Euphoria season 3 opening episodes revealed to have huge ratings ahead of much-anticipated wedding scenes
The long-awaited return to East Highland has seen millions tune in to see what's going on with Rue.
Euphoria season 3’s return was a four-year wait for fans – but they’ve returned in droves, with massive ratings now being revealed by HBO. The series, which follows Zendaya’s troubled character Rue as she navigates life in California with her friends, returned for season 3 two weeks ago. Now Warner Bros, who owns HBO, has confirmed on Instagram the first episode alone – titled Ándale – has become the #1 show globally on HBO Max, with 20million viewers tuning in to see what’s happening to the group after a four-year time jump. This is a massive 68% increase from the season 2 premiere episode. Episode two, America My Dream, also managed to sustain these numbers, with vast amounts of people tuning in to watch Cassie (Sydney Sweeney) and Maddy (Alexa Demie) have their long-awaited reunion. The next episode, The Ballad of Palladin, airs on Sunday in the US and Monday in the UK, and is set to feature some of the most dramatic scenes to date as Cassie gets married to the troubled Nate (Jacob Elordi). With the high school gang ready to reunite, Cassie has been spending every penny she can to make sure it’s the biggest wedding she can, even starting an OnlyFans account to try and earn some extra cash. Meanwhile Nate is in severe debt due to his struggling business and has taken money from some bad people who now want their cash back. Maddy, who has now offered to manage Cassie's OnlyFans career, makes a surprise appearance at the wedding itself, with Nate's family members wondering how she can show her face. Nate's convinced she's up to something. The trailer for episode 3 has promised something bad is going to happen, with Cassie choking back tears. While season 3 has been Euphoria’s biggest launch to date, reviews have proven to be the show’s lowest to date by a wide margin. Euphoria season 3 is airing weekly on HBO Max, Sky Atlantic and NOW. Catch up on seasons 1-2 on HBO Max and NOW. 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.
Richard Gadd’s Half Man pushes the BBC to its violence limits but will it ever match HBO’s extremes?
Half Man is a co-production that straddles the line between the BBC and HBO's attitude towards on screen violence. But will the public broadcaster ever fully embrace graphic content on the level of Game of Thrones and The Boys?
This article contains references to sexual violence that some readers may find distressing. In the opening moments of Richard Gadd's new series Half Man, his character Ruben punches Jamie Bell's character Niall in the face so hard that his head cracks on the wall behind him. This sequence, and what follows its chronologically, has been described in the show's synopsis as an "explosion of violence" which takes place at Niall's wedding, 30 years after the moment the series subsequently flashes back to. It's a brutal example of what is to come, in a series which contains a handful of pretty graphic, violent moments. For anyone who has read up about the series, it should come as no surprise – it has been described as a show which explores "brotherhood, violence, and the intense fragility of male relationships", as it charts Ruben and Niall's friendship over the years. It will also come of no surprise to viewers watching in the US or elsewhere around the world, who will be finding the series on HBO. It is, after all, a BBC and HBO co-production. Alongside its reputation for high-end, prestige drama, HBO is also known for the inclusion in many of its series of graphic content. A prime example of this would be Game of Thrones, the company's acclaimed (up to a point) fantasy series which included scenes of beheadings, pregnant women being stabbed in the stomach and a man having his eyes gouged out and his dead crushed. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2024/01/game-of-thrones-rains-of-castermere-15bfeef.jpg" width="4256" height="2832" alt="Michelle Fairley, as Catelyn Stark, holds a knife to the throat of Kelly Ford, who plays Joyeuse Erenford, amidst a tense scene in a dimly lit banquet hall with candles and a feast set on the table, from the television series Game of Thrones." title="Game of Thrones" /> Given all of this, my surprise coming into Half Man was not how violent it was, but in many ways how restrained it felt on this front. There is certainly violent, sometimes gory content, but it never once shocked me and always felt dramatically justified. The shocks came in the content of the story, not the graphic visuals. On the back of this reaction, a question arose in my mind – could and would the BBC ever go full HBO? As the two companies collaborate more and more, including on the sex scene-filled Industry, could a BBC show ever reach the levels of violence seen in shows like The Sopranos or Westworld, or non-HBO shows like Prime Video's The Boys, AMC's The Walking Dead, or Netflix's recent addition, Detective Hole? To get his thoughts, and learn more about the BBC's history when it comes to on-screen violence, I spoke with Spencer Murphy, Assistant Professor in Media and Communications at Coventry University. Murphy noted that the BBC has "a really interesting history in terms of its relationship with violent content", before clarifying that this regards "what the viewers perceive to be as violent content". This is a crucial point. An Ofcom study in 2023 found that audiences' attitudes to on screen violence had changed over time, with viewers feeling that violence shown on post-watershed shows, airing after 9pm, "was widely regarded as the norm". It was also deemed to have become "more graphic, intense, and realistic", although this wasn't necessarily seen as a negative – participants in the study said that violence in dramas added a "greater degree of realism or excitement", could make "dramatic content more immersive and intense" and felt "more honest than the more staged portrayals in the past". These changes were deemed to be reflective of changes in society and audiences’ tastes. Murphy noted that historically, in part due to its status as a public service broadcaster, the BBC has actually been "no stranger to pushing the envelope and pushing the boundaries" of audience expectations in this arena. He said: "Many years before The Boys or HBO shows, the BBC were offering really provocative programmes, which not just depicted violence for the sake of violence, but they reflected the time and the attitude and questioned things. "Going back even into fantasy, back into the 1950s you've got shows like Quatermass, which provoked a lot of complaint at the time. Even the flagship BBC programme of Doctor Who produced huge public outcry, which we might look back on now as kind of quaint. But the idea of Daleks going around exterminating people at 6pm on a Saturday was quite problematic. "When I think about Half Man, the thing that strikes me as a kind of historical counterpoint to that was The Wednesday Play in the '60s, which was a series of short dramas that were put on every Wednesday. There was one called Cathy Come Home, and another called Up the Junction, which were incredibly violent for its time. We have to remember, contextually, they were violent. "They were dealing with trauma, homelessness, abortion, domestic abuse. And it caused a lot of complaint at the time, but what it demonstrates was the BBCs commitment to pushing boundaries, pushing the audience, but also moving with the times, trying to show things and represent things and challenge their audience. And I think it’s carried on." Murphy also pointed to the 1984 apocalyptic anti-war drama Threads, which was first broadcast on BBC Two, and depicted the concept of a nuclear winter taking place in the UK. It is still known as a particularly haunting, harrowing piece of work. Jumping forward to the present day, Murphy references shows like Peaky Blinders and Luther as more modern examples of violence in BBC dramas. However, it has to be acknowledged that, at least in what is actually seen on screen, these are far less graphic than shows like Game of Thrones or The Boys. "The real issue, when you think about where this new show is sitting, is a broader, bigger issue around the position of the BBC in the age of streaming," Murphy said. "In these shows that we think about, HBO’s The Wire and things like Game of Thrones, the violence depicted in these is for a very different audience now, and it's contextual. "The question with these shows is, why is the violence there? And what is it trying to accomplish?" This is a question which was clearly on Gadd's mind throughout the production of Half Man – as well as on minds of those around him. As he was speaking to us for our video interview series The Radio Times Writers' Room, I asked Gadd whether the level of violence seen on screen was a discussion with the BBC, given the fact that its audience are perhaps less expectant of it than those tuning into HBO. "Well, everything was a discussion," he said. "Everything in television is a sort of discussion all the time. And we talked at length about the violence in the show." He continued: "The thing with the violence in Half Man is it's never, in my opinion, frivolous or there for violence sake. In order to explore a show about male violence, to pull punches on violence would be quite a bizarre thing to do. To experience the extent of a character like Ruben, you have to see the extent of what he's capable of, otherwise we're just told. "We're just told that this guy is really violent, but I don't see it, the whole show would have failed as a result of that. And I feel that very strongly." He's right. For my money, Half Man is an exceptionally powerful show, the best I've seen so far in 2026, and it's been a year of strong contenders. This is in part due to its exploration of violence, which I agree, would have been damped or felt less egregious were we not to see it and its ramifications. "I think the mistake that people make in television and film with violence is when it's just there purely for gratuitous sake, and it's part of grossing people out, or it's there to add style or just get people talking," Gadd said. "You can feel it emanating from the screen, sometimes, when people use violence superfluously. "But every single time there was a piece of violence in the show that was extreme, I always asked myself, and the discussion was always, ‘Is it important for the character? Is it important for the story moving forward?’ And every single time I felt like it was." The idea of the violence being "important" or justified is a key one – in fact, it's crucial to the entire mission of the BBC. As a state-funded public broadcaster, the BBC has a constitutional basis in a Royal Charter, and has an agreement regarding its activities with the Secretary of State for Culture, Media and Sport. The Charter states that the "Mission of the BBC is to act in the public interest, serving all audiences through the provision of impartial, high-quality and distinctive output and services which inform, educate and entertain." It also says that "the BBC must carefully and appropriately assess the views and interests of the public and audiences, including licence fee payers, across the whole of the United Kingdom". Meanwhile, the agreement says that "the BBC must protect audiences from offensive and harmful material unless it has sufficient editorial purpose," before noting that "content that is potentially highly offensive will need the strongest editorial justification". "The BBC must balance its right to freedom of expression, which allows it to publish innovative and challenging content, with the responsibility of avoiding unjustifiable offence," it says. "Content makers should take account of 'generally accepted standards' as well as audience expectations when considering publishing potentially offensive or harmful material. "The publication or broadcast of such content must be justified by the context. Potentially offensive content includes strong language, violence, sex, sexual violence, humiliation, distress, violation of human dignity, and discriminatory treatment or language." Without spoiling anything for viewers, Half Man does have specific subjects its exploring, even beyond those which have been confirmed. It does this both in terms of the specific characters of Ruben and Niall, but also in a wider, societal sense. The violence is pivotal to that exploration. "It goes back to the role and status of the BBC as a public service broadcaster," Murphy says. "It has a charter. It has its purpose, it has its relationship with not just the British public but globally. It has a responsibility, which I don't think Amazon Prime, for example, does. It does not have that heritage. "And also, these platforms have enormous swathes of content every single week, loads and loads and loads. The BBC will defend, as it always has, all these shows over the decades that have received huge kinds of moral outrage. The BBC defended those things, and rightly so. It will not do things or show things without a very clear editorial justification for it." This then brings us back to HBO, Netflix, Prime Video and other platforms, which are not governed by such regulations. Is the way they present violence justified? Back in 2016, Casey Bloys, now chairman and CEO of HBO and Max Content, was asked by journalists specifically about the sexual violence against women, which was depicted in shows like Game of Thrones and Westworld. "I don’t necessarily see it as specific to women," he answered. "The point of is there a lot of violence in Westworld and Game of Thrones? Yes, but I don’t necessarily think that it’s specifically isolated to women. No, you haven’t seen men being raped. "But the point I would make in Game of Thrones for example is men are castrated, a guy is fed a cake made of his sons. The violence is pretty extreme on all fronts. I take your point that so far there have not been any male rapes, but my point is the violence is spread equally." The response was criticised at the time as to its justification in particular of sexual violence against women, but for the purposes of this discussion, it doesn't appear as though he is at all fazed by the levels of violence more generally in the series. In many ways, that is a selling point. Of course, that's not to say he should be, or that it isn't. In Ofcom's study, a change was noted by participants that there is "more intense and graphic violence found in some drama programmes" today, which was "seen to be driven by increased competition from channels like Sky Atlantic, in particular the HBO content shown on that channel, and subscription services such as Netflix". This wasn't necessarily seen as a bad thing. As noted before, HBO has a reputation not only for its level of violence, grit and edge, but also as a home for prestige, premium dramas – even if the storytelling is key, those things can't fully be divorced. Editorial justification can also take many forms. One is of course a piece's societal benefits and its exploration of topical discussions, but another could be its willingness to challenge taboos, or simply its own comprehensiveness as a work of art. Murphy says he watches and enjoys The Boys himself, which is extremely graphic, but notes the key difference between its presentation of violence, and how it would be utilised in a BBC show. "Their whole marketing angle is around how far they can push the boundary in terms of violence. Sometimes, some of the shows – Game of Thrones was very guilty of this – have these almost like TikTok moments, moments in the show that are hyped up because of their levels of violence. Where it seems to be there in order for it to generate traction on social media. "Perhaps people are worried, looking at a show like Half Man, that the BBC is going to slip into making the kind of content that other streaming platforms make. Maybe I'm looking at the BBC through rose tinted glasses, but I just cannot see the BBC joining that. "When I look at Half Man, I don't look at that as something that the BBC have commissioned because it's violent. Clearly, it's going to address themes surrounding toxic masculinity." Still, it's notable how those who have seen Half Man, and even those who haven't have already reacted to it. It has received wildly mixed reviews, with a number of critics giving it five stars, while others have given it two. The Telegraph's review calls the show "just cruel and violent", while even The Guardian's five-star review says the show brings you "violence so vivid, you’ll think you can taste blood in your mouth". Decider says: "After a certain point, the series also resorts to violence in a way that feels gratuitous and dreadful, making it difficult to watch at times." Read more: Half Man review: After Baby Reindeer, Richard Gadd faces a difficult second album It appears that the BBC was prepared for this. The show's release schedule is notable. Each episode is being released weekly on a Friday, at 6am on BBC iPlayer - that's nothing new, The Capture just followed the same pattern with its third season on Sundays. Instead, though Half Man is following a release pattern more closely aligned with Industry, another HBO co-production, and one which has been remarked upon for its provocative sexual content (and even led to some interesting edits). That show released at 6am on BBC iPlayer on Mondays, before airing later that night as late as 10:40pm. Half Man's BBC One release will take place the Tuesday after each Friday release, once again at 10:40pm. Could this be intended so that audiences don't happen upon the series and find themselves offended? To be watching it at that time, or to watch it on iPlayer, you would in many ways have to have sought it out. Of course, this is almost always the case with streaming-only programming – it's something Ofcom found audiences have clear views on in their study. "Based on their experiences, many felt that SVoD [streaming video on demand] services also offered edgier content, pointing to examples of more graphic programmes (e.g. containing sex and violence) they could access and the themes addressed," it said. "Participants who mentioned this point of difference generally liked it, as they felt SVoDs gave them access to a greater variety of shows, some of which they felt were more appealing than they might find on linear TV." Participants in the survey felt that British content "tended to be more restrained in pushing boundaries, whereas other countries may be more liberal and open to violence, nudity and other adult themes". One participant said: "With British platforms, we have more of a polite background. The stuff we put out is more PC and more filtered. When you go to Netflix, you get more grit and less filtered content." However, the participants did note that "SVoDs can push boundaries further, given the fact viewers need to seek out content to watch". "They started linking it with their experiences of content information (e.g. warnings, ratings, classifications) being more prominent on SVoDs compared to linear TV, and more robust access tools being in place (e.g. PINs, child profiles)," the study said. "These features of SVoDs were seen as enabling greater viewer autonomy in deciding what they want to watch compared to linear. On linear TV, content information and warnings were considered less effective, as someone could accidentally stumble across content if they switched channels and started something part way through." Murphy says that, if the BBC One air time is intended to make sure people don't stumble upon Half Man unexpectedly, then it's "a sensible strategy". "It’s almost that idea of the magic line, the watershed, post 9pm moment on the BBC, when audiences will tolerate more morally serious, realistic material. "But then therefore, how is that material presented on when you open up the app, for example?," he says of the show being on iPlayer. "Is it there front and centre? I think it's something that all streamers, including the BBC, need to think about. "I've got a young son, he's only 11 years old. If we switch on Amazon Prime and the first thing that comes up is The Boys, which to his eyes just looks like a superhero show… "They all have these different profiles for adults and children, they're thinking about it at least. But it is something which I think all streamers, and certainly the BBC have got to really think about. How is this material presented to its audience?" While these questions may linger, Murphy argues that while the BBC should never, and likely will never go in for the greatest excesses of on-screen violence, given that it is unlikely to ever be editorially warranted, at least from a social standpoint, the corporation shouldn't be deterred from making series that "really push and challenge the audience". "That, to me, is at the heart of what public service broadcasting is all about," he says. "It's not just giving the audience natural history programmes and such things. It's about challenging the audience as well, asking questions that are relevant to that society. "When I approach shows such as Half Man, I want to watch it, ironically, because it is the BBC. I don't think I'd be as interested in it if it was on just HBO Max. I'm really interested in that show because it has that editorial – not stamp of approval – but it has the context of the BBC. "I believe that this is going to be something that has something to say, or at least is making the audience reflect and think. Which I think, when it comes to a lot of material we watch, particularly on streamers, so little of it seems to do that." Half Man will arrive on BBC iPlayer at 6am on Friday 24 April. Add Half Man to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
The Last of Us season 3 casts Sinners breakout star in key role
Season 3 is set to focus on Kaitlyn Dever's Abby.
