Fault Lines investigates the killings of Palestinians seeking aid at GHF sites in Gaza.
After months of blockade and starvation in Gaza, Israel allowed a new United States venture – the Gaza Humanitarian Foundation (GHF) – to distribute food. Branded as a lifeline, its sites quickly became known by Palestinians and dozens of human rights groups as “death traps”.
Fault Lines investigates how civilians seeking aid were funnelled through militarised zones, where thousands were killed or injured under fire.
Through the testimonies of grieving families, a former contractor, and human rights experts, the film exposes how GHF’s operations replaced UNRWA’s proven aid system with a scheme critics say was designed for displacement, not relief. At the heart of this investigation is a haunting question: was GHF delivering humanitarian aid – or helping turn breadlines into killing fields?
In 2019, a Sudanese team of jiu-jitsu athletes set out on an extraordinary quest: to travel by land from Sudan to Kenya, despite having no funding and limited resources, to compete in the LionHeart Nairobi Open.
Together members of the Muqatel Training Center for martial arts travelled across three countries, carrying not just their hopes and dreams, but the spirit of a revolution that reshaped Sudan.
Journey to Kenya is a documentary short about resilience, unity and determination — a powerful reminder that dreams can transcend borders.
A film by Ibrahim “Snoopy” Ahmed, produced by In Deep Visions.
FORMER Love Island star Molly-Mae Hague has broken her silence on her Behind It All documentary and the backlash she faced.
The 26-year-old successful star and mum of one, was slammed when her newAmazondocuseries,Molly-Mae: Behind It All, was released.
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Molly-Mae Hague has opened up about the backlash she received after her docuseries dropped on AmazonCredit: YouTube/mollymae9879The reality star and influencer said she deleted TikTok after seeing some of the commentsCredit: YouTube/mollymae9879
Breaking her silence on the backlash and reaction from viewers, Molly-Mae opened up in the introduction of her new YouTube video, which was shared on Monday evening.
The influencer and fashion mogul even revealed she was forced to delete TikTok amid the comments she saw about the series.
Speaking in her vlog, she said: “I had seen what people were saying about the doc and then made the executive decision to basically delete TikTok.”
Molly-Mae added how deleting the app “has been quite frankly one of the best decisions I ever made”.
The reality star then said how though she has grown a thick skin over the years, “there’s something about that app that just feels like so insanely toxic”.
Molly-Mae then explained how she saw her makeup artist scrolling on social media and spotted “at least three things within that short time of me looking at her phone that I didn’t want to see”.
“So, I just felt like, okay, definitely definitely in no way, shape or form rushing to get the app back anytime soon.
“I just want to say that I’ve also received so many incredibly lovely messages and people saying that they’ve also really enjoyed it.
“And that’s literally all I wanted for the doc. It’s never ever been to do anything other than just create something for people to watch and enjoy.
“And I think I’ve definitely definitely learned a lot,” she added.
Molly-Mae then told of how she was nervous about the documentary coming out.
“Like I think even before the premiere, there’s a bit of me in this vlog where I’m like severely anxious,” she explained.
Molly-Mae then said that she had anticipated some of the critique the documentary got.
“I literally said like ‘that’s going to cause this’ and ‘this is going to cause that’.
“I have been doing this job now for a really really long time and I feel like we kind of had a formula that we followed for years that avoids what has happened with the doc from happening.
“And with this drop of the doc like we literally did the complete opposite of what we normally do.
“Like we spoke about things we don’t speak about.
“We kept things in that probably I would never ever show of myself like because with the last drop of the doc everyone was like we want more. We want more.”
Molly-Mae went on: “So, it’s like you give it, but then it’s not like it’s too much or it’s, you know…
“I saw someone saying that they fell asleep halfway through one of the episodes because it was so boring yet they feel like the episodes aren’t long enough.”
She then said how she “really really can’t keep everyone happy” no matter how much she tries.
Molly-Mae’s documentary on Amazon divided opinion among viewersCredit: Prime Video
In France, Caroline Darian faces her father in court for horrific crimes he committed against her mother, Gisele Pelicot.
Caroline Darian, the daughter of Dominique and Gisele Pelicot, emerges as a fearless whistleblower exposing the hidden epidemic of drug-facilitated sexual assault in France. This award-winning and sensitively-told documentary follows Caroline during the shocking trial of her father, which made international news headlines in late 2024.
Caroline’s father was found guilty of drugging her mother and raping her with dozens of other men over 10 years. After Gisele bravely broke her silence, Caroline took up the fight – demanding justice, political action, and a shift in shame from the victims to the perpetrators.
No More Shame is a documentary film by Linda Bendali, Andrea Rawlins Gaston, Patrice Lorton, Luc Golfin, and Thomas Dappelo.
An investigation into Shireen Abu Akleh’s killing reveals new evidence and cover-ups by Israeli and US governments.
This major investigative documentary examines the facts surrounding the murder of Palestinian American Al Jazeera journalist Shireen Abu Akleh, as she was reporting in Jenin, in the occupied West Bank, in May 2022.
It sets out to discover who killed her – and after months of painstaking research, succeeds in identifying the Israeli sniper who pulled the trigger.
It gets through the smokescreens of both the Israeli and US governments and reveals how the close political relationship between them frustrated efforts to obtain justice at the time.
Through interviews with an Israeli former national security adviser, a former deputy assistant US secretary of state for Israeli-Palestinian affairs, Israeli soldiers and Shireen’s colleagues and family, the film challenges official versions of events – and, in doing so, highlights issues of accountability, press freedom and the geopolitical dynamics surrounding the case, particularly in the light of the Israeli killing of Anas al-Sharif and four of his Al Jazeera colleagues in Gaza in August 2025.
Carla leads a fight in flood-damaged Valencia where climate change and tourism threaten turtles along Spain’s coastline.
Carla grew up witnessing her father’s fight to protect Valencia’s fragile beach ecosystems. Now, as climate change warms the Mediterranean, sea turtles – driven by rising sea temperatures – have begun arriving to lay their eggs on her city’s shoreline. But the beaches they rely on are under threat. Mass tourism, unchecked development, and the recent floods are eroding these vital habitats.
At 27, Carla is an environmental lawyer and conservationist who works with her father to restore the beaches and protect turtle nests, knowing the species’ survival depends on their efforts. After the catastrophic 2024 floods, Carla rallies her community to act fast to restore Valencia’s coastline. With turtle nesting coinciding with peak tourism, Carla urgently needs volunteers to protect each nest – and time is running out.
