Netflix, Prime Video, Disney+ and more to receive increased regulation from Ofcom
The additional watchdog scrutiny is an effort to "better protect children and the most vulnerable", according to
The biggest video-on-demand services are set to face “enhanced regulation” from UK media regulator Ofcom, putting them under the same scrutiny as traditional broadcasters under new legislation. Streaming platforms including Netflix, Prime Video, Disney+, and catch-up services ITVX and Channel 4, will have to follow the watchdog’s rules relating to accurate and impartial news reporting and harmful and offensive material. The UK government said that the new legislation will apply to video-on-demand services that have more than 500,000 UK subscribers, which will be designated a "Tier 1" service and have to follow a new VoD standards code – similar to the Broadcasting Code followed by established broadcasters. VoD services provided by the BBC such as BBC iPlayer will initially remain exempt, and will continue to be regulated under the the Broadcasting Code via the BBC Framework Agreement, though they will be brought under the new regulatory regime in due course. Ofcom will have the power to accept and investigate viewer complaints, and take action where it sees a breach of the code, as it currently does for all broadcast television in the UK. Until now, only licensed television channels had to comply with Ofcom’s Broadcasting Code and accessibility requirements, meaning that many of the UK’s biggest streaming services were either not regulated at all or not regulated to the same standard. UK Culture Secretary Lisa Nandy said of the changes, which are part of the Media Act 2024: "We know that the way audiences watch TV has fundamentally changed. Millions now choose to watch content on video-on-demand platforms alongside or, in the case of many young people, instead of traditional TV." She continued: “The Media Act introduced vital updates to our regulatory framework which this government is committed to implementing. By bringing the most popular video-on-demand services under enhanced regulation by Ofcom, we are strengthening protections for audiences, creating a level playing field for industry and supporting our vibrant media sector that continues to innovate and drive growth across the UK.” A public consultation will follow on the new VoD standards code, giving the public and providers the opportunity to contribute their views. The standards code will then come into effect one year after its publication by Ofcom. Elsewhere, the government is currently seeking public views on the future of the BBC as part of its Royal Charter review, ahead of the current agreement expiring in 2027 - find out more about how you can have your say. 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.
The BBC is supposed to belong to you – now's your chance to be heard
As the Government reviews the BBC’s future and a digital-first shift looms, licence fee payers face a crucial question: what kind of Corporation do we want – and who gets to decide?
This article first appeared in Radio Times magazine. Joni Mitchell’s folk-pop song Big Yellow Taxi has always been one of my favourites. It contains that immortal line, "You don’t know what you’ve got 'til it’s gone". I wonder if we might soon say that about the BBC? Even if it does survive, will it become just a different sort of BBC, just a Big British Company and not the main deliverer of public service content? Is the BBC safe at the hands of the politicians, or even the present management? Remember that the Corporation is supposed to belong to you. "It’s Your BBC." Well, now you have a chance to be heard. The Government consultation about the Corporation ends on 10 March. The online survey is long, it might seem tedious, but it may be your last chance to influence the future content of what you have to pay for. Because change is coming – and, if we are not careful in the rush to be digital first, the Corporation may leave the digitally deprived with blank screens if the Government does, as is currently being suggested, turn off the linear transmitters in 2034. The BBC Charter, which states what the Corporation should be doing, is being renegotiated as we speak. What do you think should be in it? What public service obligations should the Beeb have in future? There are also more cuts coming as well – 10 per cent or £700 million spread over three years. Who decides what goes, what stays? Should we, the licence fee payers, have no say at all? We are in danger of losing some programmes we love while still having to pay for those we do not want. Who decides? It should not be left just to the management or their political masters. "No taxation without representation!" This is your chance to present your arguments, and they should not only be about content, but also about its governance and how it can achieve the greatest freedom possible from Government intervention, while being publicly accountable. Your contribution need not just be confined to this consultation. Lobby your MP, deluge the BBC Board with your thoughts (they are meant to represent you), arrange citizen assemblies in your locality. What is missing from the present debate is a vision of the possibilities of public service content in the future. Where is the discussion about local and regional coverage, about foreign reporting, about kids’ programming – which is more than American cartoons – about the arts, science and religion? What about whether the Corporation should stop trying to compete with Netflix et al and concentrate on original British dramas about us, with a responsibility to develop new talent? The Corporation should be initiating a national debate about public service programming, as well as about its own role in providing it, in conjunction with others. The BBC can’t do it all, but it can lead, it can inspire, it should collaborate. The BBC should be a place where we come together to learn about each other and the world, and offer our children and grandchildren exciting possibilities for learning and ideas for their future; a true community for the many different communities that make up our United Kingdom. We should decide what we want the BBC to be before deciding how to pay for it. This is your chance to have a say. Don’t miss it. The government is seeking public views on the future of the BBC as part of its Royal Charter review, ahead of the current agreement expiring in 2027. You can respond by completing the Department for Culture, Media & Sport (DCMS) online consultation survey, emailing your answers to bbccharterreview@dcms.gov.uk, or requesting a postal or accessible version if you cannot respond digitally – in which case you should contact the review team for submission details and include clear answers and contact information. Submissions close at 11:59pm on 10 March 2026. The latest issue of Radio Times is out now – subscribe here. 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.
Meet the BBC's last reporter remaining in Russia: "It feels like we're in the eye of the storm"
The BBC's Russia editor Steve Rosenberg admits the last four years have tested his optimism, but he has no intention of abandoning the country he loves.
This article first appeared in Radio Times magazine. Steve Rosenberg is the BBC’s Russia editor, and the broadcaster’s only reporter left in the country. Over more than 30 years of living in Moscow, he has experienced the Communist and Boris Yeltsin eras, Vladimir Putin and now “Z”, the military symbol for Russia’s invasion of Ukraine. Though journalists are often detained, arrested and tried, he continues to report from the country. You’re currently based in Moscow, but not in your usual office? Our main office flooded, there was a burst pipe in the building, so we’re in an emergency flat. We’ve had to build a temporary voice booth, using blankets and a desk. What were you doing when Russia invaded Ukraine, four years ago? I was woken by a call from the news desk in London. I jumped out of bed, threw on some clothes and rushed to the office. That was a hell of a day – I was working non-stop, broadcasting live, doing reports for the main TV bulletins. There wasn’t a second to stop. At the end of the day, it hit me – this was a watershed moment, things were never going to be the same. As the only BBC reporter in Russia, what’s a typical day like? Going back 10 years, it would be hard to get on the news; that’s all changed. I sleep for four to five hours, get up at 5am and walk our rescue dog, Laila. After breakfast, I come into the office and review the papers for social media. Even though it’s a very controlled media environment, you find all kinds of nuggets in the Russian press. But the situation is so unpredictable, you never know what’s going to happen. It feels like we’re in the eye of the storm; it’s disconcerting. Last May, I was completely exhausted. The doctor said, “Eat better, do more exercise!” So I started going to the gym, having a decent breakfast, cutting out the snacks… I’m feeling much better. How is it, in the eye of the storm? We’re in a strange bubble. When you’re in Moscow, everything looks pretty normal. Then you see adverts trying to recruit people to fight in the war, and people who have lost limbs. A lot of Russians try to pretend this nightmare isn’t happening, but that’s becoming increasingly difficult. Russia’s affected more and more in terms of casualties. The economy is getting worse and the newspapers are talking openly about this. With only a handful of Western journalists left in Russia, do you constantly assess the risk? After Evan Gershkovich was arrested and jailed [the Wall Street Journal reporter was released in 2024 after more than 16 months in custody], a lot of foreign reporters left, understandably. There’s no guarantee something won’t happen to us, but independent Russian journalists who criticise the authorities are putting themselves at more risk than we are. The BBC correspondent Sarah Rainsford was expelled in 2021, and dozens of journalists working for BBC Russia pulled out of Moscow. Do you miss working in a bustling newsroom? My wife, and playing the piano, help to put the craziness behind me, because it feels as if everything has been turned upside down several times. And Laila, we love her to bits – you come home and she’s waiting there. Aside from Vladimir Putin, who would you like to interview there? Valentina, who sold newspapers in the local newspaper kiosk – she’s a lovely babushka with an incredible smile. We became friends, and I used to film our little conversations – with permission – and post them on social media. Her kiosk was an island of calm in this sea of craziness. But she left Moscow and moved to southern Russia. I miss her. She was a daily reminder of why I fell in love with Russia – the Russian soul, before this huge, dark cloud came over the country. What’s it like asking President Putin a question at his annual, five-hour press conference? The situation, in itself, is quite intimidating. It’s a big set-piece event, live on Russian state television, with millions watching. Often, he says something before you ask a question, perhaps to make you a bit ill at ease. Last year, he made some comment about the BBC. I paid no attention – you’ve got be focused. I don’t hold back. How does President Putin come across in person? As someone who believes that he’s invincible. His decision to invade Ukraine was a miscalculation. He thought this “special military operation” would last a few days. Having lived in Russia for 30 years, how did you feel when the invasion happened? I felt the Russia I’d known for so many years had gone. The familiar buildings were there – the Bolshoi Ballet, my local supermarket. But this was a different Russia. Suddenly you started seeing the letter “Z”, the symbol of the “special military operation”. Then repressive laws were passed, silencing dissent. The relationship with the West broke down. Our lives became very unpredictable. You went off-air for a short time? There was a moment after the repressive laws were passed, when bosses in London asked us to pause broadcasting while lawyers looked at the legislation for our own safety. For three days we were off-air and waiting. I sat at the piano and wrote a piece of music, Isolation, that expressed how I felt – that Russia was suddenly cut off from the rest of the world. I was allowed to post that. Music was another way of reporting, in a sense, what was happening. You’ve been on-air since, but your job comes with great challenges — not least being followed? On trips [outside Moscow], there are chaps waiting for you, who pop up regularly. I’m used to that now. Normally, they don’t get in the way of our work. “Keep calm and carry on” is the best advice. You’ve been called a “defecating squirrel” on Russian TV – quite a contrast with the 90s, when you were invited on-screen during the Eurovision Song Contest, when Russia was taking part. How does that affect you? Squirrels are quite cute. It’s being called an enemy of Russia, which I’m not, that’s unpleasant. I spent five years studying Russian, I’ve lived here for more than 30 years. I fell in love with Russian literature and Russian music – I married a Russian lady. A lot of Russians still want to talk to us, they still want a relationship with Britain. They often shake my hand, or ask for a selfie. That shows the very intense, anti-British propaganda on Russian state television doesn’t necessarily filter down. You’re up at 5am, reporting live on Radio 4’s Today programme and later the BBC television news bulletins. How do you relax? I watch 1970s British sitcoms – the ones I watched as a kid – on YouTube, isn’t that embarrassing? It’s quite a pressured job so it’s nice to watch an episode of Dad’s Army or Yes Minister. It feels as if the old world order is breaking down, so a bit of nostalgia helps. Your great-grandfather left Belarus when it was part of the Russian Empire… My grandma found a box of documents, including the passport that my great-grandfather used to leave the Russian Empire in 1894. The family story is that he wanted to go to America and bought a ticket. But when the ship landed in England, the captain said, “America! Everybody off!” How do you feel about the future? The last four years have been a nightmare, especially for Ukraine. The level of death and destruction is off the scale. Russia’s taken a very dark path, and the last four years have tested my optimism to the extreme. But little interactions with Russians give me hope that things are going to be better. Do you ever fancy an easier job? Not at the moment! I think, in a sense, my whole life has led up to this. Panorama: Our Man in Moscow is available now on BBC iPlayer. The latest issue of Radio Times is out now – subscribe here. Check out more of our Current Affairs 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.