The Last of Us season 3 has added even more stars to its cast, with Sinners actress Li Jun Li joining the fray. The post-apocalyptic drama, which will focus its third season on Kaitlyn Dever's Abby, will see Li play Miriam, a Seraphite and the mother of Lev and Yara, according to Variety. The actress is best known for her role as Grace Chow in Ryan Coogler's Oscar-winning movie sinners, and she's set to appear in Marvel's Spider-Noir alongside Nicolas Cage. It was previously confirmed that Michelle Mao will play Yara and Kyriana Kratter will play Lev, a pair of siblings who encounter Abby at a key moment in their lives. The Last of Us season 3 will show Abby's experience as a soldier in Seattle, with the character having her perspective changed after seeking revenge against Joel (Pedro Pascal) for her father's death. Alongside Dever, cast members Bella Ramsey (Ellie), Isabella Merced (Dina), Gabriel Luna (Tommy) and Jeffrey Wright (Isaac) will return. They'll be joined by Clea DuVall, who's playing another member of the Seraphites, and Jorge Lendeborg Jr, who will be taking over the role of Manny, as well as Patrick Wilson, who will play Jerry Anderson, Abby's father, and Jason Ritter, who will take on an original role, Washington Liberation Front soldier Hanley. Alongside these new additions, three returning faces have been promoted to regular roles. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2025/05/0401TheLastofUsS02-13f8285-e1746187467646.jpg" width="3245" height="2160" alt="Ellie (Bella Ramsey) and Dina (Isabela Merced) in The Last of Us season 2, standing side by side outdoors in a post-apocalyptic setting. Both have tense, concerned expressions as they look offscreen. Ellie wears a dark purple t-shirt, revealing a fern tattoo on her right forearm, while Dina wears a rust-colored button-up shirt over a light tank top. The background includes weathered brick and concrete walls overgrown with greenery." title="Ellie (Bella Ramsey) and Dina (Isabela Merced) in The Last of Us season 2" /> Mel (Ariela Barer), Nora (Tati Gabrielle) and Owen (Spencer Lord), who were introduced as part of season 2, will all be core characters of season 3. Season 3 is also set to have a big creative shake-up behind-the-scenes. Co-creator and co-showrunner Neil Druckmann exited the series after season 2, with Craig Mazin going solo as showrunner on what looks set to be the show's final season. View Green Video on the source website Mazin said at the time: “It’s been a creative dream to work with Neil and bring an adaptation of his brilliant work to life on HBO. I couldn’t have asked for a more generous creative partner. As a true fan of Naughty Dog and Neil’s work in video games, I’m beyond excited to play his next game. "While he focuses on that, I’ll continue to work with our brilliant cast and crew to deliver the show our audience has come to expect. We are so grateful to Neil and Halley Gross for entrusting the incredible story of The Last of Us Part II to us, and we’re just as grateful to the millions of people around the world who tune in.” The Last of Us seasons 1-2 are available to watch on HBO Max. Add The Last of Us to your watchlist on the Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Sci-fi coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Game of Thrones has miraculously thrived for 15 years – here's how it could survive the next 15
When you play the game of franchises, you win or you die.
It's been 15 years since Game of Thrones aired its first episode and, in that time, the beloved fantasy series has pulled off what may have once seemed impossible – but now, it has an even bigger challenge ahead of it. Based on the novels by George RR Martin, Thrones went from a cult hit in season 1 to a global phenomenon by season 3, receiving worldwide acclaim for its masterfully crafted story, its wealth of well-written and well-acted characters, and its incredible production value. Miraculously, after it took a dive in its final season, Thrones has also managed to pull a Jon Snow and come back from certain death for two highly-acclaimed spin-offs which have been (mostly) beloved by the fanbase: House of the Dragon and A Knight of the Seven Kingdoms, becoming a masterclass in how to make a franchise. But the 2020s haven't been all that kind to well-established TV and film franchises. While the Marvel Cinematic Universe, for instance, once seemed bulletproof, the 2020s have seen it face struggles like box office revenue declines (with 2023's The Marvels ending its box office run as the lowest-grossing MCU movie in history) and well-documented audience fatigue – something that could very well impact other franchises too. View Green Video on the source website So, while it's thrived over the past 15 years, how does Game of Thrones survive the next 15? In many ways, it's on the right track. A big part of Marvel's audience fatigue came from fans feeling like they had to do their homework to understand everything, with new releases failing to stand on their own. In contrast, Thrones has already gone in the complete opposite direction with its spin-offs, which (while still serving as prequels to the original series) also stand on their own as original stories. Although fans who have seen all of Thrones and House of the Dragon will, of course, get a richer experience from watching A Knight of the Seven Kingdoms, it's in no way essential. Both spin-offs have also, crucially, offered up something different to Game of Thrones. With all-new casts, showrunners, and tones, it doesn't feel like we're watching the same show over and over again, particularly proven by A Knight of the Seven Kingdoms. Who could have expected a Game of Thrones spin-off would result in a sort of medieval buddy comedy show? But the franchise is all the better for it. Now, with so many series in development, HBO needs to keep it fresh once again by diversifying its stories even further. One way to do this could be to embrace animation and go full speed ahead with its animated series 9 Voyages, which is in active development, but has not yet been greenlit. 9 Voyages was originally meant to be a live-action series, with Martin revealing in 2024 that it was moved to animation due to budget concerns. But that's not the only reason Thrones should look to animation. Adult animation has experienced a massive rise in popularity in recent years, with shows like Invincible, Arcane, Hazbin Hotel, The Legend of Vox Machina and more bringing in huge audiences, and anime becoming a mainstream staple with approximately 50 per cent of Gen Z (13 to 28-year-olds) watching it. Both The Witcher and Stranger Things have also tested out animated spin-offs, with Sirens of the Deep and Tales from '85. That's not to say a Game of Thrones story in animation wouldn't be risky, as you could certainly expect those uninterested in animation to give it a miss. But it also could be an opportunity to reach new (and potentially younger) audiences and to tell a story in a way that live-action just doesn't allow. The next Game of Thrones project, however, will be away from screens entirely, with stage show The Mad King opening this July at the Royal Shakespeare Company. Again, it's a completely new story with a new creative team and an entirely new cast, exploring a new period of Westeros history, told in an fresh way. It's a brilliant move for the franchise, not least because stage shows have, of late, had a huge role in rejuvenating franchises, from Stranger Things: The First Shadow (which broke a record for Broadway's Marquis Theatre last year by bringing in $2,510,948 in a single week) to Harry Potter and the Cursed Child (which has grossed over $1 billion globally). Again, the medium of stage can also do things that TV and film just can't. The Stranger Things stage show, in particular, employs incredible visual effects to immerse the audience in the world of Hawkins, and team behind The Mad King has this same opportunity for the world of Westeros. The RSC is also a perfect setting for a Thrones play, with the production surely set to go all-out Shakespearean and really make the most of the theatre experience. But, while it's on the right track in a couple of ways, there are also some things that Thrones needs to be very cautious of. If superhero fatigue has taught us one thing, it's also that franchises need to take their time, something that resulted in Disney intentionally reducing Marvel's output to no more than three films and two TV shows per year. For a TV or movie franchise, over-saturation is the kiss of death. If an audience gets bored of what you produce, how do you ever lure them back in? The best way for Thrones to avoid it is just to prevent it and give us some time between each new release. Thankfully, despite the amount of spin-offs in development making fans a little twitchy, HBO CEO Casey Bloys has reminded everyone that not all of them will be made. "I think one of the challenges with a show or a franchise that’s as popular as Game of Thrones is kind of anything we develop will get speculated about, talked about, and some people will think it’s an actual show," he recently told Radio Times. "And I always do like to remind people we’ve had exactly two spin-offs... and a lot of speculation elsewhere." Bloys added: "You really just have to give yourself that ability to try a lot of different things without committing to a show. That process of development works for us." But the most important thing is something that perhaps any Game of Thrones fan could tell you – we can never, ever see those original characters on screen again. HBO came perilously close to a Jon Snow sequel series before it was shelved, with reports that an Arya Stark spin-off is now in development. If we were to see a sequel or prequel with the original cast reprising their roles, it would undermine everything the Thrones franchise has done so far to keep its spin-offs fresh and keep the audience excited. It would seem like a desperate money-grab and send a message that there are no new stories to tell. And the reality of Thrones is quite the opposite. Thanks to Martin's seemingly endless imagination, there are so many stories left to tell in the world of Westeros, and whether Thrones sinks or swims over the next couple of decades ultimately rests on which ones HBO decides to tell, and how well they're told. After all, when you play the game of franchises, you win or you die. House of the Dragon season 3 will arrive on HBO Max in June. Seasons 1 and 2 are available to stream on Sky and NOW, along with Game of Thrones and A Knight of the Seven Kingdoms – find out more about how to sign up for Sky TV. Add House of the Dragon, Game of Thrones and A Knight of the Seven Kingdoms 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 Fantasy coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
How the disastrous Game of Thrones pilot nearly killed the show before it began
15 years after Game of Thrones began, we look back at how it very nearly fell apart.
This article was first published on 17 April 2021. Game of Thrones was a disaster. Nothing made sense, it looked terrible and the cast weren’t happy. At best, those who saw it offered backhanded compliments – at worst, they called it a “pile of s**t”. With millions of dollars down the pan, showrunners David Benioff and DB Weiss were in serious trouble. Or, as future Chernobyl and The Last of Us showrunner Craig Mazin told them at the time – “you guys have a massive problem.” But of course, this wasn’t the Game of Thrones that the rest of the world was first introduced to 15 years ago today on 17 April 2011. This Game of Thrones was the infamous unaired pilot, a production apparently so terrible that it nearly sank the show entirely, ended Westeros’s on-screen journey before it began and left a massive hole in modern pop culture. However, it didn’t – because Benioff, Weiss and the HBO team pulled off one of the most miraculous rescue missions of all time, turning the disastrous first draft into an acclaimed series dominating the TV conversation to this day. Still, the story of the pilot has a certain fascination for fans. In another world, a very different version of Game of Thrones could have come into existence, with different actors, storylines and locations (and much cleaner costumes) bringing George RR Martin’s story to life. The Game of Thrones pilot is a fascinating testament to what might have been, and the thin line between success and disaster – or at least it would be, if anyone had ever seen it. “I’m told I’m under penalty of death if I ever show it to anyone,” George RR Martin told author James Hibberd in the latter’s behind-the-scenes book Fire Cannot Kill a Dragon – and that diktat appears to have survived better than many of Martin’s characters. While versions of the pilot do apparently exist, no-one has ever broken ranks to show it to the world. Instead, fans have had to pick around the details that have been talked about, leaving the pilot itself up to their imaginations. In some ways, it was a victim of the show’s success – who’d want to show their wonky draft when they can stick with a preferred, critically acclaimed version? Game of Thrones survived its pilot – but like so many characters within the show, the pilot couldn't survive Game of Thrones. Note: unless otherwise stated, many of the quotes in this article are taken from James Hibberd's in-depth behind-the-scenes book Fire Cannot Kill a Dragon, published in 2020. In the beginning While Weiss and Benioff had been working on their Game of Thrones pitch since 2006, shooting on the pilot didn’t actually begin until October 24th 2009, with a 26-day schedule and a reported $10 million budget – small change compared to later seasons, but a serious financial commitment from parent network HBO nonetheless. After years of development the pair were excited to get things going , though perhaps there were already warning signs that things weren’t quite right even as they headed to their main filming location for Winterfell – Doune Castle in Scotland aka the setting for acclaimed fantasy farce Monty Python and the Holy Grail. Possibly not quite the serious, Lord of the Rings-meets-The-Sopranos tone they were going for. Still, for younger cast members these early days were idyllic. “I do remember it. I remember quite a lot of it very fondly,” Isaac Hempstead-Wright, who played Bran in the series, told me in 2019. “I loved it, it was great fun. I was a 10-year-old that got to go and have archery lessons, climbing lessons, horse riding lessons... I mean it was like going to summer camp. I just loved getting to climb on all these old buildings. “And there were a couple of shots where I actually was on a real, old castle wall, getting to run and jump and be on a wire there. And I just found that huge amounts of fun. And then getting to be pushed out of a window and fall onto a big mat - yeah, I loved it.” Still, for Benioff and Weiss the shoot was a little less fun. Already major production, costuming, script and location issues were striking left, right and centre, with the inexperienced duo (who had never really worked in TV before, let alone run such a major production) slowly realising what they’d let themselves in for. “At first it seemed to us like it was going well, but that was because we didn’t know any better,” Benioff told Hibberd in his 2020 book. “As we went on, the cracks turned into bigger cracks, which turned into fissures,” added Weiss. A bad look So what was actually going wrong? To start with, the look and costuming of the show – which would later become a critically-acclaimed hallmark of the series led by designer Michele Clapton – had come out wrong, with Benioff and Weiss realising that all the costumes looked inauthentic. “Coming off the pilot, we realised all the costumes looked brand new,” Benioff told Vanity Fair in 2014. “They all looked like they’d just been made the day before. “This is a period where people weren’t taking their things to the dry cleaners. Aside from maybe the queen, everyone’s clothes look dirty and sweat-stained.” Meanwhile, specific characters’ looks hadn’t yet been nailed, including Jack Gleeson’s hateful Prince Joffrey (who had more of a pageboy haircut) and even Sean Bean’s Eddard Stark, who had darker hair in the original plans (which can still be glimpsed during the crypt scenes of the finished episode). “I looked like a Vegas showgirl in the [original] pilot — furs and massive hair, like a medieval Dolly Parton,” Lena Headey told EW. “Not that I’m complaining, I loved it. My hair devolved.” Worst of all, the all-important opening scene, which introduced the terrifying White Walkers…didn’t have a White Walker in it. “For the first White Walker, we stuck a guy in a green suit and thought we’d figure out what he looked like later with CGI,” Weiss told Hibberd. “Nobody said ‘that’s an enormously expensive approach to the problem you have.’ The thing to do was come up with [a costume], even if it’s not 100 percent of the way there, and then fix it later with CGI, as opposed to coming up with nothing and designing it entirely in CGI. That would have taken half the budget of the pilot just to do that.” But the look of the characters was far from the only problem the pilot faced. Troubles with tone Exactly how to tell this fantasy story was a source of great anxiety for the production crew, as writer’s assistant (and later series writer) Bryan Cogman explained in Fire Cannot Kill a Dragon. “Is it fantasy with dramatic trappings? Is it a drama with fantasy trappings? There was a nervousness about the pilot leaning into the fantasy too much — ultimately to a fault,” he said. “Key exposition was cut to make the dialogue sound more ‘real,’ and as a result, the pilot didn’t make much sense. The impulse to not be over-the-top Shakespearian and Tolkien-esque was right — you’re trying to make it as grounded as possible — but this is still an epic fantasy, and if you ignore that, it’s to the detriment of your story.” This impulse toward verisimilitude left early viewers of the pilot confused about key plot points, most notably that Jaime and Cersei Lannister were siblings – a key factor in the first episode’s conclusion – while other crucial scenes also fell flat, most notably an important sequence where the Stark children first find their direwolves. “We made very basic, fundamental mistakes in the script for the pilot,” Benioff said in 2014. And the enormous horse erection didn’t help either. “We’re by this little brook. They tied the horses to the trees and there’s a seduction scene by the stream,” George RR Martin recalled of an early scene starring Jason Momoa’s Khal Drogo and Tamzin Merchant’s Daenerys. “[The horse] was getting visibly excited by watching these two humans. There’s this horse in the background with this enormous horse [penis]. So that didn’t go well either.” That horse, sadly, is not in the finished Game of Thrones pilot. And he wasn’t the only cast member to get the chop when the producers sat down to try and fix their troubled production. Casting cull <img src="https://images.immediate.co.uk/production/volatile/sites/3/2024/01/game-of-thrones-rains-of-castermere-15bfeef.jpg" width="4256" height="2832" alt="Michelle Fairley, as Catelyn Stark, holds a knife to the throat of Kelly Ford, who plays Joyeuse Erenford, amidst a tense scene in a dimly lit banquet hall with candles and a feast set on the table, from the television series Game of Thrones." title="Game of Thrones" /> Famously, Game of Thrones as a series was particularly ruthless when it came to killing off its leading lights, with plenty of big-name actors murdered onscreen across eight seasons. But for some unfortunate stars that cull started before the series even made it to air, with a whole host of stars cut between the original pilot and the broadcast version. In smaller roles, Doctor Who and Doc Martin’s Ian McNeice was cut from the role of Illyrio Mopatis, replaced instead by Roger Allam. John Standing, who played Lord Robert Arryn, had his scenes cut down until he was just portraying his character’s corpse in the background of a dialogue scene. And Harry Potter and Camelot star Jamie Campbell Bower, who had taken the small but crucial role of Ser Waymar Royce in that opening White Walker scene was also replaced by Rob Ostlere, the scene presumably needing to be reshot following the original green suit debacle. “I auditioned for the pilot originally, which was, I think, filmed about 10 months, maybe a year before I filmed for the series itself,” Ostlere later told me, with producers opting to pull him back in after taking a liking to him at his earlier, failed auditions for more major roles in the pilot. But while these and other minor casting changes do set the pilot apart from what actually