killer

Cassie Plummer could be about to face a “really dark” exit from Coronation Street after worrying scenes aired on Friday night’s episode of the long-running soap

Cassie Plummer could be about to face a “really dark” exit from Coronation Street. The former drug addict, played by Claire Sweeney, was introduced when bosses of the long-running soap decided to completely rewrite history and install her as the long-lost biological mum of Tyrone Dobbs, and initially came to blows with Tracy Barlow when she set about poisoning Ken for financial gain.

With all that seemingly swept under the carpet, now Tracy has sparked a romance with Ross, who is Tyrone’s long-lost biological dad. Cassie was underage when Tyrone was conceived, and it emerged earlier this week that Ross had paid her for the sex they had all those years ago.

When it looked as though Ross was sticking around having got a job at the local prison, Cassie tried to get him out of their lives once and for all by crushing painkillers up into his flask that he was about to take to his new place of employment, hoping that he would fail the drugs test and then clear off out of Weatherfield. It backfired when Ross figured out what Cassie had done so, in a cruel twist, he poisoned Tracy with the drink and now she is in hospital. But because Cassie has got form, Tracy has now got completely the wrong end of the stick.

Sitting up in her hospital bed on Friday night’s episode of the ITV soap, she raged: “If I have been spiked, I know who I’m pointing my finger at. How else have I got this much codeine in my system if it’s not from the local poisoner, who also happens to hate my guts?”

Steve told his ex-wife to calm down, but she shot back: “Well, I’m trying to do that, Steve, but it’s quite difficult when your girlfriend tried to kill me. She’s jealous of me because I’ve got Ross and she’s stuck with a useless lump like you!”

The taxi driver, who has been played by Simon Gregson since 1989, was convinced that Tracy (Kate Ford) was wrong, but then decided to do some investigating, and found the painkillers in Cassie’s cardigan pocket.

When he confronted her, she explained: “It wasn’t meant for Tracy. It was meant for Ross. And it was just a couple of tablets so he’d fail his pee test at his prison job and he wouldn’t be hanging around here any more.” Tyrone then knocked at the door, having been informed of the situation by Steve, and Cassie tried once again to explain but they were having none of it.

Steve said: ” I don’t get it. First of all Ken, now Tracy. I mean, are you not gonna be happy till you’ve killed the lot of us?” Tyrone then yelled that it was “a lot more” than the couple of tablets Cassie claimed she had tried to spike Ross with as Cassie cried: ” I put it in his travel cup, which I got out of his bag, so how did Tracy end up with it, eh?

“Ty, I know it was a stupid idea, but I was desperate. You’ve no idea what he’s like!” Ross then turned up at the house, having been playing the dutiful long-lost granddad and took Ruby and Hope for a game of football. Cassie warned them that he was taking them all for a fool but no one would listen and Tyrone told her to get out of the house.

Tracy headed across the road to number one, where Steve answered the door and told her as he struggled to hold back the tears: ” Believe me. If you only knew how much I wanted this to work after all the disappointment I’ve had over the last few years.”

Cassie tried to plead with Steve, but he decided to split up with her there and then. He shut the door in Cassie’s face, and she burst into tears as she wept: “But Steve, I love you!”

Reacting to the emotional scenes, one viewer wrote on X: “Tyrone shut the f**k up you mug, Cassie is better than Ross. Honestly hope Tyrone finds out the hard way his dad is a creep,” whilst another said: “Cassie shouldn’t have done it, I get why she did though. The reality was, Ross knew and deliberately spiked Tracey to frame her, just another form of manipulation.”

A third wrote: “I don’t know how Cassie is gonna get out of this one,” and a fourth simply said: “Oh, Cassie!” and added a face-palm emoji. Another wrote: “Cassie thinks she is smart, however, Ross seems to always be one step ahead. This storyline is going to get really dark #Corrie.”

In real life, actress Claire Sweeney, who found fame when she starred on Brookside, chose to leave so she could take on the role of Miss Hannigan in the current UK tour of the musical Annie, and replaced former Strictly Come Dancing star La Voix in the show in early July.

Claire has starred previously starred in other musicals like 9 to 5, Tell Me On A Sunday and Chicago. But she recently recently explained that she loved her time at Corrie but always wanted to take on the part of the villainous orphanage proprietress, who has previously been played on stage by the likes of her soap co-star Jodie Prenger, as well as Hi-de-Hi icon Su Pollard, the late Paul O’Grady and British acting legend Sheila Hancock.

