The Marlow Murder Club stars tease "very funny" blind dating storyline for beloved character
Jo Martin's Suzie is getting back in the dating pool - and it seems romance could be on the cards.
As Samantha Bond's character Judith's romance "develops" with Hugh Quarshie's Darius in The Marlow Murder Club season 3, it seems another relationship might be in store, as Jo Martin's Suzie tries blind dating. Bond revealed the upcoming storyline while speaking exclusively with Radio Times, saying of season 3: "Suzie decides to try blind dating. And that's very, very funny, and someone she knows really quite well decides to go blind dating at the same time." Meanwhile, Martin also spoke with Radio Times, and teased that she "may be in a little bit of a love story" this time around. "I don't want to say any more than that, but there's something blossoming," Martin said. "Because obviously Judith has got her little love interest with the great Hugh Quarshie. That's kind of blossoming, and that's great." Speaking about her hopes for the character in potential future seasons, Martin added: "Since her relationship with her daughter's father, she's not had anything. And I think she's still a vibrant older woman who's got a lot to give in the love stakes. "I think she's looking at Judith and Hugh's character, and she's thinking 'I could have some of that.' And I think there's a journey for that." This season is also set to see a particularly personal storyline for Cara Horgan's Becks, as she becomes one of the suspects in a murder investigation. Bond teased that Judith and Suzie "have to suspect her", even if they don't believe she's capable of such a crime. "It also means, because she's on the inside of the investigation and they're on the outside, there's a conflict of, what can they ask?", Bond said. "They do ask things in their roundabout way. And it’s not easy for Tanika, having the three women separated." The Marlow Murder Club is coming to U&Drama on Wednesday 18 March 2026. Add The Marlow Murder Club 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.
Rebecca Ferguson reveals why she studied Cillian Murphy’s sex scenes and how intimacy coordinators were used for Peaky Blinders film
The Dune and Silo star plays the mysterious Kaulo in Peaky Blinders: The Immortal Man.
Rebecca Ferguson has spoken about her approach to her intimate scenes in Peaky Blinders: The Immortal Man. The Swedish actress, known for her roles in the Dune and Mission: Impossible series, joins the franchise for the feature film outing, playing the mysterious Kaulo Chirklo, the identical twin sister of Tommy Shelby's former lover, Zelda, with whom he sired his eldest son, Erasmus "Duke" Shelby (Barry Keoghan). The film sees Tommy (Cillian Murphy) and Kaulo get very up close and personal, but with a rather interesting twist - but we won't spoil more here... Speaking about working with intimacy coordinators, Ferguson told Michael Hodges in the upcoming issue of Radio Times magazine: "I think it’s wonderful that we can have intimacy coordinators and sometimes they are needed, but for me, it’s very off-putting and it makes me feel very uncomfortable because I have enormous boundaries and I can verbalise them. "So we could sit down and say, what do you need to feel safe? What do I need to feel safe? And then she could step out of the scene." Speaking about how she approached the scene with Murphy, Ferguson continued: "I had called Cillian and asked him how he wanted to work. It sounds so silly, but I said, 'I’ve studied your sex scenes…' And he went, 'That’s really weird and awkward.' And I went, 'I know, but bear with me. This is not just a regular sex scene. This is not us getting our kit off, getting on with it, bish bash bosh. This is a moment of release. This is a moment of intimacy, there’s magic.'" Add Radio Times as a Preferred Source on Google Keep up to date on what’s worth watching with your favourite entertainment news from Radio Times – see more of our exclusive news and interviews featured prominently in Top Stories when using Google. We'll leave fans to see the more surprising aspects of this scene in the film! Separately in the same interview, Ferguson discussed the difficulties female actors face compared to male actors. Read More: Peaky Blinders icon Cillian Murphy: "I do believe in generational trauma, I also believe it can be stopped" "One of the first things to do is to not to let yourself feel undermined," noted Ferguson. "When you start thinking that you are not worth more than a male lead star, or a female, then you’ve already placed yourself beneath them. If you go on a film set and there is a big male star there you have to project your power as well." For the longer interview from Michael Hodges with Rebecca Ferguson and more cast members, read the full Radio Times magazine, released on 17 March 2026 – subscribe here. Peaky Blinders: The Immortal Man is in cinemas now and is released on Netflix on 20 March 2026. Read More: Peaky Blinders creator talks contemporary importance of Tommy Shelby fighting fascism: "Look what happened last time" Peaky Blinders: The Immortal Man review – Big screen spin-off keeps a firm red right hand on proceedings Peaky Blinders star breaks silence on major character absence from The Immortal Man film: "It’s something you don’t see on TV" Steven Knight explains how Peaky Blinders film ended up quite different from his initial plans 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.
How a defiant silent vigil for children killed in Gaza gave rise to an Oscar nominee
Children No More spotlights vigils held in Israel for the innocent children killed by the ongoing attacks in Gaza – we spoke exclusively to its director Hilla Medalia.
The attentions of most film fans at this evening's 98th Academy Awards will be primarily focused on the much talked about races for best picture and the major acting prizes – with many of cinema's biggest stars competing for those top honours at the glittering ceremony in LA. But as ever, the less heralded categories are stuffed with films and filmmakers every bit as worthwhile and deserving. The best documentary short category, for example, includes five intensely affecting pieces of work which each shine a light on issues and topics a world away from the glitz and glam of a Hollywood awards show. One of those nominated films is Children No More, a short by director Hilla Medalia which spotlights a group of activists in Tel Aviv taking a stand against the actions of the Israeli government and armed forces in Gaza. The poignant film – which is available on Sky and NOW for UK viewers – follows the group as they stage a number of silent vigils, in which they protest against the ongoing bloodshed by honouring the memory of the thousands of children killed by their nation's military campaign. Ahead of the Oscars, Medalia spoke exclusively to Radio Times about the origins of the film and its production process, what she learned from the activists, and the importance of cinema as a political tool – especially when it comes to atrocities. Radio Times: How did you become aware of these vigils and why did you want to shine a spotlight on them? Hilla Medalia: For a very long time, I was thinking, what is the story I want to tell? I live in Tel Aviv and I think, as a documentary filmmaker, we have a lot of responsibility. I kept thinking, what is the story I want to tell? What do I want to do? And when I experienced the vigil for the first time, I was so moved by the silence. It's almost like this quiet was stronger than any scream, and I really connected to it. It affected me so much and the bravery of those activists who put themselves out, saying what they have to say in this very gentle, simple act, was so meaningful. So I was very moved. I actually knew some of them before and had been following what they were doing, but what's interesting about the silent vigil is that actually they're not part of any organisation. It started very spontaneously after the ceasefire in March 2025 collapsed, the second ceasefire between Gaza and Israel. It was very spontaneous. The first day, there were 193 children that were killed in Gaza in a single day. And this a group of activists, they're all doing a lot of different things, but they're also friends, and they talked about it, and they basically went and printed at home pictures of these kids and went to the street. So they're not part of any organisation. It's mainly women led, and it's not hierarchical, so there is no leader. And so it's extremely interesting, also for many other reasons. RT: The silent protest is so moving – how did you go about finding the right way to film it and to make it as impactful as possible on screen? HM: The goal in the film was to actually deliver the feeling that I had – and we all have – experiencing the vigil and the power of the silence. I really wanted to deliver it within the film. And it's obviously tricky. It's like, how do you create silence in a film? We really wanted to create this feeling. So we really made a point to actually not focus so much about the vigil and the activists and what they do, but more focus on the children and giving the audience that feeling of the vigil. You look at the picture of the kids, you read their name, their age, what happened to them, and the date that they were killed, and the words 'were and is no more'. And this is, again, very simple. We played a lot in the mix to create the loudness of the street and also the loudness of that larger protest against the war and for the return of the hostages. And then when you get to the vigil, you really feel the silence, and silences become this very, very loud scream. View oEmbed on the source website RT: How much footage did you shoot over the course of making the film and how long were you working on it? HM: We made the film fairly quickly. We started in mid-June, and by 23 September it was already screened in a theatre in LA to qualify for the Academy Award. So everything happened extremely fast, and we worked concurrently filming and editing, because we really felt the urgency to get the message out. In Israel, we don't see Gaza the way that it's in the news internationally, not because of a national censorship, but there is really a self censorship that is happening and the message is just not there. So the activists brought this voice of these children into the space, at first into the space of a larger protest to stop the war, but for different reasons, to stop the war for the return of the hostages and return of soldiers and against the government. And because the war doesn't make sense. But it was not about the fact that civilians and innocent people and people who are not involved are basically being killed. So they brought this message into the space, and we felt that we needed to quickly bring the message into a larger audience, internally and internationally. But, I mean, it does something else. I think what's really interesting is how this actually, without any slogans and without any screaming, is maybe even more effective than any other practice of protest. And to see the reaction of people on the street and how it creates so much emotion, and they're really angry, and there's even violence against the protestors. And I think that's a lesson for all of us to learn that we need to be able to listen and to accept and to be open to a dialogue, and how we are not able to do that and it creates this huge divide. And I think that it's so powerful that [the protesters] are actually intentionally not responding, and they're intentionally trying to create space for dialogue. They have a group of what they call peacekeepers trying to do that. And I think that's extremely powerful also. And of course, it was very shocking in the making to see how, for some people, they really seem like a betrayal. And you're thinking, how is it possible that the picture of a very young child who was killed can do that? It's showing compassion and humanity, yet for some people, it looks like betrayal. RT: What struck you about the activists from spending time with them while making the film? HM: First of all, they are very brave just to put themselves out there and to be able to take all this heat and violence and still come week after week. It's not popular. And also a lot of them are young. They have great jobs. They could be hanging out with friends or doing other things, but they come week after week, day after day, they're so committed to do that and to change the world. And I think that's very inspiring. And I think what's really, really inspiring for me, on a very personal level, is to see how very small action could be so impactful, and we can all actually do something. Some people can do very little, and other people can do a lot. But I think we should remember that we have the power to change things and if I can only do something small, it's great. I can do it. And small plus small plus small becomes something very big. RT: In general what role do you think film – whether documentary or narrative cinema – can play when it comes to conflict and atrocities? HM: I think that any art, and definitely filmmaking, is political, and it's a stage to voice different voices within society, especially when it comes to war. But I think the role of films and of documentaries is to shed light on a specific moment. So our film was shot June to September. It was a moment. It's one group, but you go so much in depth, and you learn so much about what's happening and it hopefully moves you and you can connect. Maybe it will make you angry, but hopefully it can be a base for a conversation and an open door into something that you don't see. You know, the level of death that exists within this film. And there were two other films in the Oscars shortlist that were about Israel and Gaza, two documentaries, and I think it just gives this real deepened look and sheds light on something that we don't usually expose. I think there is a lot of importance and meaning within that. So I think sometimes when we watch the news, it's so focused on something that happens now that we all supposedly need to know, but sometimes you don't have the context. We don't understand the nuance. And in the news, there is never space for those nuances that exist in film. So I think it plays a very important role actually. RT: What do you think about some of the other films that have covered this subject matter recently – for example The Voice of Hind Rajab, which is up for best international feature at the Oscars? HM: I think there are amazing films about the conflict from different angles. I mean, you mentioned Hind Rajab, and I was involved in a film called Holding Liat about the hostage Liat Beinin Atzili, which was shortlisted. Also in the shortlist this year was Palestine 36, which is a feature film that was representing Palestine. And there was also the Jordanian film, All That's Left of You, which was also about Palestine. So there are many, and I think they all serve a purpose and tell very specific stories and educate people, and they're doing a very important job in giving a message other than the news to people. Some of them are very difficult to screen in Israel and are not that available. But I think it's important. And I believe in hearing a lot... you know, I often read the news on the more conservative outlets on one end. Also I try to read what's reported outside of Israel and in the Arab media, because I think it's really interesting to get the different perspective. RT: What has been the response to your own film within Israel? HM: Originally, we were planning to premiere the film somewhere around May – or later in the year in a film festival and do the regular route. But the minute we were nominated, we thought we really need to show it there. The main organiser [of the protests] saw it, and two of them were in New York at the premiere, but we wanted to show it to the larger group. And also, in general, there was a lot of curiosity, and we wanted to share it with a wider audience. I'm now in LA promoting and doing things around the Academy, but between the nomination and when I came here, we actually held a really big screening in a theatre open to the public, a 500-seat theatre in Tel Aviv. It was fully booked, fully packed, and we had a discussion afterwards, and it was extremely interesting. A lot of them are connected to all the messaging and what the activists say and what they do. But I think what's interesting is for people who don't necessarily agree with them, there is something individual that I think exists in the film, that is related to the silence, and the silence allows a space to take on what they say and to also respond to it in a way and if you disagree with it... there is a space for your voice as well. And I think that's very important. And the other thing is, there are people who will oppose the film. There was an article this weekend and you know, a lot of people are like... they can't take it. And I think that what I learned from the activists is not to react. Like, when we were filming, and there are people so hostile to them, I wanted to scream and I wanted to confront them, and I wanted to fight. And they were reminding me that it's quiet, that we shouldn't react. And they also talked about how in real life, sometimes even within their family, people disagree with what they do or their beliefs, and they're trying not to get into a fight and not to argue and to listen. And their voice, hopefully, will crack something and something will sink in. I really believe in that, because obviously we are not all thinking the same. So I hope that we create a dialogue, and we are having many, many screenings in Israel and actually many other places. Of course, in the UK, it's on Sky, but in the US, it's now screening in theatres and in different places around the country as well. So more people hopefully will be able to see. RT: What has the Oscar nomination meant for the film, especially in terms of reaching a wider audience? HM: The nomination, of course, is a huge honour – and to be there with all these amazing films in my category, but also with everyone else. But I think first and foremost, it really gives the film this credibility and this push to a much wider audience. The minute it was nominated, suddenly Roadside Attractions released it theatrically. And it's a short film – nobody releases short films, you know! It's now screening in 352 theatres across the US and Canada. So that's, to me, the most meaningful thing. And also people are just curious. The screenings in Israel are packed, and it basically gives the film a visibility that otherwise it wouldn't get. And I personally love short films. I feel nowadays we like quick stuff. We like to watch and continue with our life. And also, another really great advantage of short films is that you can actually be part of an event where you screen the film and have a discussion and dialogue with a panel afterwards, still within a reasonable block of time. But the effect of the nomination gives such a big push that is really incredible. And that's the most important thing: to get the film out there and to get the message out there. Children No More is available to watch on Sky and NOW in the UK – find out more about how to sign up to Sky. 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.