made it to air, more significant were two key female roles that changed between the original plan and the finished series – Catelyn Stark, originally played by Jennifer Ehle before Michelle Fairley took over, and lead character Daenerys Targaryen, with the aforementioned Tamzin Merchant initially taking the role that would later make Emilia Clarke’s name. And after Benioff and Weiss improbably got HBO to agree to make the whole first series despite the pilot’s problems, tough conversations were had about both actors, one of whom wanted to leave and one who apparently just wasn’t the right fit. “It was entirely personal,” Ehle told The Daily Beast in 2017. “My daughter was seven months old when we did the pilot. It was too soon for me to be working, emotionally and bonding-wise... I love Game of Thrones, but it was too soon.” “I think everything worked out beautifully,” she added. “Because clearly the show is what it was meant to be.” Merchant, meanwhile, was in a more awkward situation. While details have always been vague, executives have said that her scenes with Momoa’s Khal Drogo “just didn’t work,” leading to a very tough phone call where she learned she was being let go. Still, according to Merchant there were no hard feelings. "Shooting that pilot was a really great lesson," Merchant told EW in 2020. "It was an affirmation about listening to my instincts and following them, because I tried to back out of that situation and, during the contract process, I did back out. I was talked back into it by some persuasive people. Then I found myself naked and afraid in Morocco and riding a horse that was clearly much more excited to be there than I was." She added: “I think it's a testament to Emilia Clarke for making that role iconic – she was obviously excited to tell that story, and she was epic and excellent. But for me, it wasn't in my heart to tell it." Following Merchant’s departure, a few different actors were considered to play Daenerys, with Imogen Poots supposedly in the running, but in the end it was an unknown fresh out of drama school who ended up taking on the last(ish) Targaryen. “The part called for an otherworldly, bleached-blond woman of mystery,” Clarke later wrote in the New Yorker. “I’m a short, dark-haired curvy Brit. Whatever.” Now, with the new cast assembled, HBO was ready to go back into battle. And this time, things couldn’t have been more different. “To be given the opportunity to do something like this one time is a pretty rare gift,” Dan Weiss said. “To be given the opportunity to do more or less the exact same thing twice is an extremely rare gift.” Reshooting Filming resumed for Game of Thrones in July 2010, and according to the cast and crew the difference in quality at every level was already palpable. “We were very lucky to be given a $10 million rehearsal,” Harry Lloyd, who played Viserys Targaryen, told James Hibberd for his behind-the-scenes book. “Then the reshoot was bigger. There was an investment on a grander scale.” “Every single department stepped up,” co-creator Benioff told Vanity Fair. “The great thing about that experience, as rough as it was in the moment, was that we had a chance to learn from our mistakes and go back and try to correct some of it.” Largely, this seemed to be a success. Huge new sets were built, including the Red Keep, Castle Black and the Eyrie (the original pilot entirely took place at Stark stronghold Winterfell), the costumes were distressed and made to look more lived in, and key scenes were reimagined to better fit the tone of Martin’s original novels. Though one thing changed that Martin has never fully been on board with – the seduction scene between Daenerys and Khal Drogo, which in the books was consensual but onscreen was depicted as rape. Odder still, the Tamzin Merchant version of the scene had apparently been more faithful, which baffled the author. “Why did the wedding scene change from the consensual seduction scene that excited even a horse to the brutal rape of Emilia Clarke?” Martin told EW. “We never discussed it. It made it worse, not better.” View Green Video on the source website For their part, Benioff and Weiss said the pilot’s version of the scene “didn’t entirely work for [them],” noting that the actors “weren’t able to find an emotional handhold” thanks to later violent scenes between Drogo and Daenerys that were in Martin’s original text – but this was apparently the only change that didn’t go down well in the reshot pilot and series. Even the pilot’s greatest critic was won over, with Weiss and Benioff’s friend Craig Mazin (he of the “massive problem” diagnosis) apparently blown away by what the pair had achieved. “I said to [Benioff], ‘That is the biggest rescue in Hollywood history.’” Mazin later said on his Scriptnotes podcast. “Because it wasn’t just that you had saved something bad and turned it really good. You had saved a complete piece of shit and turned it into something brilliant. That never happens.” Game of Thrones was saved. But whatever happened to the failed pilot it sprang from? Where is the pilot? Obviously, the Game of Thrones premiere that went out into the world 15 years ago is the one that’s worth seeing, an opening hour that launched a franchise instead of killing it stone dead. But as the series’ popularity has grown, it’s no surprise that a certain morbid curiosity exists about the unaired pilot, and exactly what it would be like to watch. Sadly it seems like we won’t get the chance, with the few copies that may exist lurking on private hard drives – but fans really keen to see glimpses of what might have been would do well to check out what was actually released, with some key elements of the finished episode (aka season 1 episode 1, Winter Is Coming) taken from the largely abandoned pilot to save time and money. “There are a couple of scenes from it, but most of that was re-shot,” Benioff told Vanity Fair. As mentioned previously, this includes scenes between Mark Addy and Sean Bean in Winterfell’s crypts, which fans may notice thanks to the changing appearance of Bean’s hair. More notably, an extended feast scene in Winterfell’s great hall is also lifted mostly wholesale from the pilot, with Sophie Turner and Maisie Williams appearing younger than they had in other scenes in the episode thanks to the months between shoots. In one moment, as Sansa meets Lena Headey’s Cersei for the first time, clever editing saved a tricky reshoot. While the younger Turner was performing the scene with Jennifer Ehle’s Catelyn Stark, Michelle Fairley was substituted in the finished episode. In other words the two performances were actually recorded months apart, despite appearing in the same scene in Winter Is Coming. Some continuity issues (like the changing ages of young, fast-growing cast members like Turner and Williams) were unavoidable – but for others, novel situations were included, with Kit Harington, Alfie Allen and Richard Madden given a “haircut” scene to explain the slightly differing looks for their characters in scenes taken from the pilot. Another surviving scene is even more obscure – an explanatory flashback showing the death of Ned Stark’s older brother Brandon (killed by Daenerys’ father the Mad King), which can be glimpsed in one of the early trailers for the series but never actually made it to the series proper. But despite it all, one sequence did make it into the pilot relatively unscathed – a romp between Peter Dinklage’s Tyrion Lannister and Esme Bianco’s Roz, now mostly notable for the striking frosted hair dye that Dinklage had been subjected to in an attempt to help him match the blonde Tyrion of the books. “I just had a really fun day on set with Peter Dinklage, who’s a generous actor and charming and sweet,” Bianco told EW. “I think our scene was the only scene from the pilot that wasn’t reshot. Nobody had any sense of the magnitude of what was coming.” And for now, that’s where the pilot remains – in the corners of the finished series, in half-finished shots and minor continuity details that only the most eagle-eyed of fans will watch. Other parts of the pilot that have been recounted in interviews – a “raven’s-eye” opening credits sequence, Jon Snow’s drunken night at the Winterfell feast, a sword fight between Robb and Joffrey, Cersei burning a feather, the entirety of the Daenerys storyline – don’t even have that, and are now left entirely up to the imaginations of the fans. Though of course, there is one man who has seen the whole thing. “I liked the pilot,” George RR Martin says in Fire Cannot Kill a Dragon. “I realised later that I was a poor person to judge because I was too close to it. “Some didn’t know Jaime and Cersei were brother and sister. Well that wasn’t a problem for me! My great familiarity with the material made it hard for me to objectively judge. I liked that they kept a considerable level of complexity.” Considering Martin seems to be a lone voice in his enjoyment of the pilot, perhaps it’s no surprise that fans are no closer to seeing it themselves – and as Game of Thrones went from strength to strength before its controversial final series, any chance of seeing the muddled beginnings it sprouted from seemed even fainter. It seemed that the Thrones pilot would function as nothing more than a lesson to be learned from – a mistake to be avoided. But then again, what were the chances that the franchise would have to deal with another massively expensive failed pilot anyway? History repeats itself Years on from its troubled beginnings, Game of Thrones was headed to its eagerly-awaited conclusion, with HBO already looking to the future as it announced a raft of potential spin-offs (or “successor shows”) in 2018. Pre-eminent among those projects was a series codenamed “Blood Moon” or “Bloodmoon” created by Jane Goldman and shot by SJ Clarkson, which seemed far ahead of the others as production began on a pilot in Belfast. A description released by HBO summed up the series thusly: "Taking place thousands of years before the events of Game of Thrones, the series chronicles the world's descent from the golden Age of Heroes into its darkest hour. “And only one thing is for sure: from the horrifying secrets of Westeros's history to the true origin of the White Walkers, the mysteries of the East, to the Starks of legend...it's not the story we think we know.” While a budget for the pilot isn’t known, HBO’s senior drama VP Francesca Orsi noted that the budget for the spin-offs would certainly be higher than they had been for Thrones in its earlier days while speaking at the INTV conference in Israel. "$50 million [per season] would never fly for what we are trying to do. We are going big," Orsi said. And such a budget brought in some big names, with the likes of Naomi Watts, Miranda Richardson and John Simm joined in the cast by Jamie Campbell Bower, Georgie Henley, Marquis Rodriguez, John Heffernan, Richard McCabe, Josh Whitehouse, Naomi Ackie, Alex Sharp, Denise Gough, Toby Regbo, Sheila Atim, Ivanno Jeremiah, and Dixie Egerickx. “I’ve loved the storytelling in [Game of Thrones], and the wish and the will is to continue that with a totally different set of elements and people,” Richardson told Digital Spy. “The work has been phenomenal throughout and I’m thrilled to be a part of it.” “I do know when I got [the part] I had to watch all episodes of Game of Thrones… in about a month,” Simm told Chris Evans on Virgin Radio in September 2019. The Life on Mars star also confirmed rumours that the series was set about 1,000 years before the main Game of Thrones series, before joking that thanks to the details he’d just revealed he’d probably be killed off imminently. “I’m just in the pilot!” he said, little knowing how right he was. Because to a largely baffled world, it soon became clear that what had almost happened to Thrones itself had happened to its first spin-off – somehow, the pilot had sunk the entire show. This time, despite the knowledge that a huge Westerosi series could be saved from a tricky start HBO decided not to let history repeat itself, dropping Bloodmoon despite the time and money already spent on it. Instead, they announced on the same day that they were moving ahead on a different successor show: House of the Dragon. “I do not know why HBO decided not to go to series on this one, but I do not think it had to do with [fellow spin-off] House of the Dragon,” Martin wrote on his website. “This was never an either/or situation. If television has room enough for multiple CSIs and CHICAGO shows… well, Westeros and Essos are a lot bigger, with thousands of years of history and enough tales and legends and characters for a dozen shows.” “This stuff happens…things get put down,” Naomi Ackie, who played a role in Bloodmoon, told Metro. “I’m just really excited about what is out there for me now. That was a great project, it didn’t work out. I’m ready to look for more stuff. [I’m] taking it in my stride. This industry will throw you about left, right and centre so you’ve got to take it in your stride!” So what made this pilot not worth saving, while the original Winter is Coming was? No-one knows for sure. Perhaps given just how many series options HBO had for a Thrones follow-up, it was easier to go in a different direction. Maybe, when everything almost came crashing down on Benioff and Weiss in 2009, they were just lucky. Or maybe it’s just a curse on the unfortunate Jamie Campbell Bower, the young actor unlucky enough to star in both the original Game of Thrones pilot and the Bloodmoon pilot, only for neither performance to see the light of day. While the actor didn’t comment publicly on the cancellation, Campbell Bower succinctly tweeted his opinion on the 29th October 2019: “WHACK”. The content of the Bloodmoon pilot is, of course, even more mysterious than the Game of Thrones pilot, and even less likely to see the light of day – though rumour has it the series had a controversial take on the origins of the elf-like Children of the Forest, along with storylines featuring older versions of the Stark and Lannister families. Sadly, we’ll probably never know for sure – though if the lost Game of Thrones pilot offers a glimpse at another version of the smash-hit series that might have been, perhaps Bloodmoon offers another timeline. Specifically, a timeline where Game of Thrones really was just cancelled after everyone hated the pilot, instead of becoming the sort of world-beating cultural artefact that has its 15-year anniversary marked across the world. “Heartbreaking as it is to work for years on a pilot, to pour your blood and sweat and tears into it, and have it come to nought, it’s not at all uncommon,” Martin wrote on his blog. “I’ve been there myself, more than once. I know [showrunner Jane Goldman] and her team are feeling the disappointment just now, and they have all my sympathy… with my thanks for all their hard work, and my good wishes for whatever they do next.” Whether it’s a curse or just bad luck, the world of Game of Thrones clearly doesn’t have a great track record when it comes to pilots. Perhaps it’s no wonder that when HBO first announced House of the Dragon, there was an intriguing footnote included – for the first time, they were going straight to series, with 10 episodes filmed before they unveiled it to anybody. In other words, they were skipping the pilot stage entirely. Given their track record, you can hardly blame them. All eight seasons of Game of Thrones (except the pilot) are available to stream on HBO Max and NOW. Check out more of our Fantasy coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
A Knight of the Seven Kingdoms season 2 filming halted as Game of Thrones spin-off battles extreme weather
The second season of the smash-hit series is currently filming in the Canary Islands.
A Knight Of The Seven Kingdoms has been forced to temporarily halt production on season 2 over bad weather and flooding. The latest Game Of Thrones spin-off, which became a smash-hit on launch this year, is currently filming its second outing in Gran Canaria. However, after the island was hit by severe weather conditions caused by Storm Therese, including flooding and heavy rainfall, the series was forced to put down cameras. HBO has confirmed that the storm has resulted in weather delays to the show’s production. The second season, titled The Sworn Sword, saw production move from Belfast to Spain – ironically to remain faithful to the source material and depict a drought. Speaking to Radio Times about the upcoming season, showrunner Ira Parker said: "Book 2 takes place at a drought. And obviously you’ve been to Belfast, and you know there’s no way any human being could ever shoot Belfast for a drought, as it rains at some point every single day. "So we’re going elsewhere to seek 'unrainings'." A Knight of the Seven Kingdoms, based on the Dunk and Egg novellas by George R R Martin, follows the tales of Ser Duncan The Tall (Peter Claffey), an up-and-coming hedge knight, as he makes his way through Westeros with his young squire, Egg (Dexter Sol Ansell). Both seemingly inconsequential characters are known to go on to cement their place in the history of Westeros. View Green Video on the source website In season one, based on the first novella The Hedge Knight, Egg was revealed to really be Aegon Targaryen – the fourth son of Prince Maekar Targaryen in the Royal family. Meeting by chance at an inn on route to a small tourney in Ashford Meadow, Dunk and Egg formed an unlikely bond, in doing so putting wheels in motion for events that change Westeros's future. The first season consisted of six, half-hour episodes, with season 2 currently slated for an early 2027 release. It is currently unclear how the flooding will impact the season's planned release date. A Knight of the Seven Kingdoms is available to watch on HBO Max, Sky Atlantic and NOW – find out more about how to sign up for Sky TV. Add A Knight of the Seven Kingdoms 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 Fantasy coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
The White Lotus season 4 confirms first story details as full cast is announced – and there's a cinematic twist
It's time to check-in with our favourite chaotic hotel chain...
The White Lotus season 4 is officially in production – with the creative team behind the beloved HBO show sharing the very first details about what we can expect this time around. The Emmy award-winning series, which focuses on a turbulent week at a five-star resort full of chaotic and entitled guests, has started rolling cameras in the French Riviera. For the first time ever, season 4 will not focus on one hotel in the White Lotus chain, but two: the White Lotus du Cap and the White Lotus Cannes. The official logline reads: "A new group of White Lotus hotel guests and employees over the span of a week, taking place during the Cannes Film Festival." Creator Mike White previously shared the season will focus on the concept of celebrity, telling W Magazine he came up with the idea while filming reality series, Survivor 50. He said: "It’s a bit about fame, about who has the world’s attention, who is the plus-one, and how that can organise a relationship. "Some people are satisfied with the love of just an intimate partner, and some people need the love of strangers and a bigger kind of attention." As White has previously confirmed, each season of White Lotus focuses on a specific theme. "The first season we highlighted money and then the second season is sex and I think the third season, it would be maybe a kind of satirical and funny look at death in Eastern religion and spirituality," he told Deadline in 2022. View Green Video on the source website The forthcoming season will film across multiple locations in Monaco and the South of France, including Cannes and St. Tropez. Filming will also take place in Paris, though the story will remain along the Côte d'Azur. The Airelles Château de la Messardière will be used as the White Lotus du Cap, while the Hôtel Martinez will be turned into the White Lotus Cannes. The main cast has also been confirmed as Helena Bonham Carter, Vincent Cassel, Steve Coogan, Caleb Jonte Edwards, Dylan Ennis, Corentin Fila, Ari Graynor, Marissa Long, Alexander Ludwig, Chris Messina, AJ Michalka, Kumail Nanjiani, and Nadia Tereszkiewicz. Additional cast includes: Chloe Bennet, Sandra Bernhard, Heather Graham, Max Greenfield, Frida Gustavsson, Charlie Hall, Jarrad Paul, Rosie Perez, Ben Schnetzer, and Laura Smet. The White Lotus seasons 1-3 are available on Sky Atlantic, NOW and HBO Max. Add The White Lotus 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.
Euphoria gave us TV's darkest teen drama yet – but just how true is it to life? Experts weigh in
Radio Times talks to a psychoanalyst and psychotherapist about the show’s first two seasons.