After the Floods is a documentary film by Adriana Cardoso and Rodrigo Hernandez.
An Oscar-winning actress has been revealed as the narrator for a documentary about King Charles III titled Finding Harmony: A King’s Vision, which is due for release in early 2026
Jamie Roberts and Hannah Roberts PA Senior Entertainment Reporter
22:53, 30 Oct 2025
King Charles speaks to Kate Winslet (Image: PA Wire/PA Images)
A BAFTA-winning actress is set to lend her voice to a Prime Video documentary that explores King Charles‘s dedication to aligning nature and humanity. The documentary, titled ‘Finding Harmony: A King’s Vision’, is slated for release in early 2026.
Narrated by Titanic’s Kate Winslet, it will spotlight the work of The King’s Foundation, a charity established by Charles in 1990. Oscar-winning actress Winslet expressed her excitement about the project, stating: “It is a both pleasure and a privilege to be a part of this film, which is a fascinating insight into the King’s work as an environmentalist.”
She added: “I share His Majesty’s passion for protecting our planet and building sustainable communities, so it’s been really rewarding to work with The King’s Foundation on this exciting project.
“I know audiences will learn, laugh and feel inspired by what’s featured in the film, and I hope the impact of Harmony will be felt in years to come.”
Earlier this year, the Titanic star, who is now 50, became an ambassador for The King’s Foundation. She was also present at the foundation’s awards ceremony at St James’s Palace in June.
Known for her roles in films such as The Holiday (2006), The Reader (2008) and Revolutionary Road (2008), Winslet is also set to appear in the upcoming Avatar sequel, Fire And Ash.
The documentary following the monarch will delve into the King’s “harmony” philosophy, which views everything in nature as interconnected, including ourselves, as per The King’s Foundation. It will reveal how The King’s Foundation, based at Dumfries House in Ayrshire, Scotland, has championed this philosophy through initiatives centred on community regeneration, sustainable textiles and traditional crafts.
Director Nicolas Brown said: “Working with Kate Winslet on this film has been transformational. She has the perfect blend of intellect and star power to tell this story like no one else could.
“His Majesty King Charles III has lived such an incredible life, striving to bring humankind into harmony with the natural world for over half a century. It’s an epic tale, full of drama, and Kate has turned it into a story that any one of us will relate to. We are so fortunate to have an artist of her calibre on the team.”
Kristina Murrin, chief executive of The King’s Foundation, added: “Through the film we hope that viewers will gain a better understanding of His Majesty’s Philosophy of Harmony, which is so central to our work at The King’s Foundation.
“We are thrilled that Kate is a part of this journey with us and look forward to sharing the film with the world next year.”
Produced by Passion Planet, the documentary will stream exclusively on Prime Video across more than 240 countries and territories worldwide early next year. Last year, Amazon released A Very Royal Scandal – a dramatised account of Prince Andrew’s infamous Newsnight interview.
Molly-Mae’s second season of her documentary ‘Molly-Mae: Behind It All’ has fans rushing to this Welsh coastal location, known for its sandy beach and bathing areas
Molly-Mae Hague took her daughter away to the north Wales coastal spot
Molly-Mae’s popular documentary, Molly-Mae: Behind It All, came out on 18th October and it has got fans rushing to a Welsh coastal spot. Those wanting a much-needed rest can head on to the village of Abersoch, as that is where the influencer went for episode three of her series.
The area is a hit with staycationers who are keen on travelling closer to home. A UK holiday provider, holidaylodges.co.uk reported a 208% spike in interest for lets in Abersoch in the past week.
Abersoch is known for its sandy beach, huts and bathing areas. If you are keen to go sailing and participate in water-sports, it’s possible to do lessons in the town, and the gear is available to hire. Another holiday-goer favourite top spot is the beautiful Porth Neigwl, which is popular with surfers.
Nearby there is also Bardsey Island which offers nice boat trips, where visitors can spot the remains of a thirteenth century abbey and Victorian chapel, as well as puffins, dolphins, grey seals, and harbour porpoises.
Molly-Mae and her daughter Bambi went to Pwllheli Amusements for some arcade fun and fairground rides. She described the north Wales’ scenery as “gorgeous” and “hoped to…leave feeling relaxed, rejuvenated, and ready to go again.”
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Laura Kerslake, Regional Marketing Manager at holidaylodges.co.uk, explained: “Abersoch might once have been a quiet fishing village, but today it’s one of North Wales’ most vibrant and sought-after seaside destinations.
“It draws visitors from everywhere, including celebs like Coleen Rooney and even Bradley Cooper, thanks to its lively atmosphere, stunning beaches, and coastal charm.
She added: “While the village buzzes with energy during peak season, the wider Llyn Peninsula offers a calm and scenic escape for those seeking a slower pace. Whether you’re browsing independent boutiques, taking in the sea views, or heading further down the coast for a quiet walk, it’s a brilliant UK getaway that is ideal for both adventure and escape.”
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The upcoming documentary dives deep into the disappearance of a schoolgirl.
The documentary will air on Netflix(Image: NBC)
Netflix has released details of a new factual show exploring the media coverage and shifting public interest around “one of the most closely watched unsolved missing-persons cases of the century”.
The documentary attempts to find answers in the disappearance of Alissa Turney, who vanished in 2001.
The 17-year-old went missing on the last day of her junior year of high school in Phoenix, Arizona.
Alissa’s case was initially labelled as a runaway, and a missing-persons investigation was not launched straight away.
To this day, Turney’s whereabouts remain unknown. The documentary comes from the producers of American Murder: Gabby Petito. Alissa’s parents divorced when she was three years old and her mother, Barbara, remarried a man named Michael Turney.
Michael, who had three children of his own, adopted Alissa and her older brother John. Michael and Barbara then went on to have a child together- Sarah.
Tragically, Barbara died after a cancer battle when Alissa was just nine years old, leaving Michael to raise all six children.
At the time of her disappearance, Alissa, who had a boyfriend, lived with Michael and Sarah and worked at the fast-food restaurant Jack in the Box.
On the last day of her junior year at Paradise Valley High School, Michael had picked her up from school at lunchtime and she had allegedly stormed off after an argument.
Later, he and Sarah found a note in her bedroom, saying she was running away to California, but she had left her phone and other personal items behind.
She had been planning to go to a party that night, but never attended.
A week after she disappeared, Michael said he received a phone call from a California number where Alissa swore at him before hanging up.
In 2008, Michael claimed Alissa had been killed by two “assassins” from the International Brotherhood of Electrical Workers.
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Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.
This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like The Last of Us and Black Mirror.
