The Dunblane Tapes takes viewers back to 1996 to a tragic mass shooting that saw over a dozen primary school children killed. The heartbreaking documentary spans across 73 minutes as it tells the devastating impact of those still dealing with the loss, as well as the successful campaign launched to ban weapons in the UK.
With previously unseen footage, a Channel 4 synopsis states: “After the 1996 mass shooting at Dunblane, a campaign was launched to ban private handguns in the UK. This remarkable story is now told through unseen footage filmed by a bereaved parent.”
The documentary, released to mark the event’s anniversary, was previously aired on Channel 4 last month, but is now available to stream online for those who missed it.
It has been dubbed an “emotional roller coaster” and viewers have been left in tears following the harrowing instalment. Taking to social media, one viewer previously wrote: “Just finished watching The Dunblane Tapes on Channel 4. Extremely upsetting watch, but the families who were devastated by what happened changed the law of the land and definitely stopped it happening again.
“Also extremely pleased the perpetrator’s name was not mentioned, I won’t mention it either as he doesn’t deserve to be mentioned. Please watch it, it’s humbling and devastating and I remember it like it was yesterday, it was 13th March 1996.”
One TikTok viewer, who was wiping away tears while discussing the film, said in a video: “Well I went into this documentary knowing it was going to be sad but oh my God… It is heartbreaking.”
They added: “It’s awful it’s so sad but definitely give this a watch. It’s really well made, just heartbreaking.”
In another video, one person said: “It’s meant to be an absolute emotional rollercoaster. I’m not sure if I can handle this one I’ll be honest.”
Another replied: “I just blubbed the whole way through the Dunblane Tapes”, as one person commented: “Cried all the way through the Dunblane one so so sad.” A third commented: “The Dunblane Tapes was so moving. I cried my eyes out.”
Over on X, one Channel 4 viewer said: “Watching #TheDunblaneTapes.. 7 mins in and I’m already in tears. Gonna be a difficult watch. So close to home.”
Another wrote: “Cried lots watching deeply moving #TheDunblaneTapes.” A third added: “@Channel4 has just done it again with #TheDunblaneTapes. Both harrowing & moving in equal measure.”
The Dunblane Tapes can be streamed now on Channel 4 online. For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.
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In US-blockaded Cuba, ingenious mechanics and inventors revive old machines in order to survive during a time of scarcity.
When the Soviet Union collapsed in 1991, Cuba was plunged into crisis. Fuel, food and spare parts vanished almost overnight. This character-led documentary shows how common Cubans refused to give up – and instead built a new culture of radical repair. From Havana’s Malecon to small-town back yards, it follows mechanics, street vendors and a teacher-turned-inventor who live by one rule: “invent and resolve”.
A pristine US Plymouth Fury convertible of the 1950s hides a Soviet engine, Japanese gearbox and handmade parts; washing machines become coconut graters, solar dryers and tools for urban farms. Cuban historians and designer Ernesto Oroza reveal the philosophy behind this “technical disobedience”, treating every object as raw material to hack and extend. Far from nostalgia, the film offers a stark snapshot of a future in which resources are scarce and the power to repair may be our most important tool.
As part of Colombia’s peace process, former National Army soldiers confess to taking part in extrajudicial killings to the victims’ families.
Colombia continues to navigate the fragile aftermath of more than five decades of armed conflict. Although the 2016 peace agreement formally ended hostilities between the state and the FARC-EP rebels, sustaining peace has proven far more complex than signing it.
This episode follows former members of the national army accused of carrying out the so-called “falsos positivos” (false positives) — extrajudicial executions in which innocent civilians were executed, then falsely presented as combat casualties by the government as a way to bolster the numbers of enemies killed. Soldiers testified to their involvement in the assassinations to the families of the victims as part of the peace process. We also explore the suffering and anguish of those who have had their families devastated by these killings.
Their testimonies unfold within the framework of the Special Jurisdiction for Peace (JEP), the justice mechanism established under the peace agreement between the Colombian state and the Revolutionary Armed Forces of Colombia (FARC-EP).
