The latest episode of the Venezuelanalysis podcast sees VA editor Ricardo Vaz speak with Austin Cole and Michela Martinazzi about international solidarity with Venezuela and the challenges of organizing against imperialism from inside the United States.
The discussion covers solidarity initiatives, escalating US attacks abroad and repression at home, the need to connect struggles for justice domestically and internationally, and the difficulties social movements face in building meaningful solidarity and broad coalitions.
The award winning series will air another intense episode tonight that is not to be missed
999: Critical Condition is an award winning Channel 5 series(Image: Channel 5)
A fly on the wall medical series that is not for the faint of heart returns with another brutal episode.
Titled 999: Critical Condition, the medical series has returned for its sixth run, this time filmed in the Birmingham Queen Elizabeth Hospital.
Airing on Channel 5, the show follows patients and staff at a major trauma hospital as cameras are given unprecedent access to film what most people do not see.
Viewers witness an intense and unfiltered look at what doctors and nurses do to save lives. Having returned to screens last week, tonight (May 19), Channel 5 will air yet another brutal instalment at 9pm.
Tonight’s episode (Tuesday, May 19) will take viewers into another high stakes environment as one farmer is airlifted to hospital after crashing head first into a tree. Elsewhere, one woman is rushed to hospital with life threatening stab wounds as medical teams fight to save lives.
A Channel 5 synopsis reads: “A farmer faces potentially life-changing injuries after an accident shatters his skull.”
999: Critical Condition was previously filmed in Stoke for the first five instalments as it has become a firm favourite for those who enjoy medical TV programmes, especially 24 Hours in Police Custody.
The Channel 5 show does not shy away from the realities faced by staff in the hospital and the life saving work they do for patients.
Spanning across one hour, new episodes will be released weekly, with instalments then being made available to stream online.
Previously, one viewer praised: “Watching 999: Critical Condition. Very fascinating.” Another said: “#999CriticalCondition about to start on C5, this is a brilliant TV show.”
A third added: “Watching last night’s #999CriticalCondition, not for the squeemish (sic) but the operation to rebuild the guys head & face after his quad bike crash is fascinating, proper ‘face off’ shit to reveal his damaged skull. The 3d printed skull showing the extent of his fractures was amazing.”
A fourth echoed: “Watching #999CriticalCondition and this guy has landed on his face and his eyeball is hanging out of the socket. HIS ENTIRE EYEBALL. I’ve never been squeamish with programs like this, but I actually felt sick.”
In a previous article, the Guardian confirmed it was a “hardcore” documentary series in which every case “will stick with you”.
999: Critical Condition airs tonight at 9pm on Channel 5.
The hit reality format sees brides and grooms meeting each other for the first time at the altar. From there, they get to know their new spouse properly as they head off on their honeymoons, move in together and mingle with the show’s other couples over the weeks it takes to film.
There are now ample different series available for viewers to indulge in, including the recently concluded Australian series which brought drama by the bucket load. There has even been a spin-off announced, titled Second Marriage At First Sight, which will be bringing back fan favourites from the UK and Aussie seasons who didn’t find love first time around.
Until then, UK-based reality fans will get to watch the latest USA series on their TV screens. Series 19 of Married At First Sight USA will be broadcasting for the first time in the UK on E4.
The first episode will air tonight (May 18) at 8pm, introducing viewers to 10 singles from Austin, Texas, as they embark on their quest for long-lasting love. The season originally aired stateside in late 2025, meaning some of the biggest moments have already been discussed online, but we won’t spoil those here.
However, American viewers have previously described the series as “even more dramatic” and “more toxic” than its Australian counterpart. One viewer penned: “Season 19 might have the most toxic people yet in the entire MAFS history. I’m not saying this season has the top-most toxic person of the whole show. There are definitely very toxic people from other seasons.”
When does MAFS USA air in the UK?
If you’re already sold on the series, when can you watch it? The series will be shown every weeknight, Monday through to Friday, at 8pm on E4.
Unlike the UK series which has an episode count into the thirties, the USA series is much shorter. There are 13 episodes in total, plus a reunion which is considered to be Episode 14.
The experts on MAFS USA are Pastor Cal Roberson, Dr Pepper Schwartz and Dr Pia Holec. Dr Schwartz is a sociologist, sexologist and relationship guru who has been on the show since its very first season. She works alongside marriage counsellor Pastor Cal and sex therapist and psychotherapist Dr Holec.
Married At First Sight USA begins airing in the UK tonight at 8pm on E4.
