Knut. 45. The Rottentrolls More puppet action in the valley of Troller’s Ghyll, where young Roger fell off his bike and met the Rottentrolls – a charming bunch of three-foot-high creatures who stopped squabbling long enough to make him their king. 46. Mr Benn Every morning, Mr Benn left his house at 52 Festive Road, walked into a fancy-dress shop, swapped his bowler hat for a costume, entered a magical world and secured his place as a children’s TV legend. 47. The Queen's Nose Adapted from the novel, this drama first came to screen in 1995, following the adventures of 10-year-old Harmony Parker after she received a present from her uncle, a magic coin granting her seven special wishes. 48. Hey Duggee With its colourful animation and inventive storytelling, Hey Duggee has become one of the most celebrated preschool series of recent years. Each episode follows Duggee and the Squirrels as they earn badges through creative adventures. Winner of multiple BAFTAs, the show’s playful humour and surprising wit give it cross-generational appeal, securing its place as a modern classic. 49. The Clangers Despite speaking only in whistles, feeding on just green soup and blue string pudding on their faraway planet, this family of small pink knitted things have kept their curious and enduring hold on fans’ affections. 50. Peppa Pig Since her debut in 2004, the animated adventures of Peppa, family and friends have aired all over the world, turning her into a global superstar and a merchandising phenomenon with her own theme park. To find out what's on TV visit our TV Guide and Streaming Guide. For more TV recommendations and reviews, listen to The Radio Times Podcast.
It's not often that you'll see 1989's Licence to Kill celebrated as the best of Bond – too frequently, Timothy Dalton's second outing as 007 languishes near the bottom of lists, written off as a misjudged attempt to compete with violent '80s action cinema. The film strayed too far from the classic Bond formula, its critics would argue, and failed to connect with audiences as a result. Not helping its muddied reputation is the fact that following its release the Bond franchise went on a then-unprecedented six-year hiatus, with Dalton replaced as leading man when the series did eventually resume with 1995's GoldenEye. It's true that the film is a significant departure from what came before. Drawing more heavily on the source material of Ian Fleming's novels than any movie in the series since the early Sean Connery entries, Licence to Kill sees Bond on a mission of vengeance, our hero ousted – at least temporarily – from MI6 as he seeks bloody retribution against Franz Sanchez (played by Robert Davi), a drug lord responsible for maiming Bond's CIA ally Felix Leiter (David Hedison) as well as the murder (and, it's implied, the rape) of Felix's new bride Della (Priscilla Barnes). The Man with the Golden Gun, this ain't. It's also undeniable that the movie earned a mixed reception from contemporary critics – though there were some positive notices for Dalton's performance and attempts made to modernise 007. The Guardian argued that Licence to Kill lacked "flair", the Daily Express called it "dull" and "tiresome", while The Sunday Times lamented that "any vestiges of the gentleman spy [...] by Ian Fleming" had disappeared, with Bond they claimed now a vengeful vigilante akin to the protagonist of the same year's Batman movie. Read more: How to choose the next James Bond, with casting boss Debbie McWilliams The numbers also speak for themselves – though it grossed more than four times its budget, Licence to Kill earned the lowest box office return of any Bond film to date (adjusted for inflation). The notion though that the film's producers regarded it as a failure, pulling the brakes on Bond until they were able to return with a revived franchise and new star in the form of Pierce Brosnan, is provably false. Pre-production on the 17th film in the franchise, intended to again feature Dalton as Bond, began in May 1990 – a poster for the planned sequel was even displayed during the 1990 Cannes Film Festival. It was a lengthy legal tussle between MGM, parent company of the Bond series' distributor United Artists, and Danjaq, owners of the Bond film rights, that led to production stalling for a number of years, with Dalton's original contract expiring by 1993. In April the following year, he released a statement announcing his "difficult decision" to step away from Bond, explaining that while he'd been asked to resume his role, it was "now time to leave that wonderful image behind and accept the challenge of new ones". With the benefit of hindsight, Licence to Kill also feels less like an anomaly in the 007 franchise and more like a trailblazer. Bond going rogue, not carrying out a government-assigned mission but instead pursuing a more personal mission with extreme prejudice? You might be describing either Licence to Kill or any of the Daniel Craig-starring films that followed his debut in 2006's Casino Royale. The similarities don't end there, though. As in Craig's entries, the mood is dark, the puns are sparse, and Bond's womanising is kept to a minimum, with both female leads – Carey Lowell as ex-Army pilot and DEA informant Pam Bouvier and Talisa Soto as Sanchez's girlfriend Lupe Lamora – having a part to play in the narrative other than acting as "disposable pleasures". Bond's relationship with Sanchez is also pleasingly complex, an undercover 007 psychologically toying with his unwitting opponent in a foreshadowing of the games of cat-and-mouse he would play with Casino Royale's Le Chiffre (Mads Mikkelsen) or Raoul Silva (Javier Bardem) from 2012's Skyfall. There is absolutely a strong flavour of '80s action cinema to Licence to Kill – Frank McRae, known for a memorable turn as an irascible police captain in 1982's 48 Hrs, plays Bond's accomplice Sharkey, while both primary antagonist Davi and supporting player Grand L Bush (Leiter's DEA colleague Hawkins) are lifted from the cast of the previous year's Die Hard. But, remove its 1980s skin and the film sits neatly alongside Craig's less outrageous, more personal Bond outings which were so warmly received by critics and audiences over the past two decades. Dalton's Bond, it appears, simply landed at the wrong time – the series faced the almost impossible task in the late 1980s of segueing from the frothier films starring Roger Moore that fans had become used to into the types of movies that could compete with the action movies du jour, violent thrillers like 1987's very un-Bond-like Lethal Weapon. Reverting to formula might have left 007 looking outdated, but changing too much risked inviting criticism that the franchise had lost its flavour. Craig – for all the unwarranted flack he earned over his casting – actually faced less of a challenge, with the popular Jason Bourne series of films having set a precedent for escapist spy thrillers that nonetheless featured a flawed, vulnerable protagonist. It's no surprise, then, that Dalton was such a fan of his successor. "There’s a case to be made that Daniel Craig is the best Bond ever, or at least in a very long time," he told the Los Angeles Times in 2012. "With Roger Moore it was a pastiche that almost became a parody at the end. And with Pierce [Brosnan], I think he wanted to go darker and deeper but that wasn’t what those movies were. "Daniel Craig’s Bond movies are absolutely modern, up-to-date versions, but they’re also the legitimate heir of [the first two Bond movies] Dr No and From Russia with Love." Buy the James Bond novels from Waterstones Looking past the reviews and the disappointing box office – both perhaps symptoms of a contemporary audience simply not being ready for the stripped-back Bond that Dalton was offering – and an unrelated hiatus, what's left when examining Licence to Kill is in fact a formula for future success, albeit one that wouldn't profit 007 for another 17 years. Ironically, where the Bond franchise goes next feels now more uncertain than at any point since that post-Licence to Kill hiatus, with long-time custodians Barbara Broccoli and Michael G Wilson stepping back from creative control. As Amazon takes a greater role in shaping 007’s future, the series is once again at a crossroads, not unlike the one it faced in the late 1980s. View Green Video on the source website There are, however, early signs that the lessons of Licence to Kill – and the tonal reset later embraced during the Daniel Craig era – haven’t been forgotten. The appointment of Denis Villeneuve as director of the next Bond film points towards a continuation of that more serious, textured approach. Known for the brooding grandeur of Dune and the meditative intensity of Blade Runner 2049, Villeneuve has described Bond as "sacred territory", signalling an intent to honour the franchise’s traditions while opening up "a new path". If his past work is anything to go by, that path may well lean into a more deliberate, atmospheric style of storytelling – one that prioritises character, mood and visual weight over quips and spectacle. That instinct appears to be shared by Bond 26 screenwriter Steven Knight, who has described Bond as a "modern myth", suggesting a renewed focus on the character’s symbolic power rather than simply his surface-level thrills. Reflecting on what comes next, Timothy Dalton himself has suggested that while evolution is inevitable, the core of Bond should remain intact. "It's a wonderful franchise," he told Radio Times last year. "The movies have taken different courses over the years, but there is something very good about the original and I hope Amazon latch onto that and give us the kind of film that's brought so much excitement and fun to so many people." If Dalton’s Licence to Kill was once dismissed as an outlier, history has been kind to its instincts. As Bond prepares for yet another reinvention, it’s striking that the qualities once criticised – seriousness, emotional stakes, a willingness to break from formula – now look less like missteps and more like a blueprint. Every James Bond movie ranked, from worst to best Licence to Kill is available to rent or buy now on Prime Video. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Watch Apple TV's new drama Star City before it launches – exclusive preview and cast Q&A
Radio Times readers can get an early look at Apple TV's highly anticipated new drama with a special screening of the first two episodes.