How hidden powers shape everything you see in TV and film
A peek behind the curtain of what goes into crafting the casts of some of your favourite shows and films.
When it comes to awards season – and especially this weekend's Oscars – the usual conversations are ones centred around the somewhat predictable awards race, which movie will bag best picture, what films may be snubbed completely and often, the directors and casts that brought these staggering tales to life. While many take to the stage to receive their accolades making poignant speeches about their film's subject matters, how long and arduous the process was and the amazing crew of people who were a part of that process, it's hard to fit in all of the vital people in any filmmaking process into the Oscars' short 45-second acceptance speech. More often than not, whether you're an avid cinephile or just a casual movie consumer, then it's an unfortunate circumstance that many of us only ever think about a film or TV show's leads, the standout supporting stars, the director and maybe its writer. For all of that hard work done by so many people, there's nowhere near enough recognition for all the moving cogs of any production's well-oiled machine. Well, things are slowly changing. For the first time ever, the Oscars are venturing into the world of casting and have established a brand new category for best casting at this year's 98th ceremony. The news was announced back in 2024, marking the introduction of a brand new awards category, the first since best animated feature film was introduced in 2001. Being nominated for their casting efforts in a monumental first for the Academy Awards are Hamnet, Marty Supreme, One Battle After Another, Sinners and The Secret Agent. But the Oscars have been slightly slow on the casting pick-up. The BAFTAs introduced their casting award in 2020, the British Independent Film Awards (BIFA) in 2017 and the Primetime Emmys actually paved the way by recognising casting all the way back in 1991. For all of the ensembles with such natural chemistry, the leads that take to material like a duck to water and rising stars that have seemingly been plucked from nowhere, there's a somewhat hidden department that's to thank – and that's casting. One of the UK's leading casting directors, Shaheen Baig, tells me that she thinks it's been a long time coming for casting to be recognised on such a global stage like the Oscars. "Casting is, most of the time, the first department to come on as soon as the script is greenlit. The casting director is nearly always the first hire and you're on that job from day one," she says. "Casting directors are sometimes like a form of a producer because you're finding an actor that then triggers the finance that gets the film made. We work very closely with the director and it is a craft, it is an art. Casting is an art like all the other brilliant departments. I think it's really, really great it's being recognised at the Oscars because it should. If you don't have great actors, you don't have a project. Casting directors do amazing work and they should be recognised for it." But Baig underlines that while it's great for individuals to get their awards, the light needs to continually be shone on casting as a craft. For a long time, Baig tells me, people have often just thought of casting in relation to reality TV shows and have lacked education around what goes into it. With the BAFTAs having recognised casting and now the Oscars, it's only a good thing for the industry going forward, she says. "It makes it much more visible, less secret, less 'this is a thing that happens behind closed doors' – and that's healthier," she admits. Baig refers to casting as a "slightly secret industry", but why can it be so cloak-and-dagger? It's simply due to the very nature of the process, she tells me, the people who are involved, the scripts, the NDAs, the very act of negotiating contracts and deals. It's also down to the fact that auditioning can also be a "vulnerable process" in and of itself, Baig says. "This is all confidential information. So I think because of that, it just has always had a bit of a secrecy about it. Whereas, editing or cinematography or hair and make-up or costume, in a way, they're much more visible. You can go to school, you can go to college or a specialist university and study those things. It's not an exact thing, casting is an instinctive craft and I think because of that, it's been quite hard to pin down." But it's an industry that Baig herself is opening the doors to and is trying to get people to learn more about. After a whirlwind year of being plummeted into the spotlight for being the person to discover Owen Cooper for his acting debut in Netflix's Adolescence, Baig won her first ever Primetime Emmy, despite having cast over 200 movies and TV shows in her career. Some of Baig's recent notable hits include Urchin, The Death of Bunny Munro, Just Act Normal and My Father's Shadow, as well as upcoming shows like Bait and The Cage. Despite clearly always having a lot on her plate with various films and TV series to cast, Baig co-founded the casting course at the National Film and Television School (NFTS) with fellow leading casting director Jina Jay back in 2019. The pair, who have just recently been announced as co-recipients of this year's NFTS Fellowship, continue to run their course and shine a light on the often hidden world of casting. Having discussed it with Jay many years ago, Baig says that it was crucial to create more opportunities by facilitating a course like this one. "We felt that we needed much better representation. I was really passionate about regionality as well, because the industry has been quite London-centric," she says. View Green Video on the source website It was a case of creating a course, taking it to the school's director who was supportive from day one, bringing on fellow casting director Jane Arnell and going from there. "There is no other course at the moment that can aid you into a career in casting, this is the only course and I think it's really important that – like everything else – it's not a hidden industry," Baig says. "Casting was such a closed shop and the only way we are going to open out the industry in all ways, shapes and forms and diversify the industry is by making everybody feel welcome and opening the doors and going, 'Right, okay, this is what casting is, this is how you do it'." For many of us sitting in a cinema or at home watching our favourite shows, we're most bowled over when performances quite literally knock us for six. That's certainly what came with Cooper's role in Adolescence, and rings true when we think of Hamnet's Jessie Buckley or Sinners star Michael B Jordan. But how does a casting director go about even thinking of someone for a role? "The first place to start from is always the script. It can be a script, it can be a treatment, it can be a book because sometimes it hasn't made it into a script form yet. So, you have to start from the script, because that's all you have really. I read it, digest it and then think. I always visualise when I read a script, because I've got a visual mind," Baig tells me. If it's a TV production then that can mean that a director isn't on board at the time Baig joins the production but if they are, she'll chat with them, the producers and writers about the tone of the piece. "What is it that you want to try and achieve with this story?" is another question that Baig underlines as being of importance in her process. "When the director's on board, we just talk a lot about actors; the kind of actors that might be right, the style of acting. Then it's my job to break that down, break those characters down and then start to present ideas to the director, to the producer, to the writer or the financier about, 'Okay, these are the different ways of casting this role.'" Baig outlines that often when putting a character (or a couple of characters) in a lead role, that will then trigger the financial side of the production. "You might have pressure to cast an actor of a certain profile. That will then trigger the finance for the film, which then means it can get made," she reveals. Last year, Oscar-winning actor Mark Rylance revealed that he took a pay cut in order to allow Wolf Hall: The Mirror and The Light to get made. Director Peter Kosminsky said that Rylance's salary decrease decision was made because streamers declined to co-produce the second instalment with the BBC. So, of course, finances are a whole other crucial topic to deal with when thinking of putting together any production. "It's a bit like painting a picture," Baig smiles. "You then start to add different people and you start creating a whole world. Because it doesn't matter if a character has one line or is the lead of the film, they're all as important as one another. It's my job to make sure that the ensemble is coherent, makes sense, feels truthful." Baig explains that depending on the show or film, her role in the production can finish before filming happens or it can continue all the way through, especially if she's working on an episodic series or a production where the scripts keep changing. Baig is often cited as the casting director who discovered stars like Tom Holland, Florence Pugh and Barry Keoghan, all household names at this point. But when it comes to any film or series, how do you go about painting that picture in the first place? It's a job that must come with building up a major database of faces, I offer. That database, Baig tells me, is actually her brain a lot of the time. "As a casting director, you train yourself to remember and I remember faces," she tells me. Finding the right person for any role is a mixture of tapping into her memories of working with people and faces she knows, as well as doing casting calls and nationwide searches for the right fit. As a "mixed-race girl from Birmingham" that barely knew anything about casting when she entered the industry, lowering the barrier to entry (whether that be behind-the-scenes in casting or in front of the camera as an actor through being a trustee of Open Door) is incredibly important for Baig. It's that innate desire to represent regions and various voices that filters into the way she casts her productions, sometimes by social media and also, by building those relationships in certain communities to gain trust and do some on-the-ground searches for people too. But really, it's also about never getting stale in her approach and moving forwards with the times, absorbing when and if the style of acting changes. "We watch a huge amount of stuff. We go to the theatre, me and my office, we watch a lot of stuff on television, we see a lot of films. That's the education. You have to constantly be educating yourself about actors. There's always someone new, there's always someone coming through. There's always someone you know from another country in an amazing film at a festival in Sāo Paulo or wherever," Baig says. Essentially, the work never stops when it comes to casting as there's always new people to look out for and new scripts to get to grips with. In her expansive career, Baig worked on the original Channel 4 seasons of Black Mirror, which were a fabulous stepping stone for so many British actors. "The story was the star," Baig tells me of her time casting the Charlie Brooker series in those early days, describing the team as a "bunch of punks making this wild show". Now, in its more Americanised Netflix iteration, it's still great but "it's a different show, it has a different life". As for now, Baig also beams when speaking about Peaky Blinders. She cast the entirety of the original show, the new film and is working on the upcoming sequel series. Even though it's a world that she knows very well at this point, Baig says that working on the new Peaky Blinders series has been "scary... but really exciting". When Baig first came onboard for Peaky, she said she approached it like casting a film and that's why she was keen to get Cillian Murphy in the starring role because at that point, he'd never done any television. "That memory came into my head when we were in the middle of doing this new series. I'm going to approach it in exactly the same way so I'm very excited. But I'm very nervous, because I hope people love it as much as they did." With the Oscars now recognising casting and Baig's own Primetime Emmy win last year, it seems as though the tides are turning as more people start to learn about what goes into assembling the often stellar casts we see lighting up our screens. "I think Adolescence is an unusual event. For a piece of television to have an impact in the way it has... none of us could have predicted that at all. We all felt like we were making a really good piece of drama, but I think the reaction and the impact has shocked all of us," Baig says. "I mostly feel pride and also, I'm just really happy that people are talking about casting as a craft." The 98th Academy Awards will take place on Sunday 15 March. Casting directors Shaheen Baig and Jina Jay are the co-recipients of this year's prestigious National Film & Television School Fellowship. The pair co-founded the Casting course at the UK's leading Film and Television school in 2019 and have been running it ever since. For info on future Casting courses, visit https://nfts.co.uk/casting. The application deadline for this year's course is 7 May 2026. 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.
The Other Bennet Sister's Ella Bruccoleri on stepping into Austen's world and stepping away from Call the Midwife
The Other Bennet Sister star talks about stepping into a lead role for the first time, discovering Austen late, and moving on from Call the Midwife.