James Corden has revealed he dislikes one of Gavin & Stacey’s iconic episodesCredit: GettyThe writer and show star admitted that the series’ second episode was ‘very bad’Credit: PA
Despite being much-loved by fans, James has revealed that he was not a fan of the show’s second ever episode – despite it being the one where the titular characters get engaged.
Describing the episode as a “very, very, very bad half hour” whilst talking at theBBC Comedy Festival, James explained that he felt they were “backed into a corner” by the episode ending with Gavin proposing to Stacey.
The episode sees Gavin – played by Mathew Horne – travel to Wales to make up with Joanna Page’s character Stacey following a dispute, and ends with him proposing.
Despite noting some “saving graces” in the writing, he added: “It’s an awful episode”.
James and Ruth have signed a multi-million pound deal with AppleTV+ for a follow-up series.
They will star in the ten-part comedy drama alongside an all-British cast.
Set in the UK, filming begins next year with the hotly-anticipated show due in 2027.
The deal, believed to worth up to £8million, was agreed amid interest from BBC, Netflix and Amazon Prime.
A show insider said: “In what has unquestionably been a pretty miserable year for Brits, there is finally something to cheer — a new James and Ruth co-production.
“As you might expect, it is uplifting, gentle and very funny.
“They wanted to bring something full of heart and warmth back to screens; water cooler moments for all the family.”
This article contains spoilers for the penultimate episode of “The Boys.”
There’s just one episode to go in the fifth and final season of Prime Video’s irreverent superhero satire, “The Boys.” The topical, darkly funny, whip-smart series from Eric Kripke follows a band of vigilante misfits who fight to expose the all-powerful, corrupt conglomerate Vought International and its stable of villainous superheroes.
Among the ragtag crew of antiheroes is Frenchie, played by Tomer Capone. Frenchie is the de facto chemist and inventor of the group, a former assassin for hire whose drug-addled brain is constantly concocting news ways to kill immortal Supes (superheroes). Yet he’s deeply connected with the feral Kimiko (Karen Fukuhara), who was nonverbal when he helped save her from human traffickers who sought to cash in on her Supe strength. Their bond — both are outsiders who suffered abuse as children — is one of the few emotional soft spots in the otherwise fast-moving series about America’s rotten power structure, manipulative media and the gullibility of the public.
Though fans of the show are already mourning the end of “The Boys,” they were dealt another major blow Wednesday, when in Episode 7 beloved Frenchie met his fate at the hands of the sociopathic head Supe, Homelander (Antony Starr). Israeli actor Capone talks about the scene, the end of the show and how to cope with the loss of Frenchie. This conversation has been edited for clarity and length.
OK, so the big question first. Do you actually speak French?
En vous? Moi? [Laughs] OK, a little bit, but it’s a different kind of French. But that wasn’t the difficult part. Frenchie, to me, is one of those characters for an actor, that’s a gift. It’s something I prayed for. It’s a full-on character. He’s an outsider. He’s a foreigner. The way he walks, the way he talks. We can also talk about the crop tops and the hairstyle …
He’s a full-on character, and the French aspect was only part of it. There was also the sign language with Kimiko, and the connection. For me, the emotion and connection was the bigger aspect of portraying Frenchie.
Are you ready for all the tears of your fans once they witness Frenchie’s demise? He sacrifices himself to lure Homelander away from Kimiko. She is saved, but he is killed in the process.
Oh my God, I can’t watch it. I didn’t watch it. I can’t. I’m too involved.
Tomer Capone on the scene with his character’s demise: “Oh my God, I can’t watch it.”
(Jasper Savage/Prime)
So you really haven’t watched the scene yet?
No. It’s the longest character I ever had in my career, and I can’t. Something tells me not yet.
When you shot that scene, was there an intensity on set? How did that play out?
Intensity is always around the show because there’s so much to accomplish doing “The Boys.” But funnily enough, that specific scene was the most tranquil and quiet set I’ve experienced. I remember standing there with the amazing people of the cast and crew, and we’re talking about how the scene is going to play out. I felt this quietness, like everybody was like inside themselves, so I started to get nervous. I said, “Oh my God, they’re expecting something.”
But very quickly, I decided that I’m just going release all the [plans], thoughts or ideas that I had about the scene. I literally went into this mantra that said, “Frenchie, here’s the keys. Drive the car.” And you know what? It was the right way to go. It made sense. It felt very respectful and spiritual. Those kind of scenes come once in never, where you feel like you’re letting the character drive, and you’re just gliding behind it.
“The Boys” is based on the 2000s comic book series of the same name by writer Garth Ennis and artist Darick Robertson. But the show is unlike any comic book adaptation out there. In fact, it mocks superhero culture.