She told The Mirror: “You’re part of a family at Coronation Street, you feel safe and protected and leaving is like stepping out into the big, wide world again. It feels like I’ve broken up with a boyfriend I’m still in love with. I’ve loved Corrie and leaving bears no reflection on the job, the people and the work.

“It was just that my phone pinged and it was the producer of Annie saying ‘right, do you want to do Miss Hannigan.’ I’d been hounding him for years for this part and I just thought – ‘if I don’t do it now, it might never come again.’ But I think it’s the hardest job I’ve ever had to leave and my exit is very sad; I had a little weep over my leaving scenes. I got quite emotional.”

Coronation Street airs weeknights at 8:30pm on ITV1 and ITV X. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

July 31 (UPI) — The British teen serving a 52-year sentence for the Southport killings of three young girls was charged Friday with additional crimes allegedly committed while in prison, including aggravated assault and weapons offenses.

Axel Rudakubana, 19, is accused of assaulting emergency workers in two separate attacks, one count of aggravated assault and possession of an offensive weapon between May and late October 2025

Police said all the alleged incidents took place at HMP Belmarsh in London.

Rudakubana is scheduled to go before Westminster Magistrates’ Court on September 11 to answer the charges.

He will appear via video-link from Broadmoor Hospital, a high-security psychiatric facility west of London to which he was transferred from prison last week.

Officials determined he was too dangerous for a regular penal institution following an independent clinical assessment, but the Justice Ministry stressed that would be returned to prison to complete his sentence once his mental state had improved and he was assessed as well enough to do so.

A psych evaluation after he carried out the July 2024 knife rampage that killed Bebe King, 6, Elsie Dot Stancombe, 7, and Alice da Silva Aguiar, 9, and seriously injured eight other children and two adults, found him fit to stand trial.

Following a trial in January 2025, Rudakubana was sentenced to a record 52 years in prison, minus time spent on remand.

The judge was unable to impose a so-called whole-life sentence normally applied for crimes of this seriousness, where the offender remains in prison until they die, as Rudakubana was 17 at the time of the attack.

He will become eligible for parole in 2076, just shy of his 70th birthday, but is unlikely to ever be released from prison.

The initial phase of an official inquiry into the killings concluded in April that Rudakubana could have been stopped but for the “catastrophic” and “irresponsible” failures of authorities and his parents.

Former Appeal Court judge Sir Adrian Fulford, said the attack woud likely have been prevented if Rudakubana’s parents had reported what they knew and law enforcement, child and mental health agencies responded appropriately to the risk he was known to present.

“Furious,” which premieres Monday on Hulu, is technically a serial killer story, since there are multiple murders committed by a single character, but happily that is the least of it.

Broadly speaking, these kinds of stories — powered by a stop-them-before-they-kill-again clock, making their antagonists out to be finicky geniuses or horror movie monsters instead of opportunistic mediocrities — strike me as a low form of fiction. But “Furious” is as much relationship drama as procedural, animated by a quartet of excellent performances, with some things to say about abuse, exploitation and love along the way.

Although “Furious,” created by Elizabeth Meriwether (“New Girl,” “Dying for Sex”), acknowledges an inspirational debt to the 1987 Theresa Russell-Debra Winger film “Black Widow,” all it really preserves are a couple of names, the idea of a female serial killer and an emotional relationship with the woman hunting her. The killer is Catherine (Lola Petticrew), a petite young woman who goes about in a variety of wigs, under a variety of names, careful to mask in public. Her murdering is not a compulsion but a mission, like Jeanne Moreau in “The Bride Wore Black.”

Her nemesis is Alice Black (Emmy Rossum), a former police detective now answering phones for the FBI. She became persona non grata in the NYPD after identifying her detective boyfriend (Jake Lacy as Marshall) as the person who put her in the hospital, because, you know, cops. One day a request comes from former colleague Danny Kelly (Scoot McNairy) to assist him in investigating the homicide we see Catherine commit at the top of the series.

Various elements of the crime bring to mind an earlier killing; Alice believes they’re connected and might have something to do with sex trafficking or, eventually, a Jane Doe cold case. This brings her to the desk of Nora Washington (Quincy Tyler Bernstine), who also happens to be running the very FBI department Alice has been hoping to join. “You requested my squad,” says Nora. “Why do you want to work in the basement on sex crimes and crimes against children — do you hate yourself?” Maybe she does — she orchestrates internet dates where foreplay is a fistfight, and has some relevant trauma in her past.