“I love doing something different every few months.” That makes Mary Bennet, lead in the BBC’s 10-part drama The Other Bennet Sister an interesting move for actress Ella Bruccoleri. Nebbish, bookish, and, at least outwardly, pious, the middle sister of Pride and Prejudice’s Bennet doesn’t have change in her bones. You’d be forgiven for thinking that piety comes naturally to Bruccoleri, who was brought up Roman Catholic but tells Radio Times she’s now agnostic. She’ll be familiar to many as Sister Frances in Call the Midwife, others might have recognised her in a small role as Sister Rosita in Paddington in Peru. Those roles don’t find her because of her upbringing, however. “I just have this kind of nun-like face!” she says. “I maybe find it more difficult to play pious characters than would be expected because I've broken away from [Catholicism], and maybe I feel a bit of guilt because my family is still very Catholic,” she continues. “It would feel easier maybe to play a role that's more cynical of, or being worn down by, organised religion.” Appropriately, Mary Bennet’s relationship with religion is hard to decipher, even as the BBC’s adaptation of Janice Hadlow’s novel of the same name expands her beyond Pride and Prejudice. It grants Mary a complexity lacking in other adaptations but for Bruccoleri, in her first lead role, it was a new experience. “I was filming every day, sometimes six days a week, for four months,” she says. “It tested my stamina in ways that I’d never experienced.” For which, she suggests, Call the Midwife was the perfect training ground. Read more: The Other Bennet Sister star reveals why she left Call the Midwife and talks beloved Pride & Prejudice character Ruth Jones reveals what she told Gavin & Stacey icon Alison Steadman about the beloved Jane Austen role they now share Drama school hadn’t prepared Bruccoleri for interacting with the camera, so she learned on set. The fast-paced production of Call the Midwife – 15 seasons in 15 years – and embodying the same character for four seasons helped her “work the muscle repeatedly.” It made clear just how prepared one needed to be when coming onto set, whether that’s in Call the Midwife’s East London or The Other Bennet Sister’s shifting setting from Longbourn, London, and The Lake District (represented by the Brecon Beacons in-show). That movement made Bruccoleri's filming experience elastic. Portraying the more morose side of Mary in Longbourn and later Pemberley, “I felt really conscious that it was slightly on me to set the tone for how filming went,” she says. “I would sometimes start to inhabit Mary a little too much on the set of Longbourn because I had all my sisters around me with these beautiful dresses and I was there in my grey monk’s robe. I sometimes felt a bit grumpy.” <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/03/BBC-TOBS-03a724a.jpg" width="4281" height="2854" alt="A young woman wearing glasses and a pale Regency-era dress stands in the foreground outdoors, looking determined. Behind her on a set of stone steps stands a small group of well-dressed people—several young women in colorful empire-waist gowns, an older woman in a floral dress, and an older man in a dark coat. They all look toward her as sunlight filters through the surrounding trees, creating the atmosphere of a tense moment in a garden setting." title="The Other Bennet Sister" /> When Mary’s sadness was harder to come by, Bruccoleri fell back on past experience – whether that’s in her own life or watching, she says, particularly depressing documentaries. As The Other Bennet Sister transports Pride and Prejudice into a more modern understanding of family, both families of origin and choice, Brucolleri dug into her own relationships for a mirror to Mary’s complex relationship with her mother, Mrs Bennet (Ruth Jones). “I have people in my life who are estranged from their families and have had to build a family from scratch through people they trust and not blood relations,” she says. “I would think about my friends and I would get really upset, [they’ve] done an incredibly brave thing by stepping away. That doesn’t get easier.” That contrasted with the experience of filming in London where, as Mary opens up under the purview of the Gardiners (Richard Coyle and Indira Varma), Brucolleri also lightened. This was, in part, for having children on set and that necessitating a less serious mood in between takes. “[But] they’re also like big children, Indira and Richard,” Bruccoleri says. “They’re such brilliant actors, and two of our most respected actors, [but] they’re incredibly silly people.” “One day, Richard just found an orange in his hand,” she continues,” and he was like, ‘I don’t know how this got here.’ He was genuinely shocked!” It’s part of a broader program by Varma and Coyle to help relieve some of pressure Bruccoleri felt by making “Ella regress into a million giggles,” she says. “A good reminder you shouldn't take anything that seriously.” That sense of support filters through the entire series for Brucolleri. First, with Richard E. Grant as Mr. Bennet – “he’s been wanting to play that character for a long time” – and Jones, and later Varma and Coyle. “I had days where I felt really held by other people,” she says. Not just by her more experienced cast-mates, but also a crew she says dedicated itself to bringing Austen and Hadlow’s world to life through a vibe that often ran counter to the drudgery that Mary experiences. “I've done jobs where I'm just showing up and doing the work and maybe I'm not insanely passionate about this, or invested in this,” she says. “I understand if other people show up and it's just a job for them. That was not the case with an ybody on that set. I was blown away by how everyone really cares and was really invested in the story and in their character, and people were putting in so much time and effort behind-the-scenes.” <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/03/547460-3ec956f.jpg" width="5120" height="3414" alt="A young woman wearing a light beige, early-19th-century style dress sits in a wooden armchair beside a window. Soft daylight from the left illuminates her face as she gazes thoughtfully outside. She has short brown hair and wears round glasses. The room around her is dim and warmly toned, with patterned curtains, upholstered furniture, and a small table with fruit in the background, giving the scene a quiet, historical, period-drama atmosphere." title="The Other Bennet Sister" /> Now it’s over, Bruccoleri is settling back into the unpredictable rhythm of moving in and out of roles. That doesn’t mean she’s using her spare time to catch up on Call the Midwife, however. “I had best intentions of keeping up with it!” she says. “I just genuinely have not watched TV in a really long time.” Choice paralysis, she calls it, it’s too much commitment; she’s better at watching films. “I think I’m a bit of a commitment-phobe generally.” It also makes her reticent to take on anything as long-term as Call the Midwife right now. She doesn’t rule it out – nor a return to the series when it returns from its hiatus. “It would be nice to revisit that part of my life in a low-stakes way,” she says. Though adds that she feels she’s taken Sister Frances as far as she can. “Once I put something to bed, I do find it quite difficult to go backwards.” An answer that might have been different immediately after exiting when, with no work booked, she did doubt momentarily whether it was the right decision. But if leaving is something Mary fears then Bruccoleri has accepted the natural rhythm of a working actor that makes change a gift; albeit laced with the occasional worry when jobs end. “I just really love variety,” she says. “I love doing something completely different.” That makes what comes next for an actress that, despite an abundance of nuns in her career thus far, has already collated a body of curious and characterful roles. Here, however, her upbringing does have an impact. “I’d like to do more art-house cinema,” she says. “That’s the stuff I was raised on: I grew up on Shane Meadows and Ken Loach. I’d like to do more Northern stuff.” This prompts Bruccoleri – who hails from North Yorkshire – to return to The Other Bennet Sister for a final thought. As it brings modern sensibilities to regency period dramas, she takes a moment to note how the series is packed with Northern actors and, more importantly, Northern voices. It’s part of a diverse cast of voices that’s opening up a story often reserved for Southern voices on-screen. “Growing up, I was really into Brontë because Brontë feels more about where I’m from,” she says. “I thought Austen was really posh and alienating.” Having come to Austen later in life as a result, Bruccoleri hopes The Other Bennet Sister, following in the footsteps of series like Bridgerton – in which Brucolleri has also appeared – might erode some of the barriers past voices may have erected around period dramas. Whether it’s Northern actors still speaking with received pronunciation – “We were all a bit taken aback by how many Northerners they trusted to do that,” she says – or those speaking in their own regional accents. “I would like to see more regional accents on TV. I just don’t think you see enough of it. I think [Austen] feels just as much at home in that accent as it does in received pronunciation,” she says. “I do feel very proud of that – and I do feel proud of the colourblind casting, as well.” A recent trend in modernised period dramas, combining authentic production and costuming with more modern sensibilities and ideas, offers a more accessible way into period dramas. If The Other Bennet Sister changed some minds about Austen, and the broader genre; “if this could be a gateway drug to reading more Austen,” Bruccoleri says, “that would be really, really cool". The Other Bennet Sister premieres on BBC One and iPlayer on Sunday 15th March 2026. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast. Add The Other Bennet Sister 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.
Invincible boss teases season 4’s "completely original" story in major change from comics
Along with the Viltrumite War arc and the long-awaited debut of Dinosaurus, Invincible season 4 will see the return of a character in a change from the comics that's 'completely original to the show'. In preparation for the big reveal, series co-showrunners and executive producers Robert Kirkman and Simon Racioppa, have given us a tease about its great importance. In season 1 of Invincible, demon detective Damien Darkblood was part of the show’s initial storyline about investigating Omni-Man (Nolan Grayson) as the prime suspect for murdering the Guardians of the Globe. His part in the television adaptation ended a bit differently compared to the comics. In the show, Cecil sent him back to Hell to stop him from interfering with his own plans; originally, Darkblood was more of a gag character in the comics, and naturally disappeared from the story once Omni-Man's guilt was revealed. View Green Video on the source website Years after a slight tease during a post-credits scene of his final season 1 episode, and confirmation with a new scene at the end of season 3 where he speaks to Satan, Damien Darkblood will be making his Invincible return in season 4 — via a new storyline that’s completely original to the show. As gathered from snippets of Invincible’s season 4 trailers so far, Darkblood’s new story seems to be set in Hell — it appears that we'll see him don intimidating armour to take on a powerful enemy, and pull Mark Grayson into the fray. When asking Kirkman and Racioppa about how this will affect and fit in with the Viltrumite War Arc — the main plot of season 4 — both were keen to share that this wasn’t skippable content, and is still important to the show, both for comic fans and those who only know Invincible through the series. "We always change things and enhance things and lengthen stories and shorten stories, so there’s a lot of big differences in this show. But to have something that's completely original and completely new, you know, hasn't happened a lot in the series up to this point," Kirkman said. "And so this is something that you know is wholly original to the show. And I think that's going to be really cool, how it fits into the story, and how it weaves into the overall tapestry of the Viltrumite War. You'll just have to find out." To hone in on the importance of this new storyline, despite not being featured in the comics, Racioppa added: "But we can promise you there's no episode of Invincible that you can skip. Everything's connected. Everything affects our characters. Everything changes the story as it goes forward. So it's definitely an important episode in the season." If the last seasons are anything to go by, both Kirkman’s and Racippa's words will definitely run true. Thanks to the comic’s original creator being so involved with the series adaptation, appropriate adjustments that improve the storytelling but still hold true to the source material can easily be made. For instance, Nolan and Debbie’s relationship in season 1 was given much more weight before the big fight between Omni-Man and Mark — giving the fallout a far larger impact at the time and in later seasons. View oEmbed on the source website Even recently, gender-swapping Shrinking Rae for the show, changing her fate to survive her original death by the Lizard League’s Komodo Dragon, ended up becoming one of the best changes, thanks to her new character development shown in season 3. Despite season 4 going deeper into some of the comic’s bigger and wackier stories; Dinosaurus, Universa, the preparation for the Viltrumuite War with the Coalation of Planets; if anyone could make an extra story about Damien Darkblood fit into an already packed bunch of episodes, it's Kirkman and Racioppa. Invincible season 3 is available to stream in full now on Prime Video – you can sign up now for a free 30-day Prime Video trial. 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.
The Capture creator explains Carey’s decisions in mind-bending season 3 episode 2
"She's so adamant that she's right all the time. Is that a flaw or is she right?"
*Warning - contains spoilers for The Capture episodes 1-2.* The second episode of The Capture season 3 is now available to stream on BBC iPlayer, and it picks up after that huge episode 1 cliffhanger, which saw Rachel Carey come face to face with the man she saw kill Isaac Turner. The man is question is Noah Pierson, the new Commander of Counter Terrorism Command and Carey's boss. In episode 2 she pleads with her colleagues to believe her when she says he was the shooter, but they are naturally sceptical. Instead, they are continuing to try and hunt down James Whitlock, who was caught on camera committing the attack. But what is the truth? Carey's certainty leads her to send Pierson for advanced vetting, while the end of episode 2 saw her enlist Frank Napier to essentially kidnap him. The Capture creator Ben Chanan spoke with Radio Times exclusively about Carey's decisions in episode 2, which seemed erratic to her colleagues and, seemingly, to Pierson, who gave no signs of hiding his true nature. Chanan said: "We want to make it as hard for Carey as possible to actually arrest this person, because how could he possibly have done it? Why would he possibly do it?" He continued: "I think most of us would have questioned ourselves much quicker than she does, she’s someone who believes her own mind very clear, she's very, very headstrong. I think I, and probably most people, would almost instantly go, 'Oh, he just looks like the person, he can’t actually be the person because that doesn’t make any sense'. "I think we sort of autocorrect those feelings quite quickly, because they seem preposterous. But Carey is different to us, and she's so adamant that she's right all the time. Is that a flaw or is she right?" Noah Pierson is played by Killian Scott, while Holliday Grainger and Ron Perlman have returned as Rachel Carey and Frank Napier from seasons 1 and 2. Paapa Essiedu also returned as Isaac Turner, although his stint in this season was tragically short lived. Now begins the long wait for next week's third episode, which Chanan has dubbed "the best episode we’ve ever made". The Capture season 3 will continue on BBC One and BBC iPlayer on Sunday 22 March 2026. 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.
The Other Bennet Sister writer teases Ruth Jones’s "brutal” version of Mrs Bennet
"I got to write Mary's mum and Mary's sisters, so they're slightly different to Lizzie's experience of that same family."