Apple TV's next big drama is almost here – and Radio Times readers have the chance to see it before anyone else. We're offering an exclusive opportunity to catch Star City, the highly anticipated new space-race series, ahead of its official launch, with a special preview screening and cast Q&A in London. Taking place on Wednesday 29 April, the Radio Times reader event will showcase the first two episodes of the gripping new drama, followed by a live Q&A with stars Rhys Ifans and Anna Maxwell Martin, alongside creatives from the series. The event will be held at Screen 1, The Cinema in the Power Station, Battersea (London, SW11 8BJ), with a drinks reception from 6:30pm ahead of the screening at 7:15pm. Best of all, tickets are completely free for Radio Times readers. To secure your place, visit seetickets.com/tour/radio-times-and-apple-tv-preview-star-city or scan the QR code featured in the latest issue of Radio Times. Set against the backdrop of the high-stakes space race, Star City promises to deliver a compelling mix of ambition, rivalry and human drama, with Ifans and Maxwell Martin leading a stellar cast in what’s already shaping up to be one of the most talked-about series of the year. Guests attending the event will be among the very first to experience the show, with an exclusive preview of episodes 1 and 2 ahead of its debut on Apple TV. Why not get ahead of the crowd and see it before everyone else? Read more: For All Mankind renewed for season 5 and brand new spin-off announced For All Mankind spin-off series release date confirmed with first look at "gripping" space-race drama Don’t miss your chance to be among the first to see Star City on the big screen – tickets are free but limited, so head to seetickets.com/tour/radio-times-and-apple-tv-preview-star-city now to secure your place. Add Star City to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
HBO responds to question of a potential Doctor Who partnership with the BBC
HBO boss Casey Bloys breaks silence on Doctor Who rumours after Disney+ exit — and refuses to rule out a future partnership.
HBO boss Casey Bloys has responded to reports linking the broadcaster to Doctor Who, following the conclusion of the BBC's deal with Disney+. Disney+ partnered with the BBC beginning with 2023's 60th anniversary Doctor Who specials, followed by two subsequent seasons of the sci-fi series and a spin-off, The War Between the Land and the Sea. It was announced in October 2025 that the deal would not be extended, though the BBC’s director of drama commissioning Lindsay Salt insisted that the corporation itself remains "fully committed to Doctor Who", announcing a 2026 Christmas special from showrunner Russell T Davies. Last month, Salt was asked by Deadline if HBO Max could act as a new streaming partner on Doctor Who, following co-production deals between HBO and the BBC on upcoming series Half Man (from Baby Reindeer's Richard Gadd) and the Michaela Coel vehicle First Day on Earth. Salt did not rule out the possibility, noting that HBO "have been great partners creatively". In conversation with Radio Times, Casey Bloys (chairman and CEO, HBO and Max Content) was asked if he'd be interested in partnering on Doctor Who – and Bloys also seemed open to the idea. "It has not been presented to us," he clarified. "As with anything, I would say 'Never say never' – it's just not something that I know about." The last season of Doctor Who ended on a surprising twist, bringing Ncuti Gatwa’s time as the Doctor to a dramatic close. In the closing moments, the Doctor began to regenerate, only for the new incarnation to be revealed as a shock returning face: Billie Piper. Her brief appearance left fans stunned and set the Whoniverse buzzing with speculation about what comes next... Back in December, writer/producer Davies revealed that he had shared plot details for the upcoming Christmas special with BBC bosses – and apparently what's to come left them "with jaws agape, loving it". View Green Video on the source website HBO Max launches in the UK and Ireland on 26 March. Visit hbomax.com for more information. Doctor Who is available to watch on BBC iPlayer. Add Doctor Who to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" class="x_OWAAutoLink" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Sci-fi coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
HBO boss Casey Bloys talks Harry Potter, The Pitt, key franchises and big new bets as network launches streamer in UK
From big IP to low-budget experiments, HBO’s boss explains how the network decides what’s worth making.
The man shaping HBO’s future is thinking less about algorithms and more about instinct. As Casey Bloys, chairman and CEO of HBO and Max Content, looks ahead to the UK launch of HBO Max on Thursday 26 March, his guiding principle remains strikingly simple: make television people will pay for – and make it unlike anything else. "One of the things about working at HBO for as long as I have… is that, before streaming, we were unique in that we were television people were asked to pay for," he says. "So in development, we would naturally ask ourselves: does this feel like television worth paying for?" It’s a deceptively powerful framework – one that has shaped everything from Game of Thrones to Euphoria – and continues to underpin HBO’s strategy as it expands its direct-to-consumer offering in the UK. Bloys is clear that there is no single answer to that question. "Does it feel like a spectacle? Does it feel cinematic? Does it feel like it’s pushing boundaries in some way? Does it feel like it’s breaking new talent that you wouldn’t see somewhere else?" What matters, he suggests, is not the definition but the discipline of asking. "There are many ways to approach it… but the fact that we’re asking the question has been a good guide for us." Just as important is what that question rules out. "One of the things we’ve also asked over the years… is whether it feels like something you could see somewhere else or not." That instinct – to differentiate rather than replicate – has been key to HBO’s evolution, even when it has meant challenging internal assumptions. Bloys recalls how Girls once felt unusual for the network, given the long-held belief that the "male head of household" was the primary cable subscriber. Game of Thrones, meanwhile, initially struck some as an outlier. "I remember when it came out it felt a bit like 'swords and sandals'," he says. "Something like Euphoria... we’d never had a protagonist be that young." What links those shows is not genre but risk – and a willingness to back ideas that don’t fit the mould. "I’ve been lucky enough… never to have worked for people who made me feel like, 'If this show doesn’t work, that’s it," Bloys says. "I would like to think I create the same environment… trying things and not being afraid to fail. Some things work, some things don’t, and understanding that failure is part of the process." That philosophy has allowed HBO to greenlight projects that might otherwise have seemed unlikely. Industry, for instance, began as a low-budget experiment – a Cardiff-shot series built around writers with real-world finance experience and actors fresh out of drama school. "It was really kind of an experiment: could we do a show for a relatively small budget… and used young talent… was there something in that low cost model that would make sense?" Bloys explains. "It was a very easy yes… and it felt like a really interesting way to approach something." Five seasons on, the show is coming to a close – a decision driven as much by creative ambition as longevity. "It’s been five seasons… they’ve reinvented it so many times," he says. "I think five seasons is a really good run… I’d love to see what else they [series creators Mickey Down and Konrad Kay] could do." Elsewhere, series like The White Lotus and even the original pitch for a drama, Succession, from comedy writer Jesse Armstrong underline the same point: experimentation is not the exception at HBO – it’s the system. "Sometimes you’re rewarded when you take a shot, sometimes you’re not," Bloys says. "But you can’t overthink it or over-prescribe anything." View Green Video on the source website In a streaming landscape increasingly defined by short seasons and long gaps, that mindset has also led HBO to identify opportunities in what others have left behind. With The Pitt, the network is deliberately reviving a "lost art" — the longer, broadcast-style season. "One of the things… we would do sometimes is look around the landscape and see what’s not being done," Bloys says. "A lot of people were chasing us… seven or eight episodes, prestige series… and one of the things that kind of got neglected was… broadcast-style shows." The result is a 15-episode season designed to return annually – a rarity in modern prestige television. "People have been busy… doing seven, eight episodes… every year-and-a-half to two years," he adds. "So when we looked around and said, 'Well, what’s not there?’ – that kind of show… felt like something that was missing." Crucially, it’s not just about volume but reliability. "I know every January we’re going to have a new season," Bloys says. "You have to set up a show that you’re able to produce on an annual basis… writers who know how to turn around a show." If that approach reflects a broader willingness to zig where others zag, HBO’s strategy around major IP is defined by restraint. Despite the enduring popularity of Game of Thrones, Bloys is wary of overextending the franchise. "I don’t like to make any decisions ahead of time, like 'we need so many spin-offs'… because you may compromise," he says. "We’ve had exactly two spin-offs… and a lot of speculation elsewhere." Development, he insists, remains a numbers game – but one where commitment comes late. "You really do have to develop a lot of things… without committing to a show." The same philosophy applies to other properties, including Dune, which recently saw a spin-off in the form of the Dune: Prophecy series. "Just because something is big IP… nothing guarantees that people are going to tune in… or that the audience will be big and stay big," he says. "You still have to develop… find shows that are worthy." Even the much-anticipated TV adaptation of Harry Potter is being approached with restraint. "The idea is not to… turn it into a DC or a Marvel," Bloys says. "The idea is to go in and do the books." That means a longer-form, more detailed interpretation – with room for expansion. "There will be things in the show that were not in the movie… but are not off-canon," he explains. "The opportunity… is to spend more time with the books." Elsewhere, future plans remain fluid. A third season of The Last of Us may mark the end of that story, while a potential adaptation of Baldur's Gate is still in early discussion. For Bloys, the through-line is consistency of philosophy rather than certainty of outcome. HBO’s future, like its past, will be defined by the same central question — and the willingness to keep evolving around it. "I think because you’ve got a core of people who’ve been there a long time and think about that development process — asking, is it worth paying for, is it new — there’s a built-in evolution," he says. "If you look at different points along the way… part of what makes HBO work is that, by definition, in our DNA we’re not trying to do the same thing over and over again." And as HBO Max arrives in the UK, that refusal to stand still may be its greatest asset. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Will there be more Dune spin-offs after Prophecy? HBO boss speaks on franchise future
HBO’s Casey Bloys weighs up the future of Dune on TV – and why more spin-offs aren’t guaranteed.