The biggest gift of working [with] Eric Kripke, the writers and this show is that even as things are moving fast and big things are happening, they’re emotionally backed up. And as a character and an actor, it’s like, OK, I understand what I’m doing. This is the world and what we’re playing. You get where it is going, and why it needs to happen.
Were you surprised when you first learned about Frenchie’s fate?
I wasn’t surprised when I heard from Eric that Frenchie was continuing on to the big field [in the sky]. I had this feeling. I didn’t want to say it out loud. It’s like, at this point, the fifth season, we all felt it. We knew where it was going,
But Frenchie is the empathy and compassion of this series. I actually cried when he was killed off. The empathy is gone, and now we’re left with soulless, terrifying Homelander.
But Kimiko lives.
True, but I haven’t seen the finale. How does Kimiko go on without Frenchie?
Well, let me tell you… [laughs]. I can’t tell, but I can say that I do think Episode 8 is going to blow the audience and fans’ minds with where it goes. That’s the only thing I can say. It evolves into something that resonates.
When it comes to pushing the envelope, “The Boys” is renowned for going where most shows won’t. It drove a speed boat into the side of a whale, imbued superheroes with powers such as toxic vomit and a giant killer penis. Then there was the flying killer sheep. Was there ever a moment too far for you?
Almost every episode has those moments … I remember they told us about the whale, and they said they were still figuring out how. It was a surprise. So I’m driving to set, and it was a sunny day on the shore of Toronto, then all of a sudden, my windshield, everything is covered with this [big shadow], and I’m like what’s going on? Clouds? Is going to rain? The day is ruined! Then I look up and see them [trucking] in a real-size animatronic whale. People that had nothing to do with the show were stopping their cars and looking at this whale moving on the Toronto shore. It was like, OK, here we go.
And there was the musical sequence [in Season 3, Episode 5, when a hospitalized Kimiko imagines her and Frenchie dancing to “I Got Rhythm.”]. Karen and I were on set, and there’s like 30 professional dancers stretching behind us, beautiful and fresh and clean. And we’re looking at each other like, what is this show? What are we doing here? As an actor, you pinch yourself. It’s an experience.
Frenchie (Capone) and Kimiko (Fukuhara) in Season 3’s musical number.
(Amazon Studios)
The musical number, did you actually have to practice the choreography for that?
Oh, day in and day out. I thought I knew how to dance. Apparently I needed some work. Luckily, Karen is a total badass in terms of her commitment, and we practiced it day and night, even working on it off set between other scenes, just working in the movements, trying to get it right. But I learned something very fun about myself. Usually, I don’t like to watch myself on screen, like a lot of actors don’t. From time to time, I would watch an action scene or me fighting because I want to see if I got the choreography right. And I learned that I can watch myself dance too.
With all the fighting in that show, that’s also requires quite a bit of physical acting.
We have the best stunt teams in the business. They made our life very easy compared to the crazy stuff we had to do. Saying that, I don’t miss the harnesses that they put on us. I will not miss that
Harnesses?
I remember when we shot the first episode where Frenchie, Hughie (Jack Quaid)and Mother’s Milk (Laz Alonso) are captive in the camp. And then I think Starlight flies me off out of the camp. It was like minus 40, snowing. We’re on our harnesses, and we’re just flying away. It’s an experience.
“The Boys” has brilliantly captured the political craziness in America, but told through the world of egotistical superheroes. For example, Homelander claimed he was lord and savior around the same time President Trump posted an AI image of himself as Jesus.
How they predicted some of the stuff, it beats me. You’re going to have to ask Kripke and his writers. But I love that the show tackles all that. For me, portraying Frenchie is about humanity. About how in chaos and in fear and in the craziness of “The Boys’” world, people still choose love and compassion and that’s really the heart of “The Boys.” Or maybe that’s just from Frenchie’s perspective, where it’s all about family, loyalty and protecting the ones you love.
How did you imagine the character of Frenchie when you first learned of the show?
When I got the audition, I didn’t know about the source material. I didn’t know about the novel, or the graphic comic book. So I went online, and I started researching Frenchie. And the first picture that came in was this buzz cut, crazy, goggle-wearing character. I said, what really? Frenchie specifically is illustrated and drawn so different from volume to volume. It gave me so much space to create something in between those worlds. Then picking the brain of Eric Kripke and building a whole story and backup story for the characters. We already knew, in a way, where it was going, so we had the privilege of understanding the arc of the bigger picture for “The Boys.”
Do you have a favorite Frenchie moment?