However, the spotlight then shone on Michael as at the same time, detectives were raiding Michael’s home when they found explosive devices and firearms amongst other weapons.
They also found a manifesto outlining his plans for a rampage against the International Brotherhood of Electrical Workers building in Phoenix.
Turney admitted to unlawful possession of unregistered destructive devices and was sentenced to 10 years in jail, being released in August 2017.
In August 2020, he was indicted and charged by a Maricopa County grand jury on second-degree murder charges relating to Alissa’s disappearance.
However, all charges were dismissed in July 2023 and Alissa’s body has not yet been found.
Ajike “AJ” Owens was a dedicated 35-year-old mother of four when she was shot and killed by her 58-year-old neighbor, Susan Lorincz, in June 2023. The tragedy, which rocked the otherwise peaceful, tight-knit community of Ocala, Fla., followed years of Lorincz making habitual calls to the police to report neighborhood kids, including Owens’, for playing in a vacant lot next to her home. Lorincz, who is white, claimed that the children — most of whom are Black and were under 12 — were a threat, citing one of the nation’s many “stand your ground” laws, which allow individuals to use deadly force to protect themselves if they feel their life is in danger.
Now award-winning filmmaker Geeta Gandbhir, with the support of producer-husband Nikon Kwantu and such nonfiction luminaries as Sam Pollard and Soledad O’Brien, has chronicled the two years leading up to Owens’ death in “The Perfect Neighbor,” premiering Friday on Netflix after an Oscar-qualifying theatrical run. Composed almost entirely of police body camera footage, the moving and powerful verité documentary uses the case to depict the perils of such laws, which are all too easily misused or abused in a society where not every claim of self-defense is treated equally.
A jury convicted Lorincz of manslaughter in August 2024, but the repercussions of her erratic and violent behavior continue to impact the Owens family and their neighbors. Gandbhir, whose sister-in-law was a close friend of Owens, hopes “The Perfect Neighbor” will honor Owens’ memory while showing how our nation’s growing fear of “the other” and the proliferation of “stand your ground” laws are a deadly combination.
Initially, you weren’t planning on making a film about this tragic killing, but you were documenting the aftermath of the crime. Why?
We got a call the night Ajike was killed, and we immediately jumped into action to try to help the family. We stepped in to be the media liaisons. They looked to us to try to keep the story alive in the media, just because they were worried [it would be overlooked]. This is Ocala, Fla., the heart of where “stand your ground” was born. Susan wasn’t arrested for four days because they were doing a “stand your ground” investigation. We were not thinking about making a doc, really. We were just terrified that there would be no justice.
But in Ajike’s case, there’s reams of footage and audio recordings that captured what happened. How were you able to obtain so much of that material from the police department?
Anthony Thomas, who works with [civil rights attorney] Benjamin Crump, had sued the police department through the Freedom of Information Act and got them to release all of the material that they had pertaining to the case. That’s how we got the footage. What came to us was the police body camera footage, detective interviews, Ring camera footage and cellphone footage. There was also all the audio calls that Susan had made to the police, and then after the night of the [killing], the calls the community had made. There was basically a plethora of stuff that we were handed, in a jumble, and Anthony was like, “Sort this out. See if you can find anything that makes sense for the news, like snippets we can share.”
I was surprised at how much material there was, and I’m just talking about what made it into the film.
It speaks to how much Susan called the police. Basically, the body cam footage [was a result of those calls]. What’s interesting is the reaction when we screened the film for the community. They agreed to be part of this so we wanted to show them before it came out. We’re very concerned with participant care and the ethics of this. They said that they didn’t think that we had everything, because Susan [allegedly] called the police sometimes, like, 10 times a day. They [said they] think the police gave us maybe what they could organize, where they don’t look terrible. But they don’t think that that’s everything.
Ajike “AJ” Owens, pictured on the poster, was shot and killed by her neighbor in 2023. The crime is at the center of Geeta Gandbhir’s new documentary “The Perfect Neighbor.”
Ajike’s mother, Pamela Dias, has been a major force in keeping her daughter’s memory alive — and seeking justice. How did she feel about you making this film?
I went to Pamela and said I could make a movie and maybe we could make a change. It’s quite an endeavor to try to change gun laws or the “stand your ground” law, but maybe we can reach people. She said yes. This is a woman who by her own admission was blinded by grief [when Ajike was killed], who said she couldn’t see two feet in front of her. But she knew even then that her daughter’s story had to be told. She said her daughter died standing up for her kids, and she felt it was her turn to stand up.
I told her the material was graphic. But Pam was inspired by Emmett Till and how his mother had an open-casket funeral and told the photographers to take pictures because she wanted the world to know what had happened to her baby. Plus, we thought about George Floyd and [how footage of his killing] sparked a movement. It is a terrible thing to bear witness, but if we let these things continue to happen in the shadows, then they will happen forever. It’s only by bearing witness that things might change.
What about your own emotional well-being while making this film?
See all my gray hair? [Laughs.] I realized later it was grief work for me, because I needed to know what happened. I had to know what happened. I couldn’t understand how someone could pick up a gun and kill their neighbor over children playing nearby. How did we get here? So many questions were just eating me, so the work was in some ways cathartic. Then once we had it all strung out and I thought it was a film, I brought on Viridiana Lieberman, who’s our editor. We had a similar sensibility about what we wanted this to be and we really committed to living in the body camera footage.
“Body camera footage is a violent tool of the state,” Gandbhir says. “It’s often used to criminalize us, particularly people of color. It’s used to dehumanize us, to surveil us, to protect the police. What I wanted to do with this material was flip that narrative and use it to humanize this community.”
(Christina House / Los Angeles Times)
Why not use narration?
I worked for 12 years in narratives and scripted before I segued into documentary. I learned that the best vérité documentaries are show and not tell. If you tell people what they’re seeing, there’s some room for doubt or for your bias or some questioning around it. But to me, this footage plays like vérité. There’s no reporter on the ground. There’s no one influencing what’s happening in the neighborhood, other than the police who are coming in and asking questions. I felt that made the footage and the story undeniable. No one could say that we were down there asking provocative questions. And the body camera footage is so incredibly immersive, I wanted people to have the experience of what the community experienced.
How would you describe what they went through?
Their experience felt a bit like a horror film. You have this beautiful, diverse community living together with a strong social network, taking care of each other and each other’s kids. What was so powerful to me in the body camera footage is you really got to see this community as they were before [the tragedy], and you never get that. There’s horrible shootings all the time, and we see the aftermath, right? We see the grieving family, we see the funeral. We have to re-create what their lives were like before. And in this, you see this beautiful community thriving and living together, and that was so profound. I wanted to rebuild their world so everyone could see the damage done by one outlier with a gun. How she was the only one who was repeatedly calling the police and seeing threats where there were none.