HBO boss Casey Bloys has addressed the future of the Dune TV universe, suggesting that while more spin-offs are possible, the network is taking a careful, quality-first approach. Dune: Prophecy, a prequel to the Denis Villeneuve films Dune and Dune: Part Two, premiered on HBO in November 2024, with a second season now in the works. Fans have already begun speculating about what other stories from the franchise could make it to screen, but Bloys (chairman and CEO of HBO and Max Content) made clear that nothing is being rushed into production. "I think with all of these properties, you could see… I mean, putting aside that there are various constraints about what you can and can't do, show-by-show… but I think with any show, you can imagine various prequels, sequels, whatever," he told Radio Times. "But even with that, I go back to… I look at it script-by-script. You know, just because something is big IP in terms of viewership or fan base, nothing guarantees that people are going to tune in… well, maybe they'll turn in initially, but nothing guarantees the show will be good or that the audience will be big and stay big." Bloys added: "There's no guarantees to it at all. So [IP is] a nice thing to have, but you still have to develop. You still have to go through development and find shows that are worthy of investing your time and money in." View Green Video on the source website The comments echo HBO’s broader strategy with its biggest franchises, including the ever-growing world of Game of Thrones, where spin-offs are developed cautiously rather than commissioned en masse. For now, the focus remains firmly on Dune: Prophecy, which explores the origins of the Bene Gesserit and expands on the universe created by Frank Herbert. While further spin-offs have not been confirmed, Bloys’s remarks suggest HBO is open to exploring more stories from Arrakis – provided they meet the same high standards. Fans will have to wait and see whether Dune: Prophecy proves to be the beginning of a broader small-screen universe, or simply a standalone addition to one of sci-fi’s most iconic franchises. Read more: HBO boss reveals why Industry is ending with season 5 – and hints at next project from show creators Harry Potter TV series spin-offs are not planned at HBO, confirms network CEO The Last of Us future addressed by HBO boss – plus update on Baldur’s Gate series HBO boss reveals how hit medical drama The Pitt recaptures a "lost art" in television HBO Max launches in the UK and Ireland on 26 March. Visit hbomax.com for more information. Check out more of our Fantasy coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
HBO boss reveals why Industry is ending with season 5 – and hints at next project from show creators
Industry is set to end with season 5, as HBO boss Casey Bloys reflects on its bold beginnings – and teases what its creators might do next.
HBO boss Casey Bloys has opened up about the decision to bring Industry to a close with its upcoming fifth season – while also teasing what could come next from its creators. Industry originally followed the personal and professional lives of a group of young graduates who begin their careers at Pierpoint & Co, a prestigious London investment bank, with later seasons broadening the scope of the story to explore the wider UK financial world and the powerful institutions shaping it. The finance drama, created by Konrad Kay and Mickey Down, began life as something of an experiment for HBO, according to Bloys (chairman and CEO, HBO and Max Content). "It’s interesting because the origins were [executive producer] Jane Tranter and I talking, and it was really kind of an experiment,” he told Radio Times. "Could we do a show for a relatively small budget… she’s got a studio in Cardiff, and if we came up with something that we could shoot in Cardiff and used young talent – like, basically kids out of drama school – was there something in that low-cost model that would make sense?" Bloys revealed that the project quickly came together after Kay and Down pitched their idea, drawing on their own experiences in the finance world. "She came to me with this idea that Konrad and Mickey had pitched to her… about basically a young analyst training programme," he said. "It was a very easy yes." He added that the show’s fresh approach – both in front of and behind the camera – was a major part of its appeal. "They were relatively new writers, and it felt like a really interesting way to approach something, to go in and say, we’re going to cast people right out of drama school and give these young writers a shot and see what happens. I love how it turned out." View oEmbed on the source website Now, with the series approaching its fifth outing, Bloys believes the timing is right to wrap up the story. "In terms of 'why now?', I mean, it’s been five seasons… I think five seasons is a really good run," he said. "They’ve reinvented it so many times and taken these characters where they plan to take them in season five, so it felt like a good place to leave them." Bloys also hinted that ending Industry could pave the way for new projects from its creators – something he’s eager to see. "I’d also like to see what else [Konrad and Mickey] want to do, and I think they felt that as well. I’d love to see what else they could do." The decision to end the show follows a particularly bleak fourth season finale, which left central characters Yasmin (Marisa Abela) and Harper (Myha'la) in increasingly complicated and morally ambiguous positions, setting the stage for a final chapter that could push them even further... Read more: Harry Potter TV series spin-offs are not planned at HBO, confirms network CEO The Last of Us future addressed by HBO boss – plus update on Baldur’s Gate series HBO boss reveals how hit medical drama The Pitt recaptures a "lost art" in television HBO Max launches in the UK and Ireland on 26 March. Visit hbomax.com for more information. Add Industry to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Game of Thrones spin-off plans get update from HBO boss as he notes "script by script" approach
HBO boss Casey Bloys shares a fresh update on Game of Thrones spin-offs, revealing why the network is taking a cautious approach to expanding the franchise.