Catherine (Lola Petticrew), a petite young woman whose murdering is not a compulsion but a mission.

(Sarah Shatz / Disney)

Sharing scenes with the other principal characters, intense or sensitive as the moment requires, Alice is the hub around whom the series revolves and hurtles forward. Danny, who found himself isolated in the department when he said he believed her, is her only friend. (“But here’s the crazy s—. You don’t … talk to me anymore, either.”) Nora, who has a hard edge and a drinking problem, has a few things to teach her, sometimes with a quote from Balzac (“Laws are spiderwebs through which the big flies pass and the little ones get caught”) and Beckett (the dead “make a noise like feathers”) or a tale from Greek mythology. (“I’m not a former cop. I went to a fancy school, and I’m very smart,” she says, very drunk.)

As to Catherine, she is a mix of a sly fox and a wounded bird. She may be manipulative and murderous, but as we’re given reasons to dislike her victims, a collection of rich white people — with one sad exception — and because Alice feels connected to her in some way, and because she’s had a terrible life, there is not a little of the protagonist in her antagonist. There are some sad ironies stitched into the plot, and an upsetting late twist, though the show doesn’t wallow in it. We understand that Catherine has her reasons, and in a strange way we want to see her carry out her mission. She may be a killer, but she isn’t the villain.

It’s not perfect. We are not surprised at least as much as we are. Some of the plot points strain credulity. There are some old-school jurisdictional clashes between the police and the FBI (as in every fourth episode of “The Closer”), and a heaping helping of professional jealousy within departments.

But the show stays fascinating less for the plot than for the performers. Rossum attacks her role as if playing a Greek tragedy. (The hair redoubles the impression.) McNairy, one of TV’s most likable actors, brings warmth. Petticrew evokes broken innocence. Bernstine finds new notes in a role that typically runs to cliche.

I also want to mention the great Hope Davis as the sister of a victim, the son of a well-connected mogul with something to hide, and especially Steve Way, as Alden (“Ramy”), a force for good in Catherine’s life, and for humor in the series; born with muscular dystrophy, he manages some excellent physical comedy in his motorized wheelchair. The direction (Brian Kirk helmed the first two episodes) is crisp and matter of fact, staying out of the way, which is all you can ask when the writing is good and the actors are too.

Coronation Street detective Kit Green may have a surprising plan for nemesis Gary Windass after finding out his partner Sarah Platt is Theo Silverton’s real killer

Kit Green has a plan for Gary Windass on Coronation Street – but it’s not what you might be expecting.

With Kit finding out his partner Sarah Platt is Theo Silverton’s real killer, he has a decision to make. The detective could put his own career on the line to try to save Sarah from prison – but what about Gary, who helped Sarah cover up the crime?

Amid recent hints that Kit would throw Gary under the bus and could frame him for the crime, Kit actor Jacob Roberts has now had his own say. Teasing Jacob may actually try to help Gary, Kit spilled on what was ahead…

How does Kit feel finding out Sarah killed Theo?

He was incredibly shocked, mostly because he’s just been lied to for all this time. As soon as Sarah found the ring, it completely delayed his plan and put a massive dampener on things. I think Kit always suspected she and Gary had something to do with it and he was actively defending her based on that suspicion. But he never, ever expected it to actually be her who did it. He’s just reeling from the fact that it was her all along.

How compromised does Kit feel now that he knows the truth and how far do you think he’d go to protect her?

He will protect her as much as he can, but Kit is ultimately going to protect himself first. He suddenly realises he’s been living with a murderer right under his nose. He isn’t going to be totally selfless here – he will only protect her as long as his own career is safe. His perspective is very much: “If you had told me this straight away, I could have done something about it. Now, I’m just left to pick up the pieces.”

His career means a lot to him, but does his relationship mean more?

No, his career means everything to him. The trust between them is massively gone. He isn’t prepared to lose anything because he had absolutely nothing to do with the crime. What Sarah did was wrong. Kit is a loyal guy – he’s loyal to family and the people he cares about – so he’ll do what he can, but this has simply gone too far.

Kit already disliked Gary. What are his feelings towards him now, especially knowing Sarah turned to her ex in her moment of need rather than him?

He feels incredibly betrayed. Kit knows how to cover things up way better than Gary ever could, so he feels like Sarah just picked the wrong person in a moment of panic. Gary should have honestly just called Kit himself.