We’re used to seeing police body cam footage used as evidence following a police brutality incident, or as entertainment in true crime shows. It’s used to tell a very different story in your film.
I wanted to subvert the use of body cam footage. Body camera footage is a violent tool of the state. It’s often used to criminalize us, particularly people of color. It’s used to dehumanize us, to surveil us, to protect the police. What I wanted to do with this material was flip that narrative and use it to humanize this community.
Why do you think that Susan was not seen as a threat by the police?
She’s a middle-aged white lady. She weaponized her race, her status, and she kept trying to weaponize the police against the community. The fact that she was using hate speech against children [she allegedly called them the N-word]. She was filming them. She was throwing things at them. She was cursing at them. But the police didn’t flag her as more than just a nuisance…. After the third time she called and it was unfounded and not about an actual crime, there should have been some measure taken to reprimand her. They didn’t tell the community that they could file charges against her: “She’s harassing you all. She’s harassing your children.” It was systemic neglect. And honestly, should the police be a catch-all for everything? Probably not. But they were not equipped. They didn’t take the necessary steps and the worst outcomes happened, which is that we lost Ajike, and Susan is in prison for the rest of her life. I’m sure that’s not the outcome she wanted.
There’s a moment in the film where a policeman knocks on Susan’s sliding glass door. She doesn’t know it’s a cop. She opens the curtain and screams at him in a terrifying, almost demonic voice. It’s quite a switch from her nervous, genial 911 calls.
Yeah, the jump scare. That was one of the moments where I was like, “Oh, there she is.” And the 911 call, after she shot Ajike. She was hysterical. Then her voice changes when she says, “They keep bothering me and bothering me, and they won’t f— stop.” I felt my heart clench, because it’s like, “Oh, there she really is.” She has this way of going between victim and aggressor. A little Jekyll and Hyde. It’s frightening.
The victim/aggressor dynamic is part of what makes “stand your ground” laws so dangerous. They can be weaponized.
“Stand your ground” policy was born in Ocala and now it’s in around 38 states, in different forms. It’s a law that emboldens people to pick up a gun to solve a dispute. If you can other-ize your neighbor to the extent of [killing] them, the question is, what else will you do? What else will we tolerate? As human beings, how we show up in our communities is a reflection of how we show up in the world. This film takes place on this tiny street, but it is a microcosm of what is happening today. Susan represented the dangers, and that little community represented the best of what’s under threat.
BROOKLYN Beckham snubbed a question about his mum Victoria Beckham’s Netflix documentary, amid the family feud.
Her eldest child with husband David is believed to have “quit” the family after he renewed his wedding vows with Nicola Peltz without them.
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Brooklyn Beckham snubbed a question about his mum Victoria Beckham’s Netflix documentary, amid the family feudCredit: EPAHer eldest child with husband David is believed to have “quit” the familyCredit: Getty
Brooklyn was notably missing from mum Victoria’s Paris Fashion Week event, where she was supported by her three other children.
He was asked by a Daily Mail reporter how his career as a chef was going, to which he replied: “Good. I’m building Cloud 23, I love it,” referring to his hot sauce brand.
He was then asked: “And what do you think of your mum’s documentary?” but Brooklyn was quick to turn away and walk off at that moment.
Brooklyn didn’t answer the question, and was instead ushered through the crowd at the cooking event.
The Beckham clan looked amazing last week, as they stepped out on the red carpet for Victoria’s new Netflix documentary.
It follows Victoria Beckham, 51, as she navigates her life, running her fashion and beauty empire in the global spotlight.
The global streamer promised exclusive access to her life, her family, and those closest to her.
Victoria dressed for the special occasion in a stunning white ensemble.
She was joined by husband David, sons Romeo and Cruz, daughter Harper and Cruz’s girlfriend Jackie Apostel.
However, Victoria’s eldest son Brooklyn was absent from the red carpet.
Despite this, the former Spice Girls singer reportedly put the family feud to one side to make sure Brooklyn, 26, appeared in the doc.
Sources close to the project revealed that Brooklyn featured in a scene where he helps clear the catwalk after the heavens opened and it poured with rain.
Taylor Swift will be releasing not one but two projects around her record breaking Eras Tour.
16:29, 13 Oct 2025Updated 16:38, 13 Oct 2025
Taylor Swift’s Eras Tour is getting a behind-the-scenes docu-series that will give fans new insight into the “inner-workings that created the phenomenon”.
Last week marked the launch of the biggest album in history, Taylor Swift’s The Life of a Showgirl with more than four million equivalent album units earned in the US.
But the 14 Grammy-winning artist isn’t slowing down with two projects in the works that will provide a whole new look at her iconic The Eras Tour which came to an end last year.
Taylor Swift: The Eras Tour, The End of an Era is described as an “illuminating docu-series” that will give an “intimate look at Taylor’s life as her tour made headlines and thrilled fans around the world ”.
Not only will the series provide fans with “never-before-seen” content, it will also spotlight performers, family members and friends, including Sabrina Carpenter, Ed Sheeran and Gracie Abrams.
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Disney+ has announced that it will up its annual subscription by 10% on September 30. Until then, shoppers can still lock into its £89.90 annual plan, which works out less than 30p a day.
Taylor Swift: The End of an Era episode release schedule
Taylor Swift’s upcoming The End of an Era docu-series is going to debut on Friday, December 12, on Disney+.
Unfortunately, all six episodes are not going to be available to watch on this release date with just the first two dropping on December 12.
From then, two episodes are going to be released each week until the penultimate and final instalments are dropped on Boxing Day, Friday, December 26.
Here’s a full rundown of when Disney+ subscribers can expect Taylor Swift’s The End of an Era to come out:
Episodes One and Two: Friday, December 12
Episodes Three and Four: Friday, December 19
Episodes Five and Six: Boxing Day, Friday, December 26
A teaser trailer for the documentary has been released with the award-winning artist telling fans: “The Eras Tour wasn’t when all the pieces fell into place.
“This tour was just when every single one of us who had done so much work, pushing inch by inch, to where we all clicked together.”
The End of an Era docu-series won’t be the only project that Swifties can get excited about either.
It has also been confirmed that The Eras Tour: The Final Show, which will be the full concert film, is also going to be available from December 12.