HBO boss Casey Bloys has offered a fresh update on the future of the ever-expanding Game of Thrones universe – making it clear that the network is taking a cautious, quality-first approach to any potential spin-offs. Speaking about the franchise’s future, Bloys (chairman and CEO, HBO and Max Content) stressed that HBO is deliberately avoiding committing to a set number of new shows, instead evaluating projects on an individual basis. "You know, we kind of take an individual approach," he told Radio Times. "I don’t like to make any decisions ahead of time, like 'we need so many spin-offs' because I think when you do that, you put yourself in a position where you may compromise." He continued: "So I like to do it on a script-by-script basis." The comments come as interest in the world of Westeros remains high following the success of House of the Dragon and a second season of another spin-off, A Knight of the Seven Kingdoms, also on the way. However, Bloys was keen to emphasise that not everything in development will make it to screen – despite frequent speculation from fans. "I think one of the challenges with a show or a franchise that’s as popular as Game of Thrones is kind of anything we develop will get speculated about, talked about, and some people will think it’s an actual show," he said. "And I always do like to remind people we’ve had exactly two spin-offs… and a lot of speculation elsewhere." Bloys went on to explain that developing multiple ideas is a necessary part of finding the right projects – even if many don’t progress beyond the early stages. "In order to get the best shows, you really do have to develop a lot of things… not just for Game of Thrones, but for television in general," he said. "You try a lot of things. Some things you think are going to be good may actually be good. Some don't turn out well." "So you really just have to give yourself that ability to try a lot of different things without committing to a show. That process of development works for us." Bloys's comments follow recent reports of potential spin-offs in development featuring the characters of Jon Snow (Kit Harington) and Arya Stark (Maisie Williams). For now, fans can look ahead to the next chapter in Westeros with season two of A Knight of the Seven Kingdoms and the upcoming third season of House of the Dragon, while HBO continues to quietly explore other possibilities behind the scenes. View Green Video on the source website Read more: Game of Thrones movie tipped to be in development from Andor writer – and it concerns House Targaryen George RR Martin confirms all-new Game of Thrones prequel set just 10 years before original series HBO Max launches in the UK and Ireland on 26 March. Visit hbomax.com for more information. Check out more of our Fantasy coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Harry Potter TV series spin-offs are not planned at HBO, confirms network CEO
HBO’s Harry Potter reboot promises a deeper, “books plus” retelling – but don’t expect a sprawling Wizarding World franchise to follow.
HBO is embarking on a new adaptation of the Harry Potter book series – but don't expect any spin-offs exploring other aspects of the Wizarding World. It's been 16 years since the much-loved film series starring Daniel Radcliffe concluded, and an ambitious new screen version inspired by JK Rowling's novels has been confirmed to be arriving over Christmas 2026. But while the previous films were followed by a spin-off trilogy in the form of the Fantastic Beasts and Where to Find Them movies, Casey Bloys (chairman and CEO, HBO and Max Content) has insisted that the new TV series is not intended as a launchpad for any kind of Harry Potter shared universe on-screen. "First of all, we'll be so busy… adapting the books is going to be a long process," Bloys told Radio Times. "So, no, the idea is not to go into this and turn it into, you know, a DC or a Marvel, or anything like that. The idea is to go in and do the books. "The opportunity, the creative opportunity, is to spend more time to spend more time with the books than an arbitrary two-hour runtime of a movie." Bloys added that he is "thrilled" with what he's seen of the Harry Potter series so far, describing it "books plus" – in other words, both adapting and expanding on the original novels. "There will be things in the show that were not in the movies, but also were not necessarily in the books, but are not off-canon, you just didn't necessarily see them," he hinted. View oEmbed on the source website Dominic McLaughlin will take on the role of Harry Potter in the new series, joined by Alastair Stout as Ron Weasley and Arabella Stanton as Hermione Granger. Meanwhile, John Lithgow will take on the role of Professor Albus Dumbledore, with Paapa Essiedu as Severus Snape, Janet McTeer as Minerva McGonagall and Nick Frost as Rubeus Hagrid. Harry Potter author JK Rowling has faced backlash in some quarters due to her views on transgender rights. In 2020, she published a lengthy statement detailing her stance on sex and gender debates – the essay was criticised and disputed by LGBTQ+ charities including Stonewall. Rowling has also shared her views on social media, including in a 2024 post on X (formerly Twitter), in which she insisted that “there are no trans kids” and opposed the idea that a child can be “born in the wrong body”. In May 2025, Rowling set up the JK Rowling Women’s Fund, which describes itself as offering legal funding support to “individuals and organisations fighting to retain women’s sex-based rights”. Harry Potter actors including Daniel Radcliffe, Rupert Grint, and Emma Watson, have distanced themselves from Rowling's views and have issued statements supporting the transgender community. Others, including Ralph Fiennes, Helena Bonham Carter and Jim Broadbent, have defended the author from the criticism she has received. HBO Max launches in the UK and Ireland on 26 March. Visit hbomax.com for more information. Harry Potter and the Philosopher's Stone arrives on the platform over Christmas 2026. 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.
Grey's Anatomy legends confirmed to depart series after 18 years in beloved roles
Two of Grey’s Anatomy's most popular doctors are scrubbing out for good, as Kim Raver and Kevin McKidd exit the long-running drama after nearly two decades.
Grey’s Anatomy will say goodbye to two of its longest-serving stars, as Kim Raver and Kevin McKidd are set to leave the hit medical drama in its upcoming season 22 finale. Raver and McKidd – who play fan favourites Dr Teddy Altman and Dr Owen Hunt – will bow out when the final episode airs on Wednesday 7 May on ABC in the US. The pair have been central to the show for nearly two decades, with McKidd joining in season 5 in 2008 and Raver arriving in season 6 before becoming a series regular in 2010. Their characters’ on-off relationship – which saw them meet as Army majors in Iraq before eventually marrying in season 18 – has been one of the drama’s most enduring storylines. Despite a turbulent recent chapter, which saw Teddy and Owen divorce after a failed attempt at an open marriage, there are hints the duo could still get a happy ending. Series creator Shonda Rhimes teased as much, saying it was "both bittersweet and joyful to give this couple the happy ending their story deserves". Their exits have been described as a creative decision, and – in keeping with other Grey’s Anatomy departures – the door has been left open for potential future returns. Over the years, both actors have made a major impact behind the camera as well. McKidd has directed 48 episodes since 2011, including the upcoming finale, while Raver has stepped into the director’s chair on multiple occasions since season 19. Reflecting on his time on the show, McKidd said: "Grey’s Anatomy has been a huge chapter of my life, creatively and personally... Playing Dr Owen Hunt and directing on the show have both shaped me enormously." Raver added that portraying Teddy Altman "will always hold a dear and special place in my heart", thanking fans for their "unwavering devotion" over the years. Showrunner Meg Marinis paid tribute to both actors, praising McKidd’s "extraordinary depth and heart" across 18 seasons and Raver’s "fierce and raw portrayal" of Teddy, adding: "This is never truly a goodbye." Production has now wrapped on season 22, with four episodes still left to air. Read more: Patrick Dempsey opens up about loss of "wonderful" Grey's Anatomy co-star Eric Dane Grey's Anatomy is available to stream on Disney+. You can sign up to Disney+ from £5.99 a month now. Add Grey's Anatomy to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
The Last of Us future addressed by HBO boss – plus update on Baldur’s Gate series
HBO boss Casey Bloys hints The Last of Us could end with season 3, as Craig Mazin maps out the final chapter of the hit drama.
HBO is staying in business with The Last of Us showrunner Craig Mazin – even if the next season of the post-apocalyptic drama is shaping up to be its last. A third season was announced back in April 2025, before the second had aired, with Mazin later confirmed to be taking the helm as sole creative helm following the departure of co-showrunner Neil Druckmann. Speaking to Radio Times, Casey Bloys (chairman and CEO, HBO and Max Content) confirmed that the upcoming run of episodes – which will see Abby (Kaitlyn Dever) take centre stage – is expected to bring the series to a close. "I believe that's where Craig is thinking," said Bloys. "We always leave the the door open, but I believe that's where he is thinking." The series wrapping up would allow Mazin to move on to new projects, including a Baldur's Gate television show, with Bloys indicating that the writer/producer would not focus on this new video game adaptation until after The Last of Us has concluded. "Anything that Craig is interested in, I'm interested in," Bloys said of the Baldur's Gate series. "Obviously, he's deep into season 3 of The Last of Us – but Baldur’s Gate was something he brought to us. He's very passionate about it, and he's thinking about it, and we've talked about it, but he's going to focus on The Last of Us, and then come back to [Baldur’s Gate] when he's got more time." Baldur's Gate is a series of roleplaying video games set in the Dungeons & Dragons universe, but rather than adapting one game or a series of games, Mazin's television project will reportedly be a sequel, taking place immediately after the events of Baldur’s Gate 3. The third season of The Last of Us began filming this month (March 2026) and is expected to air in 2027, with Bella Ramsey and Isabela Merced returning to the cast, alongside new cast additions Jason Ritter, Patrick Wilson and Clea DuVall. Jorge Lendeborg Jr will also join the cast, replacing Danny Ramirez in the role of Manny due to scheduling conflicts. Season 2 left the audience on a cliffhanger, leaving the fate of Ellie (Ramsey) hanging in the balance following a brutal encounter with Abby. Watch our Arcade Hang interview with Baldur's Gate actor Neil Newbon: View Green Video on the source website Read more: The Last Of Us casts Bridgerton and Star Wars: Skeleton Crew actors as Yara and Lev for season 3 The Last of Us seasons 1-2 are available to watch on HBO Max, launching in the UK and Ireland on 26 March. Visit hbomax.com for more information. Add The Last of Us to your watchlist on the Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Sci-fi coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
HBO boss reveals how hit medical drama The Pitt recaptures a "lost art" in television
HBO's Casey Bloys says The Pitt is bringing back a "lost art" – a punchy, 15-episode medical drama built to return, year after year.