Yeah, I do, but it’s not what you might expect to hear. It’s from Season 1. There was this scene with Frenchie and Petit Hughie. Hughie comes out of his father’s house [and he’s upset]. I say that I understand because my father was bipolar too, and [he tried to smother me with a] Hello Kitty duvet. It’s just it’s one of those moments when we couldn’t get those two lines out. We kept breaking. I think it’s the longest scene Jack and I ever had in the show. It was something like 14 takes. All the cast and crew were breaking too. It was like, should we just give it up? But I was fighting for it. No, I can do this! Now it’s a [fan] favorite quote. So that means a lot. I fought for that line!
Have you thought about how you’ll console distraught fans once they’ve seen Episode 7?
The next episode of The Testaments will dive into Agnes’ wedding plans, but when will it be available to stream on Disney Plus?
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The Testaments fans can start the countdown for Episode 8.
With seven episodes available to stream on Disney+, The Handmaid’s Tale sequel already has viewers hooked. It follows June Osborne’s (played by Elisabeth Moss) teenage daughter Agnes (Chase Infiniti), as she climbs the ranks at Aunt Lydia’s (Ann Dowd) prep school for wives.
Agnes spends her childhood believing in Gilead’s oppressive system, but everything changes when new student Daisy (Lucy Halliday) joins the school. The pair’s bond changes their lives.
The last two episodes have explored Lydia’s dark past, as well as how Daisy was recruited by Mayday to spy on Gilead. The girls have also found their matches, and Agnes is set to start wedding planning in the next instalment. But when can viewers tune in?
When does The Testaments Episode 8 come out?
Episode 8 of The Testaments will be released on Wednesday, May 13. As always, it will be available to stream on Disney+ for UK and international viewers, while U.S. fans can watch the show on Hulu.
A synopsis for the episode teases: “As Agnes is swept up in wedding plans, Daisy hides a life-altering secret and Hulda faces backlash after speaking out.”
A Disney+ subscription now starts at £5.99 and includes hit series like The Testaments, The Handmaid’s Tale and The Bear, plus countless titles from Marvel, Star Wars, Pixar and more.
While the Margaret Atwood adaptation had a relatively slow start, it has ramped up the action over the last few episodes.
Episode 6 featured a particularly chilling scene where Aunt Lydia and Vidala (Mabel Li) were forced to watch Gilead soldiers execute dozens of women.
It turns out producers cut an even more harrowing scene from that episode.
“There was a scene where the women shoot other women,” director Jet Wilkinson told CBR. “There was a whole scene when [the soldiers] bring out the women, they give them guns, and then they hold guns to the women’s heads.
“It was very confronting. We ended up cutting that scene, but there is someone at the end of the line, a woman shooting as well as Aunt Lydia at that time. [They’re] forced to do these brutal acts.”
This story includes spoilers for Episode 8 of “Daredevil: Born Again” Season 2.
By the end of “Daredevil: Born Again’s” first season, showrunner Dario Scardapane knew they were heading toward Matt Murdock’s big reveal in Season 2.
The second season finale of the Marvel series, out now on Disney+, sees Murdock (played by Charlie Cox) declare to the world that he’s the vigilante Daredevil.
“Coming in with Season 1, I wish I could say I knew exactly where we were going,” says Scardapane during a recent video call. “But I knew that moment in the courtroom where Daredevil outs himself, we were definitely heading towards that.”
Iain B. MacDonald, who directed Episodes 7 and 8, said that everybody involved understood that it “was going to be a super significant moment” while they were filming the scene.
“When that’s out, that’s out,” MacDonald says. “That moment clearly has a domino effect for the rest of the episode. … I’m super excited to just to see how that’s received by the fans … because as a director, you want to deal with big moments in what you direct, and that is, for me, one of them.”
A continuation of Netflix’s “Daredevil,” which initially concluded in 2018, “Born Again” has followed Wilson Fisk’s (Vincent D’Onofrio) rise from criminal kingpin to the supposedly reformed mayor of New York. Fisk’s authoritarian tactics and campaign targeting vigilantes pushes Daredevil underground to try to assemble allies in order to bring the Kingpin down.
Matt Murdock (Charlie Cox) returned to the courtroom to make his case.
(JoJo Whilden / Marvel)
Their much anticipated showdown occurs in a courtroom in the season finale during the trial of Karen Page (Deborah Ann Woll).
“Myself and my DP [director of photography], Jeffrey Waldron, looked at a lot of courtroom dramas, just to really think about how we can tell those courtroom stories really well, and do it creatively and imaginatively … and in the language of ‘Daredevil,’ ” said MacDonald. “It was a challenge, for sure, [but] I really, really enjoyed shooting them.”