New BBC series The Other Bennet Sister, the first five episodes of which are available now, focuses on characters viewers might think they know, but from an angle they most likely don't. That's because it tells the story of Mary Bennet, the oft-forgotten Bennet sister from Pride & Prejudice who is played by Ella Bruccoleri. This means that viewers get to see a different side to some of the most famous characters in literature, with Ruth Jones playing a version of Mrs Bennet that writer Sarah Quintrell has teased is "brutal". Speaking with us exclusively for our video interview series The Radio Times Writers' Room, in which we get to know what makes screenwriters tick, Quintrell spoke about the cast of the series, saying casting director Kahleen Crawford and her team "have done the most incredible job". She said: "Not only are they brilliant, the cast – I mean, I don't even know where I would be in my life without Ella Bruccoleri – but they're also the most unfussy, hard working, just gorgeous, fun people to be around. "We would sit under a little tent having our lunch together outside Longbourn, and everyone was sort of mucking in, and we just had a brilliant time. We all sort of fell in love over that period. When we were casting it, you become so close to the characters when you're writing them. Mary was really, really important to me, and I loved her dearly. And the casting was like, ‘Oh gosh.’ "And Ella walked in the room, I think she'd been on tape a couple of times, she came in for a final recall, and I was in the room, and it was just like, ‘Oh, there she is.’ And I felt so incredibly blessed to have found someone who got the range, who got the humour, who got the tone. She took things beyond anything that I'd imagined." View Green Video on the source website Quintrell continued: "And Ruth Jones! I mean, when Ruth came in… And honestly, her Mrs Bennet is just a delight to watch – so funny, so brutal and brilliant. And I suppose I'm lucky, I got to write Mary's family. I got to write Mary's mum and Mary's sisters, so they're slightly different to Lizzie's experience of that same family, and Ruth really took that on. The cast are incredible." The Other Bennet Sister also stars Richard E Grant, Indira Varma, Richard Coyle, Laurie Davidson and Dónal Finn, and five episodes will be released in two separate blocks – the first block is available to stream now, while block 2 will arrive on Sunday 29 March. The synopsis for the series, which is based on the novel of the same name by Janice Hadlow, says: "The drama reimagines the world of Pride and Prejudice through the eyes of Mary Bennet – the oft-overlooked middle sister – bringing a fresh perspective to Jane Austen’s iconic story as Mary steps out of the shadows and into her own life." This isn't the only Pride & Prejudice related series we are getting this year - a Netflix adaptation of Austen's novel is also on the way, with Olivia Colman taking on the role of Mrs Bennet. Sarah Quintrell's interview for The Radio Times Writers' Room is available to watch in full now on RadioTimes.com. The Other Bennet Sister episodes 1-5 are available to stream now on BBC iPlayer. Episodes 6-10 will be available on Sunday 29 March at 6am. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast. Add The Other Bennet Sister 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.
Peaky Blinders icon Cillian Murphy: "I do believe in generational trauma, I also believe it can be stopped"
Cillian Murphy takes the reins for the Peaky Blinders feature film. But what’s the appeal of playing an antihero – and is this the end of Tommy Shelby?
This article first appeared in Radio Times magazine. Tommy Shelby has been in our heads for 13 years, but even longer in Cillian Murphy’s. British TV viewers first encountered the Birmingham gangster in September 2013, when he rode a black stallion through the streets of 1919 Small Heath. For Murphy, presently sitting opposite me in a London hotel suite, the introduction came months before that, when he first opened Steven Knight’s script and realised Shelby was a part in a million. “I could tell that it was special,” says Murphy, a glossy amalgam of expensively barbered hair and radiant skin that belies his 49 years. “I read the opening sequence where he rides into Birmingham. That wordless, western style, it was instantly iconic, if that’s not an oxymoron. So bold and so confident. I knew I wanted to do it.” Murphy compares Peaky Blinders to a motorbike ride where, “Tommy Shelby is driving the motorbike and I’m in the sidecar going, ‘OK man, I trust you,’ and then he’s off. Very quickly I became the passenger and he became the driver.” Is it usual to be taken over like that? “I’ve never had it with any other character,” he admits. “You give yourself up to it. Something happens, some exchange of atoms. I couldn’t just put his flat cap on and step into it; every time we’d do a series it would be, ‘OK, three months of prep and then getting back into it. I don’t know how I’m going to do that again.’ But then you do it, you’re in the groove and every time Tommy became more a part of me. It’s a strange experience.” And now, perhaps, it is coming to an end. “Steve and I explored how you bring this thing to a conclusion,” Murphy says of the discussions the two men had before The Immortal Man, the Knight-scripted Peaky Blinders feature film, which Murphy stars in and co-produces. “We have a weird symbiotic thing. Steve is preternaturally gifted. If you throw an idea at him, he throws it back infinitely better.” Can that be a little annoying? “No, it’s wonderful!” Read More: Peaky Blinders recap: 5 things you need to remember before watching the film The film is widely predicted to offer a final redemption for Shelby who, it must be said, has done a lot that needs redeeming. “Steve has always said that Tommy is a good man doing bad things to a good end,” says Murphy. Still, if we don’t include German soldiers in the First World War, Shelby has killed around 15 people, ordered the deaths of more and, for much of the time, run a relentlessly criminal business model. “But it’s not surprising that people love flawed anti-heroes,” says Murphy. “There are a lot of people you really want to hate, but you can’t hate. It’s much more interesting to me than the square-jawed hero and the nefarious villain.” Add Radio Times as a Preferred Source on Google Keep up to date on what’s worth watching with your favourite entertainment news from Radio Times – see more of our exclusive news and interviews featured prominently in Top Stories when using Google. Has that made him more sympathetic to the bad people he meets in real life – after 13 years of Tommy, is Murphy a more understanding person? “It’s easy to say that, hypothetically, isn’t it? There’s an awful lot of othering happening in society nowadays. You get ‘They’re the bad people!’ from both sides of the divide and I think it happens very early on with children and teenagers now. It’s very hard if a person is threatening you or compromising your beliefs, but you should always be able to see the child or the human being behind the thug or the so-called villain or gangster.” Which, year after year, is exactly what Knight did. “Every time I got the scripts for the new season, I’d go, this is great, let’s go. Because Peaky Blinders went deeper as it evolved. It became more confident, its world got bigger but more detailed. And it went into darker places.” The film finds Shelby holed up in the remains of his country house, tortured by recent traumas and the loss of his daughter Ruby, who died of tuberculosis aged seven in series six. Writing a memoir that, he hopes, will explain everything (The Immortal Man of the film’s title), Tommy is visited by Kaulo, the Romany aunt of his son Duke, who attempts to cure him with a séance. “Tommy is disdainful of doctors or modern medicine or anything that is vaguely part of the establishment,” says Murphy. “He is much more interested in a gypsy kind of magic.” Has Murphy encountered magic in his own life? “In that spooky way, no, but I have creatively. Sometimes, when you’re acting, the words hit the air and it just works. Everyone feels it but nobody can define it. I’ve had times where you feel like it’s almost transcendental.” There is something of that in the scenes between Tommy and Duke (kept apart by Knight until near the dénouement), played by Barry Keoghan. Both are damaged – one by the horrors of combat, the other by the long absence of his father. “I do believe in generational trauma,” says Murphy. “I also believe it can be stopped, that there’s a duty to stop it, or to identify it. Unfortunately for Tommy, I don’t think he’s capable of it because he effectively abandons his son.” Murphy, born in Cork, denies any deeper significance in he and Keoghan being Irish. “It’s entirely coincidental that we’re Irish actors doing it. But it probably helps, having the old chip on the shoulder.” Is there an Irish attitude both men bring to the work? “I am incredibly proud of being Irish, of my heritage, but as a younger actor I really wanted to not be identified [with Ireland], I wanted to be an actor first and Irish second. To just go off and play American and play English and not be inhibited by my extraction.” Read More: Peaky Blinders creator talks contemporary importance of Tommy Shelby fighting fascism: "Look what happened last time" Murphy’s success in doing that reached a zenith in 2024 when he stepped onto the stage at the Dolby Theatre in Hollywood to accept a golden statuette from a beaming Brendan Fraser. “The whole awards campaign is like an out-of-body experience,” he says of winning the best actor Oscar for Oppenheimer that night. “It’s not real. It’s very hallucinogenic. I’m very grateful for it but it’s so divorced from reality.” Still? “Yes, it’s like something that didn’t happen in real time, some magical kind of dream.” But then Peaky Blinders has been a dream of sorts – a BBC drama that became a worldwide sensation. “Connecting,” says Murphy, “in a way that none of us could have anticipated.” Read More: Peaky Blinders: The Immortal Man review – Big screen spin-off keeps a firm red right hand on proceedings Peaky Blinders star breaks silence on major character absence from The Immortal Man film: "It’s something you don’t see on TV" Steven Knight explains how Peaky Blinders film ended up quite different from his initial plans Peaky Blinders: The Immortal Man is in select cinemas now and on Netflix from Friday 20 March 2026. The latest issue of Radio Times is out on Tuesday 17 March – subscribe here. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Danny Dyer reveals why he had strong "anxiety" shooting his new one-man film
Dyer takes on a different kind of role in One Last Deal.
While Danny Dyer has more recently been seen in the likes of Rivals, Mr Bigstuff and fronting a brand new series with his daughter, the former EastEnders star is taking on a new kind of role in the upcoming film, One Last Deal. The one-man film sees Dyer take centre stage as football agent Jimmy Banks, who is trying to secure one last big payday for a superstar client. The problem is that the client in question is waiting on a verdict from an ongoing rape trial, and so, the football club won't sign the deal if it all goes wrong. Dyer's character Banks is intent on securing some kind of major deal as the film unfolds, but he is also contending with various other stresses from his life and an unwelcome unknown caller who is threatening to upend his life. The film is very much all on Dyer's shoulders as it remains in Jimmy's office, with us seeing him getting progressively more stressed, dishevelled and drunk as the movie goes on. It was an experience that was riddled with anxiety for the Football Factory star, with Dyer telling Radio Times of being the sole focal point of One Last Deal: "Well, I had a lot of anxiety while doing it, because I think I was so... quite method in the character. So I'd say the last day [was my favourite]. And that's just because of going, 'Oh, I think I've nearly done this'. "There's a point halfway through, and I'm so tired and just thinking, 'This is so hard'. It's like, there's no respite. You go and have a bit of lunch, have a scene off and then you're back on, like you do usually." View oEmbed on the source website He added: "So, it was all from the beginning to the end of every day. I mean, every single shot. So it was just about staying switched on and trying to stay truthful forever. Because the more tired you get, sometimes it can take you... you know, the performance drops slightly." Read more: Oscar-nominated Wagner Moura outlines the importance of international cinema being honoured Colleen Hoover explains how Reminders of Him changed her perspective on adapting her novels The film leans into thriller elements as Jimmy has to race against time to secure a deal, but is very much most concerned with the big payout that could come at the end of it. As you may have guessed, the film is solely focused on Dyer, with no other characters. Joking about being the only one in the film on a recent episode of The One Show, Dyer jokingly gave a warning to audiences and said, "It's me in a room on the phone for an hour and a half. I'm gonna be honest, if you're into me, then you'll love it; if you're not into me, do not go anywhere near this film. Because it will wind you up." One Last Deal is out in UK cinemas now. 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.
Colleen Hoover explains how Reminders of Him changed her perspective on adapting her novels
Reminders of Him is Colleen Hoover's third adaptation in two years – and the bestselling author isn't slowing down any time soon.
Unless you've been living under a cultural rock for the last decade, chances are you've heard the name Colleen Hoover. The bestselling author is behind a large catalogue of beloved novels, which have sold more than 20 million books. Her massive surge in popularity primarily came from the BookTok community on TikTok, where her most popular novel, It Ends With Us, found itself a particularly devoted following. Two years ago, that book was the first of Hoover's to transition to the big screen – in a film starring Blake Lively and Brandon Sklenar. Since then, several more of Hoover's novels have been picked up by Hollywood studios, including last year's Regretting You, starring Allison Williams, Dave Franco and McKenna Grace, as well as the upcoming Verity, which is set to premiere later this year and will star Oscar-winning actress Anne Hathaway, alongside Dakota Johnson and Josh Hartnett. Out of all of Hoover's adaptations so far, however, it is the most recent, Reminders of Him, in which she has had the most direct involvement. Acting as an executive producer on the film, Hoover was present on set throughout filming, and was thus able to watch the cast bring her beloved characters to life while also giving her input on different aspects of the film. Speaking exclusively to Radio Times, Hoover explained that being so present on the Reminders of Him set changed her approach to adapting her own work to the big screen, and remarked that it completely remodelled the way she sees filmmaking. "Oh man, this one was completely different," she said, "Like, I actually got to be on set for this one the whole time, and in pre-production. And we'd be in the editing room. It was a whole different experience. "And just being able to see it all come to life, and the hard work that goes into it. I don't think I'll ever look at filmmaking the same way again." Reminders of Him stars Maika Monroe in the lead role as Kenna Rowan, a woman recently released from prison who returns home to connect with her young daughter Diem, while Tyriq Withers plays her love interest, Ledger. Working on a film with the original creator of their characters watching so closely could have easily proven to be a nerve-wracking experience for the actors, but the pair confirmed it was anything but. View Green Video on the source website "[Hoover] was the biggest bully on set," Withers laughed, "No, I'm joking. It was such a dream having Colleen there on set, the creator of these characters. She really saw Ledger in me, and Kenna in Maika. "So yeah, when you have the author there, it was like, if she's happy, then I'm happy." "I mean, it was such a gift," added Monroe, "Colleen is so collaborative, and was such a safe space to talk about ideas, or if I was like 'Oh, what if I said this here," she'd be like 'Oh, love that.' So we became fast friends. She's the best." As well as Monroe and Withers, Reminders of Him also stars the likes of Lauren Graham, Bradley Whitford, Rudy Pankow, Nicholas Duvernay, Monika Myers and Lainey Wilson. Reminders of Him is now showing in UK cinemas. 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.