Highly-anticipated medical drama The Pitt will finally be available to watch in the UK from Thursday 26 March – with the entire first season landing on the new HBO Max platform, followed by new episodes of season 2 weekly. The series marks a creative reunion for Noah Wyle and executive producer John Wells, who previously collaborated on the groundbreaking ER. To mark the launch of HBO Max in the UK – with The Pitt as one of its key launch titles, along with new Steve Carell comedy Rooster and a new season of The Comeback starring Lisa Kudrow – Radio Times spoke with Casey Bloys (chairman and CEO, HBO and Max Content) about what he feels sets The Pitt apart from its competitors. "One of the things with The Pitt… what we would do sometimes is look around the landscape and see what's not being done or what's not out there," Bloys explained. "And one of the things that occurred to us was a lot of the people were chasing us [HBO], doing seven or eight episodes, prestige series, limited series, whatever. "And one of the things that kind of got neglected was, for lack of a better word, broadcast-style shows… so more than seven or eight episodes – in the case of The Pitt, 15 episodes – and really the ability to return on an annual basis, which is somewhat of a lost art. "So when we looked around and said, ‘Well, what's not there?’, that kind of show – more than eight episodes and coming back every year – felt like something that was missing." View Green Video on the source website The series is set in the emergency department of Pittsburgh Trauma Medical Center – known as 'the Pitt' – with each season following Dr Michael 'Robby' Robinavitch (Wyle) and staff as they battle a gruelling 15-hour shift amid shortages and limited funding, with every episode unfolding over roughly one hour of that shift. The Pitt premiered on HBO Max in the US on 9 January 2025, with the second launching almost exactly 12 months later – 8 January 2026. "I know every January we're going to have a new season, because we've set it up," Bloys said. "John [Wells] and Noah and [series creator] R Scott Gemmill set it up... you have to, obviously, plan for something like that. You have to set up a show that you're able to produce on an annual basis, and with writers who know how to turn around a show and are able to do 15 episodes of story." For more on The Pitt, you can read our exclusive interview with Noah Wyle, where he opens up about returning to the emergency room and the personal experiences that shaped the series. HBO Max launches in the UK and Ireland on 26 March. Visit hbomax.com for more information. The Pitt season 1 is available to watch from launch – season 2 begins on 2 April. Add The Pitt to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
BAFTA Television Awards 2026 P&O Cruises Memorable Moment Award nominees revealed – here’s how to vote
Six unforgettable TV moments are up for this year’s P&O Cruises Memorable Moment Award – and you can help decide the winner.
Above: the P&O Cruises Memorable Moment trophy. Voting is now open for one of the most talked-about prizes at this year’s BAFTA Television Awards – the P&O Cruises Memorable Moment Award – you can cast your vote now via the official BAFTA site. The award celebrates the most impactful scenes on screen over the past year and is the only category at the BAFTA Television Awards with P&O Cruises decided entirely by the UK public. This year’s shortlist brings together six unforgettable moments spanning drama, comedy and entertainment – and viewers now have the chance to crown the winner themselves. As part of the vote, fans can also enter a prize draw for the chance to win one of 10 pairs of tickets to attend the ceremony at London’s Royal Festival Hall and the P&O Cruises After-Party on Sunday 10 May 2026.* What is the Memorable Moment Award? The P&O Cruises Memorable Moment Award honours the scenes that got the nation talking – whether dramatic, emotional, hilarious or uplifting. A jury of TV experts selects the shortlist, before handing over to the UK public to decide the winner. It’s the only BAFTA Television Award voted for by viewers, making it a true reflection of what resonated most with audiences. This year’s nominees showcase the breadth of British television, from powerful drama to laugh-out-loud comedy and gripping reality TV. Vote now via the official BAFTA site. The nominees Below are the six shortlisted moments, presented in alphabetical order: Adolescence – Jamie snaps at the psychologist Jamie (Owen Cooper) becomes frustrated and then flies into a rage during his assessment by child psychologist Briony (Erin Doherty). Big Boys – “I didn’t make it, did I?” The Narrator (Jack Rooke) informs Danny (Jon Pointing) of his fate in the Big Boys finale episode, before Danny asks Jack for an alternate ending. A sliding-doors moment of the two potential routes Danny could take, becomes a powerful reminder of why anyone struggling should always choose to stay. Blue Lights – The police are warned of an ambush plot PC Grace Ellis (Siân Brooke) and DS Sean Mulholland (Brendan Quinn) are transporting criminal, George McClelland (Conor Mullen), when they receive news of an imminent attempt on George’s life. Exposed and unprotected, Grace must await instruction in order to survive. Last One Laughing – Bob Mortimer and Richard Ayoade’s speed date Comedy legends Bob and Richard go head-to-head to try and make each other laugh on a speed date, while desperately trying to keep a straight face themselves. As they get to know each other, Bob discovers that Richard's parents used to work on different supermarket counters…'meats and cheeses, always pleases'. The Celebrity Traitors – Alan Carr wins In the nail-biting finale of The Celebrity Traitors, David Olusoga and Nick Mohammed are flabbergasted to discover that Alan Carr is a Traitor. After confessing all, Alan apologises and breaks down in tears but is comforted and congratulated by the others in a heartwarming end scene. What It Feels Like for a Girl – Byron becomes Paris Byron (Ellis Howard) shares an emotional farewell with her mum before boarding a bus to Brighton. Reflecting on her journey, she attends her first university lecture, introducing herself for the first time as Paris. How to vote Voting is open now and will close at 9pm on Wednesday 22 April 2026. To take part, simply head to the official BAFTA voting page and select your favourite moment. As well as having your say, you can also enter a prize draw for the chance to win tickets to the BAFTA Television Awards with P&O Cruises*. The ceremony itself will take place on Sunday 10 May 2026 and will be broadcast on BBC One and BBC iPlayer. *Enter by 9pm on 22nd April. UK residents 18+ only, T&Cs apply Visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Dame Jenni Murray remembered: her deeply personal call for dignity in death
The late broadcaster’s powerful words on loss, dignity and the end of life.