While Murdock may have triumphed in the courtroom, his revelation has consequences as teased in the episode. Scardapane says those consequences will be explored in Season 3.
“That last scene in Season 2 tells you where we’re going,” says Scardapane. “If the question is, are we doing a specific comic book run that is beloved by all, including me, I think that it’s pretty obvious what we’re doing in that last scene.”
The fallout for Murdock, as seen in the episode, is his arrest and imprisonment. In the final moments of the finale, the Man Without Fear is shown getting locked up at Rikers Island. Murdock appears to have accepted his fate, but a glimmer of smile hints that this is not the end of his story.
“Charlie and I talked about [the scene], and we knew that we wanted to end on that close-up of his face,” MacDonald says. “He said we can do two things here, one which is like acceptance of circumstances, like he’s resigned. He has made the sacrifice of outing himself to the world about who he really is [and] he has put himself away in service of the greater good … as well as have that little moment of a hint of a smile to say, this is a beginning. This is a new adventure. This is a new challenge.”
In a conversation edited for clarity and length, Scardapane discussed Murdock and Fisk’s arcs in Season 2, “Daredevil: Born Again’s” timely political themes and what to expect in Season 3.
Karen Page (Deborah Ann Woll) and Matt Murdock (Charlie Cox) get a chance to celebrate in the “Daredevil: Born Again” Season 2 finale.
(JoJo Whilden / Marvel)
At what point did you know that what you were building toward in Season 2 would end with Matt Murdock in jail?
It’s kind of a process that snowballs. They had started before me. They were doing the Mayor Fisk run. It was much more procedural, much different tone. They did six episodes, and I came in, and we moved it more in line as a continuation of the Netflix series. When Fisk becomes the mayor of New York, you put the villain at a really, really elevated place. So, Season 1 was the rise of Fisk. Season 2 has got to be the rise of that which takes him down — the resistance.
That moment that Matt stands up in court and says, “I am Daredevil,” that’s like the record scratch. Everything has changed from this moment on. At the end of Season 1, beginning of Season 2, we knew we were heading toward that moment. That moment’s consequences, for Matt and for Fisk, are kind of the fodder for Season 3.
There are comic book runs that I shall not name — although they’ve been named — that take that dilemma that Matt put himself in and go to really great places with it. Coming in with Season 1, I wish I could say I knew exactly where we were going. But I knew at the very beginning, that moment in the courtroom where Daredevil outs himself, we were definitely heading toward that.
It felt significant that Matt and Fisk’s big showdown this season happened in a courtroom.
The fun of Daredevil since the comics started is here you have a lawyer who really believes in the justice system who goes out and breaks bones at night. He’s a vigilante lawyer. That’s such a dichotomy. When the villain takes power, when the villain is the police — this situation, the villain is the Anti-Vigilante Task Force — the villain has now become the power structure of New York and has become the justice system. How does Matt fight back? He fights back as a vigilante until it gets to a crucial moment where Karen is pulled into this flawed justice system. Now there’s nowhere he could go. He’s put in this place where both his personas have to integrate, have to kind of collide, for him to beat Fisk. I think that Charlie’s performance in that courtroom scene is his best courtroom performance in any episode of “Daredevil” ever. Building to that moment of Fisk and Matt facing off in court, it was pretty important because all four of them are in court there: Wilson Fisk, Kingpin, Matt Murdock and Daredevil are all there in that scene.
Wilson Fisk’s (Vincent D’Onofrio) ambitions are thwarted in “Daredevil: Born Again” Season 2.
(JoJo Whilden / Marvel)
Fisk, the villain, ultimately loses this battle. Can you speak a bit about his arc this season?
One of the joys of this job is working with Vincent D’Onofrio, full stop. He’s done such a good job of humanizing a monster. I don’t write Fisk as a villain. I don’t think Vincent plays him as a villain. And that’s where the fun comes in.
Building up a man whose appetite, whose isolation, whose just general hunger to dominate, making that character and then giving him this one lifeline to humanity in Vanessa — that’s all calculated. We knew in Season 1 when Foggy was killed that Vanessa was going to be the cost for Fisk. The idea that Vanessa set up Foggy to die using Bullseye, and Bullseye ended up inadvertently killing Vanessa, that was 100% in the DNA from jump. Vanessa passed away in the comic books in two different ways, but that takes Fisk now into a place where, for me, all bets are off. I think that the Fisk that Vincent is playing in Episode 6, 7 and 8 and beyond are a different animal entirely. We just finished a very special episode that is pretty much all Fisk in this new incarnation and it was pretty exciting. Vincent’s in rare form in Season 3.
