Christopher

Emmerdale star Christopher Coghill, who plays villain Kev Barton, was once struck over the head with a handbag by a fan who was horrified at his on-screen behaviour

Soap star Christopher Coghill has discussed what happened during a bizarre fan encounter in Selfridges.

The actor, who portrays Kev Barton in ITV soap Emmerdale, describes his character as “a sympathetic psychopath, if you will”, adding he remains unfazed about being typecast as a villain following his stint playing paedophile Tony King in EastEnders in 2008.

He said: “You’ve got to give people a bit of credit. When I started in EastEnders, there were people who were like, ‘You know, there are people out there who really can’t tell the difference between what they see on telly and real life, and because of the character you’re playing, you’re going to get a lot of shit, and you might need police protection’.

“And then you go out, and people go, ‘Oh, you’re brilliant in EastEnders’, and that was kind of it. I did get hit over the head with a handbag in Selfridges, but apart from that..”

His Emmerdale colleague William Ash, who takes on the role of Caleb Miligan, said he’s encountered similar reactions, adding: “People are genuinely generally really nice. You don’t get any grief, really. I did have one woman at the at the petrol station going ‘oh, you’re right horrible to Moira’.”

The duo, who previously shared the screen in the 2003 drama Burn It and portrayed brothers in both the 2006 one-off comedy Magnolia and a 2016 episode of Moving On, find themselves embroiled in an Emmerdale storyline centred on an assault on Billy Fletcher (Jay Kontzle) at the depot.

Kev is responsible for the attack and Caleb possesses CCTV footage of the incident, but has been concealing it so he can pin the blame on his bitter rival, Joe Tate (Ned Porteous).

Coghill said of the footage: “I hold my hands up, it does look bad – I am bent over him with a crowbar and he’s in a pool of blood.”

Yet it might not prove to be the leverage that Caleb believes it to be.

Ash said: “I think [Caleb and wife Ruby, played by Beth Cordingly] just don’t know how to handle him, like most people in the village. It’s like he’s such a loose cannon. You just don’t know what you’re going to get from him.”

Coghill is equally insistent that he wants no further singing scenes for his character, following his on-screen serenade to estranged husband Robert (Ryan Hawley) with If You’re Not The One by Daniel Bedingfield, and his subsequent attempt to convey his emotions to long-lost son Lewis (Bradley Riches) through a rendition of Boyzone’s Father And Son.

Coghill said: “Do you know what, [producer] Laura Shaw did say to me the other week, do you want to do All I Want For Christmas Is You? And I said, if you keep me till Christmas 2029, I’ll do it then. That’s how my contract negotiations are going. But no, it’s excruciating. Horrible.

“If I could sing, I wouldn’t be an actor. If I could sing, I would have been in a band in the 1990s.”

Emmerdale airs weeknights at 8pm on ITV1 and STV, and is available to stream from 7am on ITVX, STV Player and YouTube.

Karen Thomas, a detective constable investigating the murder of Joanna Yeates, has shared that she never thought Christopher Jefferies had a motive after he was wrongfully arrested, revealing the moment she knew the killer was Vincent Tabak instead.

One of the police officers investigating the murder of Joanna Yeates has said that she “never thought there was a motive” for Christopher Jefferies, who was wrongfully arrested for her death. Jefferies, who was then 65, was arrested on suspicion of murdering Yeates, 25, on December 30, 2010.

Over 15 years later, Karen Thomas, a detective constable involved in the investigation, has recalled what she thought at the time – of Jefferies, the real killer Tabak, and of how her bosses reacted when she brought her suspicions to them.

Speaking in Disney’s new docuseries, Britain’s Most Notorious Crime Investigations, Thomas shared that she didn’t think Jefferies had a reason to kill Yeates, but could see why her colleagues were insistent that he had.

“I never thought there was a motive for Christopher Jefferies to kill Jo,” she said. “Having said that, we’ve sat with many people in custody who we thought maybe were the wrong people and were the right people, so as long as there was a reason to keep him in custody, it was justified.”

Jefferies was arrested just five days after Yeates’ body was discovered in Failand, Somerset, and 13 after she was first reported missing. The primary evidence against him was a speck of blood on one of his trainers, which police later discovered did not match Yeates’ DNA.

While he was in custody, Thomas was sent to Holland to take the witness statement of Vincent Tabak, Yeates’ neighbour, who claimed Jefferies had moved his car around the time that she went missing.