Broadcaster Dame Jenni Murray, best known for hosting BBC Radio 4’s Woman’s Hour for more than three decades, has died at the age of 75. A defining voice in British broadcasting, she spent 33 years on the programme, becoming its longest-serving presenter and conducting landmark interviews with figures including Margaret Thatcher, Hillary Clinton and Margaret Atwood. Following the news of her death, BBC director general Tim Davie paid tribute to Murray as "a broadcasting icon", while Radio 4 controller Mohit Bakaya described her as "warm, fearless and beloved by listeners". Below, we revisit one of her most personal columns, first published in Radio Times magazine in February 2022, in which she reflects on death, dignity and the right to choose. I’ve been thinking a great deal about death in recent weeks and particularly asking what might be the manner of my own passing. My hope to have the right, when the time comes, to choose to die with dignity in my own home surrounded by the people who love me began some 16 years ago when I witnessed, within six months of each other, the death of my mother and then my father. For a whole year my mother suffered terrible pain and total incapacity in a care home as Parkinson’s disease made her life a misery. Each time I saw her she begged me to help her die. I could do nothing. Helping her would have meant breaking the law. She died, just before Christmas, alone, having reached the point where she was unable to swallow. It was not the death she would have wanted. It was not the death I wanted for her. My father used a week in the following May where I was unable to visit him to try to take his own life. It’s not unusual for people suffering unbearable pain to kill themselves in horrific ways that cause shock and misery for their loved ones. My father’s plan was to starve himself. After a neighbour found him and called me, I managed to persuade him to go to hospital where he was diagnosed with advanced lung cancer. In the nearby hospice, he had two weeks of the very best of palliative care and died peacefully in my arms, having said goodbye to his beloved grandsons. It was, through good luck, the death we both wanted for him, but palliative care is not available to everyone who needs it. My current focus on a subject too few of us want to contemplate has been prompted by the recent proposals in Baroness Meacher’s Private Members’ Bill on Assisted Dying. It has passed as far as its Second Reading and waits for a date for Committee stage to be set. Should the Bill pass through its various stages, it would become legal in England and Wales for a person with a terminal illness, judged to be six months away from death, to be helped, with the approval of two doctors and a judge, to die peacefully and painlessly. I have been talking to a range of people on whether or not the law in this country should be changed. Some who vehemently oppose any change come to the question with deeply held religious faith and oppose the idea that anyone has the right to play God. Others, including former Paralympian Baroness Tanni Grey-Thompson, fear greedy relatives might urge an elderly person who they think has become a burden to opt for an assisted death. She also, as a disabled person, fears that others with profound disabilities may be pressed to see their lives as not worth living. Then there’s the young woman who was told she had six months to live, but is alive nearly 12 years on. Conversely, a leading psychiatrist who was once opposed, having witnessed a friend’s agonising final months, has now changed his opinion. A doctor in California, where the law is similar to the one proposed in the Meacher Bill, told me of her own experience of helping people to die and explained that in a number of cases she has prescribed the lethal drugs, but the patient has not taken them. The important thing, she says, is the availability of choice. I want that choice. I want to know I shan’t have to die in the lonely way my mother did. It’s my life and I want to know that, if it becomes unbearable, I will be able to choose to end it. None of us wants to think about death, but we should. The law needs to change. Visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Doctor Who writer explains how new revamp of "unloved" Peter Davison story will address "failings" of original version
Pete McTighe reveals how his team have revamped 1984's Warriors of the Deep to create a new, enhanced viewing experience.
Pitting the Fifth Doctor (Peter Davison) against the united force of the Silurians and the Sea Devils onboard an undersea military base, against the backdrop of a looming nuclear war... it sounds like perfect fodder for a classic Doctor Who adventure, but 1984's Warriors of the Deep has long been considered one of the weaker entries in the show's long history. It's possible that could be about to change, though – with a new special edition of the story available on the Doctor Who: The Collection: Season 21 Blu-ray set looking to repair its reputation by retroactively addressing some of the issues which impacted its production 42 years ago. Speaking at a BFI Southbank screening, Pete McTighe – writer on Doctor Who and spin-off The War Between the Land and the Sea, who also oversaw the revamp of this story – called Warriors of the Deep "quite an unloved story", adding that it was "was kind of crying out [to be revisited], purely because I actually felt there's a really, really good story buried in [...] the original version." McTighe explained: "We know from the history books that they were so challenged in terms of time in the studio. Pennant Roberts, the director, didn't have enough time to get all the coverage he wanted, so the battle scenes were just locked-off wide shots. They didn't have time to get the lighting right, so there's lots of issues… "In my opinion, a lot of the failings of it happened because they were so under pressure in the studio to to actually just finish the thing." The original plan for the special edition was simply to use modern visual effects to replace the Myrka – one of Doctor Who's less-convincing monsters – but this soon expanded to encompass a more thorough reworking, including shooting new footage. "Looking at the story, I felt there was so much more we could do with it," said McTighe. "It could be re-edited to be tighter. A lot of the battle sequences in Warriors of the Deep, they weren't able to get the coverage – so we decided that we would go back and reshoot bits… “There's a lot of really subtle fixes in there. There's a lot of shots in [the original] Part Four where Sea Devil heads are literally falling off in the background... they didn't have time to go and quickly straighten them, they had to keep shooting. So we've done things like cut around those, and replace heads where we needed to… there's a lot of shots in there that are kind of invisible as well as the obvious. “So it was a three-fold thing: replacing the Myrka, editing to just make the whole thing tighter, and then just spicing up the action sequences. So obviously the original is still there on the disc, because we all love the original, but there's an alternative viewing experience for you now, which is something quite different." McTighe also revealed that he and VFX supervisor Chris Thompson "spent a lot of time going back and forth" about the new version of the Myrka, for a surprising reason... "Chris's initial effects were actually a bit too good!" McTighe said. "I didn't want it to be a Jurassic Park monster suddenly turning up in Doctor Who, I wanted it to be something that felt like it could have actually been on the studio floor." The upcoming Doctor Who: The Collection – Season 21 Blu-ray includes a wealth of new bonus material, with several stories featuring updated special effects, including The Awakening, Frontios, Resurrection of the Daleks and The Caves of Androzani. Additional features include behind-the-scenes documentaries on Resurrection of the Daleks and The Twin Dilemma, a new audio commentary for The Awakening, and an In Conversation special with Janet Fielding, Mark Strickson and Matthew Waterhouse, hosted by Matthew Sweet. Fan favourites return too, including Behind the Sofa and a new instalment of The Doctor Who Escape Room. Other highlights include Look Who’s Boating with Peter Davison and Janet Fielding, 48 Hours with Fielding, Tales of the TARDIS (a 2023 re-edit of Earthshock), The Five(ish) Doctors Reboot with new commentary, plus HD galleries, info text, PDF archives and selected archive DVD extras. View oEmbed on the source website Doctor Who: The Collection: Season 21 set is currently scheduled for release on 16 March, 2026 and is available for pre-order now. Add Doctor Who to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" class="x_OWAAutoLink" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Sci-fi coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Peter Davison explains why he decided to quit Doctor Who and "burn the bridges" after 3 years
Davison clarifies why he declined to stay on for a fourth year – and why he's never hesitated to return to the series.
The fifth actor to portray the Doctor, Peter Davison opted to depart Doctor Who in 1984 following a successful three-season run – and now he's elaborated on why he left, and why he's never been afraid to come back. Speaking at a BFI Southbank event to promote the Doctor Who: The Collection: Season 21 Blu-ray set (out 16 March), Davison admitted he feared being typecast – adding that he was "very lucky" to land projects in the years that followed that allowed him to showcase his range as an actor. "I was asked to do a fourth year – and originally I had in my head I'd do three years, and I thought it was time just to burn the bridges and move on," he explained. "I thought I could get away with it. Three years, you can get away with it, and people will still think of you for other things when you leave. I think if you do more than that, it becomes difficult. People just go, 'Oh, he's Doctor Who' so I just thought, [do] three years and be brave and move on." He continued: "I got something quite soon afterwards, which kind of broke the spell of Doctor Who, so a consequence of that was I never needed to move away from Doctor Who. I was always very happy to do anything that was connected with it that came along afterwards." Indeed, Davison has reprised the Fifth Doctor several times on screen, in Children in Need special Dimensions in Time (1993), subsequent special Time Crash (2007), Jodie Whittaker's Doctor Who swan-song The Power of the Doctor (2022) and the BBC iPlayer series Tales of the TARDIS (2023). Most recently, he donned the cricket whites again for the mini-episode Destination: Daleks, produced to promote the Doctor Who: The Collection: Season 21 Blu-ray set. The upcoming set includes several stories with updated special effects, including The Awakening, Frontios, Resurrection of the Daleks and The Caves of Androzani. Warriors of the Deep receives a full Special Edition overhaul with a new four-part edit, freshly created visual effects and a 5.1 surround sound mix, while The Awakening and The Caves of Androzani also benefit from new surround sound updates. Additional features include behind-the-scenes documentaries on Resurrection of the Daleks and The Twin Dilemma, a new audio commentary for The Awakening, and an In Conversation special with Janet Fielding, Mark Strickson and Matthew Waterhouse, hosted by Matthew Sweet. Fan favourites return too, including Behind the Sofa and a new instalment of The Doctor Who Escape Room. Other highlights include Look Who’s Boating with Peter Davison and Janet Fielding, 48 Hours with Fielding, Tales of the TARDIS (a 2023 re-edit of Earthshock), The Five(ish) Doctors Reboot with new commentary, plus HD galleries, info text, PDF archives and selected archive DVD extras. View oEmbed on the source website Doctor Who: The Collection: Season 21 set is currently scheduled for release on 16 March, 2026 and is available for pre-order now. Add Doctor Who to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" class="x_OWAAutoLink" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Sci-fi coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Skins and Game of Thrones favourite's role in The Capture finally revealed – as creator teases season 3 role
Joe Dempsie made a brief, surprising appearance in the season opener.