Euphoria whipped up a storm when it first premiered in 2019. The teen drama from HBO triggered outrage and moral panic with a scene featuring 30 penises (yes, 30), as well as frequent and graphic depictions of drug use, sex and violence. The show, which released a second season in 2022, follows Rue (played by Zendaya), a 17-year-old drug addict who comes out of rehab and struggles to say sober, while also exploring the lives of her peers, who it soon emerges are equally – if not more – troubled (yes Nate, we’re looking at you), and is perhaps the darkest look at teenhood we've had on screen since Skins. But does it offer an accurate depiction of the pressures facing Gen Z today, or is it a sensationalised portrayal of adolescence? Ahead of season 3’s release, Radio Times talks to a psychoanalyst and psychotherapist about how true to life the show’s first two seasons are. Addiction and drug use A lot of the criticism levelled at the series focused on its portrayal of drug use. As well as showing Rue dealing with addiction, Euphoria depicts other characters taking drugs recreationally against the backdrop of wild and glamorous parties. Following the season 2 premiere, America’s Drug Abuse Resistance Education programme publicly accused the series of “misguidedly glorifying” teenage drug use and making it seem “common and widespread in today’s world”. But drug use among teens is quite common today, research indicates. A 2021 study by University College London found that almost a third of 17‑year-olds in the UK have tried cannabis, and about one in ten have experimented with harder drugs such as cocaine, ecstasy, or ketamine. And research in 2024 found that, in 2020, nearly 10 million US adolescents (1.6 million 12 to 17 years of age and 8.2 million 18 to 25 years of age) met the criteria for a substance use disorder. “People who are Rue's age sometimes do have an experience with addiction like that. But sometimes it's more casual and experimental and doesn't enter into hard substances like Rue's did,” says licensed psychotherapist, mental health expert and founder of Truth Doctor Media Dr Courtney Tracy. Rue’s behaviour in the series and how she interacts with others mirrors the patterns of real-world addiction, says Dr Aimee Martínez, a licensed clinical psychologist and psychoanalyst who works with older teens and young adults. “Rue is constantly in a push and pull of her own personal hide and seek. Her moments of psychological movement and self-reflection can quickly be followed by an intrusion of the version of herself she wants to remain hidden – and she plays this out with her family, friends, and sponsor alike. That dynamic feels very true, and pretty universal.” Although based on an Israeli series that first aired in 2012, Euphoria draws heavily from the personal experiences of series creator Sam Levinson and his own experiences of teenage drug addiction. “I just wrote myself as a teenager,” he previously told Entertainment Weekly. “I think those feelings and memories they’re still extremely accessible to me. So it’s not a hard reach. I just write myself and what I was feeling and what I was going through when I was younger and I was dealing with addiction." Dr Martínez also notes that the show’s depiction of Rue’s addiction feels realistic because of the ways it’s shown to be rooted in trauma. “Rue was born three days after 9/11 – which operates as an analogy for catastrophe and immense loss following her from the very beginning. Her father's death gave way to a reemergence of that earlier childhood trauma. Rue's mother did everything she could to hold the family together, but when Rue's father died, that container broke and the trauma grew.” Euphoria also does a good job at portraying how Rue’s drug use starts in a casual and invisible way, Dr Martínez says. Where the storyline is less realistic, she notes, is in how Rue’s trajectory gets “compressed”. “The show also doesn't highlight that many teenagers who use casually, don't become Rue,” Dr Martínez adds. “The variable isn't access, or even trauma alone – it's the intersection of neurobiological vulnerability, disrupted attachment, and loss of emotional regulation. Rue has all three. The drugs aren't the story. They're the solution to a story that started much earlier.” Mental health Viewers of Euphoria might also have been shocked by its brutal depictions of teenage mental health – with multiple characters suffering from panic attacks, breakdowns and mental health crises over the course of the first two seasons – but the show is closer to reality than most parents might like to admit. A 2021 study found that Gen Z is over 80 per cent more likely to report anxiety or depression compared to older generations. “Most teens are dealing with something related to their mental health. It’s a very critical time of psychological development,” says Dr Tracy. She adds that the show does a brilliant job of showing the complexities of the different types of mental health problems that are present across the cast. “You see it in Jules navigating gender identity and the emotional weight that comes with that. You see it in Cassie's attachment patterns and how her self-worth becomes completely tied to how she's perceived by men. You see it in Kat's relationship with her body and identity." When it comes to its depiction of teenage mental health, one of the show’s strengths is the way it captures how teens hide and separate their emotions, says Dr Martínez. “As an audience, we're given a privileged seat – we see what each character presents to the outside world and how profoundly that can contradict what we witness when they're alone. That gap is where the show does some of its most honest psychological work. Teenagers are masterful at compartmentalisation, and Euphoria takes that seriously. It doesn't flatten its characters into their diagnoses or their worst moments. It shows the performance and what lives underneath it – often simultaneously.” Sex and nudity One area where the show may stray from reality is in its depiction of sex. From erotic dreams and intimate moments between characters to the aforementioned penis locker scene, the series is brimming with it. But research shows that Gen Z aren’t the sexually promiscuous generation that Euphoria makes them out to be. In a 2022 survey by the Kinsey Institute and Lovehoney, one in four Gen Z adults said they had never experienced partnered sex. And according to CDC data, roughly a third of high schoolers said they’d had sex in 2023, a decline from 47 per cent in 2013. “I would say there are more teenagers who don't have this type of relationship with sexuality as this group of teenagers do in Euphoria, and at the same time, there are definitely groups of teenagers that are this sexual,” Dr Tracy notes. “Especially these days with access to the internet and social media more than ever, sexuality is something that is less taboo, and in some ways that makes it more unserious and therefore more prolific in these populations.” When Euphoria first aired, eyebrows were soon raised over the show’s graphic depictions of sex and nudity, with some arguing it was for shock factor rather than to reflect real life. Others attributed what they deemed to be hypersexualised female characters to a male gaze, given that the show is created and written by Levinson. But what might seem like it’s aimed at adult men may actually reflect how some teenage girls see themselves, Dr Tracy notes. “Where the male gaze question gets interesting is that some teenagers themselves have internalised that gaze like Cassie, so sometimes what looks like it's written for an adult male audience is actually a pretty accurate reflection of how some teenage girls have learned to see themselves.” Toxic relationships and friendships Other backlash surrounding the show focused on its depiction of teenage relationships, with some viewers accusing the series of romanticising toxic dynamics. Nate (Jacob Elordi) and Maddy’s (Alexa Demie) violent relationship in particular caused shock and outrage online. In one scene, he threatens her with a gun and a game of Russian Roulette. In another, she tells him: "I really f**kin' hate you. You're abusive, psychopathic. Most of the time, I really hate the way you make me feel.” Dr Tracy says that these relationships aren’t accurate depictions of teenage dynamics overall. “I think that most of the time, teenage relationships are more docile and more innocent. There are definitely toxic teenage relationships that exist, and alcohol use and sexual relations definitely increase the potential for a relationship to become more toxic. But when it gets to the level that it's gotten to with Nate and Maddy, with guns and abuse, that is not normal at all, and it needs to be said that that is not normal at all for any relationship, especially teenage relationships.” When it comes to friendships, Euphoria doesn’t shy away from drama either, and there are frequent betrayals and fallouts between the characters. In the season 2 finale, Maddy confronts her former friend Cassie (Sydney Sweeney) after discovering she’s slept with her ex, leading to a violent scene involving scratching, hair-pulling and even the slamming of Cassie’s face into the wall. These portrayals might seem melodramatic, but the depictions of friendships in the show aren't entirely unrealistic, says Dr Tracy. “Being a teenager is melodramatic. It can often feel like your entire world is falling apart.” Season 3 Season 3, out this weekend, is jumping forward five years in time, moving its characters out of adolescence. Rue is still battling her sobriety and working off her debt to drug dealer Laurie in Mexico, before moving on to Texas to work as a club manager. Meanwhile, Nate and Cassie, the latter of whom now makes OnlyFans content for a living, are getting married, and Jules is an art student. But the time jump doesn’t mean all of the characters’ struggles should just evaporate, notes Dr Martínez. She hopes that the show holds onto “the complexity it earned”. “Adding five years of living doesn't simplify people, it builds layers and sediments them. I'm curious whether Rue's sobriety, if it holds, will be treated with the same nuance as her addiction was. If recovery continues to be part of her evolution and daily negotiation, I hope they tell that story.” Dr Tracy also hopes that the series remains nuanced as the characters grow older. “I have hopes that they will not make everybody's outcome negative," she says. "I feel like that's important, and TV shows do that a lot. It would be great to see some of these characters recover and make it through, make good decisions for themselves and not be struggling. Of course, all adults struggle, but it would be nice to see people succeeding. “At the same time, I want honest truths that some people still struggle and continue to make the same decisions from their teenage years into young adulthood. A good, well-rounded outcome for all of them is really what I want to see.” Find out more about Dr Aimee Martínez's work. Find out more about Dr Courtney Tracy’s work. If you need help and support on issues raised within this article, please visit Samaritans, CALM, Rethink Mental Illness and Mind for guidance. Euphoria season 3 is airing weekly on HBO Max, Sky Atlantic and NOW. Catch up on seasons 1-2 on HBO Max and NOW. Euphoria seasons 1 and 2 are available to watch on Sky Atlantic and NOW with an Entertainment Membership. 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.
Euphoria season 3 gets early Rotten Tomatoes score revealed after flurry of first reviews and reactions
The critically acclaimed teen drama isn’t quite so praised for its third season.
The first two seasons of teenage drama Euphoria, which aired between 2019 and 2022, received numerous accolades, including Emmy Awards for Zendaya and co-star Colman Domingo. After a lengthy gap, the highly-anticipated third season launches on 13 April on Sky Atlantic, but reviewers who have seen the first three episodes are more mixed in their reactions this time around. The new season, which is set four years on from season 2, picks up the story of drug addict Rue (Zendaya), her best friend Lexi (Maude Apatow), and fellow former high school students Jules (Hunter Schafer), Cassie (Sydney Sweeney) and Nate (Jacob Elordi). Nate and Cassie, who makes sexy influencer videos for a living, are getting married. Meanwhile, Jules is an art student and Rue is working off her debt to drug dealer Laurie in Mexico, before moving on to Texas to work as a club manager. Though, with this season being a major departure from the previous two, with the adolescent characters all grown up, critics aren’t all that convinced. The new season, written by showrunner Sam Levinson, currently has a Rotten Tomatoes score of just 48% from 21 reviews (at the time of writing), which is the lowest rating in the show’s history. (Season 1 is currently scoring 80%, while season 2’s score is 78%). Both the show’s plot and the characters themselves have been criticised in reviews. Lauren Sarner of New York Post was particularly disparaging, calling the season an "unhinged disaster" filled with characters in situations that are like "Breaking Bad meets Looney Tunes". Sarner was certainly not alone in her 'rotten' review, with the general consensus seeming to be that the beloved HBO show may have outstayed its welcome. View Green Video on the source website The season isn't without its supporters, however, with Nick Hilton of The Independent being a little more positive. Giving the season four out of five stars, Hilton calls it a "generation-defining" show that paints a "clear-eyed, unflattering portrait of modern America". Delayed by tragic deaths, extensive script re-writes and the conflicting schedules of its in-demand lead cast, the third and supposedly final instalment of Euphoria has been a long time coming since season 2 concluded in 2022. Euphoria season 3 premieres on Sky Atlantic and NOW on Monday 13 April at 9pm. Euphoria seasons 1 and 2 are available to watch on Sky Atlantic and NOW with an Entertainment Membership. 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.
Euphoria showrunner pays tribute to "those we lost" from cast and crew at season 3 premiere
The new series is dedicated to Angus Cloud, Eric Dane and producer Kevin Turen.
Writer and creator Sam Levinson has dedicated the upcoming third season of Euphoria to the memory of three cast and crew members who died in the four years since the second season aired in 2022. Speaking at the premiere of the long-awaited third season of the teen drama, Levinson said (via Deadline): "Some people ask why it took so long between seasons two and three. There were obvious factors — the strikes, trying to make a schedule work with our very in-demand cast, but the real time was in trying to figure out how to find a way to pay respect to those who we lost." Angus Cloud, who played Rue’s (Zendaya) friend Fezco in the first two seasons and also starred in the hit horror movie Abigail, died at the age of 25 on July 31, 2023. The show also lost executive producer Kevin Turen, who died in November of the same year. Eric Dane, who played Cal, the father of Jacob Elordi’s character Nate, was able to return to film his role for the third season of the show following a diagnosis of ALS. The actor, who was also known for his role as Doctor Mark Sloan in Grey’s Anatomy, died on February 19. "When Angus died, it was tough," Levinson said at the premiere. "I loved him deeply, and I fought hard to keep him clean. The year he died, in 2023, he was one of 73,000 people in America who died of a fentanyl overdose. I learned a whole lot that year, but what I realised more than anything is that death is what gives life meaning. "You can’t be arrogant about existence. You’re forced to reckon with the fact that life itself is a wonder, a gift, a profound blessing." The third season is dedicated to "those who we lost, Angus, Kevin, and Eric," Levinson said. "The Rebbe [spiritual leader] says, 'The only way to see great light is to pass through great darkness.' Well, it feels good to be on the other side." The first season of Euphoria premiered back in 2019, and boosted the careers of its stars, including Zendaya, who won an Emmy for her performance, Sydney Sweeney, Hunter Schafer and Jacob Elordi. View Green Video on the source website While the first two seasons followed Rue and her friends at East Highland High School, the third season has a five year time jump that finds Rue in trouble with Laurie, the drug dealer from season two. Meanwhile, Cassie is now an adult content creator and is married to Nate, Jules is an art student and Lexi is working as an assistant to a showrunner, played by new cast member Sharon Stone. She is joined by Poker Face star Natasha Lyonne, actor/director Eli Roth, True Blood’s Sam Trammell and singer Rosalia in the eight episode season. Euphoria season 3 premieres on Sky Atlantic and NOW on Monday 13 April at 9pm. Euphoria seasons 1 and 2 are available to watch on Sky Atlantic and NOW with an Entertainment Membership. 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.
Zendaya teases whether Euphoria season 3 will end the show for good: "That closure is coming"
Zendaya has revealed she believes the third season of Euphoria will be the last. The multi-Emmy-award-winning show, which stars the likes of Zendaya, Jacob Elordi, Sydney Sweeney, Alexa Demie, and Hunter Schafer, is set to return for its third outing on 13 April on Sky Atlantic and NOW. Appearing on The Drew Barrymore Show to promote her new film The Drama and Euphoria season 3, Zendaya was asked whether the upcoming third season will be the last, to which she said: "I think so, yeah." Barrymore added that she liked knowing the "mindframe" going into a potential final season, to which Zendaya responded: "That closure is coming." Elsewhere in the interview, Zendaya opened up about how "proud" she is of her work in the show, saying the series has "cracked my heart open." She added: "Rue taught me so much about life. That crew has also seen me grow up. I owe so much to that show. Rue taught me so much about empathy and redemption. I’m very grateful for all of it." HBO has yet to confirm whether season 3 will be the show’s last. However, with many of the show’s cast members having become in-demand stars since the series' premiere in 2019, and the four-year hiatus between season two and three due in part to their complex schedules, it's long been predicted by fans and critics that the upcoming third season of the show will be the last. Season 3 will pick up five years after the ending of season 2, which saw Nate (Elordi) turn his dad Cal (the late Eric Dane) into the police and Rue fail to clear her debt to drug lord Laurie (Martha Kelly). View Green Video on the source website A trailer recently gave fans a few hints at what’s to come, with Rue now in Mexico and still in deep debt to Laurie, and Cassie (Sweeney) and Nate (Elordi) getting married and living in the suburbs. Also returning in season 3 are cast members Chloe Cherry, Dominic Fike, Nika King and Colman Domingo, while new additions include Danielle Deadwyler, Eli Roth, Natasha Lyonne, Rosalía, Marshawn Lynch, Sam Trammell and Asante Blackk. Euphoria seasons 1 and 2 are available to watch on Sky Atlantic and NOW with an Entertainment Membership. 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.
Harry Potter TV series confirms special behind-the-scenes spin-off - and it's days away
The special will feature interviews from cast members including Dumbledore actor John Lithgow, McGonagall actress Janet McTeer and Snape actor Paapa Essiedu.