Thomas explained that Tabak’s statement troubled her. He claimed he had driven to an Asda in Bedminster for crisps and beer, even though there was a Tesco “down the road”. He asked questions about DNA and said he had knocked on Yeates’ door, despite having never offered that information before.

The detective said it seemed like Tabak was trying to “stitch up” the man they had in custody. “Inside, my heart was going ten to the dozen. I was sitting there thinking this could be our guy, this could be our killer.”

After flying back to the UK, Thomas took the statement straight to her bosses. She said: “In fairness, there was a lot coming from a lot of different angles and he’s trying to keep everything going, so I said ‘Boss, if you do nothing else, please prioritise his DNA’.”

But she later implied that she did think there was an issue with the investigation: “We took longer than we should have to catch Vincent Tabak. I think there’s always a danger that an officer can become fixated on a suspect and want the evidence to fit that.”

Tabak’s DNA was a match for the samples found on Yeates’ body. Jefferies was released two days after his arrest, and Tabak was taken into custody on 20 January.

He eventually pleaded guilty to manslaughter, saying he strangled Yeates whilst trying to silence her when she screamed after he tried to kiss her. He was found guilty of her murder and sentenced to life imprisonment.

20/20: Britain’s Most Notorious Crime Investigations is available on Disney+ now.

It was a very warm homecoming at the box office this weekend for Christopher Nolan’s “The Odyssey,” as the star-studded epic grossed $124.5 million in the U.S. and Canada, a welcome and massive jolt for theaters after a series of slower weeks.

The Universal Pictures film’s haul outperformed studio expectations of a $117 million domestic opening and set a record for the highest-grossing opening weekend for a live-action or R-rated film so far this year.

“The Odyssey” now ranks as the third-highest domestic debut of 2026, trailing only Disney and Pixar’s “Toy Story 5” ($159.7 million) and Universal, Illumination and Nintendo’s “The Super Mario Galaxy Movie” ($131.7 million).

The film, which stars Matt Damon as Odysseus, brought in a total of $264.1 million worldwide, according to studio estimates. That marks the biggest global opening ever for a Nolan film.

“The Odyssey” was produced by Nolan and his wife and producing partner Emma Thomas for their company, Syncopy, and had a production budget of about $200 million to $250 million.

“It delivers on every sort of promise,” said Jim Orr, Universal’s president of domestic distribution. “It is totally immersive. It is great emotional storytelling. It is something that truly has to be experienced on the big screen.”

The nearly three-hour epic is the first feature to be shot entirely on Imax cameras, a feat that required extensive cooperation between Nolan and the Canadian entertainment tech company, which operates out of Playa Vista.

Nolan first told Imax Chief Executive Rich Gelfond in early 2024 that he was considering making an entire film with Imax cameras and laid out what he’d need for that to happen, including a quieter and lighter camera, a way to make film reloads easier and getting enough trained projectionists.

“It took a fair amount of time and investment” to figure out those challenges, Gelfond said. But by August 2024, the Imax team put together a series of tests to show cinematographer Hoyte van Hoytema. Two months later, Nolan saw the tests and was impressed.

“As filmmakers and studios integrate Imax, we become an increasingly important part of the ecosystem,” Gelfond said. “When a film is released in Imax or shot in Imax, I think it’s a signal to audiences that it’s somewhat special, and the filmmaker is really leaning in in a unique way.”

Anticipation for the film has been building for at least a year, when the first Imax 70mm tickets went on sale. Pre-sales for “The Odyssey” shattered the previous Imax record by nearly double, the company said.

Enhanced formats made up 53% of the domestic weekend’s total, with both film and digital Imax revenue comprising 23.8%. Imax 70mm comprised about 4% of that total, with Imax digital making up the rest. Non-Imax 70mm film screening revenue totaled 3%, while 35mm showings made up 0.3%.

Adding to the film’s mystique is Nolan’s reliance on old-school Hollywood practical effects, such as his use of puppetry, animatronics and robotics in scenes with the Cyclops, as well as a real Viking boat that the actors learned to sail.

The massive reception for the film is a relief for theater owners, who weathered their own rough waters in the last few weeks, as Walt Disney Co.’s live-action “Moana” underperformed in its opening at the box office and Universal and Illumination’s “Minions & Monsters” had a softer debut.