*Warning: this article contains spoilers for The Capture season 3, episode 1* Still catching your breath after The Capture's season 3 premiere? We can't blame you – the first episode of the BBC thriller in almost four years had it all, from the shocking demise of an established character to a surprising first glimpse at a Skins and Game of Thrones favourite. The opener initially saw Rachel Carey (Holliday Grainger) riding high – appointed acting Commander of Counter Terrorism Command and about to unveil a new technological breakthrough that could put pay to the threat of the covert video manipulation programme "Correction" for good. But by the time the credits rolled, everything had fallen apart – Rachel's promotion was ripped away, her close ally Isaac Turner (Paapa Essiedu) had been assassinated, and her new boss and the man who pulled the trigger were apparently revealed to be one-and-the-same, Noah Pierson (Killian Scott). But eagle-eyed viewers might have noticed another twist in the tale – the security footage of Isaac's killing, apparently adjusted using Correction, did not show Noah as the gunman, but another, as yet-unknown-character played by Joe Dempsie. Dempsie's casting in the new season of The Capture was announced back in April 2025, but details of who he was playing were kept under wraps – and now it's clear why! Speaking at a recent press screening, series creator/writer Ben Chanan said: "I love Joe Dempsie – to cast him in that role was an absolute dream. He was my absolute first choice, and we got him. I was very, very excited." But why is Dempsie's character being used as a patsy for someone else's crime? Chanan would only reveal that he "comes into the story a lot more than you've seen him so far", while The Capture's executive producer Rosie Alison teased that the arc of this new character has parallels with that of Isaac Turner and season 1's Shaun Emery (Callum Turner). "In the first three seasons of The Capture, you've sometimes seen people who somehow find themselves manipulated by deep fakes," said Alison. "That’s what happened to Shaun, and it happened to Isaac, and poor old Joe Dempsie also possibly finds himself as somebody who has that very relatable thing of... 'my God, what happens if somebody somehow fakes my life?' So that strain comes through with Joe." Alongside Dempsie, other new additions joining the cast include Hugh Quarshie, Linus Roache, Jonathan Aris, Andrew Buchan and Amanda Drew. They join Holliday Grainger and other returning stars Indira Varma (Khadija Khan), Ben Miles (Danny Hart), Ron Perlman (Frank Napier) and Lia Williams (Gemma Garland). The first episode of The Capture season 3 is available now on BBC iPlayer – new instalments will be released at 6am every Sunday, before airing on BBC One at 9pm the same evening. Read more: The Capture season 2 ending explained: Does Correction get exposed? Add The Capture to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Doctor Who spin-off with Peter Davison is getting a sequel – but there’s a twist
The cliffhanger ending to Destination: Daleks will finally be resolved.
Doctor Who fans were treated to a special mini-episode revisiting the Fifth Doctor (Peter Davison) and Tegan (Janet Fielding) back in December – and now it's been confirmed that we'll be getting a follow-up. Destination: Daleks was produced to promote the release of Doctor Who: The Collection: Season 21 on Blu-ray and saw the pair receive a desperate message from another old friend – Turlough (Mark Strickson). Turlough was last seen in 1984's Planet of Fire, opting to leave the Doctor and Tegan behind to return to his homeworld of Trion – since invaded by the Daleks. The mini-episode ended on a cliffhanger, with our heroes in Dalek custody – and writer Pete McTighe (The War Between the Land and the Sea) has revealed we'll soon find out where the story goes next. View oEmbed on the source website "I had lots and lots of friends, including Russell T Davies, message me saying… but what happens next?" McTighe explained at a BFI Southbank screening to promote the Blu-ray release. "I kind of knew what happened next, but obviously I don't have 5 million quid to make it, so I rang my friend Marcus [Hearn] at Doctor Who Magazine and said, ‘How would you feel about continuing the story as a comic strip?’, and he said yes." McTighe elaborated that "a very special supplement" to be released by Doctor Who Magazine in the coming months will "continue the story, and you'll see what happens on Trion." It's exciting news for fans – th0ugh Peter Davison, also in attendance at the BFI event, cheekily refused to rule out the possibility that Destination: Daleks might also get a live-action sequel. "I'm looking forward to the comic strip of the Dalek story, because then that'll be picked up by a Hollywood studio, so by the time I'm about 86 or 87, we should have a movie version of it!" he quipped. The upcoming Doctor Who: The Collection – Season 21 Blu-ray includes a wealth of new bonus material alongside the Destination: Daleks short. Several stories feature updated special effects, including The Awakening, Frontios, Resurrection of the Daleks and The Caves of Androzani. Warriors of the Deep receives a full Special Edition overhaul with a new four-part edit, freshly created visual effects and a 5.1 surround sound mix, while The Awakening and The Caves of Androzani also benefit from new surround sound updates. Additional features include behind-the-scenes documentaries on Resurrection of the Daleks and The Twin Dilemma, a new audio commentary for The Awakening, and an In Conversation special with Janet Fielding, Mark Strickson and Matthew Waterhouse, hosted by Matthew Sweet. Fan favourites return too, including Behind the Sofa and a new instalment of The Doctor Who Escape Room. Other highlights include Look Who’s Boating with Peter Davison and Janet Fielding, 48 Hours with Fielding, Tales of the TARDIS (a 2023 re-edit of Earthshock), The Five(ish) Doctors Reboot with new commentary, plus HD galleries, info text, PDF archives and selected archive DVD extras. Read more: Doctor Who companion makes "really emotional" return to departure location for mini-episode Doctor Who: The Collection: Season 21 set is currently scheduled for release on 16 March, 2026 and is available for pre-order now. Add Doctor Who to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" class="x_OWAAutoLink" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Sci-fi coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Radio Times and Latitude Festival launch vote to find the greatest TV show of the past 20 years
From prestige drama to global streaming hits – cast your vote and help decide the winner.
Radio Times has partnered with Latitude Festival to ask one big question: which television series has truly defined the past two decades? From gripping prestige dramas to era-defining comedies and global streaming sensations, the last 20 years have delivered an extraordinary range of storytelling – and now viewers are being invited to choose the one programme that stands above the rest. Fans can cast their votes now, after which a jury of TV personalities, writers and producers will decide the final winner. The result will be revealed live on stage at Latitude Festival at Henham Park later this summer as part of the anniversary celebrations. Television audiences have watched empires rise and fall in Game of Thrones and Succession, stepped inside the corridors of power with The Crown, and witnessed the devastating realities of Baltimore’s drug trade in The Wire. Closer to home, viewers have been hooked by the nerve-shredding tension of Line of Duty and Happy Valley, while Breaking Bad stunned with its brutal brilliance and Fleabag left audiences reeling with its emotional honesty. International hits have also reshaped the TV landscape. South Korea’s Squid Game became a global phenomenon, Germany’s Dark redefined sci-fi storytelling, and Spain’s Money Heist proved subtitles were no barrier to worldwide success. Comedy has flourished on both sides of the Atlantic. British favourites such as Gavin & Stacey, Derry Girls, Taskmaster and Inside No. 9 have delivered laughs in very different ways, while US hits including The Office, Parks and Recreation, Schitt’s Creek and Ted Lasso showed comedy can be both hilarious and heartfelt. Landmark factual and entertainment shows such as Strictly Come Dancing, The Great British Bake Off and Sir David Attenborough’s Planet Earth II have brought audiences together, while drama has continued to push boundaries, with Peaky Blinders, Luther, Black Mirror, I May Destroy You, Mad Men, The Handmaid’s Tale, The White Lotus, Slow Horses and It’s a Sin all staking their claim as defining works of their era. The vote arrives at a fitting moment, as Latitude Festival celebrates its 20th anniversary in 2026. Voting remains open until Wednesday 9 July. Whatever your choice might be - cast your vote now. Visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Ghosts feature film officially confirmed as cast and crew unveiled in huge production update
Button House is reopening its doors as the BBC comedy favourite Ghosts returns in a big-screen adventure featuring the original cast.