The last concert on the tour took place in Vancouver and features the entire set of The Tortured Poets Department which was added to the tour following the album’s release in 2024.
Taylor Swift: The End of an Era debuts on Friday, December 12, on Disney+.
A three-part series on the realities of climate change – but with innovative solutions to safeguard our future.
This decisive decade demands unprecedented action to address humanity’s greatest challenge. With global access, this three-part series examines the real consequences of climate change for our civilisation, through the rest of the 21st century and beyond.
Irish journalist Philip Boucher-Hayes visits climate hotspots, from Greenland’s melting glaciers to sub-Saharan Africa’s weather extremes, from the flooding of agricultural land in Bangladesh to the thaw of the Siberian permafrost. He meets experts and witnesses who explain the interconnectivity of the world’s fragile ecology, as we reach tipping points from which there may be no return.
The series looks at new climate science and faces the harsh realities of a changing world – collapsing ecosystems, marine die-offs and escalating extreme weather phenomena. But it also explores a positive vision for reimagining economies, landscapes and infrastructure – and practical solutions, ways of mobilising collective resolve, and challenging humanity to become a transformative force, harnessing innovation to safeguard the future of civilisation.
Episode 1, Into the Storm, highlights the immediate and escalating effects of climate change. It opens in Ireland, where extreme weather events are becoming increasingly common. In Greenland, it explores the rapid melting of the ice sheet, with potentially devastating consequences – rising sea levels and disruptions to the Atlantic Meridional Overturning Circulation (AMOC), the main ocean current system in the Atlantic Ocean. It also touches on the effects of climate change in Malawi and Siberia, a grim picture of widespread damage.
Episode 2, Against the Tide, focuses on adaptation strategies. It explores how countries and communities are responding to rising sea levels, increased flooding and more frequent droughts. The Netherlands serves as a case study in proactive adaptation, coming up with innovative solutions in the form of sea barriers and climate-resilient infrastructure. This episode also examines the challenges faced by vulnerable communities in Wales, Bangladesh and Florida.
Episode 3, Decarbonising the Global Economy, addresses the urgent need to transition away from fossil fuels. It opens with the world’s dependence on carbon-based energy sources and then explores ways to a cleaner, more sustainable future. It travels to Ukraine, the United States, Sweden, Finland and Florida, presenting a range of approaches to decarbonisation.
Throughout the series, experts from different fields offer insights into the latest climate science and potential solutions. The series aims to challenge viewers to confront the realities of climate change but also to inspire collective action. It emphasises the need for bold policies, innovative technologies and individual responsibility in safeguarding the future of the planet.
If there’s a scene that best encapsulates the tragically abbreviated career of John Candy, it’s not necessarily from his time on the sketch-comedy series “SCTV” or from movies like “Stripes” or “Uncle Buck.” It’s a moment in the 1987 comedy-drama “Planes, Trains and Automobiles,” when his reluctant roommate Neal Page (played by Steve Martin) has spent several minutes berating him for his relentless storytelling.
With a lump in his throat, Candy’s wounded character Del Griffith replies that he’s proud of who he is. “I like me,” he says. “My wife likes me. My customers like me. Because I’m the real article — what you see is what you get.”
That moment proves pivotal to two new projects that retrace Candy’s life and work some 31 years after the actor died from a heart attack at the age of 43. The actor would have turned 75 this month.
A biography, “John Candy: A Life in Comedy,” written by Paul Myers (released by House of Anansi Press on Tuesday), and a documentary, “John Candy: I Like Me,” directed by Colin Hanks (released Friday on Prime Video), both rely on Candy’s friends, family members and colleagues to help tell the story of his ascent, his success and the void left by his death.
In their own ways, both the book and the film show how Candy — while not without his demons — was beloved by audiences for his fundamental and authentic likability, and why he is still mourned today for the potential he never got to completely fulfill.
A family photo of John Candy and his son, Chris, seen in “John Candy: I Like Me.” (Prime Video)
John Candy, left, and Steve Martin in “Planes, Trains and Automobiles.” (Paramount Pictures)
Explaining why it was still important to memorialize Candy all these years later, Ryan Reynolds, the “Deadpool” star and a producer of the documentary, said, “When it’s something people desperately miss, but they don’t know they miss it, it’s a beautiful and rare thing. John Candy is a person that they missed desperately.”
Since his death, Candy’s immediate survivors — his widow, Rosemary; daughter, Jennifer Candy-Sullivan; and son, Chris Candy — have weighed the pluses and minuses of sharing his life with audiences and the impact it might have on them (the three are co-executive producers on the film). “It’s a balancing act,” said Chris Candy. “You want to live your life and you also want to honor theirs.”
In recent years, Candy’s children said they were encouraged by documentaries like Morgan Neville’s “Won’t You Be My Neighbor?,” about the children’s TV broadcaster Fred Rogers, as well as Hanks’ film “All Things Must Pass,” about the Tower Records retail chain.
Hanks, whose father, Tom, acted with Candy in films like “Splash” and “Volunteers,” said he struggled at first to find a compelling way to tell the story of Candy, who had a seemingly charmed and uncontroversial acting career, first in his native Toronto and then in Hollywood.
But Hanks said he was drawn into Candy’s story by a particular detail: the fact that Candy’s own father, Sidney, had died from heart disease at the age of 35, right before John turned 5. “It doesn’t take much to think about how traumatic that could be for anyone at any age,” Hanks said.
Chris Candy, from left, Jennifer Candy-Sullivan and Colin Hanks, who directed the Prime Video documentary “John Candy: I Like Me.”
(Christina House / Los Angeles Times)
Myers, a musician and journalist who has written books about the band Barenaked Ladies and comedy troupe the Kids in the Hall, said he was drawn to Candy as a fellow Canadian and an embodiment of the national comedic spirit.
“If you’re Canadian like I am, you never stop thinking about John Candy,” Myers said. Growing up in the Toronto area, Myers said he and his siblings — including his brother Mike, the future “Shrek” and “Austin Powers” star — were avid fans of sketch comedy shows like “Monty Python’s Flying Circus” and “Saturday Night Live.”
But “SCTV,” which launched stars like Candy, Catherine O’Hara and Eugene Levy, meant even more to them. “We watched it from Day 1 and we cheered a little bit harder for them because it was like they were shooting the show blocks away from our house,” Myers said.
Reynolds, who was born and raised in Vancouver, said that Candy’s essential Canadian spirit was crucial to his success as a comic actor.