The JEP applies a model of transitional and restorative justice centred on victims and with full guarantees of due process. Its mandate is to investigate, prosecute and sanction those most responsible for serious human rights violations. The system provides two pathways: a restorative process for those who acknowledge responsibility, provide full truth, and contribute to reparation and guarantees of non-repetition; and an adversarial process for those who do not.
Currently, more than 17,000 individuals are appearing before the JEP, including former FARC-EP members, members of the armed forces, and civilian third parties. The jurisdiction has issued indictments for maximum responsibility, delivered restorative and adversarial sentences, and conditionally waived criminal prosecution for non-most-responsible participants.
The 2026 original song contenders come from deep inside the characters singing them: a simple man wistfully looking back on his ordinary life; a budding bluesman with talent to burn down the house; a 17-time Oscar nominee; a demon-hunting K-pop star channeling the real-life singer-songwriter behind her; and a joyous expression of life from inside a documentary’s main “character,” a retirement home for musicians.
‘Dear Me’ from ‘Diane Warren: Relentless’
Music and lyrics by Diane Warren
Diane Warren in “Diane Warren: Relentless.”
(Don Holtz)
When 17-time Oscar nominee Diane Warren agreed to be in a documentary about her life, she found herself back in her childhood home in Van Nuys — specifically the bathroom where she wrote songs as an angsty teen.
“The acoustics in that bathroom were always great,” she says. “It was cool to go back and look at the bedroom window I used to sneak out of. I’m always connected to that 14-year-old me, with a guitar my dad bought me.”
Inspired by the documentary’s examination of her troubled youth, Warren wrote an “It gets better” ballad sung by Kesha: “Dear me, it’s gonna be all right, all right / Trust me, all of the pain is gonna fade.”
“I get notes from all ages; the song makes them feel like they could hug the little kid inside them,” says Warren. “It’s a love song to your younger self.”
‘Golden’ from ‘KPop Demon Hunters’
Music and lyrics by Ejae, Mark Sonnenblick, Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seon and Teddy Park
She related to the film’s protagonist, Rumi, a monster-fighting singer who is secretly part monster herself. “She has this side that she’s so ashamed of, that she was born with. I struggled with my own demons that I was ashamed of, growing up in the K-pop industry, [harshly critiqued for] my physical appearance, my voice, my personality.
“Even when writing ‘Golden,’ things were just not happening. It was a really bad time.”
Yet the hit is a catchy K-pop banger.
“It was very cathartic,” she says. “I remember crying while recording the demo. I was desperate.
“Now when I sing it, it’s a different feeling. I was able to reach a dream, and it makes me feel like this is who I was meant to be.”
‘I Lied to You’ from ‘Sinners’
Music and lyrics by Raphael Saadiq and Ludwig Göransson
Miles Caton, center, in “Sinners.”
(Warner Bros. Pictures)
Ryan Coogler’s “Sinners” features a central moment of musical ecstasy. Emerging bluesman Sammie plays a song he wrote as a confession to his pastor father, a paean to the music he loves. As the juke joint crowd responds, he loses himself in the timeless transcendence artists hope for.
Co-writer Ludwig Göransson says, “It doesn’t happen very often, but you have those experiences when you really are getting into the music and time and space disappears. Ryan’s not a musician, but it was written like he’s been in that position.”
In cosmic communion, practitioners of Black music from many eras appear to Sammie, the joint’s roof combusting in his mind. Göransson assisted in the Dolby Atmos mix, moving the music and sound around spatially as the camera travels.
Co-writer Raphael Saadiq says, “Sammie’s father felt secular music was devil music. Even today, you have people who go to church who don’t listen to the blues [for that reason], but deep down inside, they love it because it’s something we inherited from our ancestors.”
‘Sweet Dreams of Joy’ from ‘Viva Verdi!’
Music and lyrics by Nicholas Pike
Milan’s Casa Verdi, a retirement home for musicians depicted in “Viva Verdi!”