BBC licence fee will increase to deliver "financial stability it needs"
The BBC licence fee is set to rise by £5.50 to £180 from 1st April 2026 to ensure the corporation has the "financial stability it needs to deliver for audiences and support the creative industries across the UK". The British government has agreed to a 3.14% increase, calculated in line with the consumer price index. The licence fee has been increasing in line with inflation since 2022 and will continue to do so until the end of the charter period in 2027. The change, which follows rises of £5 last year and £10.50 in 2024, will cost UK households an extra 46p per month. All UK households that watch, stream or record live TV on any device, download or watch any shows on BBC iPlayer, or watch shows on any online TV service must pay the fee. On the increase, a BBC spokesperson said: "The licence fee ensures the BBC has the financial stability it needs to deliver for audiences and support the creative industries across the UK. It funds the full range of BBC services and helps us deliver trusted news, the best homegrown storytelling, and unmissable content that brings people together. "The government is currently considering the BBC’s next royal charter and future funding arrangements beyond 2027. We welcome this debate and have been clear we want reform so we can continue to deliver a public service BBC that is independent, sustainably funded for the long-term, and meets audience needs for generations to come." A statement from the Department for Culture, Media & Sport added: "The increase in the cost of the TV licence will help keep the BBC on a stable financial footing, enabling it to continue to deliver on its Mission and Public Purposes. The BBC is the UK’s number one media brand, with 94% of UK adults using the BBC each month last year and it remains the UK’s most widely used and trusted news outlet. "The government recognises the financial pressures on households and is committed to ensuring the BBC’s funding model is sustainable, fair and affordable." The licence will remain free for over-75s on pension credit, while reduced fees are still in place for care homes and blind individuals. With the BBC's Royal Charter set to expire on 31st December 2027, the government launched a review and public consultation late last year. Ahead of the renewal of the charter, the legal framework that allows the broadcaster to exist and sets out its mission, public purposes and governance, the government indicated in a green paper that it's committed to "future-proofing" the broadcaster but is exploring funding models. Check out more of our Current Affairs 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.
BBC commits to "authentically reflect" communities, classes and cultures after review calls out "tokenism" and "preachy" content
"It is vital the BBC authentically reflects the lives of all the communities, classes, and cultures across the UK."
As a national broadcaster that has set out to portray the diversity of the UK in its content, the BBC has now said it will be "strengthening its approach" to reflect audiences and communities. The BBC's statements come after an independent review was commissioned by its board. The findings have highlighted particular areas of grievances, including in the way that BBC productions may be leaning on "tokenism" and "preachy" ways of including diversity in their storytelling and casting. The thematic review – which was conducted by former BAFTA Chair, Anne Morrison, and independent media consultant, Chris Banatvala – was done in order to assess "how accurately and authentically the BBC portrays and represents different groups and communities across the UK." But what did it find? Well, with the review having spoken to 100 people in total (from inside and outside the BBC, including programme makers, commissioners, executives, commentators and media experts), there were a range of opinions but big areas of issue included colour-blind casting and tokenism. Using 2023's Murder Is Easy as an example, one external participant said of the series: "Often when something appears clunky it is because it’s not a successful programme creatively and the diversity seems superimposed rather than arising out of the subject matter. "Audiences are particularly unforgiving of this if it challenges their expectations of what they have switched on to see. If there’s an Agatha Christie murder mystery over the Christmas period, they won’t expect to be taken into anti-colonial struggles, alongside the country-house murder." They added: "Unless it’s very skilfully done, there is a danger it will feel overly didactic and preachy, as if the viewer is being lectured or a point is being made heavy-handedly. A vital component of quality for the viewer is authenticity." The Agatha Christie adaptation was part of the BBC's festive line-up. Starring David Jonsson, the adaptation contained quite a few changes to the original literary novel. Screenwriter Siân Ejiwunmi-Le Berre changed the central character of Fitzwilliam from a white policeman to a Black man, who is navigating life in London having moved from Nigeria. Some audience complaints in the review once again honed in on Murder Is Easy in terms of colour-blind casting, but also underlined the 2023 adaptation of Great Expectations, which starred Shalom Brune-Franklin as Estella. "Some people felt the television adaptations should have been more faithful to the original characters," the review states but as it also underlines, the very act of adaptation is to change the original text. One of the shows to also come under fire was Doctor Who, which included mixed-race actor Nathaniel Curtis as Sir Isaac Newton, who only briefly appeared on screen. Some of the complaints said that if it was the other way around – i.e a white person portraying a historical figure from the global majority – then it would cause offence. However, as the report also underlines, we don't need to hark back to the times of Sir Lawrence Olivier donning blackface in his role as Othello in the 1965 film. Whilst the review does honour people's differing opinions, it also aptly underlines in regards to Doctor Who: "In Doctor Who, if we can ask viewers to believe that the central character is an extra-terrestrial being who can regenerate into a range of different actors and travels in a time machine through the space-time continuum, a mixed-race Sir Isaac Newton seems much less of a stretch." In terms of tokenism, review participants' point of views also varied – some wanted greater representation of minority groups, whilst others thought there was "already too much". The review states: "In the latter category, there was a concern that people were appearing in order to tick a box rather than for merit. In the former category, there was particular concern about the person from the minority group appearing to be isolated, marginalised and not fully included in the experience, potentially reinforcing negative stereotypes." For instance, there was concern over whether Luther (portrayed by Idris Elba) had any Black friends and a highlighting of the fact that in that series there was never any real mention of race at all. An external participant lauded this, saying: "I think that you’ve seen some really good programmes that have Black people just being normal… Idris Elba’s thing on Luther was very good because I don’t think race was mentioned once in that whole series." In terms of good portrayals of representation, standout examples included Michaela Coel's I May Destroy You and Man Like Mobeen, which Guz Khan created, writes and stars in. Read more: Bridgerton stars break down what that surprise nod to the Queen Charlotte spin-off means for season 4 Under Salt Marsh's Jonathan Pryce explains why thriller is "much deeper" than your average murder mystery On the whole, the 79-page report highlights areas that the BBC could and should be doing better in as a public service broadcaster, including how representation should be measured, as well as a commitment to diversifying the breadth of what UK locations and social backgrounds we see in productions. As a result, the BBC has agreed to a set of progressive actions that it will be taking in light of the review, including "doubling spend on high-impact content in the nations, as well as accelerating plans to grow the number of commissioners and decision making out of London," a commitment that was made in December 2025. It has also agreed to systematically review upcoming content plans to ensure underrepresented audience groups are reflected authentically. This includes using existing and new data to ensure social background, age and geographical representation also help inform how TV and audio presenter roles are developed, including within improved presenter succession plans over the next year. An integral understanding of the changing faces and communities within the UK is also vital, with the BBC stating that it will be regularly distributing census information and other comprehensive data in order to ensure its staff, independent producers and partners fully understand how to accurately reflect British society. 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.
Carol Kirkwood confirms exit from the BBC after more than 25 years - and it wasn't an "easy decision"
Kirkwood announced the news in a teary appearance on BBC Breakfast.
BBC weather presenter Carol Kirkwood will leave the BBC later this year after more than 25 years at the broadcaster. Kirkwood joined the BBC in 1998 and has been a familiar and much-loved presence across the broadcaster, particularly on BBC Breakfast, where she has presented the weather to millions of viewers. Over the years, Kirkwood has been a trusted guide to the nation's weather and has delivered forecasts on all conditions, including reporting at Wimbledon come rain or shine. Her regular outside broadcasts include Royal Ascot, the Chelsea Flower Show and the New Year's Eve fireworks. She has also delivered forecasts for major sporting events such as The London Marathon and leading UK golf tournaments. Kirkwood announced the news live on air this morning (27th January), telling hosts Sally Nugent and Jon Kay: "I am going to be leaving. It's really hard for me to say this because I love my job, I love all of you guys, my Weather colleagues, every department I've worked with and, of course, all the viewers I’ve been so engaged with for many years, but it’s great! I don’t want to be coming in with a zimmerframe like, ‘I can’t reach the northern isles anymore!'." Speaking of her departure, Kirkwood added in a statement: "It's been an absolute privilege to bring you the weather every day. My job is something I've never taken for granted and I’ve loved every minute! From early starts and all manner of forecasts, I've shared it with incredible colleagues at BBC Breakfast, BBC Weather and programmes across the BBC. I'd like to thank them for their support and friendship which has meant the world. "And to those watching and listening at home - thank you for all the kindness you have shown me over the years, being part of your mornings has been a joy. This hasn’t been an easy decision to make, but it feels like the right moment to step away. I’ll carry with me the most wonderful memories." View oEmbed on the source website Jonathan Munro, Interim CEO, BBC News and Current Affairs, commented: "Carol's contribution to BBC News and BBC Weather has been exceptional. From major national moments to the everyday forecasts that are such an important part of our audiences’ lives, she has set the gold standard for our accurate, valued journalism - always delivered with an appropriately sunny outlook. She will be greatly missed by teams across the BBC. We wish her all the best for the future." Check out more of our Entertainment coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
King Charles III's Christmas speech to break from tradition once again with another major relocation
This marks the second year the King has changed the location of the speech.