HBO will be taking fans behind the scenes of its upcoming Harry Potter TV series in a new special. Finding Harry: The Craft Behind the Magic, which is set to debut on Sunday 5 April, will offer fans "an exclusive look inside the HBO series, from the artists bringing it to life". The special will feature interviews from cast members including Dumbledore actor John Lithgow, McGonagall actress Janet McTeer and Snape actor Paapa Essiedu, while Nick Frost (who plays Rubeus Hagrid in the series) will narrate. HBO has released a teaser for the episode, which begins with Lithgow saying: "The Harry Potter stories are this extraordinary phenomenon. To reimagine the Harry Potter canon, to let it breathe — we get to enact all the things that you know are going on in the wings, but you don’t see them." The footage also gives fans a glimpse at McTeer and Essiedu talking about the filming process, while production designer Mara LePere-Schloop says: "To be able to build at a scale like this, it’s just a designer’s dream. We’re trying to get in the joy and playfulness of what it means to be a magical kid." Later, she adds: "To play in a sandbox that’s this big, it’s incredible. We’re adding a level of world-building beyond what the audience is familiar with." Watch the trailer for yourself below: View oEmbed on the source website A synopsis for the special reads: "It’s been 25 years since audiences first walked the hallowed halls of Hogwarts. Now, this exclusive special offers an inside look at the epic scale and meticulous care behind HBO’s new Harry Potter series — told through the lens of the artists, craftspeople, and technicians bringing JK Rowling’s beloved books to life for a new generation." It continues: "Featuring interviews with members of the casting, production design, costume design, and creature effects teams, the special chronicles the extensive process behind finding our new Harry, Ron, and Hermione — while celebrating the awe-inspiring commitment to detail and immense talent that has come together to fill out this extraordinary world." Harry Potter author JK Rowling has faced backlash in some quarters due to her views on transgender rights. In 2020, she published a lengthy statement detailing her stance on sex and gender debates – the essay was criticised and disputed by LGBTQ+ charities including Stonewall. Rowling has also shared her views on social media, including in a 2024 post on X (formerly Twitter), in which she insisted that "there are no trans kids" and opposed the idea that a child can be "born in the wrong body". In May 2025, Rowling set up the JK Rowling Women’s Fund, which describes itself as offering legal funding support to "individuals and organisations fighting to retain women’s sex-based rights". Harry Potter actors including Daniel Radcliffe, Rupert Grint, and Emma Watson, have distanced themselves from Rowling's views and have issued statements supporting the transgender community. Others, including Ralph Fiennes, Helena Bonham Carter and Jim Broadbent, have defended the author from the criticism she has received. Finding Harry: The Craft Behind the Magic will become available to stream on HBO Max on Sunday 5 April. Check out more of our Fantasy coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
HBO responds to question of a potential Doctor Who partnership with the BBC
HBO boss Casey Bloys breaks silence on Doctor Who rumours after Disney+ exit — and refuses to rule out a future partnership.
HBO boss Casey Bloys has responded to reports linking the broadcaster to Doctor Who, following the conclusion of the BBC's deal with Disney+. Disney+ partnered with the BBC beginning with 2023's 60th anniversary Doctor Who specials, followed by two subsequent seasons of the sci-fi series and a spin-off, The War Between the Land and the Sea. It was announced in October 2025 that the deal would not be extended, though the BBC’s director of drama commissioning Lindsay Salt insisted that the corporation itself remains "fully committed to Doctor Who", announcing a 2026 Christmas special from showrunner Russell T Davies. Last month, Salt was asked by Deadline if HBO Max could act as a new streaming partner on Doctor Who, following co-production deals between HBO and the BBC on upcoming series Half Man (from Baby Reindeer's Richard Gadd) and the Michaela Coel vehicle First Day on Earth. Salt did not rule out the possibility, noting that HBO "have been great partners creatively". In conversation with Radio Times, Casey Bloys (chairman and CEO, HBO and Max Content) was asked if he'd be interested in partnering on Doctor Who – and Bloys also seemed open to the idea. "It has not been presented to us," he clarified. "As with anything, I would say 'Never say never' – it's just not something that I know about." The last season of Doctor Who ended on a surprising twist, bringing Ncuti Gatwa’s time as the Doctor to a dramatic close. In the closing moments, the Doctor began to regenerate, only for the new incarnation to be revealed as a shock returning face: Billie Piper. Her brief appearance left fans stunned and set the Whoniverse buzzing with speculation about what comes next... Back in December, writer/producer Davies revealed that he had shared plot details for the upcoming Christmas special with BBC bosses – and apparently what's to come left them "with jaws agape, loving it". View Green Video on the source website HBO Max launches in the UK and Ireland on 26 March. Visit hbomax.com for more information. Doctor Who is available to watch on BBC iPlayer. Add Doctor Who to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" class="x_OWAAutoLink" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Sci-fi coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
HBO boss Casey Bloys talks Harry Potter, The Pitt, key franchises and big new bets as network launches streamer in UK
From big IP to low-budget experiments, HBO’s boss explains how the network decides what’s worth making.
The man shaping HBO’s future is thinking less about algorithms and more about instinct. As Casey Bloys, chairman and CEO of HBO and Max Content, looks ahead to the UK launch of HBO Max on Thursday 26 March, his guiding principle remains strikingly simple: make television people will pay for – and make it unlike anything else. "One of the things about working at HBO for as long as I have… is that, before streaming, we were unique in that we were television people were asked to pay for," he says. "So in development, we would naturally ask ourselves: does this feel like television worth paying for?" It’s a deceptively powerful framework – one that has shaped everything from Game of Thrones to Euphoria – and continues to underpin HBO’s strategy as it expands its direct-to-consumer offering in the UK. Bloys is clear that there is no single answer to that question. "Does it feel like a spectacle? Does it feel cinematic? Does it feel like it’s pushing boundaries in some way? Does it feel like it’s breaking new talent that you wouldn’t see somewhere else?" What matters, he suggests, is not the definition but the discipline of asking. "There are many ways to approach it… but the fact that we’re asking the question has been a good guide for us." Just as important is what that question rules out. "One of the things we’ve also asked over the years… is whether it feels like something you could see somewhere else or not." That instinct – to differentiate rather than replicate – has been key to HBO’s evolution, even when it has meant challenging internal assumptions. Bloys recalls how Girls once felt unusual for the network, given the long-held belief that the "male head of household" was the primary cable subscriber. Game of Thrones, meanwhile, initially struck some as an outlier. "I remember when it came out it felt a bit like 'swords and sandals'," he says. "Something like Euphoria... we’d never had a protagonist be that young." What links those shows is not genre but risk – and a willingness to back ideas that don’t fit the mould. "I’ve been lucky enough… never to have worked for people who made me feel like, 'If this show doesn’t work, that’s it," Bloys says. "I would like to think I create the same environment… trying things and not being afraid to fail. Some things work, some things don’t, and understanding that failure is part of the process." That philosophy has allowed HBO to greenlight projects that might otherwise have seemed unlikely. Industry, for instance, began as a low-budget experiment – a Cardiff-shot series built around writers with real-world finance experience and actors fresh out of drama school. "It was really kind of an experiment: could we do a show for a relatively small budget… and used young talent… was there something in that low cost model that would make sense?" Bloys explains. "It was a very easy yes… and it felt like a really interesting way to approach something." Five seasons on, the show is coming to a close – a decision driven as much by creative ambition as longevity. "It’s been five seasons… they’ve reinvented it so many times," he says. "I think five seasons is a really good run… I’d love to see what else they [series creators Mickey Down and Konrad Kay] could do." Elsewhere, series like The White Lotus and even the original pitch for a drama, Succession, from comedy writer Jesse Armstrong underline the same point: experimentation is not the exception at HBO – it’s the system. "Sometimes you’re rewarded when you take a shot, sometimes you’re not," Bloys says. "But you can’t overthink it or over-prescribe anything." View Green Video on the source website In a streaming landscape increasingly defined by short seasons and long gaps, that mindset has also led HBO to identify opportunities in what others have left behind. With The Pitt, the network is deliberately reviving a "lost art" — the longer, broadcast-style season. "One of the things… we would do sometimes is look around the landscape and see what’s not being done," Bloys says. "A lot of people were chasing us… seven or eight episodes, prestige series… and one of the things that kind of got neglected was… broadcast-style shows." The result is a 15-episode season designed to return annually – a rarity in modern prestige television. "People have been busy… doing seven, eight episodes… every year-and-a-half to two years," he adds. "So when we looked around and said, 'Well, what’s not there?’ – that kind of show… felt like something that was missing." Crucially, it’s not just about volume but reliability. "I know every January we’re going to have a new season," Bloys says. "You have to set up a show that you’re able to produce on an annual basis… writers who know how to turn around a show." If that approach reflects a broader willingness to zig where others zag, HBO’s strategy around major IP is defined by restraint. Despite the enduring popularity of Game of Thrones, Bloys is wary of overextending the franchise. "I don’t like to make any decisions ahead of time, like 'we need so many spin-offs'… because you may compromise," he says. "We’ve had exactly two spin-offs… and a lot of speculation elsewhere." Development, he insists, remains a numbers game – but one where commitment comes late. "You really do have to develop a lot of things… without committing to a show." The same philosophy applies to other properties, including Dune, which recently saw a spin-off in the form of the Dune: Prophecy series. "Just because something is big IP… nothing guarantees that people are going to tune in… or that the audience will be big and stay big," he says. "You still have to develop… find shows that are worthy." Even the much-anticipated TV adaptation of Harry Potter is being approached with restraint. "The idea is not to… turn it into a DC or a Marvel," Bloys says. "The idea is to go in and do the books." That means a longer-form, more detailed interpretation – with room for expansion. "There will be things in the show that were not in the movie… but are not off-canon," he explains. "The opportunity… is to spend more time with the books." Elsewhere, future plans remain fluid. A third season of The Last of Us may mark the end of that story, while a potential adaptation of Baldur's Gate is still in early discussion. For Bloys, the through-line is consistency of philosophy rather than certainty of outcome. HBO’s future, like its past, will be defined by the same central question — and the willingness to keep evolving around it. "I think because you’ve got a core of people who’ve been there a long time and think about that development process — asking, is it worth paying for, is it new — there’s a built-in evolution," he says. "If you look at different points along the way… part of what makes HBO work is that, by definition, in our DNA we’re not trying to do the same thing over and over again." And as HBO Max arrives in the UK, that refusal to stand still may be its greatest asset. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Harry Potter TV series confirms earlier release date with first-look trailer and new cast imagery
Step aside Daniel Radcliffe, there's a new Harry in town.
A first-look trailer for the all new Harry Potter TV series has just dropped, and it's confirmed that the highly-anticipated show will arrive earlier than expected. The new TV adaptation is set to arrive this Christmas, earlier than the original "early 2027" window that had previously been reported. A first-look trailer shows the very beginnings of Harry's story, from being mistreated by his relatives, the Dursleys, to meeting half-giant Hagrid (now played by Nick Frost) and arriving at Hogwarts School of Witchcraft and Wizardry. It also hints at previously unseen parts of Harry's story, including showing him at a muggle school. You can watch the trailer below: View oEmbed on the source website New imagery of the cast has also been unveiled. A HBO series was announced back in 2023 and last year the cast was confirmed along with first-look images of them in costume, including of Dominic McLaughlin who is playing the titular role of Harry. At the start of this year, the show was then given a confirmed release schedule of early 2027 before a first-look photo of McLaughlin on set was shared earlier this week. The photo, shared on The official Harry Potter social media account, shows the Boy Wizard clad in red robes, headed towards the Hogwarts quidditch pitch with his broomstick in hand. Gryffindor and Hufflepuff banners can be seen hanging in front of him (along with a poster emblazoned with the names of Ron Weasley's twin brothers, Fred and George), with snow lightly falling on the Hogwarts grounds. McLaughlin was seen in the Sky Original comedy Grow, whilst Stanton is known for having previously starred in the West End production of Matilda, as well as the Andrew Lloyd Webber production of Starlight Express. The new Harry Potter series will be the first proper acting credit for Stout who has only been seen in TV advertisements so far. Harry Potter author JK Rowling has faced backlash in some quarters due to her views on transgender rights. In 2020, she published a lengthy statement detailing her stance on sex and gender debates – the essay was criticised and disputed by LGBTQ+ charities including Stonewall. Rowling has also shared her views on social media, including in a 2024 post on X (formerly Twitter), in which she insisted that “there are no trans kids” and opposed the idea that a child can be “born in the wrong body”. In May 2025, Rowling set up the JK Rowling Women’s Fund, which describes itself as offering legal funding support to “individuals and organisations fighting to retain women’s sex-based rights”. Harry Potter actors including Daniel Radcliffe, Rupert Grint, and Emma Watson, have distanced themselves from Rowling's views and have issued statements supporting the transgender community. Others, including Ralph Fiennes, Helena Bonham Carter and Jim Broadbent, have defended the author from the criticism she has received. The Harry Potter TV series will premiere this Christmas on HBO Max. Check out more of our Fantasy coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Harry Potter TV series unveils first look – with trailer coming very soon
The new adaptation will be released in 2027.
Harry Potter fans have officially been given a first look at the upcoming TV series, with a teaser trailer promised imminently. The newly-released image from the HBO series, which will reimagine JK Rowling's novels, shows Dominic McLaughlin's Boy Wizard, clad in red robes, headed towards the Hogwarts quidditch pitch with his broomstick in hand. Gryffindor and Hufflepuff banners can be seen hanging in front of him (along with a poster emblazoned with the names of Ron Weasley's twin brothers, Fred and George), with snow lightly falling on the Hogwarts grounds. The official Harry Potter social media accounts, which shared the image, have also announced a teaser trailer coming on 25 March. McLaughlin will be joined by Alastair Stout as Ron Weasley and Arabella Stanton as Hermione Granger. Meanwhile, John Lithgow will take on the role of Professor Albus Dumbledore, with Paapa Essiedu as Severus Snape, Janet McTeer as Minerva McGonagall and Nick Frost as Rubeus Hagrid. It's been confirmed that the series will also feature characters cut from the iconic film series, including Professor Cuthbert Binns (played by Richard Durden), and the poltergeist Peeves (whose casting has not been announced). Director Chris Columbus, who helmed the first two movies, previously told Radio Times his hopes for the series including elements from the books that he did not have time for in the films. He said: "There was so much we couldn't put in the films – they weren’t short, they were over two and a half hours long, but I still struggled. It still keeps me up at night sometimes.” Specifically, he shared: “I missed the fact that I was never able to put Peeves in the first film.” Harry Potter author JK Rowling has faced backlash in some quarters due to her views on transgender rights. In 2020, she published a lengthy statement detailing her stance on sex and gender debates – the essay was criticised and disputed by LGBTQ+ charities including Stonewall. Rowling has also shared her views on social media, including in a 2024 post on X (formerly Twitter), in which she insisted that “there are no trans kids” and opposed the idea that a child can be “born in the wrong body”. In May 2025, Rowling set up the JK Rowling Women’s Fund, which describes itself as offering legal funding support to “individuals and organisations fighting to retain women’s sex-based rights”. Harry Potter actors including Daniel Radcliffe, Rupert Grint, and Emma Watson, have distanced themselves from Rowling's views and have issued statements supporting the transgender community. Others, including Ralph Fiennes, Helena Bonham Carter and Jim Broadbent, have defended the author from the criticism she has received. The Harry Potter TV series will premiere in early 2027 on HBO Max. Check out more of our Fantasy coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Slow Horses and Last Tango in Halifax stars confirmed for all-new drama from Sharon Horgan
Stars of both Slow Horses and Last Tango in Halifax have been confirmed for an all-new drama from comedy writer Sharon Horgan. The new HBO Original Comedy Series YOUTH will see Harriet Walter, Anne Reid, and Freddie Fox star as its main cast. As well as writing and executive producing, Sharon Horgan will also star in the upcoming series. She has previously written and acted in the 2015 Channel 4 series Catastrophe alongside Rob Delaney, and is also the comedic mastermind behind BBC's Motherland. YOUTH follows a 50-year-old divorcee’s search for sex and love whilst juggling caring for her ailing parents and parenting her should-be grown up son. Anne Reid is best known for playing Valerie Barlow in Coronation Street from 1961 to 1971, and later Celia Dawson in Last Tango in Halifax between 2012 and 2020, for which she was nominated for the British Academy Television Award for best actress. Dame Harriet Walter has had a career spanning over 50 years and is no stranger to comedy acting, starring in the Apple TV sports comedy-drama series Ted Lasso. She is also known for her roles in Succession and Silo. Whilst Freddie Fox is most recognised from House of the Dragon and Slow Horses, he has also had previous comedy roles in Apple TV's The Great and the Victorian police comedy on Channel 4 Year of the Rabbit. YOUTH is produced by Merman, which also produced the likes of Amandaland, Bad Sisters and Vladimir, Horgan's own production company which she co-founded in 2014 alongside Clelia Mountford. Additional executive producers are Faye Dorn for Merman, Jim Kleverweis, and Dawn Shadforth, who will also direct. For her comedy work Sharon Horgan has won numerous accolades including seven BAFTA nominations and two wins - best drama series in 2023 for Bad Sisters and best writer: comedy for Catastrophe in 2016. Add YOUTH 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 Comedy coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
The Last Of Us casts Bridgerton and Star Wars: Skeleton Crew actors as Yara and Lev for season 3
The Last of Us TV series has found its Yara and Lev, as production continues for the third season of the dystopian series. Deadline confirmed the news that Michelle Mao (Bridgerton) and Kyriana Kratter (Star Wars: Skeleton Crew) will star as siblings Yara and Lev respectively. The publication also reported that as in the game, Lev is a 13-year-old transgender boy – and HBO held an inclusive casting call for the character, with Kratter part of the "young performers of different backgrounds" who auditioned. As per the second game, Yara and Lev are a major part of Abby Anderson's (Kaitlyn Dever) arc, acting as loyal allies who help Abby during later parts of the game. Kratter is just 15 years old and has starred in Disney Channel's Bunk'd and Star Wars series Skeleton Crew, alongside Jude Law and Kerry Condon. Fans will have recently seen Mao in the latest outing of Bridgerton as Rosamund Li, though her other credits include A Big Bold Beautiful Journey and the Goosebumps TV series. This casting news comes after it was reported that Patrick Wilson (The Conjuring) and Jason Ritter (Matlock) would be joining the cast as Jerry Anderson (Abby's father) and an original character, Washington Liberation Front soldier Hanley, respectively. Alongside the new additions, three returning faces have been promoted to regular roles. Mel (Ariela Barer), Nora (Tati Gabrielle) and Owen (Spencer Lord), who were introduced as part of season 2, will all be core characters of season 3, with the story set to focus more heavily on Abby than Ellie. But Ellie (Bella Ramsey) isn’t going anywhere, with co-creator Craig Mazin confirming we haven't seen the last of the character, although she and Dina are set to feature in a reduced role. When pressed on how much of Ellie we'll be seeing in season 3, Ramsey told Variety: “I sort of know, but I can’t tell you, I’m afraid." The Last of Us season 2 is streaming on Sky Atlantic and NOW with an Entertainment Membership. Add The Last of Us 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 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 White Lotus season 4 casts multiple guest stars - including two Marvel veterans
Production is expected to begin on season 4 in France soon.