(Viva Verdi! LLC)
Even those who know little about opera have heard of Giuseppe Verdi. What many don’t know is one of his most enduring accomplishments is Casa Verdi — a retirement home for musicians. Yvonne Russo’s documentary “Viva Verdi!” captures the vibrant life inside its walls, expressed in the aria “Sweet Dreams of Joy,” sung by soprano Ana María Martínez and composed by Nicholas Pike.
The filmmakers “sent me this 12-minute assembly, kind of like a teaser, and that’s all I saw,” says Pike. “The passion, the vitality of these residents, the mentoring of young, up-and-coming artists … I went over to the piano and wrote the song.”
He says the whole thing took about a day to craft, with its contemporary piano figures and classical vocals, imbued with the vivaciousness of Casa Verdi’s residents.
He wanted to capture the footage’s “energy and life and hope. We’ve all been to retirement homes; they can be pretty down places. This is 180 degrees from that.”
‘Train Dreams’ from ‘Train Dreams’
Music by Nick Cave and Bryce Dessner; lyrics by Nick Cave
Joel Edgerton in “Train Dreams.”
(Netflix)
When “Train Dreams” star Joel Edgerton called Nick Cave to work with composer Bryce Dessner on a song for the film, the postpunk poet and art rocker was on holiday, avoiding the “attendant agony” of songwriting. But Denis Johnson’s book happened to be a favorite of Cave’s.
Edgerton sent him the film. Cave says, “I sat up in bed and watched it with Bryce’s gorgeous score and fell asleep and had a kind of fever dream with all the images of this extraordinary film, and woke up with the lyrics fully formed, which is extremely unusual for me.”
He went to the hotel’s breakfast room, where there was a piano. “It all just sort of poured out of me. The melody and the lyrics fit perfectly to Bryce’s score.”
The song expresses “the inarticulate wonder at the world that the lead character has. There’s this chordal thing after the refrain, that rises up — an expression of that wonder, rising out of the grief.
“‘This has been going on for years … I can’t begin to tell you how that feels.’”
Chasing a Killer: Gary Allen is set to premier on Prime Video this weekend.
16:20, 20 Feb 2026Updated 16:28, 20 Feb 2026
Chasing A Killer: Gary Allen – Killer’s chilling confession
A killer’s harrowing admission is set to be heard in a brand new true crime documentary premiering this weekend.
Chasing a Killer: Gary Allen will be released on Prime Video in a matter of days, on Sunday, February 22 spanning across two episodes, each 45 minutes long.
Plunging viewers into the chilling investigation into the suspect who was “known for decades as the man who got away with murder”, fans will see how the investigation unfolded.
The series follows the long pursuit of murderer Gary Allen by detectives determined not to let the case go cold, featuring firsthand accounts from investigators, journalists, and survivors.
Prime Video teases: “In February 2000, Gary Allen walks free from Sheffield Crown Court, acquitted of murdering 29-year-old Samantha Class. But detectives are convinced it’s only a matter of time before he strikes again.
“What follows is a two-decade pursuit by detectives who refuse to let the case go cold. A change in UK law, a covert operation, and the tragic murder of another woman lead detectives to hope they will finally bring Allen to justice – ‘You can’t get away with murder twice, surely?’ journalist Lisa Welton asks.”
Following another murder investigation in 2018, the streaming platform adds: “Featuring firsthand accounts from detectives, journalists, and survivors, this two-part documentary highlights the tireless efforts of South Yorkshire and Humberside Police to bring down Gary Allen, a man who believed he was above the law.
“Known for decades as the man who got away with murder, will he finally be brought to justice?”
In an exclusive first look ahead of the Prime Video release, a chilling confession can be heard.
The short clip hears from Chris Calvert who reads out part of a probation report revealing some of Allen’s troubling behaviour and disturbing thoughts, with Chris later branding him as a “psychopath”.
She says: “The extract I’m about to read is from the report that I found in one of the boxes from the probation officers who interviewed Gary Allen in 2003.”
Reading from the report, Chris added: “In the report they write he spoke openly about his strong dislike of prostitutes.
“Gary admitted to me that he planned and subsequently committed the attacks on the prostitutes in Plymouth he stated that the pleasure of hurting builds from the planning stage.