Oscar-nominated Wagner Moura outlines the importance of international cinema being honoured
In recent years, Oscars best picture line-ups have been notably more international.
One of the most notable trends at the Oscars in recent years has been the Academy's growing recognition of international cinema in the major categories – with films from across the globe having featured in most of the recent best picture line-ups. Once almost exclusively the domain of English-language cinema, the last few years have seen films from South Korea, Japan, Germany, France, Norway and Brazil all competing for the top prize – with the latter two nations included in this year's impressive shortlist. The Brazilian movie in question – the second in two years to feature after I'm Still Here last time out – is Kleber Mendonça Filho's terrific The Secret Agent, which stars Wagner Moura as a man on the run during the time of the South American country's brutal military dictatorship. It's a superb film – perhaps even the best of all the nominees – and speaking to Radio Times last month, Moura explained how the Academy's embrace of international cinema was something that he very much welcomed. "[There's] so much to talk about," he began. "I think it's great that... you know, some of the best films that I saw this year were international. Sentimental Value, It was Just an Accident, Sirât. I think those films are some of the best films of the year. He added that since Bong Joon-ho's Parasite won best picture in 2020 he had seen audiences become much more open to the idea of watching film and TV with subtitles. "When we did Narcos, for example, that was only 10 years ago [and] we would ask ourselves, 'Oh, would Americans read subtitles? I don't think they will, I don't think they're used to that,'" he recalled. "And now it’s a given, right? Like, people read subtitles and they see international and I think that's great." Moura went on to explain how he had grown up watching American, English and French films and outlined why it could only be a good thing for viewing habits across the globe to become more international. "My understanding of what England is has a lot to do with Mike Leigh or Ken Loach," he said. "And I think that that's great. My understanding of what the US is comes from the films and series that I saw when I was a boy. "It's interesting – Christmas in Brazil is always summer, it's hot as f**k, but every time I think about Christmas I think about snow because of the American Christmas films that I saw." He continued: "So I think that it shapes culture, right? It shapes the understanding that people have of a nation, and no country develops without that. "Not only the image that you export, but for ourselves – like Shakespeare said in Hamlet – you have to put a mirror in front. Sometimes the mirror is distorted, sometimes the mirror is more accurate. But it's important to see ourselves." Bringing things back to The Secret Agent, Moura thought it would be "fascinating" for people overseas to see all the specific cultural details included in the film which related to the city of Recife in the 1970s. And he added that though he was very pessimistic about the state of the world in general right now, this was one thing we could be positive about. "Before, if I wanted to see an Iranian film, I would have to go to a movie theatre at a very specific time, at a very specific place," he said. Now I can just turn on my TV and go to the Criterion Collection and see Abbas Kiarostami's films. And so I think that's a good thing. One of the good things that I think that technology brings to the world." View Green Video on the source website Meanwhile, speaking about the back-to-back best picture nominations for Brazilian films, he said that this was not a coincidence. "Since we got rid of the fascist government [led by Jair Bolsonaro], that is in jail right now, we now have, again, a president and a government that likes culture," he said. "Our production is still very dependent on government funds – so it's not by chance that we are living in a good moment. Since I'm Still Here and so many great Brazilian films going to other film festivals around the world." As for whether he had any recommendations for film fans to check out if they were just getting into Brazilian cinema, Moura reeled off a long list of options. "Walter Salles is a great filmmaker that I admire a lot," he began. "He has this film called Foreign Land, that I really like. You have to see Héctor Babenco's film Pixote, [which] is an amazing film. Carlos Diegues' Bye Bye Brasil is an amazing film. Eduardo Coutinho's Twenty Years Later... it's a masterpiece. "And back in the '60s we had this movement called Cinema Novo, that was hugely influenced by Italian neorealism and the French New Wave and that idea that cinema was revolutionary. "And we produced so many great titles, like there's this great director called Glauber Rocha, that directed a film that I'm fascinated by called, Deus e o Diabo na Terra do Sol... it's called in English, I think it's Black Devil, White God. [There are] many!" The Secret Agent is showing in UK cinemas 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.
The Marlow Murder Club's Samantha Bond teases Judith's "cautiously" developing romance
Judith met Hugh Quarshie's Professor Darius Gifford at the end of season 2.
While The Marlow Murder Club primarily focuses on the various cases the leading trio investigate, we have over the first two seasons delved more into their personal lives. The end of season 2 saw Samantha Bond's Judith meet Hugh Quarshie's Professor Darius Gifford, and sparks appeared to fly between the two of them. Now, with Quarshie returning for season 3, Bond has told Radio Times exclusively that we will see their romance "developing" – however, it will be doing so "slowly and cautiously". "Judith hadn't had anything romantic in her life for many years," Bond said. "So, she's cautious. She does engage him to help her, however. So he's quite cunning at being a sleuth of his own, as it were." This season will also feature a particularly personal story for Cara Horgan's Becks, as she finds herself the suspect in an investigation when a murder takes place at her university reunion. Speaking about the storyline, Suzie star Jo Martin told us that her character and Judith "never for one minute" believe that Becks is guilty. "We hold fast, and it gives us that kind of impetus to work even harder to prove our friend’s innocence – hopefully," she said. "But how we play out is that, 'No, she could never.' "And obviously, there's a scene where they take her lanyard from her – and our lanyard is our status, it’s used to get into places – and suddenly we're told we can't talk with her, which really is awful. But do we listen to them? I don't know. And that's a really interesting journey to go on. "Because up front we’re all like 'No, no, no, no', but every so often something happens, you go, 'Could she? No, no, no, no, it’s Becks, there's no way. There is absolutely no way.' But it does test the friendship and if anything, makes us even stronger." The Marlow Murder Club is coming to U&Drama on Wednesday 18 March 2026. Add The Marlow Murder Club 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.
Invincible boss addresses major actor absence in season 4
Aaron Paul won't be returning as Powerplex.
Season 4 of Invincible is once again set to up the ante with the start of the Viltrumite War saga and its other unique stories, adapted from the comics. But one major change is coming in the shape of Aaron Paul, who won’t be rejoining the show as Powerplex — and the franchise’s creator has given us a bit more insight behind it all. Voiced by the Breaking Bad actor since the character's debut, Powerplex (aka Scott Duvall) was one of the show's most tragic figures. After being on a war path of revenge against Mark Grayson’s Invincible for the deaths of his sister and niece, Powerplex ends up going too far with his electrical powers against the hero, and accidentally kills his wife and infant child as well. Powerplex had lines in episodes spread throughout the rest of season 3, and it was initially assumed Aaron Paul would be back to voice the character in season 4 of Invincible, if the villain was returning. However, Paul revealed in a late 2025 episode of the Kinda Funny Gamescast that although he was asked to come back for season 4, he declined the offer due to playing the character being "just way too grueling on [his] psyche". He even added that, due to the actor’s dedicated approach to the character, being Powerplex was a "skin [he] didn’t feel comfortable in". View Green Video on the source website When Radio Times asked Invincible co-showrunners and executive producers, Robert Kirkman (also Invincible’s creator) and Simon Racioppa, if they were surprised about Paul’s departure, they suggested that the actor declined to return based on logistics. Kirkman said: "Animation is a different animal. In live action, a lot of times, you have to change how things are written to expand roles and things to maintain having an actor stay on for a role. "In animation, there’s a little bit more freedom in following the actual story." Continuing, he added: "I think that if you look at the Powerplex character, he's still present, and he, you know, pops up from time to time, but having a real meaty episode that focuses on him, that's something where you can get Aaron Paul to come in and do a great performance — but it is sometimes difficult to have that same actor come in just for, you know, a scene or two here and there, mainly because of scheduling." "It's really difficult because you can't lock an actor in for animation and, you know, control their availability. So you're kind of at the whim of whatever movie or television show or other thing that they're doing, and our cast is filled with massively in-demand actors, and so there are going to be times here and there where, you know, they're just not going to be available." Across it's run, Invincible has become packed with incredibly famous actors, including Steven Yeun (Mark Grayson), JK Simmons (Omni-Man), Sandra Oh (Debbie Grayson), Walton Goggins (Cecil), Gillian Jacobs (Eve) and Seth Rogen (Allen the Alien). The animated series has become one of Amazon's most celebrated properties, with a fifth season already commissioned for release in 2027. In addition, a video game titled Invincible VS will release on 30 April, 2026, with the gameplay trailer giving us our first impression of how the newly cast Powerplex might sound. Invincible season 4 will be made available to stream on Amazon Prime from Wednesday, 18 March 2026. 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.
Ruth Jones reveals how working with Gwyneth Paltrow in Emma put her off Jane Austen – until The Other Bennet Sister
Jones plays Mrs Bennet in the new BBC drama.
New BBC period drama The Other Bennet Sister may be based on a recent novel by Janice Hadlow, but that itself follows a character from classic literature – Jane Austen's Pride & Prejudice. The 10-part series follows the "overlooked" character of Mary Bennet, played by Call the Midwife's Ella Bruccoleri, while other characters from the novel are also featured, including Mary's mother Mrs Bennet, who is played by Ruth Jones. The Gavin & Stacey star and creator recently spoke with Radio Times exclusively, alongside Bruccoleri, and revealed that she was actually a "a late-comer" to Austen as a novelist. "I didn't read Pride & Prejudice till I was in my 30s," she explained, "and my initial take on it was that I didn't really respond to it, because I just thought, when I was reading the first 10, 15 pages, I thought, 'What's all the fuss about?' And then something just clicked. And I thought, 'This writing is superb. It's a brilliant observation of human psychology.' Jones continued: "So that was my introduction to Pride & Prejudice. But I had actually done a film version of Emma, where Gwyneth Paltrow played the lead. I was the Bates's maid, so I was working with Sophie Thompson and her mother, and I was playing their servant. I'd worked with Sophie at the RSC, so I felt very comfortable and I was really excited to be there." "I think it was my first film role," Jones said. "And I had two lines, I think I said something like, 'Please come in,' and then said to the Bates's, 'Miss Woodhouse is here.' And then I had to show her in. And then Gwyneth Paltrow cut 50 per cent of my lines. 'Does she really need to say that?' I wanted to die. "And it's made me, since then, if I'm in something or if I've written something, I just know how important it is when somebody's got one line. So, again, Emma I thought was a fantastic piece of writing. I didn't read the book, I will admit, because it was quite dense and long." Jones may have had a bad early experience with Austen adaptations, but now she is starring in The Other Bennet Sister, alongside a cast which also includes Richard E Grant, Indira Varma, Richard Coyle, Laurie Davidson and Dónal Finn. The synopsis for the series says that it "follows Mary as she steps out of her sisters’ shadows in search of her own identity and purpose, finding herself in the middle of an epic love story along the way". The synopsis continues: "Her journey will see her leave her family home in Meryton for the soirées of Regency London and the peaks and vales of the Lake District, all in search of independence, self-love, and reinvention." The Other Bennet Sister premieres on BBC One and iPlayer on Sunday 15 March 2026. Add The Other Bennet Sister 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.
Peaky Blinders and Industry favourites star in exclusive first look at true crime drama aiming to be "wake-up call"
Believe Me focuses on the victims of John Worboys, who was dubbed the 'black cab rapist'.