“In comedy, Canadians typically don’t punch down,” Reynolds said. “It’s more of a self-effacing humor. Their favorite target is themselves. And John did that. On screen, I felt his willingness and joy in self-effacing humor that never really veered into self-loathing humor.”
Ryan Reynolds at the Los Angeles screening of “I Like Me” earlier this month. The actor was a producer on the film.
(Todd Williamson / January Images)
Candy parlayed his repertoire of “SCTV” characters — satirical media personalities like Johnny LaRue and real-life celebrities like Orson Welles — into supporting parts in hit films like “National Lampoon’s Vacation,” “The Blues Brothers,” “Brewster’s Millions” and “Spaceballs.”
His penchants for drinking and smoking were well-known and hardly out of the ordinary for that era; they rarely impeded Candy’s work and, in at least one notable instance, seem to have enhanced it: Both the documentary and the biography recount how Candy indulged in a late-night bender with Jack Nicholson before rising the next morning to shoot a scene in “Splash” where his character fumbles, flails and smokes his way through a round of racquetball.
“That’s his work ethic, right there,” said Candy-Sullivan. “He showed up and he did the scene.”
Candy graduated to lead roles in comedies like “Summer Rental,” “The Great Outdoors” and “Who’s Harry Crumb?,” and he found a kindred spirit in the writer and director John Hughes, who helped provide Candy with some of his most enduring roles in movies like “Planes, Trains and Automobiles,” “Uncle Buck” and “Home Alone.”
But offscreen, Candy was contending with anxiety and he was sensitive to people’s judgments about his size — remarks which often came directly from TV interviewers who thought nothing of asking him point-blank whether Candy was planning to lose weight.
When he and his sister watched archival footage of these interviews in the documentary, Chris Candy said, “It was, for both of us, uncomfortable. I wasn’t familiar with what he was putting up with and how he would mentally jujitsu in and out of those conversations. He got more and more curt about it as time goes on, and you can see it in the interviews.”
But these psychic wounds didn’t make Candy a cruel or nasty person; he simply absorbed the hurt and redoubled his efforts to be a genial performer.
“If you’re looking for darkness in the story of John Candy, a lot of it’s just internalized pain,” Myers said. “His own coping mechanism was radical niceness to everybody — making human connections so that he would have community and feel like he’s making things better.”
In the early 1990s, Candy seemed to be working nonstop. He appeared in five different feature films in 1991 alone, a year that included duds like “Nothing But Trouble” as well as a small but potentially transformative role in Oliver Stone’s drama “JFK,” where he played the flamboyant attorney Dean Andrews Jr. He was preparing his own directorial debut, a TV film called “Hostage For a Day” in which he starred with George Wendt. Candy also became a co-owner and one-man pep squad for the Toronto Argonauts, the Canadian Football League team.
Eventually, the many demands and stresses in his life came to a head. Amid a grueling shoot for the western comedy “Wagons East” in Durango, Mexico, Candy died on March 4, 1994. He had a private funeral in the Los Angeles area, followed by a public memorial in Toronto that prompted a national outpouring of grief in Canada.
“He represented the best of us,” Myers said. “He was a humanity-centric person. He brought vulnerability and humility to his characters, which is not something you usually see in broad comedy.”
Candy’s films continue to play on television and streaming — both “Planes, Trains and Automobiles” and “Home Alone” have become year-end holiday staples. But for the people involved in chronicling Candy’s life, there is a creeping sense that the actor’s legacy will not tend to itself, and that the generations who did not grow up with Candy might need reminders of what made him worth remembering.
Hanks recalled a story from the making of “I Like Me” where he and some colleagues were dining at a restaurant where the hostess asked them what they were working on.
“We said we’re making a documentary,” Hanks said. “ ‘Oh, really?’ she goes. ‘Who’s it about?’ It’s about John Candy. She goes, ‘Oh, who’s that?’ No idea who it was. I said, well, have you seen ‘Home Alone’? Remember the polka guy that picks up the mom and takes her in the van? ‘Oh, I loved him. He’s great.’”
Part of his interest in making a film about Candy, Hanks said, is “wanting to showcase the man that people love and remind them why they loved them.”
But there is also the simple pleasure in introducing Candy’s work to people who haven’t seen it before. “If you’re lucky,” Hanks said, “you get to hopefully have them go, ‘God, I want to see those movies. I want to go watch ‘SCTV.’”
Meet Farah and Myriam — two young girls from Gaza.
For Farah, night means fear — a reminder of loved ones killed in the darkness.
For Myriam, her home was destroyed, taking her mother and sister. Her aunt’s body remains buried under the rubble. She lives in a tent beside the ruins and this is where the two girls meet to share their grief, fears and hopes for the future after two years of war.
Farah and Myriam is directed by Wissam Moussa. It’s part of From Ground Zero, a collection of 22 short films made in Gaza, initiated by Palestinian director Rashid Masharawi, to tell the untold stories of the current war.
From Ground Zero was the official submission of Palestine, in the Best International Feature Film category of the 97th Academy Awards in 2025.
No one goes to Cannes expecting to be frightened by a film about a long-dead British writer. Unless, of course, that writer is George Orwell.
When Raoul Peck’s documentary “Orwell: 2+2=5” premiered at the festival in May, the crowd reacted with the startled tension of a horror screening — gasps, murmurs, a few cries — before finally breaking into thunderous applause.
What they saw on screen felt both familiar and terrifyingly current. Peck builds the film entirely from Orwell’s words, delivered in a low, steady burn by actor Damian Lewis (“Billions”), repositioning the dying author of “Nineteen Eighty-Four” in his final tubercular days on the Scottish Isle of Jura, into today’s world. His vision of power, propaganda and language as a weapon meets a barrage of torn-from-the-news imagery: refugees adrift on boats, authoritarian leaders twisting the truth, AI hallucinations blurring what’s left of reality. The film, to be released nationwide on Friday by Neon, plays less like a documentary than a séance in which Orwell’s ghost watches his own warnings play out: urgent, relentless, immersive as a nightmare.
Peck says the Cannes reception didn’t surprise him.
“I knew it would touch a nerve,” Peck, 72, says over Zoom from New York. His calm, French-accented voice — he’s based in Paris but travels frequently — carries the quiet fatigue of someone who’s spent decades watching history repeat itself. “It’s not just a problem of the U.S. — it’s everywhere. We have all sorts of bullies and there’s no reliable sheriff in town. Even the most powerful institutions are on shaky ground. I knew the film would either break people or energize them. If you’re a normal citizen, a normal human being, you must ask yourself questions when you come out of it.”