“Prostitutes are easy targets, I just want to hurt people, I enjoy thinking about it, I get pleasure from thinking. I just really enjoy different types of violence.”
After reading the extract, Chris continued: “It’s the words of a psychopath isn’t it.”
Chasing a Killer: Gary Allen is available to stream on Prime Video from February 22.
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Frederick Wiseman, a preeminent documentary filmmaker, has died. He was 96.
The filmmaker’s death was announced by his family Monday in a statement released by Zipporah Films, Wiseman’s distribution company.
In a career that lasted nearly 60 years, Wiseman produced and directed 45 films beginning in 1967 with “Titicut Follies,” a documentary on the the patient-inmates of Bridgewater State Hospital for the Criminally Insane in Massachusetts, through 2023’s “Menus-Plaisirs — Les Troisgros,” a documentary on the Troisgros family’s Michelin three-starred restaurant in Ouches, France. His final film earned universal critical acclaim, and was recognized as the best nonfiction film of 2023 by the New York Film Critics Circle, the Los Angeles Film Critics Assn. Awards and the National Society of Film Critics.
“Wiseman, whose observational approach has often been mischaracterized as objective or omniscient, here drops any pretense to neutrality, so potent and overpowering is his sense of kinship with a fellow artist,” wrote Justin Chang in his 2023 review. “The marriage of sensibilities in front of and behind the camera is the stealthiest meeting in ‘Menus-Plaisirs — Les Troisgros,’ and the most unexpectedly satisfying.”
A scene from Frederick Wiseman’s “Menus-Plaisirs – Les Troisgros.”
(PBS)
The filmmaker considered both Cambridge, Mass., and Paris his homes. His films, to an extent, reflected that transatlantic residency in their freshness of perspective. They display an innate curiosity and astonishing degrees of empathy, intelligence and perceptiveness, with subjects ranging from public and social institutions to cultural and specialized spaces and the minutiae of human interactions.
Wiseman’s other films included “High School” (1968), “Welfare” (1975), “Juvenile Court” (1973), “Public Housing” (1997), “La Danse” (2009), “National Gallery” (2014), “Ex Libris — The New York Public Library” (2017) and “City Hall” (2020). The varied body of work earned three Emmy Awards and an honorary Academy Award. Wiseman was also awarded Guggenheim and MacArthur Prize fellowships.
Beyond documentaries, the director also made three fiction films, “Seraphita’s Diary” (1982), “The Last Letter” (2002) and “A Couple” (2022). In reviewing the last, Chang wrote, “I suspect [Wiseman] is no more likely to impose himself on one of his fictions than he would on one of his documentaries, which ‘A Couple’ may resemble more than it appears. Wiseman has spent a career probing the complex inner workings and painfully human errors of America’s establishments, but in marriage itself, he may have found the most fraught, mysterious and unreformable institution of all.”
Nathalie Boutefeu in the movie “A Couple.”
(Film Forum)
Frederick Wiseman was born Jan. 1, 1930, in Boston. He graduated from Willams College and Yale Law School before embarking on a filmmaking career in the mid-1960s. He remained staunchly independent, establishing Zipporah Films, named for his wife, in 1971, in order to maintain control over distribution of his work.
In addition to his filmmaking career, Wiseman worked as a theater director and actor, including a recent appearance in Rebecca Zlotowski’s 2025 film “A Private Life,” starring Jodie Foster.
Wiseman’s wife of 65 years, Zipporah Batshaw Wiseman, died 2021. He is survived by his two sons, David (Jennifer) and Eric (Kristen Stowell), and three grandchildren, Benjamin, Charlie and Tess, as well as his friend and collaborator Karen Konicek, with whom he worked for 45 years.
Jesy Nelson: Life After Little Mix, which is out on Amazon Prime, follows Jesy’s life after she left Little Mix back in 2020, including her reflections on fame, pressure, and her own personal truth about that period
Samantha Bartlett Assistant Editor, Social News
06:02, 13 Feb 2026
Jesy Nelson: Life After Little Mix follows Jesy’s life after she left Little Mix back in 2020(Image: Getty Images)
Jesy Nelson’s Amazon Prime Video documentary, which is out today (Friday February 13) is a major new six-part series.