The beloved BBC comedy Ghosts is officially heading to the big screen. BBC Film, Lionsgate, BBC Studios and Monumental Television have announced a new feature-length adventure titled Ghosts: The Possession of Button House. Original stars, writers and creators Mathew Baynton, Simon Farnaby, Martha Howe-Douglas, Jim Howick, Laurence Rickard and Ben Willbond have penned the family film, with Lolly Adefope, Charlotte Ritchie and Kiell Smith-Bynoe also returning to star. The film marks a major reunion for the team behind the award-winning sitcom, which ran for five seasons on BBC One and concluded in 2023 with a finale watched by 7.2m viewers. Directing duties will be handled by Simon Hynd (Ghosts, Motherland), with filming set to take place at West Horsley Place in Surrey – the real-life Button House – and surrounding locations. "We thought we had said goodbye to Button House at the end of the final series. We never planned to come back," the Ghosts creative team said. "But when we had the idea for this story, we all got so excited that we couldn’t resist returning to our haunted home for one more adventure." They added they are looking forward to reuniting and welcoming "brilliant new faces" for what they describe as a "soul-stirring tale of life and death." BBC Film director Eva Yates said the broadcaster is "overjoyed" to bring Ghosts back for "a hilarious and cinematic adventure". The movie spin-off is the latest expansion of the Ghosts franchise, with a US adaptation currently in its fifth season, with a sixth already commissioned. Versions have also been produced in France, Germany, Australia and Greece, with the format also recently licensed in Czechia. Read more: Ghosts star Jim Howick addresses film rumours – and "obvious" requirement for screen sequel Ghosts creators reflect on emotional challenge of ending show at Christmas Filming for Ghosts: The Possession of Button House will begin next month. Ghosts is available to stream on BBC iPlayer. Add Ghosts to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Comedy coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Finn Bálor talks facing CM Punk at WWE Elimination Chamber, the future of the Judgment Day and if the Demon will return
Bálor opens up about his upcoming rematch with CM Punk and why it was the right time to revive his old theme music.
WWE Superstar Finn Bálor wants to use his upcoming match against CM Punk to "rewrite the narrative" of his career – and remove the "stain" of a title abdication that has haunted him for almost 10 years. Nearly a decade since a shoulder injury forced him to relinquish the WWE Universal Championship just 24 hours after winning the title, Bálor will go up against Punk – the current World Heavyweight Champion – at Saturday's Elimination Chamber event in Punk’s hometown of Chicago. "I feel like it's time to to rewrite the narrative," Bálor told Radio Times. "For 10 years, people have been saying, 'What if? What if he didn't get hurt? What if he remained champion? What if he didn't have to relinquish the title? And I feel like, no matter what I've done over the last 10 years – be it win multiple Intercontinental Championships, go back to NXT to win the Championship, a United States Championship, multiple Tag Team Championships – no matter how hard I try to remove this little stain from my career, it's like... what if I can't do it?" Continuing, he explained: "But I feel like this is the moment where I can finally right that wrong, rewrite my narrative and change everyone else's perspective of my career, because people seem to perceive it as a failure, that I never recovered from that injury, where in fact I look at it as a success story, where I was this kid from a small town in Ireland with no wrestling industry, no wrestling schools, barely any wrestling on the TV, with a goal of having one match – and 16 years later, on my first night on Raw, I beat Roman Reigns. On my first Pay-per-view, I pinned Seth Rollins. "So for me, that's a success story, not this great tragedy that everyone wants to talk about." Bálor previously faced Punk in in Belfast, Northern Ireland on 19 January – though he lost that match, Bálor (born in Bray, County Wicklow) described that edition of WWE Raw as "the most memorable night of [his] career", adding: "To share the ring with someone who I'd never wrestled before, whose body of work I've admired over their whole career, that was one part. The other part was [taking part in] a world title match in my home country, with 18 of my family members watching. So that was a real special night." The match in Belfast was also made extra special by the surprise return of Bálor's old theme music, the popular Catch Your Breath – last heard on a regular basis in 2022. Dropping the theme was originally an attempt to "reinvigorate [his] character" and go "a little darker" as he switched to a "more heel-ish" persona, he explained. "I personally love the alternative to Catch Your Breath – but there's just something about that song that is just so catchy, and people can interact with it so well. It's got such energy. I feel like it was the right time [to bring it back]." The old theme was only supposed to return for the Belfast match as a one-off, but the response from the crowd was so positive that Bálor now expects it to stick around. "Embarrassingly enough, the reaction of the crowd was so loud that I actually couldn't hear the music cue and I missed the first light pop," he laughed. "I was like, 'It feels like it should be now, but I can't hear it...' and then it was too late! But I think that kind of added to the magic." View oEmbed on the source website This nostalgia hit has fans wondering whether we could see another throwback, with Bálor reviving his otherworldly alter-ego The Demon, last seen in 2023 at WrestleMania 39 in a match against Edge. Though he seemed to suggest that we wouldn't see the character at Elimination Chamber, Bálor is open to the idea of revisiting The Demon in future. "I think it can be used effectively, but only occasionally, and it's something that requires a lot more from me than just showing up for a match, being prepared... "It's really more than just paint, it's a mental state. It really is an alter ego for me, and it's something that I need to tap into. "It's something that I like to do, something that I certainly want to do again. But like with the music, timing is everything, and the timing has to be right. I'm sure we'll get there in the future, but right now, my focus is on the World Heavyweight Championship and CM Punk, and that feels like this is something Finn has to do." Bálor's push for a singles title has also raised questions as to his future involvement with the Judgment Day stable – though he's been a loyal member of the group since 2022, recent events have seen a schism amongst the team, with CM Punk advising Bálor to "ditch the Judgment Day" and separate himself from "garbage" Dominik Mysterio. Bálor though was keen to play down speculation surrounding a possible Judgment Day split. "Hopefully I can erase this stain from my career, bring gold back to the clubhouse and get the Judgment Day back on top," he said. "You know, obviously it's been a rough couple of months. We've kind of been at each other's throats, tensions are high, but this is business, right? This is WWE – and we're all professionals, we're all striving to be the best. People are gonna clash, but I love Dominik, I love JD [McDonagh], I love the girls. We're a unit. We're a family. And hopefully I can get this one over the line in Chicago… then smooth-sailing into WrestleMania." Alongside the Bálor/Punk rematch, the 16th Elimination Chamber event will see two Elimination Chamber matches pit six Superstars (men and women) against each other in a large steel structure, fighting in high-stakes matches where only one can emerge victorious to earn a shot at WWE’s biggest Championships. The Men’s Elimination Chamber Match features Randy Orton, LA Knight, Cody Rhodes, Je’Von Evans and Trick Williams – all winners of recent Triple Threat qualifiers – with one final entrant still to be confirmed. The Women’s Elimination Chamber Match sees Tiffany Stratton, Rhea Ripley, Alexa Bliss, Asuka and Kiana James qualify through similar contests, with one remaining spot similarly yet to be filled. Elsewhere, Becky Lynch will defend the WWE Women’s Intercontinental Championship against AJ Lee, who returned after more than a decade away and reignited a bitter rivalry with Lynch. Read more: WWE 2K26: Release date, platforms and Showcase Mode details WWE's Chelsea Green shares her verdict on fan-favourite Kit Wilson: 'He'll never be the same after that' Netflix UK & Ireland subscribers can watch Raw, SmackDown, NXT and all WWE Premium Live events as part of their subscription, including Elimination Chamber live this Saturday 28 February at 11:45 PM GMT. WWE returns to Europe this Summer including the first-ever PLE in Italy - 'Clash in Italy' - and stops across Spain, Portugal, France and the UK. 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