“Moana” came in second at the box office this weekend with a domestic haul of $19 million. “Minions & Monsters” ($14.8 million), “Toy Story 5” ($14.8 million) and Warner Bros. Pictures’ “Evil Dead Burn” ($5 million) rounded out the top five, according to data from Rentrak.

THE ODYSSEY

(15) 173mins

★★★★★

NO need for theme parks this summer, this is a film that will leave you feeling as though you have ­ridden the highest rollercoaster.

Sir Christopher Nolan’s epic is an all-action, mythical nightmare to behold.

It’s a monumental piece of work, which rarely even feels like a film — more a spectacle to be watched in awe and amazement.

The Ancient Greek poem of the same title, written thousands of years ago, has been retold countless times over the centuries. But never to this scale.

The story is of Odysseus (Matt Damon) and his quest to return to his homeland.

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He is the King of Ithaca and the mastermind behind the Trojan Horse trick that ended the war.

His long journey back to his kingdom is to reunite with his wife, Penelope (Anne Hathaway), and son, Telemachus (Tom Holland).

They have been waiting for his return for 20 years, and Penelope has many more than 100 suitors ready to take up residency in the royal palace.

They spend their evenings eating the food and drinking the wine of their hostess, while plotting what they will do when she marries them.

One is Antinous (Robert Pattinson), a snarly, devious man who can barely hide his contempt for the family but longs for their power.

Stories run alongside this one, showing Odysseus lost on the island of Ogygia, eating lotus flowers with only the nymph Calypso (Charlize Theron) for company.

She tries to get his memories from him, and he retells the journey he took to get washed up there.

It includes battles, terrifying gods, curses, hauntings, a witch (Samantha Morton) who loves to feed her prey and Zendaya as Athena.

Each tale feels like a film in itself and alongside adrenalin-spiking action, there is a lot of heart.

The basis of the story is love, protection and the attempt to right wrongs.

Damon is spectacular in a role that must have pushed him to his limits physically. While being part of huge battle sequences, he is able to show a range of emotions on his face.

The standout performance has to be Pattinson, who as the hateful Antinous, ­manages to curl his lip to perfection.

Don’t let the nearly three-hour run time put you off.

Like any great ride, the moment it is over, you want it to start all over again.

A CLOSE SHAVE

(U) 30mins

★★★★★

IT’S been more than three decades since Nick Park made us all fall for a cheese-loving bachelor and his silent inventor dog.

And to mark the 50th anniversary of Aardman, the world-famous Bristol-based stop-motion and clay animation studios behind Wallace and Gromit, the films have been given national cinema release for a whole new generation to enjoy.

In this tale, from 1995, Wallace (Peter Sallis) and Gromit are running a high-tech window-cleaning service, which introduces them to wool shop owner Wendolene Ramsbottom (Anne Reid) and her evil-genius dog, Preston.

Thanks to his new canine enemy, Gromit is jailed for crimes he didn’t commit. With the help of his clumsy buddy – who is infatuated with Wendolene – he works to clear his name. Film fans will love the parody of prison movies, and there’s an impressive, climactic cheese scene.

Having won the Oscar for Best Animated Short Film and introducing the character of Shaun the Sheep – who went on to have his own TV spin-off series – this really is a delight to watch again. Brilliantly funny, with enough jeopardy and action to keep you hooked.

HEARTSTOPPER FOREVER

(15) 114mins

★★☆☆☆

AFTER three series of the incredibly successful coming-of-age Netflix drama, the story of the much-loved schoolboy couple, Nick and Charlie, is coming to an end.

This feature-film finale shows Nick (Kit Connor) and Charlie (Joe Locke) are still very much in love.

In fact, they’re obsessively infatuated. At every party they stare at each other across the dance floor. They take selfies every few minutes and all their friends fawn over how they’re the best couple ever.

But Charlie is off to university soon and newly crowned head boy Nick has another year at school. So this throws their relationship into a very mediocre level of disarray.

They go back and forth over what they’re going to do, with high levels of self-inflicted angst and many moments that feel excruciatingly cringey.

Meanwhile, their tight-knit friendship group seem to chat exclusively about their own complicated sexualities.

Written by Alice Oseman and produced by Brett Thomas, the fondness for this couple feels like it can’t forgive the incredibly lame storyline that offers little to no jeopardy.

One for the superfans.

On Netflix.