I understand that the Anti-Vigilante Task Force stuff was shot before the the story and imagery became extremely timely.
It’s really strange because there’s footage in the finale that’s intentionally supposed to reflect certain events. One of the things that I really wanted to do with this story, when you’re dealing with politics and everything, is we’re living in a time where these values of mutual respect, mutual listening, mutual live and let live … what I would say, democratic values are being thrown out the window when you’re dealing with the other side. If somebody doesn’t share your beliefs, it’s free game. And I’ve never really seen a time like that. So we took that story, where the mayor’s side has no quarter for the vigilante side and the vigilante side has no quarter for the mayor’s side. When they storm the rotunda, it looks very familiar. That is intentional. I’m not going to dodge that. Because it’s the idea that everybody sees themselves as a hero of this story, where they’re treating the people on the other side horribly. There’s no lesson there. It’s just the idea that when mobs get involved, when large groups of people get involved, the higher morals and higher sense of humanity falls apart.
You’ve mentioned that in writing and filming this show, you were looking at history. But what was it like when the present started mirroring what you already made based on the past?
The sequence in Episode 2, when the bodega is raided and people are dragged away by the Anti-Vigilante Task Force, that was filmed before Los Angeles, before Minnesota — before all of it. The whole thing got really strange in that the real world started to feel cartoony, and I don’t mean that in a positive way.
I think we were, as writers and directors, tapping into an unease and a malaise that’s just out there. Having it look exactly like things that then happened on the news, that was chilling. It was really hard to get my head around it. It was hard for the people involved, the directors, the fact that some of those sequences in our show, of people being dragged away and thrown into vans, looked exactly like what we were seeing on the news.
There have been other touch points, like the affinity some Task Force officers have for the Punisher logo, that crosses from the fictional into reality.
I’ve been wrestling with this since working on “The Punisher.” The map of what you do when you want to be an autocrat: You form a militia, you empower them beyond, you target a group that you want to make scapegoats, you round them up. When Charles Soule was doing the Mayor Fisk run in the comic books, that’s what he was thinking about. S—, Tony Gilroy did it in “Andor.” When you build any kind of story about an autocrat, it follows the same script. Weirdly, the script’s now playing out outside our door, and that’s become really hard to deal with. The funny thing about this show in these times is, no matter what I say, somebody’s gonna get all like, “Oh, they put politics in our comics” and “they’re trying to teach us a lesson.” Nobody’s trying to teach you a lesson. We’re just laying out a story about a guy who’s a criminal who becomes a mayor and a guy who’s a lawyer who tries to take him down. But does that have echoes in what’s going on outside our window? Yes, it does.
There is a sect of the audience that gets very vocal about the MCU getting ”too woke” or comic books and superheroes ”becoming political.”
One thing that just broke me when we started Season 3, I posted a picture of our writers room, and it’s just some of the best genre writers in the television business. I posted it [on Instagram] and I said “so stoked to get into it with these guys.” The first comment was, “Looks like a pretty woke room. Don’t ruin the show.” How does a room look woke? Oh, so you’re looking at the makeup of the people in that room, and you’re saying that that is something you don’t like? I can’t help you [with that]. I’ve just got to go into that room and write stories.
It’s also not like superhero comic books haven’t had storylines about marginalized communities or interrogating people in power.
Guys, comic books are political. They’ve always been political. The first graphic novel that ever won a Pulitzer Prize was “Maus.”
Jessica Jones (Krysten Ritter) gets in on the action.
(JoJo Whilden / Marvel)
I think I’ve waited long enough to ask about Luke Cage, played by Mike Colter, showing up in the finale. How did all of that come together?
One of the things that I’ve said a bunch about this show is we lean into the idea that these characters have grown up. The time that has passed between the end of the Netflix shows and the beginning of this show, we acknowledge and we lean into. Their lives have matured. As anybody knows, in the comics, Luke and Jessica had a child, Danielle. Now for me, as a writer, that’s just great story. We have a family of two very interesting people who were made iconic by the performances of Krysten Ritter and Mike Colter. What does that little family look like moving forward? So that tease at the end has seeds for acres and acres of stories. There’s a world that I’m super interested in, that a lot of the characters from the Netflix shows live in, that I’d love to see go forward. A lot of that’s out of my hands. But Mike and Jessica and that family are important to these stories.
Can you say anything more about what Luke has been up to since audiences last saw him?
Luke went to do some work for Mr. Charles. That’s a little bit of an Easter egg, a storyline that will play out in the future. Mr. Charles’s interest in alternatively abled people, or people who can do special things, that interest has long tentacles. It touched Luke and Jessica. It touches Bullseye at the end of the season, and that moves forward.