King Charles III will deliver his Christmas message this year from Westminster Abbey, it has been confirmed. The annual address is traditionally given from one of the royal residences, such as Buckingham Palace, Windsor Castle or Sandringham House, but this year's speech has been filmed in the Lady Chapel of the historic church. The King is expected to talk about the "pilgrimage" of life and the lessons it can teach about the issues of the day. The change in location is significant, with Westminster Abbey being a location where pilgrims gather to remember to the life of Edward the Confessor. It also won't mark the first time the King has filmed the speech on location, with last year's address being given in the Fitzrovia Chapel as he delivered a message focusing on the health battles he and the Princess of Wales faced in 2024. This location in particular is in a chapel where 15 previous monarchs have been buried, including Elizabeth I, Mary I and Charles II. The Lady Chapel is also home to the Most Honourable Order of the Bath, of which King Charles is the Sovereign Head. The annual Christmas message from the monarch dates back to 1932 from King George V, in which he delivered a speech on the radio. The first televised speech was delivered by Queen Elizabeth II in 1957, and is often seen as a time to reflect on national and global events while hearing directly from the monarch. King Charles III made his first Christmas speech in 2022 – which focused on the death of his mother – from the Quire in St George's Chapel in Windsor. The King's Speech will air at 3pm on Thursday 25th December on BBC One and iPlayer. 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 future of the BBC is up for debate – and Radio Times wants your views
As the BBC faces a defining moment in its history, Radio Times is asking readers to have their say on the broadcaster’s role, relevance and funding.
The UK Government has launched a formal review of the BBC's Royal Charter, which is the legal framework that allows the broadcaster to exist and sets out its mission, public purposes and governance. The current Charter expires on 31st December 2027, making this a pivotal moment for the future of the BBC and the wider UK creative sector. The Government’s consultation invites both the public and the media industry to help shape what the BBC will look like for the next decade and beyond. At the heart of the review is a Green Paper published by the UK Government – a formal consultation document to set out ideas and options before any decisions are made, not a statement of final policy – which acknowledges the BBC’s "unique value" as the UK’s national broadcaster and its central role in the media ecosystem. The paper commits to "future-proofing" the BBC and ensuring it is sustainably funded for the long term. The BBC has welcomed this approach and will now analyse the proposals in detail before submitting a full response. The BBC argues that the new Charter must protect a universal public service broadcaster that serves everyone, not just certain audiences. It says the Charter should guarantee three core principles: independence from political interference, long-term financial sustainability, and the ability to respond quickly to changing audience needs. Central to this is the question of funding, with the BBC accepting that reform is needed to reflect cost-of-living pressures while still delivering value and fairness for audiences. Finally, the BBC is urging the public to take part in the Government’s consultation, stressing that the BBC ultimately belongs to its audiences. With the process now ongoing, Radio Times wants to hear your thoughts on the future of the BBC – how you think it should be funded, what role it should play in public life and how it can best serve audiences in the years to come. A message from Shem Law, editor of Radio Times magazine The BBC stands at a crossroads. As RT Editor, I'm acutely aware that decisions made in the coming months could reshape the corporation, its size, the breadth of its services and, crucially, how it is funded. Since our last Radio Times BBC Survey in 2015, the media landscape has changed dramatically. Streaming platforms have multiplied, audiences have fragmented and public trust in institutions is being tested as never before. The BBC’s place in national life is being debated in Parliament, in living rooms and on social feeds. We believe your voice should be central to that debate. So, we're asking you to tell us plainly: Do you still trust the BBC? Does it have a future? What do you love about it, what could it do better? Are there services you couldn’t live without? Which programmes justify the licence fee, and which feel out of step? Most importantly, how should the BBC be paid for in future – through the licence fee, general taxation, via subscription, or using a new model entirely? Please email us at feedback@radiotimes.com with BBC VIEWS in the subject line. Your insights will inform our coverage and help shape the conversation about the BBC’s future. 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. Read our guide to the best Christmas TV for 2025.
How to watch the Budget announcement from Rachel Reeves – when is it revealed?
The rumour mill is churning about potential tax increases.
Rachel Reeves is gearing up to deliver the Autumn Budget, and speculation is rife about what will or won’t change for the next financial year. It was announced last week that the Chancellor has decided not to increase income tax rates when she announces her Budget. Reeves had given strong indications that she would increase the tax in recent weeks. She said in her pre-budget speech that “each of us must do our bit for the security of our country and the brightness of its future”. However, instead of raising rates, Reeves could decide to freeze or lower income tax thresholds. The Chancellor’s plans are also rumoured to include changes to property taxes, pension schemes and ISA limits. Wondering when Reeves's plans will be revealed and how you can watch the speech live? Read on for everything you need to know. When is the Budget? The Budget is set for Wednesday 26th November, which is much later than last year’s October date. The speech will occur after Prime Minister’s Questions, beginning at around 12:30pm. It will last around an hour. How to watch the Budget live and what TV channels will it be on? The Autumn Budget can be watched live on Parliament TV, which streams all the action from the House of Commons online. The Chancellor’s statement will also be broadcast live on TV, with all the major news broadcasters providing live coverage of the event. The BBC's coverage begins at 11.15am on BBC Two's Politics Live, while the speech and all the ensuing debate in the House of Commons can also be watched on the BBC Parliament channel. Audiences can also tune into The Chancellor's Budget on ITV1, which begins at 12.15pm. 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.
If Donald Trump destroys the BBC, there would be a horrible historical logic – so here's who I would pick as Tim Davie's replacement
With editorial failures and resignations at the top of the BBC, as well as the threat of an American takeover at ITV, broadcasting as we know it is facing the greatest challenge it has ever seen, writes Mark Lawson.
Historians may cite last week as the beginning of the end for British broadcasting. On Remembrance Sunday, 9 November, both the BBC and ITV faced threats to their existence as we know them. As the corporation lost its two most senior editorial figures at once – director-general Tim Davie and chief executive of news Deborah Turness resigned over the handling of complaints about an episode of Panorama that misleadingly edited a speech by President Trump – ITV was considering a reported bid of £1.6 billion from Comcast (the American owners of Sky) for all of its on-air networks and the ITVX streaming site. The ITV story is simply financial. Television advertising and sponsorship are collapsing and so ITV’s shareholders perhaps hope to release the value in the broadcast business before it falls further. The logic for Comcast is presumably the possibility of selling advertising and subscriptions across a super suite of digital and terrestrial channels. However, as ITV Studios, which provides most of ITV’s content, would now be separately owned, it’s unclear how the supply line of shows such as Coronation Street and I’m a Celebrity… might be affected in future. The BBC situation is also financial, though complicatedly and now doubly so. It is massively funded (and its pension scheme underwritten) by £3.66 billion of licence-fee income. But support for what some see as a legally enforced broadcasting tax has reduced during a series of scandals – and dissent will surely have been accelerated by recent events. Negotiation with the Government of a new BBC Charter (from 2027) – including funding methods – starts next month, though with the BBC currently lacking a team to attend and a Trump lawsuit still hanging over them. Having threatened to sue for $1 billion unless he received an apology and compensation he regarded as adequate, last week Trump got a qualified “sorry” (though the BBC still claims the speech tampering was accidental) and no money. Trump has not publicly accepted the apology and has warned he will still sue for “between 1 and 5 billion dollars.” The new risk for the BBC is whether to use licence fee money to fight a very rich American President in court. Doing so would please many staff, though further inflame enemies. So what went wrong at the BBC? On Monday 10 November on Radio 4, Today presenter Nick Robinson delivered an on-air monologue that described a right-wing conspiracy – of newspapers, politicians, think tanks – seeking to bring down the BBC. That’s half the story – there are businesses and politicians who crave a reduced or removed BBC. The crucial other half of the story is that the BBC, and especially BBC News, keeps handing lethal weapons to its enemies. If the BBC were to be destroyed by Trump, there would be a horrible historical logic. BBC News has a decade-long history of getting the 45th and 47th Presidents catastrophically wrong. On US election day 2016, a senior journalist (still on the payroll) announced that, as Trump had no chance of winning, discussion should turn to President Hillary Clinton’s policies. Again, last November, a BBC viewer might have concluded that Kamala Harris would win and perhaps (and this is where it becomes editorially problematic) should win. It’s understandable that many, even most, BBC staff might personally have preferred on two occasions a female president to an oddly coiffed, strangely tanned former presenter of The Apprentice, found liable in civil law for sexual offences and whom they regard as anti-democratic. But journalists should report what they see, not what they hope. (This seems also to have been an issue in some coverage of Brexit and the Gaza war.) Much of the BBC (with the exception of some on the Americast podcast) never took Trump seriously, but the current consequences of crossing him show how serious he can get. Another ominous aspect for the BBC is a sense of multiple crises gathering. As front pages of newspapers reported the downfall of Davie and Turness, middle pages contained stories about the BBC Complaints Unit upholding 20 complaints against newsreader Martine Croxall for changing the words “pregnant people” on her autocue to “women”, while making a facial expression interpreted as disapproving. Some titles also serialised or summarised Andy Webb’s Dianarama, a new book about the 1995 Panorama interview with Princess Diana that a retired judge later found to have been secured by reporter Martin Bashir through faked documents and false claims. For two Panoramas almost 30 years apart to be found guilty of serious journalistic malpractice – with Webb’s book further deflating the reputation of some former bosses – suggests something more endemic than occasionally accidental. After what can be seen as slow and clumsy reactions since the Trump Panorama problem was known months ago, BBC Chair Dr Samir Shah might not need his free 2026 BBC desk diary. A basic rule of journalism is that, if you call someone “litigious”, they sue harder and Shah foolishly called Trump that. In his statement on the departure of Davie and Turness Dr Shah seems to be representing and defending the interests of BBC staff and executives rather than licence-fee payers. That has long been a fault line in the corporation and apart from the future funding model, the supervisory and disciplinary structures of the BBC will be a huge part of Charter renegotiation, whoever leads it. If I were in the nightmare scenario of being BBC Chair, I would appoint Dorothy Byrne, smart and tough former head of Channel 4 journalism, for six months as interim DG. After that, who knows? The two current broadcast empire meltdowns may overlap because any sale of ITV could release senior talent, including CEO Dame Carolyn McCall and director of television Kevin Lygo. However, such is the BBC mess – with potentially more to come – that, were they to begin an application, family and friends would surely divert them at once to a psychiatrist. It has come to this: no sane person would take what was, until now, the biggest job in British broadcasting. Read more: So, is it all over for our national broadcasters like the BBC and ITV? Not so fast Former BBC News boss argues BBC's "survival is at stake" amid "chilling" political landscape Check out more of our TV 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.