There are no talking heads in Peck’s film, no experts spelling out the relevance of an author who died in 1950. Instead, he draws from the writer’s letters and diaries, as well as the longer-form works like the barnyard political allegory “Animal Farm” and the dystopian novel “Nineteen Eighty-Four.” He also weaves in fragments from past screen adaptations of Orwell’s titles, including the 1954 animated “Animal Farm” and Michael Radford’s stark, desaturated adaptation of “Nineteen Eighty-Four” starring John Hurt, cross-cutting them with current images of drone wars, surveillance and algorithmic control.
A scene from the documentary “Orwell: 2+2=5.”
(Velvet Film)
“Raoul has been unbelievably thorough,” says narrator Lewis via Zoom from his home in London, where he regularly rides his bike past one of Orwell’s former residences. “The film is dense in the best way, thick with ideas and images. You come out of it feeling like you’ve been through something important.”
Lewis, who delivers Orwell’s words with a steely intensity that builds toward alarm, says his warnings have only grown more urgent.
“I read recently that about 37% of countries in the world are now categorized as not free,” he adds. “That’s getting dangerously close to half the planet. What Raoul’s film captures — and what Orwell saw so clearly — is how authoritarian ideas don’t arrive overnight. They creep up on us, little by little, as words like ‘democracy’ get redefined to mean whatever those in power want them to mean.”
Peck’s filmmaking has long blurred the line between art and activism. Born in Haiti, he fled with his family from François Duvalier’s dictatorship in 1961 and grew up in what was then the Republic of the Congo (now the Democratic Republic of the Congo), where his father worked for the United Nations. After studying engineering and economics in Berlin, he returned home to serve as Haiti’s minister of culture in the 1990s. His breakthrough, the Oscar-nominated 2016 film “I Am Not Your Negro,” channeled James Baldwin’s words to examine race and power in America and the country’s uneasy reckoning with its past. He continued that exploration in HBO’s “Exterminate All the Brutes” (2021), tracing the myths of empire and white supremacy that shape the modern world.
“If I can’t mix politics and art, I probably wouldn’t make a project,” Peck says. “That’s what Orwell himself said — ‘Animal Farm’ was the first time he was really trying to link politics with art. And that’s what I’ve been trying to do all my life as a filmmaker.”
Few writers have been more quoted — or misquoted — than Orwell. Decades after coining ideas such as Newspeak (state-controlled language) and doublethink (the ability to hold two contradictory beliefs at once), he’s been claimed by every side: Fear-mongering politicians cite him, pundits weaponize him, partisans wield “Orwellian” as shorthand for whatever offends them most. Even President Trump recently praised Orwell in the same breath as Shakespeare and Dickens at a state banquet at Windsor Castle.
Asked what Orwell would make of that, Peck gives a small, mirthless laugh.
“He would probably faintly smile,” he says. “Because that’s exactly what he wrote about — how thought corrupts language and language corrupts thought. We’re living doublespeak now in an exponential way, the bully using the words of justice and peace while bombing people at the same moment. It’s so absurd. That’s why I feel so close to him. Coming from Haiti, I learned very early that what politicians were saying never matched my reality.”
George Orwell, author of “1984” and “Animal Farm,” whose warnings about power and language echo through the timely documentary “Orwell: 2+2=5.”
(Associated Press)
Peck came to the project warily. “Honestly, I wasn’t sure I wanted to touch Orwell,” he admits. “Where I come from, Orwell had been turned into a kind of Cold War mascot.” Raised under Mobutu Sese Seko’s U.S.-backed regime in what became Zaire and later educated in America and Europe, he was keenly aware of how Orwell’s legacy had been co-opted, from the CIA’s funding of the 1954 animated “Animal Farm” to the deployment of his books as Cold War propaganda.
“That was not something that interested me,” Peck says. “I grew up deconstructing everything I was getting from the West, including Hollywood movies.”
Then came a call from his friend, Oscar-winning documentary filmmaker and producer Alex Gibney (“Taxi to the Dark Side”), who was involved with a project that had secured the rights to Orwell’s complete body of work and wanted Peck to direct it.
“How could I say no?” he recalls. “For a filmmaker like me, who loves to dig deep into someone’s mind and work, it was an incredible gift.”
What Peck found wasn’t a prophet or a symbol but a man full of contradictions: a writer wrestling with class, illness and empire, trying to fuse politics and art before his own time ran out. That realization deepened when he came across a photograph of Orwell as a baby in the arms of his Burmese nanny, a white child of the British Empire cradled by the colonized woman charged with his care. Born into what he called the “lower-upper-middle class,” Orwell gradually recognized his own complicity in the system he opposed and came to despise his role as a kind of middle manager in the machinery of oppression.
“His own biography — born in India, sent to Burma as a young soldier, doing what he did there and being ashamed of it — drew him closer to my own experience,” Peck says. “We were from the same world. We saw the same things.”
To embody Orwell, Peck turned to Lewis, also known for “Band of Brothers” and “Homeland.”
“I knew I was telling a story, not making a traditional documentary,” Peck says. “So I needed a great British actor, someone with real stage experience. I knew Damian could bring the presence I wanted — to be Orwell, not imitate him. That was the main direction I gave him: to work from the interior.”
“If we don’t bring rules around AI very rapidly, we won’t be able to put the paste back in the tube,” says filmmaker Raoul Peck. “AI is an instrument and should stay an instrument. That means we’re using it. It’s not using us.”
(Justin Jun Lee / For The Times)
Lewis, who had previously voiced Orwell for the international Talking Statues project — an app that lets passersby scan a QR code to hear historical figures “speak” — approached the feature-length performance with similar restraint.
“His language, the rhythm of his prose, dictates the rhythm of delivery,” he says. “Raoul was very clear that it should sound intimate and conversational, not overly formal. That’s what we tried to aim for — something direct, specific, detailed and personal.”
Much of “Orwell: 2+2=5” unfolds like a fever dream, Orwell’s words colliding with scenes from the present, including bombed-out streets in Gaza and Ukraine. “There were too many conflicts to include,” Peck says. “So I had to find the connections — what repeats, how bodies are treated, how power behaves.”
In one of the film’s most charged moments, Peck turns Orwell’s warning about political language into a montage of modern euphemisms: “peacekeeping operations,” “collateral damage,” “illegals” — and then, pointedly, “antisemitism 2024.” He knows the inclusion is provocative but says that’s the point: to show how words can be twisted or emptied of meaning, including in debates over Israel’s war in Gaza.
“Every word is precise,” Peck says. “I don’t say the Jews, I don’t say Israel, I say the Israeli administration. But even then, there’s a reflex — you can’t touch this.”