ITV new true crime drama Believe Me is on the way, and Radio Times has got an exclusive first look at some of its central stars in character. The four-part series tells the true story surrounding John Worboys, dubbed the 'black cab rapist' after preying on women under the cover of being a licensed taxi-cab driver. He was convicted in 2009 for crimes including sexual assault and drugging with intent against 12 women between 2006 and 2008, with their cases selected from a large number of suspected further victims. The series tells the story of how the victims of Worboys were failed by the system, with a particular focus on two individuals, Sarah (Aimée-Ffion Edwards) and Laila (Aasiya Shah). Both Edwards (Slow Horses, Peaky Blinders) and Shah (The Beast Must Die) are seen in the first-look images, as is Miriam Petche (Industry) who plays Carrie Symonds, now Carrie Johnson, the wife of former Prime Minister Boris Johnson. Not seen in the images yet is Daniel Mays (A Thousand Blows, Line of Duty), who takes the role of Worboys in the drama written by Jeff Pope (The Reckoning). The series will show how the Metropolitan Police failed to thoroughly investigate the allegations of victims, leading them to feel that they were just not believed. The synopsis for the series says that it will "relate how the Met’s failings effectively left Worboys free to commit assaults undetected for many years; following his trial came the realisation that he was linked to allegations of further sexual offences against over a hundred women." Sarah and Laila will be seen joining forces with solicitor Harriet Wistrich, played by Philippa Dunne and barrister Phillippa Kaufmann QC, played by Rachael Stirling, to sue the Metropolitan Police under the Human Rights Act for their failure to properly conduct investigations into their allegations of sexual assault. They won this case and also won an appeal which went to the Supreme Court, but later had to fight to keep Worboys behind bars at his first parole hearing eight years later. In this, they were joined by Symonds, who was targeted by Worboys in her youth but had a narrow escape, and who had become a senior figure in the Conservative Party press team. Upon the release of the first look images, Sarah, whose identity has been protected, said in a statement: "Believe Me is about the courage of every woman who came forward to help put John Worboys behind bars. What happened to me changed my life, but in many ways the hardest part was not being believed for so many years. "Without the people who stood by me, Worboys would have been freed and continued to pose a huge risk to women. Seeking justice shouldn’t mean more trauma. We shouldn’t have to fight to be believed or feel like we’re the ones on trial. The shame never belongs to the survivor." Meanwhile, Johnson added: "I hope Believe Me serves as a wake-up call to the police, the CPS and the parole board. Far too often, women and girls are failed by the very institutions meant to protect them. The treatment of the victims in this case was truly shameful. Reform matters but what we urgently need above all is a profound shift in culture. "It takes enormous courage for women to come forward. They must know that when they do, they will be treated seriously and with respect, and that every effort will be made to ensure justice is done." Believe Me will air on ITV1 and ITVX. Add Gone to your watchlist on the Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
The Handmaid's Tale actor recalls sweet story from '00s with Gilmore Girls star: "She's just a notoriously lovely human being"
Reminders of Him was a reminder of previous TV roles for Bradley Whitford.
In a delightful crossover of fandoms, Bradley Whitford has reunited with his former co-star and Gilmore Girls legend Lauren Graham in an adaptation of Colleen Hoover’s novel Reminders of Him. The actors had the “incredibly painful” challenge of playing Grace and Patrick, the parents of a 23-year-old man, Scotty (Rudy Pankow), who dies in a car crash on his birthday. His girlfriend Kenna (Maika Monroe), who was driving the car, lives on, but is sentenced to seven years in prison. While she serves her time, Grace and Patrick are left to raise Kenna and Scotty’s daughter, their granddaughter, Diem. The heavy subject matter was made easier for Whitford by working alongside Graham, as the duo have known each other for over 25 years, often bumping into each other while performing their career-defining roles in the early 2000s. “I go so far back with Lauren,” Whitford tells Radio Times. “When The West Wing started, she was shooting Gilmore Girls, and they were both notoriously difficult shows to shoot. You would shoot late into the early morning. “I just remember a couple of times memorising lines on the Warner Brothers lot and bumping into her, and she's memorising lines on the lot. This was a quarter century ago. “She was on Studio 60, and I got to work with her again,” he adds. “She’s just a notoriously lovely human being who I think is a great actor, and I was thrilled that she was doing it.” <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/03/reminders-of-him-tyriq-withers-lauren-graham-489bb27.jpg" width="1200" height="800" alt="Tyriq Withers as Ledger Ward and Lauren Graham as Grace Landry in Reminders of Him, walking across grass and smiling, with a child on Ledger's back." title="Tyriq Withers as Ledger Ward and Lauren Graham as Grace Landry in Reminders of Him" /> Whitford admits that while Hoover’s books or the “young, hot romance” is not his “go-to genre, because I’m old”, he was “blown away” by Reminders of Him, which he read just before filming. “My daughter, Lulu, is obsessed with Colleen Hoover's stuff, and I was really blown away. I'm like, this is really heartbreaking and sexy and incredibly well written,” the actor adds. “I remember reading the book and thinking, it's just a terrible, terrible, seemingly unresolvable situation where all of the feelings are justified and painful, and none of the choices are easy.” Whitford also credited his co-stars Maika Monroe and Tyriq Withers for their “grounded” and “truthful” performances. “Working with Maika and Tyriq, they were just, honestly, Lauren and I turned to each other and we were like, ‘These kids are amazing,’” Whitford said. “They're just incredibly grounded and truthful. It was really fun to be around them.” View Green Video on the source website The Handmaid’s Tale star also credited his director Vanessa Caswill for creating an on-set environment that was “completely lovely... where actors feel comfortable just dilating and opening up your heart in front of a bunch of strangers”. Reminders of Him is an emotional adaptation, heart-wrenching at points, but Whitford isn’t one for taking the serious tones of the material off-set, as his “theory of acting” relies on treating the work with a “sense of recess, not school”. “My theory of acting, no matter what the material is, I think the best way to play any scene, the best atmosphere, the best set-up for good acting is a sense of recess, not school,” he explains. “I felt that if you watched the Olympics and saw the gold – you’re much better off when you're out there having fun, no matter what the material is. The Beatles were having fun, and out of nowhere you get Hey Jude. “It was not a painful, heavy atmosphere on the set. There are two atmospheres on a set - one is, I can't wait to see what you guys are going to do. The other, all too common atmosphere is, there's a lot of money at stake, I hope you don't screw this up. That was not the atmosphere here. It was the atmosphere that you need to get really honest performances. That was a testament to our producers and to Colleen and to Vanessa.” Reminders of Him will be released in cinemas on Friday 13 March 2026. 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.
Maika Monroe and Tyriq Withers talk Reminders of Him book-to-film changes: "You can’t get every detail from the book"
"I think the best parts did make the film."
As with all literary adaptations, some deviation from the source material is practically inevitable – for better or for worse. Only last month, the response to Emerald Fennell's take on Wuthering Heights proved how quickly straying from the source can provoke some serious discourse among fans of the original text. Reminders of Him, the new romantic drama set for release this week, has been adapted from the best-selling novel of the same name by wildly popular author Colleen Hoover. The book is one of Hoover's most beloved, having sold over 6 million copies in the US alone. The film marks the third adaptation of her literary canon, with a fourth, Verity, set to debut in October later this year. The story follows Kenna (played by Longlegs's Maika Monroe), who has just been released from prison following a traumatic incident. Upon her return, Kenna sets out on a path towards forgiveness, while also trying to reconnect with her daughter, Diem (Zoe Kosovic), who she has never met, and navigating a budding relationship with Ledger (Tyriq Withers), a local bar owner with ties of his own to Kenna's past. While Reminders of Him is certainly a faithful adaptation of the source material – as Monroe previously told Radio Times when the film's trailer was released, "My gut is that the fans will be happy" – the very nature of adapting a film from a book meant that some things had to be tweaked, specifically in the way the relationship between Kenna and Ledger initially unfolds. When speaking exclusively to Radio Times, leads Monroe and Withers discussed adapting the book from its source, and the tweaks that had to be made. "I think that the superpower of book-to-screen adaptations is not really holding on tight to everything," said Withers, "And knowing that the best parts did make the screen. And when you're making a different form of media, you can't get every detail from the book." "But yeah, I think the best parts did make the film," he added. Monroe has long been vocal about being a fan of the source material. Speaking of how she navigated the changes between Kenna's book-self and screen-self, she said: "I mean, I loved the book, and I feel like all the moments that were so important came over into the script. "It was all there, this beautiful arc of these two people falling in love. I don't want to say it was easy, but it was there, you know. It wasn't hard to find." Read more: Peaky Blinders' Cillian Murphy talks casting his "acting hero" in the film – as writer reveals how this impacted villainous role The Magic Faraway Tree unveils exclusive first look behind the scenes of star-studded fantasy And it seems all tweaks were given the sign-off from Hoover herself, who was on set throughout filming and also served as an executive producer on the project. She described her on-set experience as a "good time," adding: "If [the cast] did find something in the script that was like 'Oh, I don't know if I would have said it that way', we would just do a switch up real fast. "And so it did really, I think, make it easier, instead of having to go through all these channels, just [for] everybody to be there and [change] it in the moment." Reminders of Him will be released in cinemas on Friday 13 March 2026. 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.
Apple TV reveals exclusive first look at documentary where tantric yoga school attendees fear they joined a cult
"I couldn't trust myself, but I also couldn't trust them."
Apple TV has revealed an exclusive first-look clip at its new documentary detailing shocking allegations of abuse at tantric yoga schools. Twisted Yoga follows ex-members of a global network of tantric yoga camps who went from searching for wellness and community to fearing they had joined a cult. It centres on the personal experiences of those who attended the schools while also examining accusations against the movement’s founder, Gregorian Bivolaru. Bivolaru was charged in France in 2023 with human trafficking, organised kidnapping, rape and organised abuse of weakness by a sect – he has denied the charges against him and is currently awaiting trial. In the minute-long exclusive clip, which you can watch above, we see one of the women who has chosen to speak out about her time at one of the schools. Ashleigh reflects on a moment of disorientation, caught between her instincts and her reality. Isolated and without resources, she describes the overwhelming feeling of no longer being able to trust herself or those around her. But "something snapped", she says. She sits in a dark room as she explains that she was so indoctrinated in the movement that she didn't initially understand she could ever leave. "That was when I first had the thought, 'Maybe I could leave.' But before that, that thought was too crazy. I wouldn't have thought to do that," she says. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/03/Untitled-design-4-ca7a161.jpg" width="3000" height="2000" alt="A promotional picture for a TV show featuring the Apple TV logo on the right hand side with the show's name Twisted Yoga underneath. On the left hand side is a woman in a yoga pose on a mat with a window behind her with the face of the movement's founder in it." title="twisted-yoga" /> Ashleigh then goes on to share more of her experience and what made her suspect she had unwillingly joined a cult. She continued: "They had all of my belongings. They had my phone. They had my wallet. I had no way of speaking the language. I didn't know where I was. "Nothing felt real anymore, and I actually thought I was going crazy. I thought maybe I was in a state of psychosis. "I didn't know what world I lived in. I couldn't trust myself, but I also couldn't trust them. In that moment, something snapped. I need to go. I need to get out of here right now." Directed by Rowan Deacon, all three episodes of the series will be coming exclusively to Apple TV on Friday 13 March. On why he decided to pursue this story, Deacon said: "When I first encountered this story, the questions that preoccupied me were why and how: how was this organisation's self-proclaimed guru able to amass the power he held over these intelligent, articulate, worldly individuals? "I wanted to understand the mechanisms at work. What kind of psychological manipulation led these women to believe in an ideology that they would later question? What kind of psychological authority did individuals connect to the organisation’s exercise of power, and how was that power sustained? How did this prison of belief really work?" All episodes of Twisted Yoga will air on Apple TV on Friday 13 March. Add these Twisted Yoga 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 Documentaries 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 Marlow Murder Club stars tease storyline which sees one of the trio as a suspect
Cara Horgan's Becks is one of the suspects in season 3's final case.
The third season of The Marlow Murder Club will start airing next week, and one of the cases will see things get personal for the trio of Judith, Suzie and Becks. That is because, in the second case of the new run, Becks will find herself a suspect, when a murder takes place at a university reunion she is attending in an eerie manor house. Judith and Suzie stars Samantha Bond and Jo Martin both spoke with Radio Times exclusively about this storyline, and Bond said that while neither of Becks's partners in crime-solving suspect actually question her innocence, "they do have to suspect her". "It also means, because she's on the inside of the investigation and they're on the outside, there's a conflict of, what can they ask?", Bond said. "They do ask things in their roundabout way. And it’s not easy for Tanika, having the three women separated." Meanwhile, Jo Martin said that the trio are rock solid, and that she thinks they "never for one minute believe that she's guilty of anything when things start looking a little murky". She explained: "We hold fast, and it gives us that kind of impetus to work even harder to prove our friend’s innocence - hopefully. But how we play out is that, 'No, she could never.' "And obviously, there's a scene where they take her lanyard from her, and our lanyard is our status, it’s used to get into places, and suddenly we're told we can't talk with her, which really is awful. But do we listen to them? I don't know. And that's a really interesting journey to go on. "Because up front we’re all like 'No, no, no, no', but every so after something happens, you go, 'Could she? No, no, no, no, it’s Becks, there's no way. There is absolutely no way.' But it does test the friendship and if anything, makes us even stronger." When it comes to the other two storylines this season, one will see the trio investigating the sudden death of Marlow's beloved Mayor, while the other will see a celebrity chef being found dead at the launch of his cookbook, with half the town in attendance. The Marlow Murder Club is coming to U&Drama on Wednesday 18 March 2026. Add The Marlow Murder Club 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.