Get rid of the BBC? Careful what you wish for…
Once the pride of Britain, the BBC now faces its biggest crisis yet – but would we really be better off without it?
Decades ago, I joined a cruise in blue waters off the southern coast of Turkey, where our captain spoke no words of English except "tips here" – until somehow, through the usual blustering British-person-meets-rest-of-world chats, he established where I worked. For the next three days, I was summoned to mealtimes with a shout of "BBC" that echoed across the Med. It was a different time: when our national broadcaster’s brand was considered up there with Coca-Cola for global recognition, and the NHS for trustworthiness. 30 years later, and mentions of "the BBC" once again abound, but this time to a collective eye-roll at yesterday’s headlines that a catalogue of controversies has culminated in both the director-general and the CEO of BBC News falling on their swords over the editing of a 2021 Donald Trump speech. Monday saw the BBC Chair Samir Shah add his apology for the "error of judgement" that caused the furore. Tim Davie’s resignation speech included reference to the intense personal and professional demands that have punctuated his five years in British media’s top job – those years have seen a roll-call of on-air talent disappearing from screen after a litany of behaviour variously criminal (Huw Edwards), allegedly bad (Gregg Wallace) or political (Carol Vorderman, Gary Lineker). The departures of Davie and his news chief Deborah Furness are more redolent of 2004. I was among those queuing up, some in tears, to bid a fond farewell to Greg Dyke after he quit as D-G, as did his Board Chairman, after the government complained about the news coverage of the dossier – "sexed up" as alleged by reporter Andrew Gilligan – putting the case for Iraq’s nuclear weapons and justifying invasion. We know the rest. Possibly apart from some of those involved in that debacle, there were no calls then for the binning of the BBC – this week’s episode feels more rotten and existentially threatening. We learned through a memorandum leaked to The Telegraph that the BBC desperately tried to audit its own failings with an external report, both the act and results of which have given plenty of ammunition to those on both sides – that this whole thing is a politically-fuelled conspiracy to bring down the broadcaster, or that this internal, secret wrangling is more proof it’s the right time, with just two years to go before Charter Renewal – to completely disband the 103-year-old institution and rebuild in an entirely different image, one more fit for the commercial and cultural realities of 2025. Be careful what you wish for. Of course, the BBC has its faults – I cringe at some of its attempts to keep up with the kids: buying the rights to Drag Race about half a decade too late, pulling BBC Three off the linear platform before U-turning at great expense, the self-satisfaction it displays when it builds an entire schedule around one formerly charming event like Eurovision, its reliance on too few, over-exposed presenters... Nevertheless, it remains the gold standard, not just for the UK but for the world. Overseas friends cite The Goodies, Doctor Who, Kenny Everett as a central part of their childhood TV diet. They’re always surprised to learn dramas like Brideshead Revisited and Downton Abbey weren’t actually BBC titles — "it feels like something they’d do”"— pointing to the fact that the BBC’s production and training ecosystem has long ensured all broadcasting boats rise. Countries from Canada to Australia to South Africa have built their own national broadcasting institutions in the BBC image, citing the worthwhile aspiration of "trust", "authority", "grown up TV". It’s a point of abject embarrassment that, while these broadcasters build on that original vision and continue to flourish, our homebuilt mothership is left struggling to justify its existence. Among Winston Churchill's many famous quotes, he called "democracy the worst form of government, except for all the others" – and the same is true for the BBC and its place in the firmament. Look to your left, to Russia and neighbours, and you find state-sponsored, state-controlled, state-supporting TV – propaganda not programmes. Look to your right, and you have American TV. The transparently commercial imperative – the first ad break often coming straight after the opening credits – used to be a source of mirth for foreign viewers, but has now evolved into something far more nakedly and ruthlessly driven. Meanwhile, pushing against the two walls of legislation and commercial rivals like Chewbacca in the trash compactor, the BBC tries gamely to balance our diets with wholesome fodder and some glittering, expensive jewels, in a way that only it can. Of course, it needs tidying up, refreshing, streamlining, reforming – but let’s not throw out the baby with the bathwater. Life without it would look very different, and we would all be the poorer. Check out more of our TV 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.
Sophy Ridge argues why breakfast television is still the pinnacle of broadcasting
Breakfast TV needs an overhaul to make it fit for the digital age, says presenter Sophy Ridge.
This article first appeared in Radio Times magazine. When it comes to broadcasting, breakfast television is the premier slot, the pinnacle. It’s a privilege when people decide to start their day with you and it should never be taken for granted. The giants of breakfast television – Frank Bough and Selina Scott, David Frost, Angela Rippon, Michael Parkinson and more recently, Eamonn Holmes, Susanna Reid and Kay Burley – knew that. They somehow transcended the role of television presenter, becoming something much more intimate: almost an extension of the family, there in the background while you have your cereal, pester the kids to find their shoes or search for your house keys. But I’m going to be blunt: morning broadcasting needs an overhaul. The media landscape is going through an unprecedented change. I’m 40 years old and my peers almost exclusively get their news through their mobile phones. According to Ofcom, 52 per cent of adults now use social media as a news source and 71 per cent get their news online. It was a different world when Bough and Scott launched Breakfast Time in 1983 when there were only four television channels (Channel 4 having launched a year earlier). But “traditional broadcasters” shouldn’t fear change – it brings challenges, but far more opportunities. I’m optimistic about what it means. We have an audience that is more interested in the news than ever. A decade ago, I vox-popped people outside a Labour conference who couldn’t even tell me that the party leader was Ed Miliband. That would never happen today. People are hyper engaged in politics and international affairs – they have opinions and are more informed than at any time I can remember. Rather than turning away from the news, the audience is turning towards it. And in a world where it can feel like truth is under attack, we shouldn’t underestimate the public. Our audiences are discerning, informed and engaged and they want trustworthy and impartial journalism. As broadcasters, we need to follow the audience to where they are and not expect them to follow us. This is the context in which Sky News is launching its new breakfast programme: Mornings with Ridge and Frost. Along with my co-presenter Wilfred Frost and our programme editor Emily Purser, we hope to shake up the morning news and make it fit for a digital age. Before moving to Mornings, I presented a nightly programme on Sky News, The Politics Hub with Sophy Ridge. One of its most surprising – and heartening – successes was the opening monologue, which became known as “Sophy’s Thought”. This was unashamedly analytical. I remember persuading my sceptical team to do it on the “fiscal drag”, not exactly the sexiest subject, but we soon discovered a huge appetite online for going deeper into stories and issues, whether the nitty gritty of policy or topics like rape conviction rates and maternal healthcare. We’ll be continuing that on Mornings, with digital videos made for an engaged and demanding audience who get their news through their mobile phones. The podcast sphere is flooded with high calibre journalism – whether Electoral Dysfunction, The News Agents or Political Thinking. We’ll also have a 10-minute podcast – Cheat Sheet – on your feeds by 6am. It’s a fast-paced rundown of the five stories you need to know about, curated by Wilf and I, with information and analysis for busy listeners who want to stay up to date but don’t have time to buckle in for a 45-minute podcast. Breakfast television is the broadcasting pinnacle because of its intimate relationship with the audience, and that’s also the best thing about broadcasting in the multi-platform age. You get to know your viewers – they can talk back to you! We’ll be inviting our audience to do this, making the bond stronger than ever. I like to think that Frank Bough and Selina Scott would fully approve. The latest issue of Radio Times is out now – subscribe here. Check out more of our Current Affairs 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.
John Stapleton, renowned journalist and popular GMTV presenter, dies aged 79
The presenter had been living Parkinson's disease, revealing his diagnosis in 2024.
Renowned broadcaster John Stapleton has died at the age of 79. The journalist, best known as a presenter on the likes of GMTV, Sky News, and Watchdog, has been confirmed to have died in hospital on Sunday (21st September 2025) in the early hours of the morning. Stapleton made public his diagnosis with Parkinson's disease in 2024 and was living with the condition and managing it as best as possible. His agent, Jackie Gill, confirmed that he had faced complications with his Parkinson's after being diagnosed with pneumonia in recent days. Gill's statement on Sunday reads: "John had Parkinson’s disease, which was complicated by pneumonia. "His son Nick and daughter-in-law Lisa have been constantly at his side, and John died peacefully in hospital this morning." Stapleton's son Nick was his only child from his marriage of over four decades to his Watchdog co-presenter Lynn Faulds Wood, who died following a stroke in 2020. John Stapleton began his career in regional newspapers before moving to Fleet Street and then to television, with numerous roles at the BBC and ITV, including on Panorama, Newsnight and Good Morning Britain. Stapleton joined GMTV in 1998 and presented on the show and its successors, Daybreak and Good Morning Britain, until 2015. Stapleton won the News Presenter of the Year award in 2003 from the Royal Television Society, largely for his coverage of the Iraq War on GMTV. In 2008, Stapleton also spoke openly about how he struggled with anorexia nervosa in his youth. Speaking to BBC One's Morning Live in 2024, Stapleton was candid about his health and how best he was trying to live with Parkinson's. Stapleton said (via The Guardian): "Speaking is how I’ve earned my living for the best part of 50 years. "It’s very frustrating sometimes, particularly [when] people are constantly saying to you: ‘Sorry, what did you say?’ And you have to repeat yourself, time and time again. "I am fairly pragmatic about the prospect of this getting worse. I try to remain positive, because what’s the point of not being?"