Jesy Nelson: Life After Little Mix follows Jesy’s life after she left Little Mix back in 2020, including her reflections on fame, pressure, and her own personal truth about that period. It’s her most candid account yet of why she departed the group and how she’s processed everything that happened. Another central focus of the documentary is Jesy’s pregnancy with her twin girls, Ocean Jade and Story. The cameras follow the 34-year-old Romford star through what became a high-risk pregnancy including complications like twin-to-twin transfusion syndrome and emergency medical moments.
Jesy uses the documentary to share her family’s real-time experience with this diagnosis and to raise awareness about it, including campaigning for expanded newborn screening in the NHS.
Besides the physical journey, the Amazon Prime series also revisits her personal and emotional challenges, including struggles with the pressure of fame, mental health battles, and what it’s been like stepping back from one of the UK’s biggest pop acts.
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Many fans have been excited to watch the documentary, however some have confessed online they ‘don’t think they can watch it’ for one reason – that it will leave them too emotional.
One person wrote: “I’m not gonna handle this well I’m already emotional about it.”
While another added: “My heart. I don’t even think I can watch this. I’m already crying.”
A third chimed in: “I’m gonna weep aren’t I,” while a fourth added: “She deserves to tell her side of the story after years of being silent.”
However, she went on to spend a decade in the band before quitting.
Jesy said: “That [leaving] presented itself far before I made that decision.
“There was a time where I was like ‘Oh, I want to leave’ and I remember sitting down with my family… and it was actually because of my brother that in the end I stayed.”
She added: “The first time I wanted to leave I remember I went home and we were kinda weighing up the [pros and cons]… and at that point we weren’t even like at our biggest.
“We were, it had only been like two years, but we were still big. Everyone still knew who Little Mix were so it was like ‘if you leave now, what are you going to do?’”
Speak on the Great Company with Jamie Laing podcast, Jesy also praised her brother for his advice that ultimately kept her in the band and for encouraging her to make as much money as she could off of Little Mix‘s fame.
“My brother was like ‘you are so much stronger than you give yourself credit for and I think you can stick this out for another few years,” she explained.
In post-genocide Rwanda, fragile encounters see survivors and perpetrators face the past to reopen paths to coexistence.
In 1994, Rwanda was devastated when Hutu leaders orchestrated a systematic genocide against the Tutsi population – violence rooted in decades of engineered ethnic division and political manipulation designed to fracture the country. In the span of 100 days, nearly a million lives were taken, leaving communities destroyed and neighbours turned into enemies.
Decades later, the nation continues the difficult task of rebuilding trust. This episode follows Karenzi, a former perpetrator who was allowed to return to his village through the Gacaca courts, Rwanda’s traditional community tribunals. Under this system, reintegration depended not on serving long prison terms, but on openly confessing crimes, acknowledging the truth and seeking forgiveness from survivors. Karenzi’s path forces him to confront the weight of his actions and to engage directly with those who carry the memory of what he did.
As Karenzi and Murakatete begin to speak to each other, the episode witnesses how truth-telling, accountability, and the willingness to listen create a space for mutual healing, in the spirit of Mvura Nkuvure: “I heal you, you heal me.” Through their shared effort, the film explores how Rwanda’s reconciliation process continues to evolve, shaped by the people who dare to face one another after unimaginable loss.
Struggling with loneliness, people in Japan use an online chat service for mental health support and social connection.
Loneliness is a growing epidemic worldwide, but in Japan, it has become particularly severe as the pressures of modern life increasingly isolate individuals from their communities.
A Place for You is a mental health hotline where dedicated volunteers provide critical support to thousands in need every day. Two people who are struggling to find meaning in their lives turn to the online chat service as they seek connection. As they become aware of their need for human bonds, they embark on a journey of healing and renewal.
Dear Tomorrow is a documentary film by Kaspar Astrup Schroder.