I think everybody’s been curious since Charlie Cox’s return. Matt’s back. Now Jessica and Luke are back. Are we going to see all of the Netflix era heroes assembled?
The best way I can answer that question is that we take comic book runs, fan desires and unfinished business. On “Punisher,” we were planning for a Season 3. I know [“Daredevil” showrunner] Erik Oleson was getting ready to work on a Season 4. That all ended very abruptly. None of the shows really got an ending that brought it all together. I wouldn’t say that “Defenders” was an ending that brought it all together. There’s so much unfinished business in those Netflix shows. We definitely, definitely knew from way back, how the ending of the Mayor Fisk rise and fall, where that was going to go next. And it’s funny because I’m talking to you as we’re trying to end where it goes next, and we’re thinking about, “OK, now what happens after that?”
I’m just going to throw it out there that I’d like to see Misty Knight and Colleen Wing back also.
[Jessica Henwick, who plays] Colleen has already said that she is not in Season 3, and that’s a real sad thing for us. It was not for lack of trying. I want to do Daughters of the Dragon, come on! That was teed up in “The Defenders.”
I wish I could be more forthright, but I have to save some some secrets for Season 3. But I do believe that we set a launching pad at the end of Season 2 that takes us into some pretty fun places that we’re in right now, and I gotta go finish that.
The BBC are to air a lost episode of The Morecambe and Wise Show, almost six decades after the initial broadcast, to coincide with Eric Morecambe’s 100th birthday
BBC to air lost The Morecambe and Wise Show episode – almost six decades later(Image: BBC)
A long-lost episode of The Morecambe and Wise Show, first broadcast on the BBC in 1968, has been rediscovered and will be shown next month.
The episode, which first aired on September 16, 1968, will be re-shown decades later to coincide with when Eric Morecambe would have turned 100. BBC Four will also show a collection of sketches called The Perfect Morecambe and Wise to mark this moment.
The episode, which was thought to be lost forever, was discovered by Film Is Fabulous! – a charitable trust run by film collectors and television enthusiasts. It was found in the estate of a former television industry professional and has now been returned to the BBC.
This ‘lost’ programme is the third episode from Morecambe and Wise’s first series after returning to the BBC, following a period working with commercial television.
Noreen Adams, Director of BBC Archives, said: “Morecambe and Wise are one of the UK’s most loved comedy duos. Thanks to Film Is Fabulous! – We’re delighted to share this comedy gold that we thought was lost forever with viewers across the UK.”
The episode features sketches written by Sid Green and Dick Hills. Ann Hamilton appears as Pauline in a sketch set in a nudist colony, while Jenny Lee-Wright plays Eric’s niece, a balloon dancer. It also includes a musical performance from The Paper Dolls, who enjoyed hits in the 1960s.
Eric Morecambe’s daughter, Gail Morecambe, said: “What a lovely surprise this is, and I’m really looking forward to seeing it on a screen once again after so many years.
“It’s excellent to hear that skilled people are actively going through the Archives and discovering ‘lost’ programmes. Not just Morecambe and Wise, of course. I am especially thrilled that it coincides with my father’s centenary year. Really wonderful.”
Eric Morecambe’s son, Gary Morecambe added: “I’m so thrilled and surprised by the discovery of a Morecambe and Wise show that hasn’t been seen since 1968. I honestly didn’t think there was anything out there left to find, and when something like this comes out of nowhere, it’s really quite wonderful.
“Hats off to Professor Justin Smith and his team, whose dedication and hard work brought this gem back to us. I’m very excited about seeing it for the first time since I was twelve years of age.”
The Morecambe and Wise Show ran for nine series and became a regular fixture at Christmas on the BBC with a festive special, before moving to ITV for four series.
* The lost episode of The Morecambe and Wise Show will air on BBC Four and BBC iPlayer on Thursday May 14 from 8pm.
How many episodes are in new series Widow’s Bay and when you can stream them
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The 100% rated horror series has started streaming but fans still face a wait.
Widow’s Bay is the latest title to land on Apple TV+ and be welcomed with rave reviews. Only the first two instalments have premiered so far as of today (April 29).
Rhys takes on the role of Tom Loftis, Mayor of Widow’s Bay, a quaint island town 40 miles off the coast of New England where something lurks beneath the surface. He is desperate to put the place on the map and turn it into one of the must visit locations for tourists in the US.