So, is it all over for our national broadcasters like the BBC and ITV? Not so fast
With Freely, public service broadcasters are taking on streaming platforms at their own game — and winning!
This article first appeared in Radio Times magazine. Nearly a decade ago, I found myself sitting next to Lord Puttnam at a breakfast event launching an inquiry into the future of public service television. The revered film producer delivered an impassioned plea for the preservation of linear broadcasting and all that came with it. What would we miss without it, I asked him? It’s like any meal, he replied: “We all like our puddings, but we need our greens.” Today, those puddings are everywhere, with streaming platforms offering an unrestricted buffet of everything from dramas to true crime to fawning sports documentaries and, er, more true crime. In July, Ofcom reported that YouTube is now the UK’s second most-watched media service, behind only the BBC, and the US behemoth Netflix continues to be the byword for glossy, easily bingeable content on an easy-to-navigate platform. So is it all over for our national broadcasters? Not so fast. Earlier this month, Everyone TV – the company that runs the public service broadcasters’ free-to-view TV platforms – celebrated the first anniversary of its own streaming service, Freely. With more than half a million weekly users, Freely is on course to become the UK’s leading TV platform within five years. It is already pre-installed on half of all new TV sets sold in the UK. More notably, its largest group of early adopters comes from the notoriously hard-to-reach 16–34-year-old demographic. Why does this matter? Everyone TV simultaneously shared the findings of an independent report that reveals that, when it comes to watching TV together, we still turn to the national broadcasters, whether that be for shows such as The Traitors and The Great British Bake Off or events like the final of the Women’s Euros (2025’s biggest TV audience so far). Equally, when it comes to choosing “moments that matter” and “driving the national conversation”, it’s the BBC’s Gavin & Stacey and ITV’s Mr Bates vs the Post Office respectively that stay in people’s minds long after a slain zombie or an avenging dragon. And while Netflix and Amazon Prime compete to see how many ways they can have someone rich and beautiful murdered or betrayed in the Hamptons, most of us trust our national broadcasters to more accurately reflect our own lives – particularly those of us who are from outside London and are on lower incomes – and to make us feel connected as a nation. Meanwhile, when it comes to viewers’ trust, the weather-beaten BBC still enjoys a 69 per cent vote compared with social media posters’ meagre 29 per cent. One of the reasons that Freely has proved so popular is its shiny, accessible user interface. Yes, we can all find these same channels without such newfangled things, but presentation and branding matter as much as accessibility these days. A colleague’s children refuse to watch anything on iPlayer, let alone live linear TV. “It’s just not cool,” they complain. Conversely, our editor’s daughter brought him a new podcast she thought he would enjoy. Its title? Desert Island Discs. It’s understandable. Every generation wants to find their own front door to their cultural favourites – I felt the same about the treasures stowed away in my Sony Walkman. But it’s encouraging that, in an act of cultural kung fu, our public service broadcasters are using the streamers’ own tricks to take them on. They may not win the war of persuading the next generation to look up from their phones for more than a passing moment, but at least the battle is being fought. It’s a battle for hearts – and greens. The latest issue of Radio Times is out now – subscribe here. Check out more of our Current Affairs 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.
Duchess of Kent dies aged 92, Buckingham Palace announces
The Duchess stepped back from royal duties in the early 2000s.
The Duchess of Kent has died at the age of 92, Buckingham Palace has announced. The duchess was the oldest member of the royal family, and was married to Prince Edward, the Duke of Kent, a first cousin of the late Queen Elizabeth II, and grandson of King George V. In a statement published to its website, Buckingham Palace said: "It is with deep sorrow that Buckingham Palace announces the death of Her Royal Highness The Duchess of Kent. "Her Royal Highness passed away peacefully last night at Kensington Palace, surrounded by her family. "The King and Queen and all members of the royal family join the Duke of Kent, his children and grandchildren in mourning their loss and remembering fondly The Duchess’s life-long devotion to all the organisations with which she was associated, her passion for music and her empathy for young people." Born Katharine Worlsey, the duchess married into the royal family in 1961, with Princess Anne among the bridesmaids at the wedding in York Minster. The late Queen Elizabeth II and Prince Charles were both in attendance. For many, the duchess will be remembered as a familiar figure at Wimbledon, having handed out trophies and consoling those who lost at the tennis championships. She famously consoled Jana Novotná in 1993 and five years later, was in attendance to hand over the trophy to the tennis player. The duchess was also passionate about music and spent time working to improve music education for young people, and from the mid-1990s worked as a part-time music teacher in Kingston upon Hull. She told BBC News back in 2004: "I absolutely love it. I think more and more that it is the most important thing I do. And primary children are like little sponges. "They really want to learn, so teaching them is very satisfying. It's a privilege. To me it's one of the most exciting jobs anyone can do." She is survived by her husband, the Duke of Kent, and their three children, Lady Helen Taylor, Lord Nicholas Windsor and George Windsor, Earl of St Andrews.
Former BBC News boss argues BBC's "survival is at stake" amid "chilling" political landscape
James Harding outlines the corporation's key issues – and possible solutions – in the prestigious MacTaggart Lecture in Edinburgh.
Former BBC News director James Harding has delivered Edinburgh TV Festival's prestigious MacTaggart Lecture, where he outlined the need for a different approach to the public broadcasting service. The prolific figure, who went on to co-found Tortoise Media, took aim at the increasing politicisation of the BBC, which he argues, is not only negatively affecting its output, but also undermining trust in the organisation. Harding pointed out that, in an age of misinformation and increasingly sophisticated AI forgeries, the presence of a robust and authoritative counterweight to the chaos has seldom been more important. But repeated real-terms cuts to the BBC budget, concerns from within about funding sources and interventions from prominent Westminster politicians have left the broadcaster in a compromising position. As an example, Harding used the recent controversy surrounding punk rock act Bob Vylan's performance at this year's Glastonbury Festival, which was streamed on BBC iPlayer with a chant that some viewers considered to be hate speech. The incident caused Culture Secretary Lisa Nandy to demand that "people must be held accountable" and grill the BBC board on why nobody had "been fired" as a result (via The Guardian). Harding said: "The Culture Secretary’s office insists she did not explicitly ask Samir Shah, the BBC chair, to deliver up the [director-general]'s resignation... but people inside the BBC were left in no doubt that was the message. "The place became paranoid about how the BBC itself would cover the story; people around him thought the political pressure would be too much. Whatever your view of the hate speech vs freedom of speech issues, an overbearing government minister doesn't help anyone." He continued: "The hiring and firing of the editor-in-chief of the country's leading newsroom and cultural organisation should not be the job of a politician. It’s chilling." Harding went on to say that the Culture Secretary isn't the only one holding a significant influence, with the Prime Minister getting to appoint the BBC chair and the Chancellor ultimately allocating the corporation's budget. "The most important newsroom in the country operates in the knowledge that the editorial budget is, ultimately, set in Downing Street," said Harding, highlighting how that holds a risk of influencing its output, particularly at the current moment, with its "survival at stake" amid an imminent charter review. "Political interference – and the perception of a political presence looming over the BBC – is a problem," he elaborated, "one that we’ve got too accustomed to. And it looks likely to get worse. "We need to get on with putting the country’s most important editorial and creative organisation beyond the reach of politicians now. To depoliticise the BBC means changing how appointments are made and budgets are set." Harding suggested: "The BBC chair and board of directors should be chosen, not by the Prime Minister, but by the board itself and then, like other such organisations, with the approval of Ofcom." He stressed: "BBC independence means giving it the resources it needs. Not freezing its funding yet again, but doubling down. We’re at the beginning of a new information age, if we want it to be truly creative, innovative and competitive globally, we can’t short-change the BBC again." To conclude, he warned that "if we wait to see what the future has in store for us, I fear that the recent past can give us the answer already". "Bystanding is surrender. We can choose the society we live in; or we can choose not to choose. To be the enemies of nonsense, we must act now." Visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Sky News confirms Kay Burley's replacements for Breakfast show following her exit this year
The new presenters will lead the Breakfast programme later this year.
Sky News has confirmed Kay Burley's replacements for its Breakfast programme, following Burley's exit earlier this year. In what puts an end to continuous speculation, Lead Politics presenter Sophy Ridge and presenter Wilfred Frost will take the helm of the new Sky News breakfast show, launching this autumn. The new breakfast show's name and studio will be revealed later this year, with exact transmission details yet to be confirmed. Ridge – who previously hosted Sophy Ridge on Sunday – was a lead presenter during the last UK election coverage, and is known for her disarming interview technique. Earlier this year, Ridge was named RTS Presenter of the Year at the RTS Television Journalism Awards 2025. Wilfred Frost, son of the legendary broadcaster Sir David Frost, has previously worked for US broadcasters CNBC and NBC, and earlier in the year produced the critically acclaimed documentary series David Frost vs –. Kay Burley, who was a founding member of Sky News when it launched in 1989, announced her retirement from Sky News after 36 years back in February. She announced the news during her final show on the Sky News Breakfast programme, and said in her closing remarks: "From a standing start to one of the most recognised and valued brands in global news, it's been an honour and privilege to work with some of the best and hardest working teams in the business. "News by its very nature is often devastating, and together we've covered so many life-changing events – from the tragic death of Diana, the shocking terror attack of 9/11; the Asian Tsunami; the Concorde air disaster." "But we've also enjoyed some wonderful high notes too, haven't we – the thrill of London winning the chance to host the 2012 Olympics; a plethora of royal weddings; jubilees, and who can forget days and days and days waiting for royal babies to arrive at the Lindo Wing. View oEmbed on the source website "But after over a million minutes of live TV news – more than anyone else in the world – its time for me to indulge in some of my other passions – including my love for travel. "So, after covering 12 separate general elections – including Sir Keir Starmer's victory last year – I am retiring from Sky News – let politicians of every party just rejoice at that news! "Thank you for waking up and tuning in every morning. I can't tell you how much I have appreciated your support over the last three and a half decades: You're awesome. I will post more on my social media and hope to see you around. Please keep in touch." Visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Radio 4’s Derailed will explore “emotionally devastating” impact of HS2 railway project
Journalist Kate Lamble says the HS2 farrago is as much about the nuances of British democracy as it is about our ability to deliver big engineering projects.