In the 1930s, the white matriarchs of tiny Natchez, Miss. — one of the 19th century’s wealthiest American towns thanks to the slavery-driven cotton trade — opened their stately antebellum mansions to save themselves from economic ruin. Tourism dollars flowed in, even if the prettified Southern history being sold ignored the immoral plague that built its riches in the first place.
By turns cheeky and disturbing, blunt and nuanced, Suzannah Herbert’s excellent documentary “Natchez” offers its own guided tour of a memory-challenged community (population: 14,000) struggling to reconcile its exquisite, carefully scrubbed façade with the inconvenient truths some would like to see better represented in the narrative.
That longstanding erasure has made Natchez a less commercially friendly prospect to younger generations of visitors. And meaningful progress turns out to be much harder than simply refashioning an exhibit or a docent’s spiel.
Can a place like Natchez — home to both a cherished tourist pageantry called the Pilgrimage and the slave market site called Forks of the Road — find a harmonious existence between its green-and-serene sightseeing pleasures and its terrible past? Its optimistic mayor seems to think so, if the first scene is any indication, in which he exalts a “new Natchez” at a spirited ladies’ luncheon held by the tour-umbrella association, the Garden Club, and featuring that group’s first Black member, Deborah Cosey.
Cosey, we learn, runs Concord Quarters, a burned-down plantation’s last remaining building, which once housed its enslaved. (She also lives there.) Centering the work and lives of these forgotten souls is a mission she sees as telling “the rest of the story.” In one tense scene with her white colleagues, Cosey winces at their version of historical enlightenment — the reclamation project is moving at a horse-drawn carriage’s pace.
The big house is still the main show, antiquated customs and preserved finery still the plot, even as some of these hosting descendants, faced with declining revenues, grasp that there’s an increasing awkwardness to the “Gone With the Wind” myth they’re peddling. Meanwhile, charming and knowledgeable Black pastor Tracy “Rev” Collins offers a lively van tour (“See the real Mississippi”), an educational reality check about slavery’s legacy laced with witty asides.
The divide gets more complicated when the documentary trails openly gay veteran Garden Club member David Garner, whose charity work benefiting the LGBTQ+ community would seem to point to an old world’s shifting tolerance. But when this outlier’s intensely Southern-fried tour patter reveals a chillingly deep-seated racism, it slaps you right back into sobriety about Natchez’s roots — a neo-Confederate mindset that doesn’t care if a camera is there to record it.
“Natchez” is full of quietly charged moments in dreamily scenic surroundings, one result of Noah Collier’s lush cinematography, deployed like a deliberately performative nostalgia that lets us know there’s always more to see if we look (and listen) closely enough. This stylistic approach allows Herbert to expertly avoid inadvertently selling Natchez itself, instead focusing on how this town’s peculiar relationship to an overwhelming past still lives inside those doing the selling.
Citizens of Nowhere is a documentary short about stateless people in the United States – individuals who, through circumstance or legal technicality, belong to no nation. Without passports, citizenship or legal recognition, they live in a state of uncertainty.
From finding work and accessing education, to simply existing within a system that does not officially recognise them, stateless people face endless bureaucratic barriers.
This documentary short by Alicia Sully questions what citizenship really means, and what happens when a person has none.
A What Took You So Long? production, in association with United Stateless.
New Netflix documentary, The Investigation of Lucy Letby, airs unseen footage of the former nurse’s arrest before she was charged with the murder of seven infants
00:01, 04 Feb 2026Updated 00:21, 04 Feb 2026
An explosive new Lucy Letby documentary by Netflix features unseen police footage(Image: Courtesy of Netflix)
An explosive new Lucy Letby documentary by Netflix features unseen police footage and new evidence which will make some viewers question her conviction.
The former nurse, 36, has been dubbed the Angel of Death, after she was convicted of murdering seven infants and attempting to murder seven others, with two attempts on one of her victims, between June 2015 and June 2016. But not everyone is convinced of her guilt and there will be more debate with the release of this film. Here are the most shocking moments of the film…
Lucy Letby’s six-word comment to crying parents on arrest
The documentary starts with a hugely emotional scene showing Letty’s arrest by police as she tells her parents: “You know I didn’t do it.”