More reservations have been booked for The White Lotus season 4, with Marvel veterans Kumail Nanjiani and Chloe Bennet among the new cast additions. The new instalment of the HBO comedy drama, production on which is expected to begin soon, is expected to come to our screens at some point in 2027. Alongside Nanjiani (Eternals) and Bennet (Agents of S.H.I.E.L.D.), other new actors joining the cast as guest stars include Max Greenfield (New Girl), Charlie Hall (The Sex Lives of College Girls) and Jarrad Paul (Free Bert). Deadline reports that Greenfield will play a character called Mitchell, while Bennet’s character will be named Brynn and Hall’s will be called Zach. The new names join previously announced cast members Sandra Bernhard, Helena Bonham Carter, Steve Coogan, Caleb Jonte Edwards, Ari Graynor, Marissa Long, Alexander Ludwig and Chris Messina. AJ Michalka, Dylan Ennis, Vincent Cassel, Corentin Fila and Nadia Tereszkiewicz have also been previously announced as major players. Details of their roles are also being kept under wraps. While plot details are yet to be revealed, we do know that the next instalment of Mike White’s hit series, which has previously transported viewers to Hawaii, Italy and, most recently, Thailand, will take place in France, with locations set to include Paris and a luxury hotel called Château de la Messardière on the Côte d’Azur. White previously said he didn’t want season 4 to have the same crashing waves aesthetic as previous seasons, explaining: "For the fourth season, I want to get a little bit out of the crashing waves of rocks vernacular, but there’s always more room for more murders at the White Lotus hotels." The White Lotus seasons 1-3 are available to watch on Sky Atlantic and NOW. 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. Add The White Lotus 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.
The Last of Us season 3 confirms major new castings and big changes for returning stars
The cast of The Last of Us has received a major shake-up ahead of season 3, with two new faces joining a cast of returning regulars. The HBO series, which adapts the hit video game series from developer Naughty Dog, has been widely acclaimed by both critics and fans across its first two seasons. Now, as reported by Deadline, Bella Ramsey and Kaitlyn Dever will be joined for season 3 by Patrick Wilson (The Conjuring) and Jason Ritter (Matlock). Wilson will be portraying Jerry Anderson, Abby's father, while Ritter will be playing an original character, Washington Liberation Front soldier Hanley. Alongside these two new additions, three returning faces have been promoted to regular roles. Mel (Ariela Barer), Nora (Tati Gabrielle) and Owen (Spencer Lord), who were introduced as part of season 2, will all be core characters of season 3, with the story set to focus more heavily on Abby than Ellie. The trio join fellow returning cast members Isabela Merced, Gabriel Luna and Jeffrey Wright, as well as already-announced newcomers Clea DuVall and Jorge Lendeborg Jr. View Green Video on the source website Following the runaway success of its first two seasons, Craig Mazin – who served as co-showrunner alongside Naughty Dog studio head Neil Druckmann – is set to take over as sole showrunner for season 3, with Druckmann leaving the show to focus on the upcoming Intergalactic: The Heretic Prophet. Mazin has also recently been confirmed for a second video game jaunt, with the veteran writer and director set to take charge of HBO's adaptation of 2023 smash hit Baldur's Gate 3. The Last of Us season 2 is streaming on Sky Atlantic and NOW with an Entertainment Membership. Check out more of our Sci-fi coverage or visit our TV Guide and Streaming Guide to find out what's on this week. For more from the biggest stars in TV, listen to The Radio Times Podcast.
A Knight of the Seven Kingdoms season 2 casts Bohemian Rhapsody and Mum favourites in major roles
Dunk and Egg are set to encounter some new friends and foes on their adventures in season 2 of A Knight of the Seven Kingdoms – and now we know who exactly will be taking on those roles. The show has added Lucy Boynton as Lady Rohanne, Babou Ceesay as Ser Bennis, and Peter Mullan as Ser Eustace Osgrey. The trio are key characters in George RR Martin's second Dunk and Egg novella, The Sworn Sword, which picks up with the unlikely duo a year and a half later, as they're caught in the middle of a dramatic dispute. Boynton is best known for roles in A Cruel Love: The Ruth Ellis Story and Bohemian Rhapsody, while Babou Ceesay has most recently been seen in Alien: Earth and Damilola, Our Loved Boy. Peter Mullan is also known for a variety of roles, including in Ozark and I Swear. View Gallery on the source website A Knight of the Seven Kingdoms has so far been loved by critics and fans alike after its first season, giving us a very different tone to the previous series in the Thrones franchise. So far, the series has been very faithful to George RR Martin's writing, and showrunner Ira Parker has suggested that will continue for season 2. He teased to Radio Times: "Book 2 takes place at a drought. And obviously you’ve been to Belfast, and you know there’s no way any human being could ever shoot Belfast for a drought, as it rains at some point every single day. So we’re going elsewhere to seek 'unrainings'." He added Radio Times and other press: "We're going to see Egg get into the action a little bit. Dexter's been training. I think people are gonna be impressed." View Green Video on the source website It's also been confirmed that we won't see a fair few characters back for season 2, including Egg's father, Maekar (Sam Spruell). Speaking to Radio Times for the finale, Spruell explained: "As things stand, I'm not [in season 2], but I really hope that we do see Maekar again, rather selfishly. "I love playing a dysfunctional dad who just can't get it right, who sees his own failings reflected in his children. There's nothing more painful than that. "And so I really enjoy the tension that exists within Maekar. And I think there is something in the strength of Egg that's such a clear challenge to Maekar's authority. I really liked the exploration of that as well. So I'm holding out hope that he'll return." A Knight of the Seven Kingdoms is available to watch on Sky Atlantic and NOW – find out more about how to sign up for Sky TV. Add A Knight of the Seven Kingdoms 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 Fantasy coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Game of Thrones movie tipped to be in development from Andor writer - and it concerns House Targaryen
A new chapter in House Targaryen's history may be heading to the big screen.
Is Game of Thrones finally heading to the big screen? The smash hit HBO franchise, which began with the main series and spawned prequels House of the Dragon and A Knight of the Seven Kingdoms, has long been rumoured to be getting the cinematic treatment. Page Six Hollywood now reports that former House of Cards showrunner and Andor writer Beau Willimon has already submitted a draft of the script to Warner Bros Discovery (the owners of HBO), who are apparently pleased with it. A source speaking to the publication suggests that the film would explore the conquering of the Seven Kingdoms of Westeros by Aegon I Targaryen, dubbed 'The Conqueror' in the lore of Westeros. "All of 'Game of Thrones' stems back to him, and you’ve never seen him on any of the shows," the source noted. However, the main issue that leaves the project uncertain going ahead will be the current acquisition plans by Paramount to take over Warner Bros Discovery, which is tipped to see streaming services HBO Max and Paramount+ merge. While Warner Bros Discovery and Paramount have a deal, the takeover still awaits regulatory approval. Radio Times has reached out to Warner Bros Discovery for comment on the report. It's a story that author George RR Martin has told in detail in his fictional history of House Targaryen, titled Fire and Blood. Aegon becomes the first ruler of the Seven Kingdoms of Westeros when he and his sister-wives, Visenya and Rhaenys Targaryen, decide to conquer the continent with their dragons. The characters are ancestors of the Targaryens featured in House of the Dragon, A Knight of the Seven Kingdoms, and the central Game of Thrones series. Much of Aegon's reign ends up including a bloody war with the independent kingdom of Dorne after he forges the Iron Throne. House of the Dragon added a prophecy of "Aegon's dream" to the Targaryen lore, so this may also feature in the film and tie it to the multiple Game of Thrones series. Meanwhile, we were recently given an explosive look at the third run of House of the Dragon, which depicts the Targaryen civil war known as the Dance of Dragons. This series is based on later segments of Fire and Blood by George RR Martin. Read More: George RR Martin confirms all-new Game of Thrones prequel set just 10 years before original series A Knight of the Seven Kingdoms star reveals unexpected connection to original Game of Thrones series Kit Harington "angered" by Game of Thrones fans who petitioned for season 8 remake House of the Dragon season 3 will arrive on HBO Max in June. Seasons 1 and 2 are available to stream on Sky and NOW, along with Game of Thrones and A Knight of the Seven Kingdoms – find out more about how to sign up for Sky TV. Add House of the Dragon, Game of Thrones and A Knight of the Seven Kingdoms 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. If you’re looking for something else to watch in the meantime, check out our TV Guide and Streaming Guide, or visit our dedicated Fantasy hub. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Industry’s Yasmin has always had the capacity to be awful, but the season 4 finale proves she's gone to new heights
Yasmin may have just pulled off the career pivot nobody was expecting.
*Warning: This article contains full spoilers for Industry season 4 episode 8, Both, And.* While this series of Industry thankfully had a bit more of a focus on my beloved favourite Harper (Myha'la), the season 4 finale's last moments were well and truly co-opted by Yasmin-related shock and horror. The two best friends/enemies/surrogate sisters could not be more at odds as to what paths they're now forging in their lives and it's hard to believe that just last week, we were all fangirling over their much-needed clubbing montage. No sooner had we all shouted "They are so back!", than the rug was pulled from under our feet this week, as Yasmin (Marisa Abela) made career decisions that are the stuff of literal nightmares. And while many fans may be complaining about the fact that Yasmin has turned to a life of being a "high-class madame", as Abela herself puts it, I think it's a character arc that actually makes a lot of sense. Stick with me here. There's no denying that the publishing heiress has had quite the trajectory over the course of four seasons of Industry; going from being the graduate many of us rooted for after being subjected to a weird working dynamic with boss Kenny (Conor MacNeill), to the series hinting at a very dark past of abuse, the unexpected (self-orchestrated) death of her father and the trial by media that ensued, to the blossoming romance with Rob (Harry Lawtey). At a high level, we can zoom out and look at Yasmin's life and know it's one that hasn't always been plain-sailing. Despite her family's wealth and seemingly plush upbringing, Yasmin is as layered as any other Industry character – that's what makes her so interesting to watch. But her season 4 arc and its eventual stomach-churning resting place isn't as far-fetched as some may think because she's simply emulating the behaviour of those she's sought to surround herself by. Sure, there is that initial sense of distress we get as we realise the trafficking services she's now helming, but it's a tragic character development that, in a way, was always somewhat pre-determined to an extent. The inspiration from the "biographical elements" of Ghislaine Maxwell are clear for everyone to see, with season 4 wholeheartedly leaning into the parallels between Yasmin and the convicted sex offender. Yasmin has gone from wanting power to marrying power and now, enabling powerful men to do whatever they want to whoever they please. In Harper's moment of clarity in the finale, Yasmin emotionally remarks about her decisions: "I feel important here... I'm necessary. I feel new, I feel less pain. That's it." The "pain" she references isn't just the divorce from Henry because let's be real, she loved the social access the Muck name afforded her more than she did the individual. As we see when she puts her late father's voicemail on a loop later on in the episode, it's the pain inflicted by him that continues to echo through her life. The very lack of power she felt growing up is the thing she's been trying to get a hold of throughout these four seasons and now, by calling the shots in this nauseating way, she's got the security – or "protection", as series co-creator Mickey Down told Variety – that she's so wanted. “I think she sees herself as a very, very high-class madam … rather than a sex trafficker or someone that is abusing these young girls,” Abela told The Wrap. “Her whole life, Yasmin has felt misunderstood and controlled and judged because of her gender and her sexuality and the way that men see her. I think this is her saying, ‘If I can control that, not just with myself, but with these other girls,’ then I can make myself completely useful.” View oEmbed on the source website The way in which Yasmin ends up as a human trafficker by the end of the season is a twist many won't have seen coming in the premiere episode, that's for certain. When you strip it down and take Yasmin's previous behaviour into consideration, though, it isn't all that surprising given the fact that Yasmin has been vicious, calculating and demeaning to many throughout the course of Industry. She's toyed with emotions, burnt Harper one too many times and literally led Rob to believe they were going to be together to then announce her engagement the next day. Yasmin's sharp-tongued comebacks have left many fans in literal shock (a special nod to those aimed at Kenny and this season, Henry), always coming when her status, reputation or sense of control is put into question. None of those instances are crimes but in this season alone, Yasmin has also displayed a complete lack of regard for a growing far-right political climate, admitting she doesn't vote (even to her hopeful Tory MP husband), not wanting to "neuter the appeal" of Reform MP Stefanowicz (Edward Holcroft) and seating her Black best friend next to literal Nazis at the dinner table. Yasmin isn't a lovely character by any stretch of the imagination, and while there are vignettes of sympathy for her, we can't shy away from the fact that much like every character in the Industry landscape, she is made to be complicated and pretty unlikeable. In fact, I think if you really look for it, you'll find that she has been particularly cutthroat this season despite appearing to be in the shadows. "We’re not asking people to defend her. We’re just asking people to see the first four seasons of character development and realise this is probably the natural progression of the character," series co-creator Mickey Down told Variety. "This is where a character like this would end up. It’s hard to take, because Marisa is such an empathetic performer." Down goes on to mention how he hopes audiences are "challenged" by this episode, adding: "I also think hopefully that the weight of history and the character allows people to at least sort of understand what she’s doing, even if they could be horrified by it." We very much should focus on Yasmin's terrifying turn, but one of the true shames of that season 4 finale was the way in which it will continue to ripple through her and Harper's friendship. Their partnership rarely makes sense but by the end of the season, it looked as though they'd restored a sibling-like bond. But in a similar way to the reaction from viewers, Harper was left saddened and alarmed at Yasmin's life choices. Harper has never revealed herself to truly love anybody in these four seasons – not her twin brother, her mother, her friends, colleagues or mentee Eric (Ken Leung). But she has loved Yasmin. That’s clear when she goes to the loyal lengths she does to defend her from Kwabena’s (Toheeb Jimoh) judgements. So, it’s all the more heartbreaking when Harper and Yasmin go their separate ways. With season 5 being confirmed to be Industry's last hurrah and Abela expected to make a return (though not confirmed), we can only anticipate how Yasmin's story may continue to evolve over the episodes to come. Industry has never shied away from deplorable characters but in the way that we had to bid farewell to Eric once we realised what egregious crime he committed, should we be pulling the curtain down on Yasmin? The series has gone from being a jargon-filled financial drama to showing how much meat it has on its bones by venturing into themes and worlds that most viewers won't have expected. I don't think we're at risk of having a fifth season that paints an empathetic picture of Yasmin, but I do think we tow the line of making her actions seem excusable by continuing to showcase them. At this point, does Yasmin deserve a redemption arc or is she past the point of saving? I'll reserve judgement for now, but if season 4's Yasmin was the stuff of horrors, there's simply no telling where season 5 will take us. Industry seasons 1-4 are available to stream on BBC iPlayer in the UK. Add Industry 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.
Paramount+ and HBO Max set to merge – but HBO tipped to operate with "independence"
Paramount CEO David Ellison has said that "HBO should stay HBO".
Following the news that Paramount Skydance had won out in its battle to acquire Warner Bros Discovery, beating out Netflix's offer with a bid that was deemed "superior", the company has reaffirmed its plan to combine Paramount+ and HBO Max. Paramount CEO David Ellison spoke about this plans during an investor call, as reported by Variety, now that the wheels are in motion for the deal to go ahead. He said: "As we said, we do plan to put the two services together, which today gives us a little over 200 million direct to consumer subscribers. We think that really positions us to compete with the leaders in the space. "At Paramount, by the middle of this year, we’ll have completed the consolidation of our three services under one unified stack, and you can see us taking a similar approach to this platform going forward. "And we think the combined offering, and given the amount of content and what we can do from the tech side, really will put us in a position to be able to compete with the most scaled players in DTC [direct to consumer]." While it has not yet been confirmed exactly how this will work in practice and whether the new streamer will be retaining one title or another, Ellison did say that "HBO should stay HBO", suggesting a special place would be marked out for the brand, which has for many years been synonymous with premium, critically lauded content. Ellison said on the call: "Casey [Bloys, Chairman and CEO of HBO and HBO Max Content] and his team do absolutely a remarkable job at HBO. And as we said, we do plan for that to be able to operate with independence, so that HBO can, candidly, do what it does incredibly well. "Our viewpoint is HBO should stay HBO. They built a phenomenal brand. They are a leader in the space, and we just want them to continue doing more of it. But by bringing the platforms together, all of our content will be able to reach even a broader audience than we can do standalone." HBO's current, ongoing dramas include A Knight of the Seven Kingdoms and House of the Dragon, Euphoria, The White Lotus and The Last of Us, amongst many others. Meanwhile, upcoming additions include DC's Lanterns and the new Harry Potter series. HBO Max has yet to launch in the UK, and will actually be arriving later this month. Based on the prospective deal, it seems it may only be doing so, at least in its current form, in the short-term. 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.