This article first appeared in Radio Times magazine. “You get this sharp intake of breath when you approach people about HS2,” says Kate Lamble, the presenter of a new Radio 4 series, Derailed: the Story of HS2. “They’re either people who have been personally affected and it’s been dominating their lives for over a decade, or it’s politicians for whom it was all important for a very brief period a long time ago. For many it’s been emotionally devastating.” Political instability and ephemeral ministers are, no surprise, key factors in the series. As it stands today, when “High Speed 2” is completed – at a date yet to be set – it will be Britain’s second purpose-built, high-speed railway after the London link to the Channel Tunnel (aka HS1) and will run between Birmingham and London. The original idea, conceived in 2009 under Gordon Brown, was to extend HS2 to Manchester and Leeds but this has since been cancelled. “Andrew Stephenson, the only dedicated HS2 minister who had been brought in by Boris Johnson at the Ministry of Transport in 2020, was in a factory looking at rolling stock when Boris called to inform him that he’d lost the leadership and said, ‘I’m out, you’re out, we’re all out’,” explains Lamble. This change of prime minister brought a big change in approach. Johnson was determined the project would succeed and had said, “The Treasury must not prevail in terms of HS2,” but former chancellor Rishi Sunak took a view that the cost should not outweigh the benefit and curtailed the line accordingly. “As with Grenfell Tower,” says Lamble, who won an Aria award for her in-depth coverage of that Inquiry, “it’s a long, involved story that hasn’t really translated in the news. In Grenfell, the news is ‘it’s the cladding’ and for HS2, ‘it’s the cost’. The complexities and what it tells us about how the country is run never get picked up.” In pursuit of the former, she has spoken to (and was “surprised by the frankness” of) everyone from Boris Johnson and the man who designed the new high-speed line to industry whistleblowers and people who lost their homes to make way for it. Jonathan Loescher took Lamble to see the garden he tended near where his house used to stand in Staffordshire before it was demolished. Work has since been halted on that section of the line. HS2 was originally designed to resolve capacity around London, but there were problems from the beginning. “A former CEO told me the initial cost estimates were done when they knew three to four per cent of the details,” reveals Lamble. “Former transport secretary Patrick McLoughlin told us about the parliamentary bill [to approve HS2] and that he understood it would give them planning permission. That was a mistake. What it gave them was deemed planning permission, which is slightly different, and means local councils and other agencies are given control over the detailed design of what happens.” In other words, local considerations had to be addressed by central government. “They had to get 8,000 additional permissions as major as increasing the number of tunnels and as trivial as moving a water fountain.” Budgets and deadlines have proved impossible to manage; HS2 has become shorthand for our inability to think big and deliver infrastructure. Lamble disagrees. “Yes, I was surprised the transport secretary didn’t know which kind of planning permission he was getting, but it also speaks to a bigger question about what kind of Britain we want to live in? We live on a small, densely populated, property-owning democratic island and there are consequences. "We can’t cut through empty fields or override public opposition in the way that a centralised power like China chooses to, but we have done big builds like HS1 and some new nuclear sites. Those who still support HS2 suggest that when it opens it will be a success and people will forget about the overspend and delay.” The latest issue of Radio Times is out now – subscribe here. Derailed: the Story of HS2 begins at 8pm on Saturday 19th July on BBC Radio 4. Check out more of our Entertainment coverage or visit our TV Guide and Streaming Guide to find out what else is on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
BBC News set to charge US audiences for the first time – costs revealed
The dynamic pay model is set to be expanded in coming weeks following the initial phase.
BBC News launched the first phase of its US pay model today (Thursday 26th June), with visitors of BBC.com expected to subscribe in order to access content. The commercially funded website is reported to reach 60 million visitors in the US alone, and operates separately from the BBC's UK platforms. The move was previously reported by The Guardian, which claimed BBC bosses were considering charging US-based consumers earlier this month in a bid to boost revenue. This initial stage will offer visitors the chance to pay $49.99 a year or $8.99 a month to gain unlimited access to the website's content as well as the BBC News channel live stream. "In the coming months, as we test and learn from audience consumption, ad-free documentary series and films (including the full BBC Select documentary catalogue), ad-free and early release podcasts, and exclusive newsletters and content will be included in the offer," the BBC confirmed in a statement. Rebecca Glashow, CEO BBC Studios Global Media & Streaming, said: "We’re bringing more of the BBC’s trusted, high-quality content together in one powerful, easy-to-access destination. "Over the next few months, as we test and learn more about audience needs and habits, additional long-form factual content will be added to the offer for paying users. This is a major milestone and just the beginning of an exciting new chapter." The dynamic pay model will still allow those who do not subscribe access, but only to select content. 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.
Wincey Willis – first female ITV weather presenter – dies aged 76, 40 years after making history
Tributes have poured in for the former Good Morning Britain broadcaster.
Wincey Willis – who was the first woman to present the weather on ITV – has died at the age of 76. Her death was made public this week, six months after she passed away in December 2024. She had previously been diagnosed with fronto-temporal dementia in 2015. Willis originally joined Good Morning Britain in 1983 having previously worked for Radio Tees and Tyne Tees Television. She went on to become the station's main weekday weather presenter and also presented a number of other segments on TV-am, many of which included pets and animals. Other television work included appearing as an adjudicator on the Channel 4 series Treasure Hunt and making several appearances on the game show Cross Wits, while throughout her career she also appeared in pantomime, published books and even devised a board game titled The Weather Game. Willis also devoted much of her her life to campaigning for environmental causes and worked as a conservation volunteer around the world, while her second book – titled Greendays – was a diary that included facts about environmental issues and suggestions of relevant activities and projects. Many people took to social media to pay tribute to Willis after the news of her death was made public, with BBC Wales weather presenter and journalist Sue Charles writing on X: "Sad news about Wincey Willis. Bringing back big memories of the early days of Breakfast TV. "And for '80s kids, the line ‘John Kettley is a weatherman… and so is Wincey Willis’, brought a level of pop culture notoriety, that went way beyond a namecheck in a one-hit wonder." View oEmbed on the source website Another X user wrote: "Sad to learn of the passing in December 2024 of Wincey Willis. She was something of a female trailblazer on TV, and we still enjoy the occasional bout of Treasure Hunt, with Wincey keeping track of Anneka Rice." A third commented, "RIP Wincey Willis. I'll always remember your happy face and bubbly personality on TV as I got ready for school." And another fan wrote: "Sad to read it’s just been announced the fabulous #WinceyWillis, a huge part of one of my all time favourite TV shows, #TreasureHunt, passed away at the end of last year, aged 76. "Always so positive and cheery, she couldn’t help but put a smile on the faces of those around her."
Jeremy Vine: "Once you put your views on the table, you become much less interesting as a presenter"
The TV presenter chats exclusively to Radio Times about impartiality and the topics that divide the UK the most.
This article first appeared in Radio Times magazine. What's the view from your sofa? I’m not going to boast about what I thought was a sexy TV but most likely isn’t – it’s probably got a cathode ray tube and is about 20 years out of date. But I have recently got a sexy clock and that’s just above the TV. It has a digital interface but it shows cogs, gears and levers that look real. To the right of the TV, there’s a little fire, which obviously isn’t lit at the moment. You hosted Eggheads and now Celebrity Puzzling. Do you like a quiz? I have a real interest in TV quizzes. There must be 1,000 episodes of Eggheads [he presented around 1,200] and they’ll still be showing them when I’m long dead. Whenever there’s a new quiz on, I always watch it. You don't just watch, you also partake? I was on Pointless with Jo Whiley and, to my surprise, we actually won. I’ve still got the trophy at home. I was on Rhod Gilbert’s Growing Pains with James Acaster and I’ve got the trophy for that on my desk at ITN. Recently, I was on Catchphrase. I was also on Who Wants to Be a Millionaire? with my brother, Tim [Vine, the stand-up comedian]. How was that? You always remember the question you were knocked out on. It was: “What does the D in Dwight D Eisenhower stand for?” Which I think is quite a difficult question. One of the options was David, as in Camp David, and another option was Donald. Tim said, “I know this – it’s Donald, Eisenhower was named after Donald Duck.” It was, of course, completely wrong… The D stands for David. Later, I asked Tim why he said that and he said, “Because it was funny.” Have you spoken to him since? He’s my brother; I have to speak to him. He was on The Weakest Link on Christmas Day – there were 15 Vines sitting around at home and he said, “Don’t watch it, don’t watch it!” So we watched it. The first question he got was: “What orange vegetable has a name that sounds like a property of gold?” You know what he said? Swede. You took over on Radio 2 from the legendary Jimmy Young. Does that heritage weigh heavily? Well, we moved offices recently and under a desk, someone discovered a massive bronze bust of Jimmy Young. There were all these 25-year-old producers and no one knew who it was. I thought, “I have to rescue this bust.” So now it’s at home in my kitchen. On your Radio 2 and Channel 5 shows you often have heated debates. What’s the biggest divide in Britain today? I think the main one is generational. I have a listener who rings up – he’s 80 years old – and he says that the reason young people can’t buy a house is because they spend all their time in Paris. Then a young person rings up and says, “We’re having experiences because we can’t afford a house.” How do you remain impartial? It’s the best job in the world, doing Radio 2 and 5, and the price of the ticket is that I don’t express my views. There’s a cadre of presenters and you know what their views are on everything. But once you start to put your views on the table, you become much less interesting as a presenter. I’m there to facilitate. At 59, you got your first tattoo — half of a Smiths lyric, shared with your daughter, Anna. Any plans for more? I don’t like them when they’re bitty and I think getting another would diminish the first one. Then again, I’ve got two daughters and if the second one said to me, “Can I have my half-and-half with you?” I’d have to say yes, of course. At the moment though, I’m going to stick with this one. I mean, it’s a Smiths’ lyric chosen by an 18-year-old. What about that?! The latest issue of Radio Times is out now – subscribe here. Celebrity Puzzling will premiere on 5 on Monday 23rd June at 7pm, followed by new episodes on the following weeknights. Check out more of our Entertainment coverage or visit our TV Guide and Streaming Guide to find out what else is on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Slow Horses star and Strictly Come Dancing legends confirmed for King's Birthday Honours 2025
It's that time of year when The King imparts honours for his birthday, and as usual, there's a gamut of famous faces from film and TV who have been chosen. One of the most high-profile names in the list has to undoubtedly be football icon David Beckham, who has received a knighthood, but he is far from the only big name to receive the honour. Actor Gary Oldman has also received a knighthood, following a storied career on screen, including an Oscar-winning performance as Winston Churchill in Darkest Hour. Oldman has also received plenty of plaudits in recent years for his performances as Jackson Lamb in Apple TV+'s Slow Horses, the fifth season of which will air in September. Alongside him, there have been honours for two Strictly Come Dancing stars, with presenters Tess Daly and Claudia Winkelman both being made Members of the Order of the British Empire (MBE), for services to broadcasting. Unsurprisingly buoyed by the news, Winkelman is noted to have said by the BBC, "I am ridiculously lucky and will celebrate with Tess by doing a paso doble," while Daly revealed that she cried upon opening her letter. Further honourees include Evita star, actress and singer Elaine Page, who has received a damehood, Love Island and TOWIE star Georgia Harrison, who has received an MBE for her work on online privacy and cybercrime, and The Who's Roger Daltrey has been knighted for his services to charity and music. It was a big day for darts, too. Both Luke Littler and Luke Humphries, who have teamed up for England at the World Cup of Darts, received MBEs, joining Beckham on the list of sporting honourees. Check out more of our Entertainment coverage or visit our TV Guide and Streaming Guide to find out what else is on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
BBC responds to presenter Nihal Arthanayake's criticism that 'nothing has changed' with lack of diversity
The BBC has said that creating an "inclusive culture" is a "big priority".