Letby’s mum Susan wailed in pain as police entered the family home in Hereford in June 2019. It is Letty’s second arrest and her mum says: “Please no, not again no!”
Police ignore her though and continue up the stairs to arrest Letby in her bedroom where she is in a dressing gown.
Letby then walks down the stairs with officers and begs “Please can I see my cat?” and is allowed to stroke the cat before she is handcuffed.
Off camera Letby is picked up by a mic and tells her parents: “You know I didn’t do it.”
And her mum replies: “I know you didn’t. We know that!” Her dad John’s voice can also be heard agreeing.
Letby then refers to her cats when she walks out the front door and says: “It’s alright, look after the boys.”
As Letby leaves the house in a dressing gown her mum can be heard starting to sob at the front door again.
“Just go in mum,” Letby tells her. “Don’t look mum just go. Mum just go in.” The car then drives her to the police station where she faced further questioning.
Parents have criticised the decision for footage of their home to be given to Netflix by Cheshire police, calling it a “complete invasion of privacy”.
The couple raised concerns the documentary might make their home “become a tourist attraction”.
In a statement to The Sunday Times, the couple said: “The previous programmes made about Lucy, including Panorama and the almost nightly news showing her being brought out handcuffed in a blue tracksuit are heartbreaking for us.
“However, this Netflix documentary is on another level. We had no idea they were using footage in our house. We will not watch it – it would likely kill us if we did.
“We have, however, stumbled on pictures of her being arrested in her bedroom in our house and her saying goodbye to one of her beloved cats, which are even more distressing.
“Heaven knows how much more they have to show. All this taking place in the home where we have lived for 40 years. It is in a small cul-de-sac in a small town where everyone knows everyone.
“It is a complete invasion of privacy of which we would have known nothing if Lucy’s barrister had not told us.”
Letby speaks out on Post It note “confession”
For much of the documentary when Letby is shown in police custody she is seen saying “no comment” to questions and looking emotionless. That changes when she is shown post it notes and paper and asked about comments she has made on them.
Letby says: “I just wrote it because everything had got on top of me. It was not long after I had been removed from the unit.
“I felt like I might have hurt them without knowing. That made me feel guilty.
“I felt like in my practice I might have hurt them without knowing through my practice. And that made me feel guilty.
“I was blaming myself. But not because I had done something, because of the way people were making me feel. I felt like I had only done my best for the babies, trying to say that my practice wasn’t good or I had done something, I just couldn’t cope.
“I did just not want to be here anymore. I felt It was all spiralling out of control. And I didn’t know how to deal with it all.
“He was trying to imply it was something I had done.
“It crossed my mind at time whether they were trying to blame me for something somebody else had done.”
Mother of victim speaks for first time
The mum of one of the babies attacked by killer nurse Letby speaks for the first time in the documentary. It tells how Zoe (not her real name) was born on June 20, 2015, but died two days later.
Her mum, given the name ‘Sarah’ in the doc, revealed she watched helplessly as doctors desperately tried to save her daughter.
She says: “It was hard looking at her in the incubator. I couldn’t take her out, but I was able to hold her hand. She was so fragile, small and precious, I became a mummy.
“The doctors were telling us that she was responding very well, that she was responding as expected, and there were no concerns.”
But she tells the documentary of the hoor which followed: “I was fast asleep when a nurse turned a light on. She said, ‘You need to come right now’. I asked, ‘what’s going on?’ And she said, ‘there’s no time we need to go’.
“I remember being wheeled down the long corridor thinking, what’s going on. I felt the panic in the room.
“The doctor was trying everything to keep her heart pumping. He wasn’t giving up. I wanted him to keep fighting. But the other doctor put her hand on his shoulder and said, ‘You need to stop, you need to let her go’.
“The doctor was still holding Zoe, but he stopped what he was doing. That was it. It was finished. It was over.”
Zoe’s mum later tells the show how she later received a call from the police telling her someone had been arrested in connection with the baby’s death: “All of a sudden I realised someone could have purposely targeted my child. We were just completely lost for words.”