At Cannes, that moment drew applause. One of Peck’s closest friends — a Jewish writer who, he notes, agrees with him on nearly everything politically — told him later that while she was deeply moved by the film, she’d felt a jolt of fear as the audience clapped.
“We talked about it,” Peck says. “In France today, you can’t touch that term. And for me, that’s the beginning of the end — when you can’t speak your mind.”
He recalls being in New York after 9/11, unable to voice unease about the flag-waving and rush to war. “I cried like everybody else,” he says. “But when, after five days, you’re asked to wave a flag, that’s using your humanity for war. The point is the same — to shut down conversation.”
Peck carries Orwell’s warning into the digital present. The writer’s words play against AI-generated images and voices, echoes of the future he once imagined.
“He wrote about it without knowing it would be called AI,” Peck says. “He said someday you’d be able to write whole books and newspapers with artificial intelligence — exactly what’s happening now.”
For Peck, the technology is the next front in the battle over truth and power. In his film, every AI-generated sound, image and piece of music is clearly labeled with onscreen text.
“There should be transparency about that,” he says. “If we don’t bring rules around AI very rapidly, we won’t be able to put the paste back in the tube. Profit is the only guideline right now — nobody’s controlling its impact, not on energy, not on children, not on schools. AI is an instrument and should stay an instrument. That means we’re using it. It’s not using us.”
Even as “Orwell: 2+2=5” reaches theaters, Peck is already working on two new documentaries, including one about the 2021 assassination of Haitian President Jovenel Moïse.
“It’s an incredible geopolitical mess,” he says. “Every day I discover more. I need to go back to fiction for a while — documentaries are exhausting. But I can’t complain. I wish everyone could be as passionate about their work as I am.”
For all its darkness, Peck insists on leaving a sliver of light. He points to Orwell’s line in “Nineteen Eighty-Four”: “If there is hope, it lies in the proles.”
“The civil society is always the one who saved the day — the civilians, the students, the churches, the alliances,” he says. “Like the civil rights movement. Blacks, Jews, whites, churches, everybody sat down around the table and decided to have a strategy. And unfortunately, that’s the only thing we have. It’s long and it’s hard, but that door is still open. It’s us, individually and collectively, who have to make that choice.”
What keeps him going, he says, isn’t optimism so much as duty.
“If I lived completely engulfed in my own bubble, I’d probably be desperate,” he says. “What keeps me grounded is that I still have friends in Congo. I still work with Haiti every day. I talk with journalists who risk their lives in Gaza. So I can’t afford to look at those people and say, ‘I’m tired.’ They’re still doing the work.”
He pauses, his voice tightening. “People laugh at the latest stupidity from the president, as if it’s funny,” he says. “But that’s a dictatorship coming. He’s attacking every institution — newspapers, academia, justice, business. It’s the same playbook. They change the laws first, because most people would rather obey the law than say ‘No, two plus two equals four.’ That’s what authoritarian leaders count on.”
He sits quietly for a moment. “People are waiting for miracles,” he says finally. “But there are no miracles.”
Caught between two worlds, migrants in Tunisia fight the elements and the authorities as they strive to reach Europe.
Thousands of migrants from sub-Saharan Africa wait near the coast in Tunisia for an opportunity to make the treacherous voyage across the Mediterranean. Under an agreement signed with the European Union, the Tunisian government does what it can to stop them. NGOs and migrants accuse the Tunisian coastguard of deliberately sinking migrant boats at sea, leaving those on board to drown. Others say migrants are regularly bused out to the desert and abandoned. We investigate these allegations and meet the humans caught in the crossfire of a political battle over migration.
Channel 4 is making a documentary on the Dunblane massacre to coincide with the 30th anniversary of the tragedy next yearCredit: Tom Kidd
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The BBC has also announced it will be doing its own programme, which will also mark three decades since 16 pupils and a teacher were killed by a gunman at the schoolCredit: Derek Ironside
But I can reveal the Channel 4 one will have special meaning for its creators.
A TV insider said: “It is being made by production company Candour whose founder, Anna Hall, grew up in the Scottish town that was hit by the tragedy on March 13, 1996.
“So it will be imbued with real poignancy and, of course, it will be handled with extreme sensitivity.”
Chief Creative Officer Anna’s first ever film was about the tragedy — Dunblane: Remembering our Children premiered on ITV on the first anniversary of the shootings in 1997.
The programme was nominated for numerous awards including the RTS Best Single Documentary, an Emmy and a Prix Italia.
Now she and the rest of the Candour team — who also made the recent C4 documentary about the death of Jay Slater — are taking another look at the events of that dark day.
The massacre, which also left 15 people injured, remains the deadliest mass shooting in British history and led to a change in the law prohibiting the possession of most handguns in the UK.
Shooting
Last week the BBC announced it had commissioned a one-off hour-long documentary called Dunblane: The Shooting that Changed Britain.
Made by IWC Media it also looks at what happened in Dunblane, as well as the effect it had on the law.
Channel 4 have yet to confirm the commissioning of its documentary, though it is expected to be filmed this autumn, ready for broadcast in March.
Lorraine Kelly reveals Dunblane massacre was worst day of 40 year career
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Queen Elizabeth places a floral bouquet in front of Dunblane Primary SchoolCredit: Reuters
Vigil for third series
THE third series of BBC thriller Vigil sees Rose Leslie and Suranne Jones joined by newcomers Jeppe Beck Laursen, Tornike Gogrichiani and Steven Miller.
DCI Silva and DI Longacre head to an Arctic research station, where a special forces operative has been killed.
Top Bill in Caddy Craic
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Bill Murray is heading to Ireland for a new BBC travelogueCredit: Getty
The six-parter will see Ghostbusters and Caddyshack legend Bill and celeb pals tour the Emerald Isle’s top golf courses.
Insiders say the show’s about life, chance encounters and the joy of going off course.
Bill said: “I started out caddying, and golf was the best education I ever received.
“Ireland feels like the right place to put all that to work.
“They’ve got this wonderful word there, ‘craic,’ which means fun, but it means a lot of other things.
“A lot of good things.
“And this show will be about us finding it.”
Off Course (working title) is on BBC Two later this year.
Gemma future secured
HOLLYOAKS actress Gemma Bissix has signed a new contract to stay on the E4 soap after her explosive comeback as Clare Devine.
Incorrect rumours claimed she had quit but a source told me: “Gemma recently finished filming her first stint back as Clare – but she will be back after a short break.”