Industry season 4 ending explained by creators after dark twists for [SPOILER]: "The character isn’t finished"
*Warning: This article contains full spoilers for Industry season 4 episode 8, Both, And.* Not only has Industry taken itself to new heights in season 4 generally, but its finale is likely one of the bleakest that it's pulled off. There's no major happy ending in the final moments of this fourth instalment but seeing as the show has already been renewed for season 5, we can hedge our bets and guarantee that the new waters we've started wading into will only get deeper (and choppier) in episodes to come. Series co-creator Konrad Kay has reflected on the final episode and where it left Harper as "fun and provocative", telling Vulture: "She’s in a house of horrors. She doesn’t know she’s in a house of horrors. She’s the final girl. Everybody’s evil." The episode starts with increasing pressure on the Labour government as Jennifer Bevan's (Amy James-Kelly) ties to Tender continue to put her party's decision-making into the limelight, with Reform UK politician Sebastian Stefanowicz (Edward Holcroft) painting himself as the answer to everyone's political prayers. View oEmbed on the source website But where do the chips fall for not just the state of politics at the end of Industry season 4 but more importantly, Harper (Myha'la) and Yasmin (Marisa Abela)? It was an episode that left Myha'la feeling "really depressed" upon first reading it, after all. Read on for a full breakdown of the Industry season 4 finale. Industry season 4 ending explained: What happens to Harper? The start of the finale unfolds as a bit of a high for Harper – who is celebrating her company's success at knowing just when to short Tender and expose a now on-the-run Whitney (Max Minghella) in the process – and a bit of a (short-lived) low for Yasmin. The former is celebrating with her team as Tender's value plummets while the latter is telling Henry (Kit Harington) that she wants a divorce. Despite her astronomical success and pay-out to come, Harper only pines to tell one person and that's the now disgraced Eric (Ken Leung), who she leaves a voicemail for. As Yasmin sleeps off the night before, Whitney calls Henry and instructs him to find a bag of money stashed in his bedroom. Whitney knows the headlines are implicating Henry and tells him their only option is to run away and reposition themselves, informing Henry of the Russian involvement in the company. Whitney has donned quite the disguise and speaks from a mystery hotel room, reminding Henry that they're in this together now. We then see Whitney hiding out in a private jet, waiting for Henry and the money. Henry arrives but is given a surprise when Whitney hands him a new passport, devoid of his titles. It's the nail in the coffin for Henry who realises he's just Whitney's leverage and refuses to run away with him. Speaking about that scene, series co-creator Konrad Kay told Vulture: "The reason I like that scene is because I feel like the whole thesis of the show is crystallised in that moment where Henry literally looks at a passport of a guy with no status and a passport of a guy with his background and is like, 'All the other s**t, you can bulls**t me on, and I’m enough of a dolt that I’ll still end up on a plane with you. But when you present something to me which basically forswears my titles and makes me Joe Bloggs in Lithuania, that’s the point at which I draw the line.' "That was his class consciousness becoming the text. The subtext is really, really text in a way that maybe the show didn’t use to do as much. " Henry then returns home to Yasmin to find the police waiting for him in the living room, ready to take him in for a voluntary interview. Henry is given the opportunity to take a plea deal but now armed with information about Tender's Russian involvement, he's keen to bring that to trial. He tells Otto (Roger Barclay) about that, asking if he can pose it at the House of Lords, but Otto tells him about a businessman who was killed after proclaiming something similar. We later see Yasmin appearing to work for Henry's uncle Alexander (Andrew Havill) as she organises a meeting between him and Stefanowicz, who tells him of his future political hopes and the right-leaning path he's continuing to forge. It turns out that Yasmin is hosting a fundraising and networking event for him in Paris, something that Harper has been invited to and she extends it also to Kwabena (Toheeb Jimoh). Once they're in Paris, they're met by Yasmin and Hayley (Kiernan Shipka) who are clearly very close now that they've united after their dealings with Whitney. Despite their newfound bond, Yasmin asks Hayley again if she has footage of their night in Austria with Henry, but Hayley says she doesn't. Before the party, Harper gets into a heated exchange with Kwabena, who tells Harper that his friend went to school with Yasmin and describes her as a "sadist". As her friend, Harper defends Yasmin because she's someone who has been through a lot but it leads to a fallout between Kwabena and Harper, with Kwabena refusing to go to the dinner that evening. At the dinner, Harper is seated next to Moritz-Hunter Bauer and his mother Johanna, who laud Stefanowicz and his politics. Harper soon understands their far-right leaning views and is visibly uncomfortable, later telling Stefanowicz and Yasmin of their extreme views. With the dinner finished and the party underway, we then see Yasmin's former maid Molly make an appearance in a formal dress, along with Hayley and Dolly, who we of course know to be underage from the video with Eric. Harper becomes increasingly attune to the fact that there are young women being brought into the room, asking Yasmin why she's doing all of this. Yasmin doesn't really care to hear Harper's concerns about these people's political views and tells Harper about the kind of social access she's affording these girls. Yasmin has taken over from the trafficking/blackmailing operation that Whitney had going, it seems, as a madam, all in a bid to remain a big power player. To put an end to their conversation, Yasmin shows Harper the incriminating sex video of Eric and Dolly, telling Harper that Eric knowingly had sex with an underage teenager. This of course, knocks Harper for six and she then sees that Dolly is in the room with them. Harper pleads with Yasmin to take her hand and leave with her, but refuses. “I think that Yasmin is aware that her own history with abuse and with trauma has left her in a very vulnerable position, and throughout her life, we have seen that she can’t find a way into being taken seriously, to being safe, to having job security, to having relationship security. She has not managed to find a stable footing,” Abela told Deadline. “She starts to see that the way that men have always seen her and treated her, she understands on such a fundamental level, because of her childhood trauma, that she can actually use and manipulate, and she can position herself so that she has a proximity to power if she looks after these other vulnerable women, and I think that is how she sees it.” As for what the motivations for Yasmin are to lie to Harper about Eric knowingly sleeping with a teenager, Down says: “The character isn’t finished. If we were to come down and say, ‘She felt this,’ then it would close a lot of doors for character development. Annoyingly, if we do another season, we might have to make up our mind about that." Harper leaves and tries to plead with Dolly to also go with her, but Hayley orders her to leave and she does, with the room just laughing at her making a scene. We then see the emotional fallout of the evening on Harper, who is distraught once she gets back to her room. Kwabena returns, telling her that he kissed someone else and they confront each other about their dynamic, the loss of Harper's mother and what Kwabena got up to in Ghana. But it looks like the pair are on the up as they talk of relationships and it seems as though they may be heading in that direction. At the very end of the episode, we see Kwabena sitting in the same private jet as Harper as she has an interview with real-life journalist Patrick Radden Keefe, who makes a cameo in the episode, and interviews Harper about her success. What happens to Yasmin? Henry pleads guilty to charges of fraud but says that he was deceived by Whitney just as much as anyone. That same morning in Paris, Yasmin is paid a visit by Molly who is visibly exhausted from the night before. Her make-up is smudged and she's got her heels in her hands but ignoring that, Yasmin simply tells her a French adage about women being tossed by waves but not sinking. Hayley comes in and Yasmin tells her she can have the day off, reminding her of dinner obligations in the evening with "the Qataris". Something is off about Yasmin and she asks Hayley to make sure she can have a minute to herself with the doors closed. We then see her play an old voicemail from her father on her phone, which was likely one of his last, asking her to come to Mallorca to be on his boat. Yasmin then connects her phone to her speaker and plays the voicemail on a loop, eventually lying down on the floor as she does so. Series co-creators Kay and Mickey Down have said that there are parallels to the "biographical elements" of Ghislaine Maxwell's story and Yasmin's, but say that the "one-to-one comp between Ghislaine Maxwell and Yasmin is to do a disservice to Yasmin as a character". Speaking to Variety, Down said: "She’s always been attracted to the vulnerable. She’s always felt vulnerable herself. She’s always felt like whatever’s in the ascendancy is something she should grip onto. And I feel like it would have felt less sincere not to take her there, especially after we took biographical elements from Ghislaine in season 3." As for Henry, he's seen fishing with his uncle and Otto, taking his Lithium medication and washing that down with a beer. He's on a tag, which is the sum of the consequences of his actions as he's clearly not serving any prison time. The scene in question with the fishing was as a result of Harington himself suggesting it to Kay and Down. Harington told Deadline: "I think he needs to catch a fish, and you see the addict in him come out again, and you know that this guy is gonna be fine doing what he does like. He’s always gonna get another chance. There’s always going to be another fish. That addict in him is always going to go again if he lets it." Industry seasons 1-4 are available to stream on BBC iPlayer in the UK. Add Industry 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.
Will there be an Industry season 5? Release date speculation and news
The future of the HBO/BBC series has been confirmed.
*Warning: This article contains full spoilers for Industry season 4.* As we inched closer to the final episode of Industry season 4, many fans were starting to get slightly worried that the future fate of the show hadn't yet been announced. Thankfully, we all just needed to exercise a little smidgen more patience, as ahead of the finale, Industry was renewed for its fifth and final outing. We know, it's sad that the financial drama is drawing to a close with season 5, but we can already anticipate that it'll mean the series will go out with one surefire bang. Show creators Mickey Down and Konrad Kay said in a joint statement: "For some time now we have been thinking about how best to end the show on an unparalleled high. Unlike some of our characters, we know when to leave a party. We’d like to thank our evangelical fan base, especially those who have watched from day one." View oEmbed on the source website With things having wrapped up on a very wild note for season 4, just when can we expect season 5 to land on our screens? And more importantly, in what newfound direction will we be going in? Read on for everything we know so far. Will there be an Industry season 5? Yes! The news of the show's fifth season was announced ahead of the season 4 finale on Wednesday 25th February. In their joint statement on the renewal announcement, Industry co-creators Mickey Down and Konrad Kay said: "We’re privileged to have joined the small, esteemed club of dramas that have run for five seasons on HBO. This March marks a decade since we first began to conceive of the world of Industry and it exists because of the unwavering faith and vision of our partners and former partners at HBO — Casey, Frannie, Kara, Cela, Sam, Kathleen, and Max. "Without Jane Tranter’s imagination and belief, the show would simply be a dead idea in a drawer somewhere. She — alongside her partners at Bad Wolf — has been our guiding light and fiercest champion. We’d also like to thank the BBC for their partnership." They added: "Finally: we owe everything to our crew and the best cast on TV for making our writing live. The characters will live on because of their world-class performances. Seeing the HBO ident in front of our work will never stop being a thrill. It remains the best place to make television, and we look forward to continuing our collaboration well into the future." Speaking about the final season, co-creator Konrad Kay told Deadline: "Season 5 is just great, because we know what the end is. We know the final images of all the characters. We had a 12-week room over the course of the new year, just now. So we know what we’re writing towards." Industry season 5 release date speculation There's been no confirmed release date for Industry season 5 yet. However, seeing as there's usually been a two-year gap between seasons, we could hazard a guess and assume that Industry season 5 would be landing on our screens sometime in 2028. With the continued success and hype around the series, though and the fact that Down and Kay have hinted at knowing how they'll be wrapping up the show, we can always cross our fingers that the fifth and final season will be landing sooner. Watch this space! Who could return for Industry season 5? It's the burning question for many fans – who will be coming back for season 5? With the way that season 4 ended, we can anticipate that the show will continue its reign of leading ladies with Harper Stern (Myha'la) and Yasmin Kara-Hanani (Marisa Abela) both returning for more. In the season 4 finale, we saw Harper at a career high and looking into office space for her company, which could signal the dawn of a new batch of characters working for her. The closing moments of the episode also saw Kwabena (Toheeb Jimoh) by Harper's side, so we would assume he'd be making a return, as well as Sweetpea (Miriam Petche). As for characters we won't be seeing anymore of, we can assume that Rishi (Sagar Radia) won't be making any more appearances. Although he is a cat with nine lives, we can't imagine Industry will be taking us into prison to pay him a visit – but wilder things have happened. We can also imagine that we won't be seeing Whitney (Max Minghella) after his apparent demise, with the same being said of Ken Leung's Eric Tao and Charlie Heaton's Jim Dycker. We may also be bidding farewell to Sir Henry Muck (Kit Harington) after he was seen on house arrest at his palatial estate, but we may possibly see his uncle, Alexander, Viscount Norton (Andrew Havill), seeing as Yasmin seemed to grow quite close to him in season 4. However, we have no idea if this will really be the last we see of Sir Henry Muck. Yasmin's own career has taken a major turn, and so, with Hayley (Kiernan Shipka) seemingly being her right-hand, we may be seeing more of the American actress. The same could be said of Reform MP Sebastian Stefanowicz, who is played by Edward Holcroft, and whom Yasmin was keen to impress by the end of season 4. Seeing as the new path she's embarked on will see her meet plenty of undesirable, powerful characters, we can probably look forward to plenty of new faces joining the Industry cast, we're sure. For now, the cast we'd expect to return for Industry season 5 are as follows. Myha'la as Harper Stern Marisa Abela as Yasmin Kara-Hanani Toheeb Jimoh as Kwabena Bannerman Miriam Petche as Sweetpea Golightly Kiernan Shipka as Hayley Clay Andrew Havill as Alexander, Viscount Norton Edward Holcroft as Sebastian Stefanowicz What could Industry season 5 be about? With Harper on a career-high helming her own company and Yasmin seemingly having turned to human trafficking, blackmail, and escorting services, it really is all to play for in regard to what direction season 5 takes. Season 4 already took us on an unexpected turn away from the world of finance, and it was welcomed by many fans, but could season 5 see a return to classic form and get us back on the trading floor? Speaking to Deadline, co-creator Konrad Kay said: "Season 5 is going to be just as ambitious and, hopefully, just as engaging, but I think it’s going to be led, really, by the characters, because we know that we’re going to ride towards an ending." Will it mean that we see Harper and her team continue to try to hunt down fraudulent companies? Something tells us Harper's not all that concerned with turning into a whistleblower, but with her name increasingly more out there due to her Tender success, how will it all manifest? Hopefully, she doesn't take the power-hungry route of her mentor Eric, but we'll just have to wait and see. But where will Yasmin and Harper's relationship go next after the former's actions? Co-creator Mickey Down told Deadline: "Ask the question: Is it salvageable, given what happened? There needs to be some kind of relationship. I will say that." Industry seasons 1-4 are available to stream on BBC iPlayer in the UK. Add Industry 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.
Industry future finally confirmed ahead of season 4 finale - but with a big twist for fans of the show
"Unlike some of our characters, we know when to leave a party."
The future of HBO/BBC hit Industry has been confirmed ahead of the season 4 finale. The acclaimed financial drama, produced by Bad Wolf, has been renewed for a fifth and final season with show creators Mickey Down and Konrad Kay returning to helm the show's conclusion. In a joint statement, the pair said: "We’re privileged to have joined the small, esteemed club of dramas that have run for five seasons on HBO. This March marks a decade since we first began to conceive of the world of Industry and it exists because of the unwavering faith and vision of our partners and former partners at HBO — Casey, Frannie, Kara, Cela, Sam, Kathleen, and Max. Without Jane Tranter’s imagination and belief, the show would simply be a dead idea in a drawer somewhere. She — alongside her partners at Bad Wolf — has been our guiding light and fiercest champion. We’d also like to thank the BBC for their partnership." Down and Kay continued: "For some time now we have been thinking about how best to end the show on an unparalleled high. Unlike some of our characters, we know when to leave a party. "We’d like to thank our evangelical fan base, especially those who have watched from day one." They concluded: "Finally: we owe everything to our crew and the best cast on TV for making our writing live. The characters will live on because of their world-class performances. Seeing the HBO ident in front of our work will never stop being a thrill. It remains the best place to make television, and we look forward to continuing our collaboration well into the future." The series is fronted by long-standing original cast members Myha'la and the BAFTA winner Marisa Abela, as Harper Stern and Yasmin Kara-Hanani, respectively. The current fourth season also stars Ken Leung, Sagar Radia, Miriam Petche, Toheeb Jimoh, Kiernan Shipka, Kal Penn, Max Minghella, and a career-best Kit Harington. Industry has proven to be something of a platform for emerging acting talent, kickstarting the careers of its leading women and also former series stars such as EE BAFTA Rising Star winning Alien: Romulus actor David Jonsson and Mr Burton star Harry Lawtey. It remains to be seen who will return for the final run after the explosive events of the fourth season, which have seen the scope of the series expand outside of the show's initial setting of the fictional bank PierPoint and into an international financial thriller. Read More: Industry season 4 episode 7 drops game-changing revelations – with surprising mystery character reveal Taking to Instagram, Abela posted a carousel of photos related to the series, beginning with one of her beside Myha'la, with the caption: "INDUSTRY HIVE....... INDUSTRY FIVE !!!!!!!!!! THE FINAL SEASON. Let's f***in go". So, we can probably expect to see both of our leading ladies back! Read More: Industry season 4 cast: Full list of new and returning characters Industry airs jaw-dropping twists for multiple characters and shock exit Industry season 4 airs surprising sex scene and marks return of controversial character Industry season 4 concludes on HBO in the US on Sunday 22 February 2026 and on Monday 23 February on BBC One and BBC iPlayer in the UK. Add Industry 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.