Ellis star reacts to season 2 twist and "kickass" stunt: "It wasn’t something I expected"
Harper is at the forefront of the action!
*Warning: This article contains spoilers for Ellis season 2 episode 2.* As well as Ellis season 2 continuing to showcase long and winding journeys through various small town investigations, the second episode of the series also features some tense takedown scenes. As Ellis (Sharon D Clarke) and Harper (Andrew Gower) get closer to the truth, it becomes all too clear that DS Malcolm Oliver (John Hollingworth) isn't just a well-meaning fellow police officer that's helping them on the case – but is the perpetrator himself. It's quite the twist but is it one that Gower himself saw coming? When chatting exclusively to Radio Times about the tense final moments of the episode, Gower said: "No [I didn’t see it coming]. I think what’s great is that it makes the viewer, the next time you go into a case – time passes between these cases often – but it really does fuel the trust of the forces that we go into. "I know you should always suspect everybody in a police episode but when you’re getting assistance from fellow detectives, you don’t expect that. So no, it wasn’t something I expected. Again, just great, nuanced writing and the fact that he, John Hollingworth’s character, is caught up in the local community, it shows those complications of police corruption, of childhood trauma as well. To combine those two worlds is a really exciting palette to make a TV show." The scene also shows things getting quite physical as Harper quite literally takes down Oliver. How was it doing something quite different for Ellis? "I don’t know whether it’s for comedy or to make Harper look a bit more kickass but yeah, it’s great," Gower told Radio Times. "We’ve got an amazing stunt team and they seem to be testing Harper’s stunt moves. Whether it’s jumping over bonnets or taking somebody down with a fire extinguisher, it’s great. It’s nice when that stuff pops up in the script because you get to work physically as an actor, as well as all the verbal stuff that we deliver, the police jargon. It’s great to show some physical Harper moves." At the end of that episode, we also see Harper take a bit of a step up in regards to Ellis, allowing her to focus a bit more on Grace while he can clearly handle some of their day-to-day admin. Read more: Ellis season 2 exclusive first-look clip sees beloved detective in hilarious scene with Harper Ellis star reflects on returning to key format feature for season 2: "It’s what makes us unique" While it was a quiet moment between the pair, it's definitely an important one for their dynamic. Speaking about that moment, Gower said: "It’s like in any great relationship, it’s basically saying 'I’ve got you', all of us here are going to be a constant, which I don’t think Ellis expects. Especially not somebody in the shape and form of Harper, right? To almost offer that up. "I thought it was a real beautiful moment but said through action, rather than words. There was no big – Harper likes to monologue at times to Ellis and spout a lot of stuff about the case. But actually, I think his actions in this end scene really speak more volumes than what he says. He tells her to go and that’s it, that's an action as opposed to some grand monologue." Ellis season 2 continues on Tuesday 17 March and Wednesday 18 March at 9pm on 5. Add Ellis to your watchlist on the Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Call the Midwife writer teases "more contemporary" project after show ends
"My main preoccupation at the moment is the Call the Midwife prequel and film, but it will be nice to have something different in the mix."
Aside from a couple of other projects, Call the Midwife has been Heidi Thomas's life since 2012 when it first debuted on the BBC – but also long before that, when she first began immersing herself in the memoirs of nurse and midwife Jennifer Worth. But while there's a prequel and a movie on the way, plus a 16th season beyond that (although it'll be quite some before its premiere), the end is now within sight as times change in Poplar. So naturally, Thomas has allowed her mind to meander elsewhere. "I am working on something more contemporary later this year," she said at the Radio Times Covers Party 2026. "My main preoccupation at the moment is the Call the Midwife prequel and film, but it will be nice to have something different in the mix." Still, Thomas said she "passionately enjoy[s] historic storytelling" – though, she added wryly, the latest season of Call the Midwife is set in the 1970s, "which I remember". Read more: Call the Midwife cast look back on show's 15-year run ahead of the show's hiatus Call the Midwife creator talks series hiatus: "All of a sudden everybody was really sobbing" "So it's actually quite painful thinking that is also history," she added. "But going back to 1939 because the prequel is set in the Blitz, it's been really educational. It's made me think a great deal about my mother's experience as a child in the Blitz, and my grandmother's experience as a young mother. "So deeply thought provoking and very energising, very energising for me, definitely." View Green Video on the source website The prequel, which is a three-part mini-series, will debut this Christmas, although the BBC hasn't yet confirmed that. Younger versions of Sister Julienne, Sister Evangelina and Sister Monica Joan, who died in the season 15 finale, will lead the charge alongside "three young midwives, all completely new, relatively new to the East End, and they really do get thrown in at the deep end". Add Radio Times as a Preferred Source on Google Keep up to date on what’s worth watching with your favourite entertainment news from Radio Times – see more of our exclusive news and interviews featured prominently in Top Stories when using Google. "I think the interesting thing for me is it's a world where women are not in charge when war breaks out, but very rapidly, they are in charge of everything because the men are called away, either to home front-based war work or they go overseas," she expanded. "So you'll see a lot of women coming into their own... it's a programme that is going to be about strong women above all else." Call the Midwife seasons 1-15 are available to stream now on BBC One and BBC iPlayer. Add Call the Midwife 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.
Devora Wilde and Shai Matheson talk hosting the Future Games Show Spring Showcase: "Bring your G and Ts"
The stars of Chicken Police reunited once more.
We're already well into 2026, with some massive games having already released, but that's far from all we have to look forward to. As we look to pad out our future backlogs (frontlogs?), the Future Games Show Spring Showcase, taking place this week, will certainly help. As ever, the show is being hosted by a star-studded duo from the world of gaming, and we took the chance to speak to this year's masters of ceremonies Lae'zel and Clea actor Devora Wilde, and the upcoming star of LEGO Batman: Legacy of the Dark Knight, Shai Matheson. "[It's] exciting! There are many exciting acts that have come before us," Devora said, on hosting the event. "But none as good as this one!" Shai chimes in, "This double act here, we're gonna take it on the road as well. "A lot of our friends have done it, and it looked really fun. And we get on, we've done a few things together before." He then says, "and also, we're so in sync," pre-empting the duo trying and failing to do a bit, though they promise there will be a better bit in the actual show. As Shai mentions, it's not the first time that this duo has worked together, having played Scar and Galbrena in Wuthering Waves, and Marty and Monica in seemingly their favourite series of all, Chicken Police – "I really encourage everyone that hasn't played Chicken Police to play it," Devora declared. As actors, presenting is not in their usual wheelhouse, but Devora and Shai are more than willing to rise to the challenge. "I love presenting! I used to do a fair bit of presenting in-between acting jobs back in the day," Devora explained, "and I really like it, because I feel like it's a nice opportunity to let your personality shine through and just to have a bit of fun rather than playing a character." She goes on to say that she would have loved to present a show that we eventually worked out was Popworld. "It's really fun," Shai added. "It's sort of like a world where you can have an elevated level of cheese that is acceptable. It's kind of not real life, but it's not not real life, and it's a little bit like – because I love dad jokes – we have that elevated cheese factory that's acceptable and fun." "And you can also be more excited about life," replied Devora. "I'm generally excited about life, and sometimes when you're playing a very serious role, you have to be serious. "I don't like being serious. Sometimes I do, but most of the time I don't. I like the silliness." And while silliness appears to be the name of the game when it comes to Devora and Shai on the Future Games Show, they made sure to sell the gaming side of things a bit too. "If you like the future, and you like games, and you like shows, come now. Future Games Show – it's for you!" Devora exclaimed. As someone who loves games and shows, but is not entirely sold on the future, Shai thankfully gave me the big pitch. "There's about 40 games that are showing you exclusive trailers, world premieres, deep dives." View Green Video on the source website Devora follows up to make sure I know that "we're also maybe doing a very funny bit at the end, and it's going to be really funny. It's gonna make everyone laugh. It's gonna be really funny. "We know, because we haven't done it yet," which is definitely, 100 per cent true and real. We've got a good mixture of games to look forward to from big hitters to small indie developers, celebrating the people and teams that make gaming what it is. But when can we watch such a glorious show? Thankfully, Shai is a man in the know. "March 12, but here are the times. We've got 1pm PT, we've got 4pm ET, we've got 8pm GMT, and that's all the times." "Bring your G and Ts," proclaimed Devora. The Spring Showcase will be followed up with a live show from the Game Developers Conference in San Francisco, all of which can be viewed on YouTube, Twitch, TikTok and more. The Future Games Show kicks off at 8pm GMT on 12 March 2026. For the full interview where Devora talks Expedition 33, Shai talks LEGO Batman and both of them show us their socks, head to the Radio Times Gaming YouTube channel. 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.
Glen Powell reveals how his new film updates an iconic British comedy "in all the best ways"
The star of Top Gun: Maverick and Anyone But You has the lead role in How To Make a Killing – which was inspired by classic Ealing Comedy Kind Hearts and Coronets.
After starring in Edgar Wright's high-octane reimagining of '80s classic The Running Man last year, Glen Powell is back on the big screen this week in another project that has its roots in a beloved earlier film. John Patton Ford's How to Make a Killing is inspired by Robert Hamer's classic 1949 Ealing Comedy Kind Hearts of Coronets, which famously starred Alec Guinness as eight different relatives killed by Dennis Price's vengeful aristocrat as he tried to murder his way up a line of succession. The new film reimagines the story for the modern day, with Powell taking on Price's role – here named Beckett Redfellow – alongside other key cast members including Margaret Qualley, Jessica Henwick and Topher Grace. And speaking to Radio Times ahead of the release, Powell explained what he loved about the way Ford had brought such a timeless tale into the present. "If you've seen [Ford's previous film] Emily the Criminal, John really has such a amazing internal engine for tone," Powell explained in an exclusive interview. "He's really, really good about navigating that kind of tonal tightrope. And this one's really tough. It's not an easy movie to pull off. And obviously, you know, he wrote it and directed it, so it's like, he gets to be the truth and the light for how this movie kind of is seen." Powell added that although he reckoned Kind Hearts and Coronets was "a great inspiration piece", he added that it was "of an era" – and thinks this new version brings it up to the modern day in an interesting manner. "I think John did a really good job of adapting and making it feel fresh and unique and fun and demented in all the best ways," he said. As with the earlier film, audiences might find themselves rooting for Powell's protagonist even as he commits blatant acts of murder, and the actor confessed that he found it interesting to dig into this paradox. "If you read a script and feel like you know how to play it. I think it's probably a bad idea," he explained. "Usually you read a script, and you're like, 'Oh, wow, there's a lot of different paths. How would I go about doing this?' And then just kind of dreaming about like, how does the audience conceptualise this journey? "And it's fun to think about those things," he added. "You never really know until you get to the edit, and you're like, 'All right, did we pull it off?' And I think this movie... I'm really proud of this movie, and I think it's really a great ride. But that's the fun challenge." View Green Video on the source website Ford had first penned the script for the film more than a decade ago – with it appearing on the Black List of the best unproduced screenplays back in 2014. And interestingly, Powell had been aware of the project even before then. "This movie was originally called Rothchild," he said. "I read this script when I first moved out to LA or pretty early in that journey. It was probably like 2009 or 2010 or something like that. And I was originally auditioning for another role that I didn't get, and then they didn't end up making the movie. "So it was really kind of crazy to have it come full circle and back into my life. And then I was like, 'Oh, I always loved the story.' It was always, like demented and fun and buoyant and thrilling, and had all these juicy characters and a really fun world to dive into. And the script honestly didn't change that much. It was always a really, really great script!" How to Make a Killing is released in UK cinemas on Wednesday 11 March 2026. 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.