However, not only does the island have no Wi-Fi, spotty cellular reception and very little to actually do, Tom must also contend with superstitious locals who believe their island is cursed. Unfortunately, it seems the locals were right. After decades of calm, the old stories that seemed too ludicrous to be true start happening again.
The series is only available to those who have access to the Apple TV+ service. This is available either as a standalone subscription via its own dedicated app, or as an add-on through the Prime Video platform.
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TV fans can get Apple TV free for a week to stream shows like Ted Lasso, Severance and Slow Horses.
Early reviews have been extremely positive for Widow’s Bay. At the time of writing, Widow’s Bay has managed to record a perfect 100% rating on website Rotten Tomatoes against 23 reviews.
But how many episodes are there in the season? And when are each one supposed to arrive on the streaming service? Here’s all you need to know.
How many episodes are in Widow’s Bay and when are they released?
As mentioned, the series has celebrated a two episode premiere that landed today (April 29). Following instalments are expected to drop on a weekly basis each Wednesday.
Although there is one occasion when a couple later parts will arrive one the same day as a double bill. Here is the full schedule including episode titles of when each are expected to release.
Apple have not specified a release time, therefore episodes will be expected to become available at the usual time new titles land which is usually 8am local time.
Episode 1 – Welcome to Widow’s Bay, premiere date – April 29
Episode 2 – Lodging, premiere date – April 29
Episode 3 – The Inaugural Swim, premiere date – May 6
Episode 4 – Beach Reads, premiere date – May 13
Episode 5 – What To Expect On Your Trip, premiere date – May 20
Episode 6 – Our History, premiere date – May 27
Episode 7 – Seasickness, premiere date – May 27
Episode 8 – Your Baggage, premiere date – June 3
Episode 9 – Emergency Shelter, premiere date – June 10
Episode 10 – We Hope You Enjoyed Your Time, premiere date – June 17
Another episode of the popular show is set to air tonight (April 27)
The BBC programme has been dubbed the “best”(Image: Vuk Valcic/SOPA Images/Shutterstock)
The BBC’s “best” programme that grips viewers will return to television screens, and it’s coming sooner than you think.
Scam Interceptors is a crime documentary series that first aired on BBC One in 2022, spanning across five series. Hosted by Rav Wilding, each instalment follows experts as they monitor and often intervene in real life fraud to prevent victims losing money.
Viewers will also be able to get their Scam Interceptors fix tonight (April 27) as a chilling episode will be airing at 8.30pm on BBC One. Despite being a repeat episode, the instalment, titled ‘I’ve been scammed 11 times’ will feature a “high octane chase” as well as calls against scammers that are “plaguing lives”.
An official synopsis reads: “Rav Wilding and Nick Stapleton are back, working with ethical hacker Jim Browning to call out the scammers plaguing our lives and prevent people from losing their money.
“In this episode, the team are in a high-octane chase to intercept scammers claiming to be from Sky broadband. They have full access to a woman’s mobile and are only seconds away from transferring her cash. But the scammers are on to us and want answers.”
With a focus on preventing members of the public from falling victim to scams and losing money, the series also aims to expose, intercept and stop scams in real time.
Over the years, the series has become a huge success with viewers as one IMDb user described it as being “Superb, Gripping Public Service Television.” Another said: “You cant beat this show”, adding: “The best show on tv hands down. Suspense and action.”
Over on Instagram, one viewer said: “I think this program is fab but it scares the bejesus out of me to watch it!” Another wrote: “Oh wow. Just got this on my IG page. I didn’t know there was a show doing this. I definitely am going to watch full episodes.”
A third commented: “Absolutely gripping television at its best. The very best by the BBC”, as a fourth added: “This was a great programme!”
Viewers on X also praised the programme as one person wrote: “This show stresses me out #scaminterceptors.” Another said: “Another heart-stopping episode. #ScamInterceptors.”
Every episode of the hit BBC documentary series is also available to stream on BBC iPlayer.
Scam Interceptors will air tonight at 8.30pm on BBC One. All episodes are also available to stream on BBC iPlayer.
Venezuela’s January 2026 hydrocarbons law reform marks a major shift in the country’s oil sector. It establishes a more flexible fiscal regime in the name of “international competitiveness,” while expanding the private sector role in extraction, operations, and dispute resolution mechanisms.
The reform follows years of US sanctions on Venezuela’s oil industry and coincides with new US licenses allowing Western conglomerates to move into Venezuela’s energy sector.
Join Blas Regnault, energy policy analyst and consultant focused on oil geopolitics, alongside Venezuelanalysis editors Ricardo Vaz and Lucas Koerner, as they break down the reform, its economic and political context, and what it means for control over strategic resources and national sovereignty.