The BBC has responded to criticism from presenter Nihal Arthanayake that "nothing has changed" concerning diversity at the broadcaster. In a post on Instagram, Arthanayake – who first joined the BBC in 2002 and has held multiple roles across radio and TV – revealed he would be leaving in September and that he felt no progress has been made since he raised concerns more than a year ago. He said: "So today I walked into the BBC building in Salford and I was struck yet again, not for the first time, just how few Black and Asian people work in that building. "One thing that people have to understand is that when you walk into an environment where you just don't see anybody that looks like you, that has an effect. "Since I called them out on it, well over a year ago, it seems like ain't a damn thing changed." The post was captioned: "I remember calling out BBC North on the lack of diversity in the building I worked in. "I remember speaking to some of the black and asian people who worked there and I kept hearing how isolating it was for them (not all obviously). It just struck me again today. "It also reminded why I'll be leaving in September. Have pondered whether to press 'share' on this, but as I am leaving anyway." Yesterday, he posted a screenshot of an anonymous message from a BBC colleague that said: "I'm not sure the BBC is a place for people of colour. I feel we get treated like 'pets' that we should be grateful, despite grafting for our positions and dare we speak out." In response, a BBC spokesperson told RadioTimes.com: “We’re sorry if anyone feels this way, as creating an inclusive culture where everyone feels they belong is a big priority for us and we know we have further to go. "Whilst we’re proud of the diversity of the BBC, we remain committed to continuing to build a workforce that fully reflects and represents the whole of the UK.” In 2021, the broadcaster set a goal for 20 per cent of its staff to come from Black, Asian and minority ethnic backgrounds by March 2026. The latest audited figures from the BBC's Annual Report and Accounts 2023/24 showed that the proportion of employees from a Black, Asian and minority ethnic background last year were 17.2% for all staff and 14.4% for leadership positions (up from 17% and 14.1% respectively from the previous year). The corporation has also previously highlighted its staff-led BBC Embrace network for colleagues from Black, Asian and minority ethnic backgrounds, focused on contributing to a more inclusive culture across the BBC. Visit our TV Guide and Streaming Guide to find out what is on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Trooping the Colour returns for another royal celebration this year as the public gather for a weekend of festivities to celebrate the birthday of the sovereign. This year marks King Charles III's third Trooping the Colour as monarch, almost three years on since he became King. The celebration, which will be covered across BBC One and Two, is promised to be full of music, majesty and military precision, culminating with the annual RAF flypast and the Royal Family's balcony appearance. Read on for full details about Trooping the Colour 2025 and how to tune in from home. How to watch Trooping the Colour 2025 Clare Balding leads the live coverage once more from the heart of London, beginning on Saturday 14th June at 10:30am on BBC One and iPlayer. The parade will last for around two hours, with the BBC's coverage ending at 1:10pm. Highlights from the day will then be shown on BBC Two at 7pm. What is the schedule for Trooping the Colour 2025 and what time does it begin? Like years before, the Royal Family will begin celebrations in a procession from Buckingham Palace to the Horse Guards. Below is an estimated order of events for the day: 10:30am – The Horse Guard Parade 12:25pm – Royal Family to return to Buckingham Palace 12:55pm – Royal Family to assemble on the balcony of Buckingham Palace 1:00pm – Royal flypast by the RAF Does Trooping the Colour take place on the King's actual birthday? Contrary to popular belief, Trooping the Colour does not take place on King Charles III's birthday. His actual birthday is on 14th November, but Trooping the Colour marks an official celebration of a monarch, a tradition that dates back to the 18th century. Live coverage of Trooping the Colour – The King's Birthday Parade begins at 10:30am on Saturday 14th June on BBC One and BBC iPlayer. 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.
BBC confirms King's birthday TV coverage timings for Trooping the Colour
When to tune in to the King's official birthday celebration.
The BBC has confirmed timings for this year's Trooping the Colour, with the King's birthday parade set to go ahead on 14th June 2025. The broadcaster will show highlights on BBC Two at 7pm before airing Trooping the Colour: the King's Birthday Parade at 10:30pm on BBC One. Over 1,350 soldiers are set to take part, including more than 300 musicians from the Massed Bands. There will also be 250 soldiers from the Foot Guards who will line the processional route along The Mall. This will mark King Charles's third Trooping the Colour ceremony, which has been commemorating the birth of the country's sovereigns since the 18th century. It always takes place in summer, regardless of what dates their actual birthdays fall on. His Majesty's birthday is on 14th November. The BBC is set to air a programme dedicated to the event in the evening, covering the celebrations after airing highlights earlier in the afternoon. Trooping the Colour: the King's Birthday Parade will air on Saturday 14th June at 10:30pm on BBC One. Visit our TV Guide and Streaming Guide to find out what else is on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
ITV confirms major changes as Lorraine runtime halved and GMB extended
A major shake-up is coming at ITV in 2026.
ITV has announced major changes to its daytime shows as part of a shake-up for 2026. From the start of next year, Good Morning Britain will be extended by 30 minutes, running from 6am to 9:30am every day, while Lorraine has had its runtime cut in half and will now be broadcast from 9:30am to 10am. Lorraine and Loose Women's output will be reduced to 30 weeks of the year, down from 52 weeks, as part of the reshuffle. When Lorraine is not on the air, GMB will run from 6am to 10am. This Morning will continue to be broadcast between 10am and 12:30pm while Loose Women will be in the 12:30pm to 1:30pm slot. As part of the changes, GMB will be made by a dedicated team within ITV News at ITN, in a move aimed at bringing all of ITV's national news gathering into one hub. Lorraine, This Morning, and Loose Women will still be produced by ITV Studios but will be broadcast from a new central London location. Deadline is reporting that the changes will see ITV make more than 220 redundancies – around half the 450 employees who work across ITV Studios-produced programmes GMB, Lorraine, This Morning, and Loose Women. ITV has said that the changes will fund additional investment in drama and sporting events, including the coverage of the 2026 World Cup. Kevin Lygo, Managing Director of ITV’s Media and Entertainment Division, explained the motivation behind the announced changes. He said: “Daytime is a really important part of what we do, and these scheduling and production changes will enable us to continue to deliver a schedule providing viewers with the news, debate and discussion they love from the presenters they know and trust as well generating savings which will allow us to reinvest across the programme budget in other genres. “These changes also allow us to consolidate our news operations and expand our national, international and regional news output and to build upon our proud history of trusted journalism at a time when our viewers need accurate, unbiased news coverage more than ever.” Lygo added: “I recognise that our plans will have an impact on staff off screen in our Daytime production teams, and we will work with ITV Studios and ITN as they manage these changes to produce the shows differently from next year, and support them through this transition. “Daytime has been a core element of ITV’s schedule for over 40 years and these changes will set ITV up to continue to bring viewers award winning news, views and discussion as we enter our eighth decade.” The news comes amid talk that ITV has been entertaining suitors over a potential sale. Good Morning Britain airs every weekday from 6am on ITV. 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.
How to watch VE Day at 80 celebrations – full schedule
There are a host of programmes scheduled for the big day and throughout the week.
Thursday 8th May 2025 marks exactly 80 years since Victory in Europe Day, otherwise known as VE Day, when the Allies formally accepted Germany's unconditional surrender in the Second World War. There will be many programmes and events scheduled throughout the week to celebrate and mark the occasion, with the day itself seeing a service of thanksgiving taking place at Westminster Abbey. This service will be televised on BBC One, with Petroc Trelawny providing commentary and Sophie Raworth presenting from a studio in St James’s Park. This will be followed later in the day by a live concert from Horse Guards Parade in London, presented by Zoe Ball, with the likes of Samantha Barks, Fleur East, John Newman, Freya Ridings, The Darkness, Toploader and Tom Walker among those set to perform. East will be accompanied by a performance from Strictly Come Dancing professionals Amy Dowden, Carlos Gu, Karen Hauer, Neil Jones, Lauren Oakley and Kai Widdrington. Meanwhile, other programming in recognition of VE Day scheduled over the upcoming days includes documentary Dad’s Army at the BBC, a repeat of Vicky McClure: My Grandad’s War and the airing of 2016 film Their Finest. The Repair Shop will also be providing a VE Day special, while there will be a special episode of EastEnders which will see celebrations taking place in Albert Square. Read on for the full schedule of VE Day celebrations on TV this week. VE Day at 80 celebrations – full schedule You can find a full list of the VE Day at 80 coverage that is scheduled across the next few days here, including films and programmes centred around the Second World War, specific celebration programming and special episodes of ongoing series: Dad’s Army at the BBC – Tuesday 6th May, 7:30pm, BBC Two Dad’s Army – Tuesday 6th May, 8:30pm, BBC Two The Repair Shop: VE Day Special – Wednesday 7th May, 8pm, BBC One VE Day: We Were There – Wednesday 7th May, 11:30pm, BBC Two VE Day 80: The Nation Remembers – Thursday 8th May, 10:45am, BBC One EastEnders - Thursday 8th May, 7:30pm, BBC One VE Day 80: A Celebration to Remember – Thursday 8th May, 8pm, BBC One Their Finest – Thursday 8th May, 11pm, BBC Two Vicky McClure: My Grandad’s War – Thursday 8th May, 11:15pm, ITV1 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.