Industry season 4 soundtrack: Full list of songs in BBC/HBO drama
Fantastic music is a given in Industry, but what songs feature in season 4?
With only one episode of Industry season 4 left to go, there's really no knowing just where the series will turn. Knowing the HBO/BBC series by now though, things are only set to get a touch more dark and twisted the closer we career into the finale. For now, we get to enjoy the penultimate episode of the series, which really does see a lot happen for our main cast of characters. The downfall of Tender truly began the other week but this episode sees Whitney (Max Minghella) on a clawing back mission to get his company back on track. However, there seem to be plenty more powers at play in Tender than initially realised, making for some pretty high stakes – especially for Yasmin (Marisa Abela) and Henry (Kit Harington), who have put a pretty big punt on the company. This fourth season of the BBC/HBO drama is officially almost over, with the stakes looking ever higher as the walls start to slowly close in our returning favourite (and semi-problematic) characters. This season has also introduced us to some new faces – but one of the show's main characters is obviously the show's signature synth and electro score (which is composed by Nathan Micay). This fourth season is jam-packed full of '80s anthems, with the soundtrack only continuing to surprise viewers, much like the plot lines and characters. But while there's a lot going on in this season of Industry, fans will know that another focus of the show is the music. What songs are featured in each episode though? Scroll on to find out about the music used so far in the new season (which will be updated weekly), as well as the soundtrack of Industry season 3. Industry season 4 soundtrack: Full list of songs in BBC/HBO drama Industry season 4 episode 1 - Tender True Faith - New Order Firestarter (Empirion Mix) - The Prodigy Space Song - Beach House Fine Time - New Order La Mer - Charles Trenet Love Is Blue - Marty Robbins Tell Me Something (feat Gaia Weiss) - Tenashee, DJ Tennis & Ashee Industry season 4 episode 2 - The Commander and the Grey Lady Our House - Crosby, Stills, Nash & Young You and Me - Penny & The Quarters I.O.U. - Freeez Jazz Suite No. 2: Waltz 2 - Dmitri Shostakovich Is That All There Is? - Peggy Lee I Had Too Much To Dream (Last Night) - The Electric Prunes Magical Moments - Henrik Lars Wikström, Anders Johan Greger Lewen & Anders Gunnar Kampe My Only Wish - Henrik Lars Wikström, Anders Johan Greger Lewen & Anders Gunnar Kampe Can’t Take My Eyes Off You - Andy Williams Where The Streets Have No Name (I Can’t Take My Eyes Off You) - Pet Shop Boys Industry season 4 episode 3 - Habseligkeiten O du mein Österreich - János Sándor & Hungarian State Opera Orchestra Bassically - Tei Shi Horst Wessel Lied - Milva Orinoco Flow - Enya Industry season 4 episode 4 - 1,000 Yoots, 1 Marilyn All of My Tomorrows - Anders Gunnar Kampe & Robert Lundgren Happyness - Molly Nilsson All On You (Perfume) - Paris Angels Vienna - Ultravox Set You Free - N-Trance Forever Young - Alphaville Industry season 4 episode 5 - Eyes without a Face Mother& Child - Sonny Okosuns Panter (feat Kasai Allstars & Basokin) [Instrumental] - Montparnasse Musique Eyes Without A Face - Billy Idol Industry season 4 episode 6 - Dear Henry Both Sides Now - Judy Collins Silence (DJ Tiësto’s In Search of Sunrise Remix) - Delerium Hungarian Rhapsody No. 2 in C-Sharp Minor - Tiffany Poon Industry season 4 episode 7 - Points of Emphasis Veridis Quo - Daft Punk The Promise - When In Rome Heroes (Tony Carrasco Mix) - Big Ben Tribe I Ran (So Far Away) - A Flock of Seagulls Industry season 3 soundtrack Industry season 3 episode 1 - Il Mattino ha L'Oro Bocca New Gold Dream - Simple Minds Polyhmnal - Makeup and Vanity Candy Walls - TR/ST Blue Water - Sally Oldfield The Vibration - Sonny Harris & The Soul Reflections Feel the Drive - Doctor’s Cat Opportunities (Let’s Make Lots of Money) - Pet Shop Boys Industry season 3 episode 2 - Smoke and Mirrors You Could Be - Anz, George Riley Il Cielo in una stanza - Mina Gotta Let You Go - Dominica High Time He Went - Renee Girls On Film - Duran Duran Industry season 3 episode 3 - It Figure With Flowers - W. H. Lung Taking Off - Tommy Doom Z’alp - Jodlerklub Edelweiss Thun Parce que tu crois - Charles Aznavour Lonely Days - Hudson Mohawke Don’t Go Lose It Bay - K Lone Music To Watch Girls By - The Bob Crewe Generation Industry season 3 episode 4 - White Mischief High On You - Buzzy Lee You Can’t Win But You Can’t Lose - Nathan Micay Irreversible Damage - Algiers, Zack De La Rocha Little Drummer Boy - Low Les Fleur - Ramsay Lewis Shame On a Nuh (feat. Raekwon, Ol’ Dirty Bastard & Method Man) - Wu-Tang Clan Industry season 3 episode 5 - Company Man Boy - Book of Love Charmed - Redinho, Σtella Fantasia on a Theme by Thomas Tallis - London Symphony Orchestra Nobody Knows - Pastor T. L. Barrett & The Youth For Christ Choir Cmon - Brian Eno, Fred again… Industry season 3 episode 6 - Nikki Beach, or: So Many Ways to Lose Autoglide - Demi Riquísimo It’s Not Over - Grace Alexithymia - Ollie Leslie Sealed with a Kiss - Santo & Johnny Getting Away With It - Electronic Always on My Mind - Pet Shop Boys Industry season 3 episode 7 - Useful Idiot East to Be Hard - Three Dog Night 21st Century Living - Tommy Down The Death of Fomo - Neil Micay Modular 4 - Godford You Make Me Feel (Mighty Real) - Jimmy Somervile Begin Again - Freddie And The Scenarios, Diego Herrera Bombtrack - Rage Against the Machine Industry season 3 episode 8 - Infinite Largesse Blurred - Darkstar When We Were That What Wept For The Sea - Colin Stetson Symphony No.2 in C Minor - Resurrection / 5th Movement The Last Goodbye - The Kills Natural Habitat (feat. Ken Carson) - 070 Shake Love Is Blue - Paul Mauriat Love Is Blue - Paul Mauriat Qui aime-t-il vraiment? - Francoise Hardy Home Again - Carole King End Credits - Let’s Go Make Some Money - Nathan Micay Industry seasons 1-3 are available to stream on BBC iPlayer in the UK, and season 4 continues every Monday on BBC One and BBC iPlayer. The drama airs on HBO in the US. Add Industry 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.
Industry season 4 release schedule: When is episode 8 airing in the UK and US?
Episodes are being released in both the UK and US in tandem, but when will new instalments be landing on our screens?
We're unfortunately at that point where the end of the fourth season of Industry is nigh, and with only one episode left to go, it really is all up in the air as to how the rest of the series will unfold. At this point in time, plenty of Industry fans would have expected to see a season renewal for the hit HBO/BBC show, but the future of Industry is yet to be announced. What we do know, though, is that with the stakes have notched up even higher in the most recent seventh episode, it really is all to play for going into the finale. Not only have we been served revelations about Tender CFO Whitney (Max Minghella), supposed Russian involvement in the company and a bit more about illusive Hayley (Kiernan Shipka), we've also seen the likes of Yasmin (Marisa Abela) and Henry (Kit Harington) have to face their biggest downfall yet. Will they (and more importantly, their relationship) survive this? For now, we'll just have to wait patiently and see how the various loose ends and glaring questions of the series get answered in the final episode. But just when is the season 4 finale out? Read on for everything you need to know about the release schedule of Industry season 4, including how many episodes there are and where you can watch them in the UK and US. When is Industry season 4 episode 8 out in the UK and US? The eighth and final episode of Industry season 4 will air in the UK on Monday 2 March 2026 on BBC One and BBC iPlayer. Episodes of the new series are set to air weekly both in the UK and US, meaning that episodes will be released every Monday here in the UK and every Sunday in the US on HBO and HBO Max at 9pm ET. In the US, episode 8 will air on Sunday 1 March on HBO. Season 4 premiered in the UK on Monday 12 January 2026 on BBC One and BBC iPlayer. The UK release is in line with the US, where season 4 premiered on Sunday 11th January. How many episodes of Industry season 4 are there? There are eight episodes in the fourth season of Industry. Industry season 4 release schedule The full release schedule for Industry is as follows: Episode 1 - Tender - UK: Monday 12 January and US: Sunday 11 January (out now) Episode 2 - The Commander and the Grey Lady - UK: Monday 19 January and US: Sunday 18 January (out now) Episode 3 - Habseligkeiten - UK: Monday 26 January and US: Sunday 25 January (out now) Episode 4 - 1000 Yoots, 1 Marilyn - UK: Monday 2 February and US: Sunday 1 February (out now) Episode 5 - Eyes Without a Face - UK: Monday 9 February and US: Sunday 8 February/early HBO Max streaming release on Friday 6 (out now) Episode 6 - Dear Henry - UK: Monday 16 February and US: Sunday 15 February (out now) Episode 7 - Points of Emphasis - UK: Monday 23 February and US: Sunday 22 February (out now) Episode 8 - Both, And - UK: Monday 2 March and US: Sunday 1 March Industry seasons 1-3 are available to stream on BBC iPlayer in the UK, season 4 premieres on Monday 12 January 2026 on BBC One and BBC iPlayer. The drama airs on HBO in the US. 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.
A Knight of the Seven Kingdoms season 1 ending explained: Star breaks down key scenes – including a big book change
Maekar actor Sam Spruell breaks down everything you need to know about the finale episode.
Warning: Major spoilers ahead for A Knight of the Seven Kingdoms season 1 episode 6. A Knight of the Seven Kingdoms season 1 has officially come to an end, with Dunk (Peter Claffey) and Egg (Dexter Sol Ansell) off on new adventures. The finale episode was reminiscent of Game of Thrones in that it dealt with the fallout of the events of last week's episode, including the tragic death of Baelor Breakspear (Bertie Carvel). It also explored a devastating scene involving Egg and his brother Aerion (Finn Bennett), teased conflict to come, and teased a major character in season 2. Interestingly, the finale features also one pretty major book change, right at the end of the show. View oEmbed on the source website So, for more intel, Radio Times caught up with Maekar himself, Sam Spruell, to break down all the most crucial scenes. Here's everything you need to know! A Knight of the Seven Kingdoms ending explained: The biggest change from the book Showrunner Ira Parker has kept the series as faithful to George RR Martin's novellas as humanly possible - although there is one big change right at the end of the show, when it's revealed that Maekar has no idea that Egg has snuck off to travel with Dunk. Earlier in the episode, Maekar demands a word with Dunk and tells him that Egg will serve no knight except him. He asks him to train Egg at Summerhall. Dunk declines, and says he's done with princes. However, after some reflection, Dunk makes a counter-offer, saying he'll take Egg to squire on the road, rather than at Summerhall. Maekar refuses. But before Dunk leaves, Egg comes running over to him and says his father has told him to serve him. View Green Video on the source website The pair of them discuss where in the seven kingdoms to go next and Egg tells Dunk there are actually nine kingdoms, stopping him in his tracks and casually blowing his mind. Egg says he hears they have good puppet shows in Dorne - and their destination is decided. The hedge knight and his squire head on their way and we see a beautiful shot of the old man, Ser Arlan, joining them for a moment before veering off to let the two of them continue their journey together without him. But there's one reveal left. As the Targaryens leave Ashford, Maekar looks for his youngest son - and its revealed that the prince never actually gave his son permission to go. In the novella, it's implied that Maekar does agree to let Egg go. Showrunner Ira Parker told Radio Times' Huw Fullerton of that moment: "It felt appropriate to me – one, because Egg just lies all the time to get what he wants. He’s a kid. And the fact that he went and did this – actually, it felt very much in keeping with that character. Also, I agree with you about Maekar, and his decision process. "I will say – look, it may just be my reading and interpretation of the text. But it’s not 100% clear that Maekar actually does give his leave [in the novella], because he talks to Dunk and his camp, and he disappears, and then Egg shows up. "Theoretically, there is a scenario whereby Egg just sort of followed his father out; was hiding in the bushes. His father said, “No, f**k off. I’m not doing that.” And left. And then Egg’s just like, “Yeah, he said I could come, sir.” "So I tried to, as much as possible, stay 100% within the spirit of what George is trying to accomplish. But to be completely honest, that one was just done for fun. It’s become more of a thing in season 2 now, because there are certain people who want me to explore what this means, and the repercussions of that. "It wasn’t done to serialise. I thought it was funny, and I thought it was in keeping with his character. We really never break POV, but I figured at the very end, after we’ve ran the credits, that we can have one private scene with the lords or the princes alone. And maybe we do that at the end of every season, we have one or something after the show is over." Spruell also told us: "For me, it's a much more interesting thing to play what [Parker and Martin] decided on. I was really pleased that it did slightly move away from the novel. "So much of the script stays very close to the novel. It's also it's the technical stuff of making drama for TV work, and propelling us into the next season. So I think that's a much more interesting and dynamic end to hook the audience into coming back for season 2, but also for the actors to play. "And for what it says about Egg as well. He's looking for a role model. He's looking for someone to teach him about the world and guide him through the world in a more honourable way, and even though he's young, he recognises that the person he should be following is Dunk, maybe not his dad." What happened to Raymun and what is Lady Rohanne's importance? <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/02/0638AKOTSKS01-8411b0f.jpg" width="8640" height="5760" alt="Shaun Thomas as Ser Raymun Fossoway, Rowan Robinson as Lady Rohanne and Peter Claffey as Ser Duncan the Tall in A Knight of the Seven Kingdoms" title="Shaun Thomas as Ser Raymun Fossoway, Rowan Robinson as Lady Rohanne and Peter Claffey as Ser Duncan the Tall in A Knight of the Seven Kingdoms" /> At one point, Raymun Fossoway (Shaun Thomas) tracks down Dunk, and says he doesn't blame him for Baelor's death - but, more importantly, he reveals that he's married Rohanne. The new Lady Rohanne also says she's with child. But is there more than meets the eye when it comes to Lady Rohanne? Well, the second novella, The Sworn Sword, which season 2 will be based on, sees Dunk drawn into a dispute involving Lady Rohanne Webber, also known as the Red Widow, who becomes a major character. We won't spoil too much here, but we're assuming we're going to see a lot more from Lady Rohanne in future - and, considering her reputation, we're a little scared for young Raymun... Why did Egg want to kill Aerion? Earlier in the series, we found out Egg has been mistreated by his older brother, Aerion. Plus, the youngster is traumatised from everything he's seen, including his father killing his uncle at the Trial of Seven. He picks up a knife, making his way to Aerion's room where his brother is sleeping. He creeps up on his brother, seemingly intending to murder him, but is stopped by his father Maekar. Speaking to Radio Times about that brutal moment, Spruell explained: "Maekar sets a terrible example to his kids. He ends up essentially killing his own brother, and then this young, impressionable boy maybe attempts to do the same. "Maybe Maekar has just enough about him, as a dad, to realise that he needs to start parenting by example. Also he maybe has the requisite sensitivity to know that his youngest has been mistreated by his elder brother and what that can do to a person. "Also, I think Maekar really wants to make something of this boy. He's failed with the other two, and this is his chance to get his youngest on the straight and narrow and create a proper and more together heir for the future." How has Baelor's death impacted things? Baelor's death has changed the entire future of Westeros, as he was the heir to the throne. Now, that falls to Maekar. The finale episode sees Baelor's funeral take place, with his surviving family - including his sons - in attendance. Dunk approaches Baelor's son, Valarr Targaryen, who asks why the gods took his father yet left Dunk. Dunk admits he's wondered the same. Maekar demands a word with Dunk. He explains he's sending Aerion to the East. He also mourns his brother, saying he never meant to kill his brother - and that both he and Dunk will be haunted by the whispers about his death for years to come. Dunk argues that, had he not fought, the prince would have had his hand and his foot - and asks whether it was worth it. He says that there may come a day when he - or the realm - needs that foot, perhaps more than a prince's life. Maekar says it's not likely. Spruell explained of Baelor's death: "You meet Maekar [in episode 6] having to deal with the consequences of his actions, and also having to deal with a double edged [sword] of, he says that he didn't mean to do it on purpose, and the gods know that, but I don't think he's entirely convinced by what he says. "The loss of his brother obviously affects him significantly, but there is also the realisation of what this means for his own future and his own bloodline." What's next? There are various mentions of an imminent war in the finale episode, including during a flashback of Dunk with Ser Arlan. The old man tells Dunk that it's customary for boys, when preparing for war, to nail a penny into the oak in the square, and if they return, to take it down. Dunk goes on to nail a penny into a tree and heads on his way. But, for now, Dunk and Egg are headed off on adventures new, with season 2 currently being filmed. A Knight of the Seven Kingdoms is available to watch on Sky Atlantic and NOW – find out more about how to sign up for Sky TV. 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