The Capture creator speaks about series future - and whether season 3 could be the last
Contains major spoilers for season 3 of The Capture. A lot has changed since BBC’s crime drama The Capture, a cyber thriller all about deepfakes, first aired in 2019, with the technology now being far more advanced and insidious. Now, the acclaimed series has returned for a long-awaited third season that kick-starts with the shocking death of fan-favourite character from season two, Isaac Turner (Paapa Essiedu). There are several shocking revelations and tragedies throughout the first few episodes that raise the stakes for Carey (Holliday Grainger), higher than ever before, with the new season taking the intensity levels up a notch or two. This is, in part, due to the fact that creator Ben Chanan admits that he prefers to write each season with the conviction that it could be "the last." "I always write each season like it might be the last, so just don't hold on to people who have got to go and you may as well enjoy offing them," Chanan tells Radio Times. "Now, what it does for Carey is like the wheels are off… when [certain characters] go, it’s like the wheels spin, she finds it discombobulating." The creator also opened up about the motive behind Isaac’s death and teased you’ll find out in "season six why it came to be" before correcting himself that he meant episode six. Though, we can all hope that was just a little slip up and the beloved series will be renewed for another season or three, perhaps. "Sorry, there’s no season six," he adds, before joking, "Ever since season one, I’ve been playing the long game. I've written season six, no, I’ve barely written season three." Read more: The Capture season 3 airs update on Callum Turner’s Shaun Emery - and he almost had a much bigger role The Capture season 3 episode 2 first look as writer breaks down thrilling twist – and teases what next for Rachel Carey Chanan also addressed how complex writing The Capture can be, as he balances science fiction with reality, and this can lead to a long wait time between seasons. After all, season two first aired four years ago, which, in an age of streaming services where new instalments drop every year, is a long time for audiences to wait. "We always try and tread the tightrope between you don't want to be too far advanced that it seems like sci-fi," Chanan begins, "At the same time, you don't want it to be old hat and we have to think ahead. "It takes a couple of years to make a series, so even when we start plotting it and start writing it, we've got to think ahead to how people are going to feel in a couple of years’ time and frankly, it's just a bluff. We just go for it and the world either catches up or we're catching up with the world." View Green Video on the source website For its third outing, Chanan was still writing the series, as it went into production, so even the cast didn’t know how the conflicts would resolve, as it hadn't been finalised yet. "It’s a real page turner," Holliday Grainger teased about this season’s story, "I’m like, what? How is he going to do it? How is he going to figure that one out? I love reading scripts because of that. In season one, we got all six scripts at once, we filmed them all. This season, Ben was still writing as we went. "So, we were filming one and two and that was all I’d read, I actively decided, seeing as Carey doesn't need to know anything, because she doesn't know that I didn't find out anything until I read the scripts come in, which was great, which meant it was like genuinely exciting to see that drop in my inbox to find out what happens next." Ben Miles, who returns as a now retired former Commander, Danny Hart, said the pilot episode in particular, with the revelation of Isaac’s killer being none other than the new Commander, Noah Pierson, was "fantastic." He says: "I just thought, this is fantastic. This is the kind of twist that - it's the best kind of twist because you just don't see it coming. And when that last page lands of episode one, I was just so delighted. I was like, 'yes, that's the next step. What happens, what happens, what happens?'" The Capture season 3 will continue on BBC One and BBC iPlayer on Sunday 15 March 2026. 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.
Ellis star teases "uncertain" new character dynamic – and what it means for the show’s leads
Are Ellis and Harper going to be alright in season 2?
Throughout the first season of Ellis, Sharon D Clarke's titular character kept clasping her phone close and we eventually saw that in the final episode, she was overjoyed that her daughter Grace texted her to arrange a call. Well, in this new second season, it appears as though their mother-daughter relationship is only going from strength to strength. While it's lovely to see, it's also new ground for Ellis and Harper (Andrew Gower) to navigate. Speaking to Radio Times about the lead's changing dynamic for season 2, Gower revealed: "I think they’ve developed their language. There’s a lot said without speaking, there’s a lot of looks between them, that shorthand has become stronger. But also, I think, it's interesting that with Grace and Ellis, not that Harper sees that as a threat but ultimately, he’s gone all in. "If it was a game of poker, he’s laid out all his cards like, 'Ellis, I’m in. I’ve given up the station I know, the life I know and I’ve got my life in a suitcase and I want to be into this'." He went on: "A threat to that happening and the relationship ending is kind of the uncertainty about Grace – where’s that going to leave Ellis? And I think that’s a real clever subtle threat that [series creator] Siân [Ejiwunmi-Le Berre] and the team have put in there. It’s quite a selfish thing for Harper to do but ultimately, without Ellis, his career now doesn’t exist. "He’s got so much to learn and the experience that Ellis has – working in London and on a plethora of cases that Harper hasn’t experienced yet. It’s great to pick up where they’re comfortable with each other but there’s still that threat of ‘Is this going to be forever?’ or ‘Does Ellis need Harper as much as Harper needs Ellis?’. Which is such a great dynamic to play." Grace has, of course, always been a looming figure within Ellis's life but where season 1 had a bit of a question mark over her identity and whether she even wanted to talk to Ellis, this season that's replaced with Ellis being more present in Grace's life. As for how that'll manifest within Ellis's career decisions, if at all, we'll just have to wait and see. It's not always been the smoothest of sailing for the leading duo but fans will be pleased to learn that they're on the up in season 2 – and that's a good thing, as there's plenty more crime to investigate. Read more: Call the Midwife finale, The Capture and ITV's Gone overnight ratings revealed after dramatic Sunday night of TV Line of Duty legend's popular crime drama gets future confirmed – and it's bad news The synopsis for the first two episodes reads: "When the body of Peter Barron, a respected local businessman, is discovered in the tiny village of Ashenham, shock quickly turns to suspicion. The local force is out of their depth, and ACC Leighton wastes no time in parachuting in Ellis and Harper. "With her forensic eye, Ellis recognises the situation for what it is: murder. Pushing past the limited resources of the local force and resistance in the community, she’s determined to unearth what really happened." It continues: "The owner of a thriving plant nursery and a well-known philanthropist whose influence reached far throughout the community; Peter was once a beloved figure. However, a recent decision to launch a prison work release scheme has caused outrage. For some, the scheme was a natural continuation of Peter’s charity work, but for others, the idea of criminals integrating into their idyllic community was a step too far. And Peter, previously a unifying presence, found himself at the centre of a divided village with many wanting to see him held accountable." "In Ashenham, long held grievances simmer just beneath the surface, and Ellis is determined to drag them into the open. In the end, one question towers over Ellis's investigation: was Peter killed for his ideals, or does the answer lie in his own circle, among those who knew him best?", the synopsis concludes. Ellis season 2 begins on Tuesday 10 March and Wednesday 11 March at 9pm on 5. Add Ellis to your watchlist on the Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Keira Knightley transforms into iconic Harry Potter character in first clip of new audiobook
Knightley plays Dolores Umbridge in the Full-Cast Audio Edition of Harry Potter and the Order of the Phoenix.
As the Full-Cast Audio Editions of the Harry Potter books continue to be released on Audible, Radio Times has got an exclusive clip from the next instalment – Harry Potter and the Order of the Phoenix. The clip features Keira Knightley, who in this instalment will be taking on the role of Dolores Umbridge for the first time. She is heard giving her first address to the Hogwarts staff and students, with Cush Jumbo also featuring in the clip, as she continues to serve as the narrator of the audio dramas. You can listen to the clip right below. Audible · Harry Potter and the Order of the Phoenix (Full-Cast Audio Edition) Excerpt The Harry Potter Full-Cast Audio Editions first started releasing in November 2025, with a new instalment debuting on Audible each month. The fifth novel will be released tomorrow (Tuesday 10 March), while the sixth and seventh will be released on Tuesday 14 April and Tuesday 12 May. Also featuring in the cast for The Order of the Phoenix are Jaxon Knopf as Harry Potter, Rhys Mulligan as Ron Weasley, Nina Barker-Francis as Hermione Granger, Hugh Laurie as Albus Dumbledore, Riz Ahmed as Professor Snape, Michelle Gomez as Professor McGonagall and Matthew Macfadyen as Lord Voldemort. Meanwhile, James McAvoy plays Alastor ‘Mad Eye’ Moody, Kit Harington plays Gilderoy Lockhart, Ruth Wilson plays Bellatrix Lestrange, Simon Pegg plays Arthur Weasley, Leo Woodall plays Bill Weasley, Ambika Mod plays Nymphadora Tonks, Alex Hassell plays Lucius Malfoy and David Holmes plays Stan Shunpike. 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 Fiennes, Helena Bonham Carter and Jim Broadbent, have defended the author from the criticism she has received. Back in October 2025, after her casting in the audio drama was announced, Knightley was asked in an interview with Decider whether she was aware that some fans had called for a boycott of Harry Potter, considering Rowling's views. Knightley said at the time: "I was not aware of that, no. I’m very sorry. You know, I think we’re all living in a period of time right now where we’re all going to have to figure out how to live together, aren’t we? And we’ve all got very different opinions. I hope that we can all find respect." Harry Potter and the Order of the Phoenix: The Full-Cast Audio Edition is available on Tuesday 10 March. Read our list of the best audiobooks on Audible to listen to right now. 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.
The Marlow Murder Club star Samantha Bond teases the "twists and turns" for season 3
What will Judith, Suzie and Becks be investigating this time around?
Samantha Bond, Jo Martin and Cara Horgan are back as the three members of the titular Marlow Murder Club, with the trio taking on a set of new cases. Bond, who plays Judith Potts, spoke exclusively with Radio Times about the show's third season, teasing what viewers can expect when it airs on U&Drama. When asked what was new this time around, Bond said that the show's appeal was in its "twists and turns" every episode, before noting that "the quality of the writing has been maintained now for three series, and one can't ask for more than that". Asked to tease the three cases that we'll see across the six new episodes, Bond said: "Well, the great thing about The Marlow Murder Club is that the murder is always at the beginning. "So storyline one, the mayor of the council gets murdered and there are all the councillors, and any one of them could have done it. And the twists and turns it takes you on are phenomenal." <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/03/marlow-murder-club-series-3-0d05069.jpg" width="3240" height="2160" alt="Becks Starling (Cara Horgan), Judith Potts (Samantha Bond) and Suzie Harris (Jo Martin) in The Marlow Murder Club, holding croquet mallets and standing next to each other on a lawn, smiling at the camera." title="Becks Starling (Cara Horgan), Judith Potts (Samantha Bond) and Suzie Harris (Jo Martin) in The Marlow Murder Club" /> She continued: "Then storyline two is the murder of a celebrity chef, and who could have done it, and why, or were they in it together? "And then the last one, which is also a wonderful story, is a university reunion for Becks and her friends. And of course, one of them gets killed. Is it one of her friends who's killed another of her friends? Or is there someone else in that house?" The Marlow Murder Club also stars Natalie Dew, Phill Langhorne, Holli Dempsey and Tijan Sarr, while Huw Quarshie also returns in season 3 having appeared as a guest star in the show's second run. New guest stars set to feature prominently in this season's mysteries include Nigel Harman (EastEnders), Peter Davison (Doctor Who), Jacqueline Boatswain (After the Flood), Sarah Alexander (Art Detectives) and Tony Gardner (Last Tango in Halifax). Harry Enfield (Here We Go), Jason Merrells (Happy Valley), Cherie Lunghi (Strike), Adrian Lukis (SAS Rogue Heroes) and Alastair Mackenzie (The Crown) are also set to appear. The Marlow Murder Club is coming to U&Drama on Wednesday 18 March 2026. Add The Marlow Murder Club 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.
Ellis star reflects on returning to key format feature for season 2: "It’s what makes us unique"
The 5 detective drama returns to our screens this week.
With just three episodes making up Ellis's first season, the 5 detective drama is now back for more with season 2. As well as the show digging into some more grisly cases, the format of Ellis remains the same as we follow the titular detective (Sharon D Clarke) and DS Harper (Andrew Gower) as they continue to make their way around the country for new investigations. That cross-country element to the series has always been an important part of the job for actors Clarke and Gower, being something they were keen to continue in the show's second outing. Thankfully, that format has remained intact and it's been an "amazing" element to return to, Gower told Radio Times. In an exclusive chat ahead of the release of season 2, Gower reflected on the show continuing to showcase lesser-known pockets of the UK. He said: "That was a big appeal for us signing onto the project so to stay true to what makes Ellis unique, that sort of stuff is what makes the show unique. "I think season 1 is always establishing the show anyway so to build from that, to make it more cinematic, make the stories darker but keep the lightness and brevity to it that makes the show unique … obviously with Sharon D Clarke at the helm, it’s always going to be unique in its sense." He added: "But ultimately, I think, it’s always great when you get a second series, to build on what was good about the show. That was why we signed on and that is where we want to keep going with it." Now, fans will be treated to a four-part run of season 2 episodes, which will see Ellis and Harper once again back on the road and looking into all things related to local communities, crime and more. With the first season landing on screens in 2024, fans haven't had to wait too long for new cases and episodes. But it's safe to say that the first batch of episodes went down a treat with viewers, who clearly enjoyed Ellis enough for it to be renewed for season 2. Read more: Line of Duty legend's popular crime drama gets future confirmed – and it's bad news The Capture season 3 episode 2 first look as writer breaks down thrilling twist – and teases what next for Rachel Carey Chatting to Radio Times about the reaction to season 1, Gower remarked that it was "just amazing, to be honest". He continued: "I think, in this day and age, when there’s recession in the world and stuff, the arts is the first thing to get hit, right? "I said to Sharon after season 1, if we were to get a second season, that would mean so much with everything going on. And to get that white flag raised and say that we’re going again was just incredible." He added: "I’ve been lucky enough for 16 years to jump on shows and to be a part of so many worlds, but there is definitely something really special when I go back home or when I’ll be out and about in London, when Ellis came out, it seemed to really strike a chord with people, which is great. "Because without the audience, there is no second series so it was great to get the green light.” Ellis season 2 begins on Tuesday 10 March and Wednesday 11 March at 9pm on 5. Add Ellis to your watchlist on the Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.