Russell Brand granted bail after rape and sexual assault charges – to appear in Crown Court later this month
The comedian and actor has denied the accusations.
Russell Brand has been granted bail following a hearing at Westminster Magistrates Court. The comedian, actor and television presenter has been charged with one count of rape, one count of indecent assault and one count of oral rape, plus two counts of sexual assault. Accusations come from four different women and are in connection to incidents in Bournemouth and London, which are alleged to have taken place between 1999 and 2005. The allegations were made public for the first time in a 2023 investigation by Channel 4's Dispatches titled Russell Brand: In Plain Sight, carried out in partnership with newspapers The Times and The Sunday Times. Brand has strongly denied the accusations, most recently telling followers on X: "I was a drug addict, a sex addict, and an imbecile – but what I never was, was a rapist. I've never engaged in non-consensual activity." In court today (per Sky News), he said very little, only confirming his name, date of birth, address and his understanding of the conditions of the bail. The case is now referred up to the Old Bailey, a Crown Court, where Brand is scheduled to appear on Friday 30th May. The charges were read out during the hearing, referring to an alleged rape in a Bournemouth hotel room in 1999 and an alleged indecent assault at a television studio in 2001. The charges also concern an alleged oral rape and sexual assault in London in 2004, and another alleged sexual assault between 2004 and 2005 at a radio station. Brand was living in the United States when the Crown Prosecution Service authorised the charges, which were made via post. He had provided the court with both his US and UK addresses. The 49-year-old became famous around the world for roles in comedy films and popular stand-up tours, but has more recently been known for his political views and social media output.
VE Day at 80: Stories of courage, sacrifice and survival
"So many of the ones I knew who didn't come back were air crew. They're who I'll be thinking of."
This article first appeared in Radio Times magazine. Stewart Taylor. The 102-year-old RAF veteran piloted a Dakota transport plane, serving in Europe and the Far East. For almost an hour, 102-year-old Stewart Taylor has been recalling his time piloting Dakota transport aircraft in the Second World War. The memories come back thick and fast, often peppered with smiles. It's only when he reflects on the meaning of VE Day 80, and why remembrance matters so much, that the words are suddenly more difficult to find. "I have a list of 50 people," he says slowly, tapping his temple. "Some I can't name, but I can see their faces. Some I was at school with, some lived down the street, some I served with, some were whole crews." His voice cracks as he struggles to get the words out, then finishes: "They never came back. Simple as that." Taylor's handshake is firm as he welcomes you into the Preston house where he lives entirely independently. Just back from a solo break driving to the Lake District in his camper van, close to where the RAF veteran sits is a photograph of himself with Kathleen, his wife for seven decades until her death nine years ago. They met in 1937 when he was 14 years old. "King George VI had made Lancaster, where I was born, a city to mark his coronation," he says, smiling. "There was a pageant with local schoolchildren doing a tableau of Saxon times. We were at the back, a serf and serfette. We were told to mingle, so Kath and I mingled for 70-odd years." The son of a factory foreman and a seamstress, Taylor left school at 15 before getting a job as a junior clerk in local government. In 1942, with war intensifying in Europe and Singapore falling to the Japanese, Taylor, then 19, joined the volunteer reserve. At that time the furthest he had been from home was 20 miles. By the end of 1946 he would see swathes of Canada, and journey through Libya, Iraq and the Indian sub-continent to reach Burma (now Myanmar), from where he would fly all over the Far East. "I’d never flown at all before the war, of course," he says. "We had 12 hours' flying training at boot camp in England before I was sent to Canada to join the British Commonwealth Air Training Plan in early 1943." The programme was created by the Allies to counter a shortage of pilots. "We took a six-day Atlantic crossing on a troop ship with no defensive convoy accompanying us, then a train to Calgary, where we trained in Tiger Moth biplanes near a field with bison roaming, before moving to Saskatchewan. Then it was Prince Edward Island on the eastern seaboard, supporting coastal patrols in the Gulf of St Lawrence and learning how to fix mines to drop on submarines." It was 1944 before he docked back in Liverpool. But the British Commonwealth Air Training Plan, which produced some 50,000 pilots during the course of the war, was a victim of its own success. "There were too many of us," says Taylor. D-Day had been and gone before he reached operational status. "I expected to be on Liberator bombers sweeping the North Sea for submarines. Instead, I was co-pilot on a Dakota with Air Transport Command." As the Allies advanced through Europe, Air Transport Command was responsible for flying in troops, delivering essential supplies and evacuating wounded soldiers. "We were the lorries of the air, taking off every morning at 5am, crossing the Channel to make landings in France, Belgium and Holland, towing gliders, dropping parachutists, carrying supplies of ammunition, mail, the odd general. "I did three trips carrying in reinforcements for the Battle of the Bulge in the Ardennes [the last major offensive Hitler attempted on the Western Front] at the end of 1944. It was dangerous – we had no armaments and didn’t carry parachutes." By VE Day he was training near Loughborough for a posting to Burma, to relieve crews who had been there for three years. "VE Day didn’t make a big difference to us because we were going to the Far East," he says. "We were given a day off so we went for a pint or two in Loughborough." He and Kathleen married on 4th August 1945, with Taylor on leave for his honeymoon in Chester when the Japanese surrendered 11 days later. But thousands of British troops remained in the Far East after VJ Day to manage military administrations in reconquered territories, repatriate prisoners of war and reoccupy Allied colonies, as well as providing food and supplies to colonial territories. "We had to go to keep the troops flying around and supplied, all in monsoon weather with no radar or oxygen. First I was based in Rangoon, then Singapore, flying all over the place – Hong Kong, Sumatra, Java, Thailand, Cambodia. We were flying supplies, mail and passengers, some diplomatic, some Gurkhas. A lot of what we did out there is forgotten now." Taylor returned home in November 1946 to find his previous job as a clerk had been given to someone else; he retrained as a primary school teacher, ultimately becoming a headmaster. He and Kathleen had two children, and as he talks his great-grandsons are playing in the garden. "I thought I’d go back to the Loughborough pub for another pint on VE Day this time," he says. "But it’s a branch of Lloyds Bank now." Instead he’ll be at a reception in Lancaster, and watch as a beacon is lit in the city – one of more than 1,000 nationwide – to mark 80 years since the end of the war in Europe. "So many of the ones I knew who didn’t come back were air crew," he says. "They're who I’ll be thinking of." The latest issue of Radio Times is out now – subscribe here. Visit our TV Guide and Streaming Guide to find out what else is on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
The war ended, but it never left him: Lesley Sharp on her father's quiet courage
He was a quiet, dignified, dutiful, beautiful man.
This article first appeared in Radio Times magazine. My dad was born in 1916, the year of the Battle of the Somme, at the height of what HG Wells called “the war that will end war”. A stoic Scotsman, he was 23 when the Second World War broke out. He signed up without thinking, but with the feeling that it was the right thing to do. The baby of one war was a man of the next. Over the next five years, he was stationed in Damascus, India, Lebanon and what was then called Persia. He saw major campaigns such as the Battle of Anzio, during which 10,000 British and 24,000 American soldiers lost their lives. By the time VE Day was declared, my dad had risen to the rank of Major and was sent to Germany, where he would be responsible for German prisoners of war. After his work there was done, he left the Army, despite entreaties from his superiors to stay. He wasn’t yet 30. When I was young, he talked about the war a little. He was humbled by the loss he had experienced; he nearly lost his own life a couple of times. A lot of the trauma he witnessed he didn’t talk about at all. He kept that in. He was grateful too, despite the circumstances, that he got to experience parts of the world that a working-class lad from Scotland would otherwise not have experienced. As I grew older, he told me more. Once, he relayed a story about a Polish officer who, unable to cope, drank himself to death over the course of a single night. The casualties of war weren’t confined to the battlefield. As Dad grew older, I could see for myself how significant his war years had been. He kept in touch with his colleagues and whenever one of them died, he always went to the funeral. He would be tipped back into a place where he remembered being young and what they’d been through together. That comradeship was a mainstay of his life, until the end of his life. After he died in 2007 at the age of 91, I had to go through his things. Along with his medals and letters and photographs from the time, I found old maps with his writing on, labelled “Top Secret”. He’d been in intelligence and, as I combed through his papers and mementoes, I learned more about my dad, about the war, and all the planning and analysis he’d done. He shouldered huge responsibility, seeing it not as a burden but as a duty. As it slips from living memory, ossifying into an historical event, the Second World War can be seen in abstract, academic, almost antiseptic terms. A global geopolitical conflict. A clash of ideologically opposed coalitions. A nadir in international relations. While it was undoubtedly all those things, for those who fought and their families, it was also deeply personal. For six years, the war cast a shadow across Britain – not one corner or community escaped its grim calculus or was spared its brutal consequences. Every day for six years, the country lived on its nerves, mourning its dead, fighting a war that it didn’t know it would win. There are many ways to commemorate VE Day, to honour the sacrifice and offer thanks for the service of those who fought for the country in the Second World war and in subsequent conflicts. There are events to attend – in village halls and mighty cathedrals – and many hours of television to watch and radio to listen to. Or, eschewing pomp, pageantry, prayers and fly-pasts, there’s the simplest of all acts of remembrance: the telling of someone’s story. Someone like my dad. He was a quiet, dignified, dutiful, beautiful man – one of the millions of quiet, dignified, dutiful, beautiful men and women who helped the Allies to victory in 1945. And for that, I remember him – Jack Sharp. The latest issue of Radio Times is out now – subscribe here. Visit our TV Guide and Streaming Guide to find out what else is on. For more from the biggest stars in TV, listen to The Radio Times Podcast.