When she saw Letby’s picture on the news, she said: “As soon as I saw her face I recognised the nurse straight away. When I visited Zoe for the last time she had a clipboard but she wasn’t really doing any jobs. She was just there, watching us.”
She tells the show: “Preparing for the trial was very challenging. There wasn’t a day I wasn’t thinking about Zoe. I wanted to do her justice, but I didn’t want to go to trial and be biased. I knew Lusy Letby was going to take the stand so I needed to face her.
“For the first time since Zoe’s death I was seeing Lucy Letby. I sat three metres away from her. She looked at me a dozen times, staring. Every time she looked at me I’d have to look down.”
When she appeared in court Letby recalled details of almost all of the 17 children she was accused of harming – except baby Zoe.
Sarah ends the doc saying: “There’s no getting over any of this, there’s the sorrow but there’s the hope and love we have for her.
“Ultimately we’re still here and I want to count my blessings and appreciate what I have. I was strong enough to try again. My husband and I have a beautiful son. He is our reason for everything.
“I have always talked to him about Zoe. He knows she died when she was a baby. He knows she’s in heaven. It’s been storm after storm and it’s not over. But I want to make it through.”
Letby reveals her prison conditions and plans for future
In the doc her friend Maisie reads from a letter she has received from Letby whilst she is in prison.
Letby said: “Maisie, there are no words to describe my situation, but knowing that I have your friendship regardless, is so important and special to me.
“I have my own room and toilet. I’m able to shower each day and go outside for a walk. Getting outside is so important, even though it’s bit chilly. I miss Tigger and Smudge so much, it’s heartbreaking that they cannot understand why I’m no longer there. They must think I’m a terrible mummy. Mum and Dad are taking good care of them, though, and are, no doubt, spoiling them. Poignantly, Letby added: “I’m trying to do all that I can to remain strong and positive. I’m determined to get through this. I will not give up.”
Friend Maisie then begins to cry on screen. Just before reading the letter aloud she had admitted: “Up until the trial and verdict I would write to Lucy and she would write back. Now I don’t know what to say.”
Doctor admits “tiny, tiny guilt” they have got wrong person
Dr John Gibbs was a consultant paediatrician was working at the Countess of Chester Hospital when the baby deaths occurred and suspicion grew around Letty’s involvement.
He concludes his interview in the doc by saying: “Some people are claiming that we consultants had a vendetta against Lucy Letby. Where’s your evidence for that?
“I have been accused online of killing babies, which is shocking.
“I live with two guilts, guilt we let the babies down and tiny, tiny, tiny guilt did we get the wrong person? Just in case.
“I don’t think there was a miscarriage of justice, but you worry that no one actually saw her do it.”
By contrast Letby’s friend Maisie is standing by her even though she has some small concerns she might not be innocent.
Maisie says: “Over the last few years, I’ve got through questioning has she presented one side to me and a different side to other people.
“There’s always doubt, because as much as you know someone, you never know the whole of someone. They can still have things that you don’t know about them. But unless I saw actual evidence, I can’t believe it.
“I know that people think that I support a baby murderer, but she’s my friend and currently, in jail, forever.”
Letby barrister continues to fight for “last chance” retrial
The final twenty minutes of the documentary are given over to how Mark McDonald joined Letby’s legal team after she was convicted of murdering seven infants and attempting to murder seven others, with two attempts on one of her victims, between June 2015 and June 2016.
He insists she has “no motive” and that the evidence used to prosecute her is flawed.
One academic paper co-written by Dr Shoo Lee was used as part of Letty’s conviction. But Dr Lee, a Canadian neonatal care expert, said there were alternative explanations for each of Letby’s convictions for murder or attempted murder.
He tells the documentary: “A young woman could be in prison for crimes that she didn’t commit,” and describes work he has been doing as her “last chance”.
Dr Lee and a panel of international medical experts reviewed the case and McDonald is hoping to use this as new evidence. McDonald says: “I put it into the criminal cases Review Commission, the CCRC, who, with any hope, will send it back to the Court of Appeal, to push for retrial.”
The Investigation Of Lucy Letby is out now on Netflix.