Is there a part of Kit that understands why she couldn’t come to him because of his job as a police officer?

No, absolutely not. First of all, she should have never been on that roof in the first place with a guy like Theo. But turning to Gary? No. That’s her ex. Going to an ex for advice or help like that is completely out of order and non-negotiable for Kit. He might sympathise a tiny bit because she was panicking, but he doesn’t think it’s justified at all.

How do you think Kit would have reacted if she had phoned him straight away? Would he have protected her?

Absolutely. He’s done stuff like that before. He’s a bit of a dodgy copper, so he knows exactly how the system works. It was self-defence and he could have handled it. The problem now is that it’s much harder to justify because she kept quiet about Theo’s death for so long and in doing so, she has put Kit in serious jeopardy.

Is Kit happy to send an “innocent-ish” man like Gary to prison just to save Sarah?

Ideally, he would try to get them both off. But if it comes down to a direct choice between Sarah and Gary, he is always going to choose Sarah.

Can Kit get his head around why Sarah is so dead-set on protecting Gary? Do you think it makes him doubt their relationship?

It makes him doubt it massively. He’s clever enough to know there’s a lot of history there and that they’ve probably protected each other over the years, but it’s still a huge dint to his pride. He doesn’t think she’s physically cheating on him, but in a way, an emotional affair can be worse. You just don’t go to your ex for help with something this massive. It’s totally out of order.

Coronation Street airs weeknights at 8:30pm on ITV1 and ITV X. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

SCISSOR SISTERS added some Spice to their set supporting Duran Duran – by inviting Melanie C to join them on stage.

Gushing over landing Sporty Spice as a special guest at the BST Hyde Park Festival on Sunday, frontman Jake Shears said: “We love Melanie C, she’s always been the loveliest person.

“She loves what she does, she’s a killer singer, so we’re so happy she could join us.

“We’re all big show ponies!

“We’ve had a blast.”

Jake told the audience he still can’t believe the group are still going strong and selling out arenas this far into their career, adding: “It’s been 25 years for us this year, and we’ve gone from literally singing along to CDs to being a fully fledged band in that time.

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“Showmanship takes a long time to learn, as does enjoying yourself on stage.

“Our favourite moments on stage are when we achieve a sense of, ‘What the hell is going on here?’”

Reflecting on their sometimes chaotic live shows, Jake spoke of a particularly memorable performance with the late Dead or Alive singer Pete Burns.

He recalled: “One of our best collaborations has to be in the early days with Pete.

“He was such a special, special human being.

“He was a fierce, amazing character – in stilettos – and we like that, we like a little bit of chaos.

“That show was dangerous, scary, and fun.

“We look back at those times and feel like that was another era, those are people that are gone now.

“It’s very special to know we could do that with someone we looked up to before even becoming a band.”

CAUGHT LIVE: LONDON ROCKED BY METALLICA

FOR a band 45 years into their career, Metallica were still full of life as they tore through the final night of their three-year M72 World Tour.

The rockers turned London Stadium into a theatre on Sunday with an in-the-round stage in the centre of the venue as part of their “no repeats” weekend.

They also played there on Friday night but vowed there would be an entirely different setlist.

That meant they didn’t play many of their hits, but still had plenty of material to keep going for over two hours.

The gig fell on the one-year anniversary of the Back To The Beginning concert at Birmingham’s Villa Park, which the band performed at and where Black Sabbath frontman Ozzy Osbourne played for the final time.

Honouring the late rocker as his widow Sharon watched on from the crowd, they covered the Sabbath epic, Electric Funeral.

Ending on their biggest UK hit Enter Sandman, it was clear Metallica are still at the top of their game.

★★★★☆

Thanks a bunch, Sara

SARA COX kicked off her tenure as the host of the Radio 2 breakfast show by blasting out Lizzo‘s About Damn Time just after 6.30am.

Full of beans, she was congratulated on air over her new job by Hollywood star Tom Hanks, before leaving the studio with flowers just after 10am.

It sounds like Sara’s taking it old school with a new feature called SurpRise And Shine, where she will phone up listeners who have to answer with a specific phrase to win a special prize – either orange socks with her face on or a Sara-branded toothbrush.

One person who definitely wasn’t listening to Sara’s debut though was sacked host Scott Mills.

His husband Sam Vaughan posted a rare story on Instagram which showed he had snubbed the show and was tuning in to Heart Radio instead.

Can’t say that I blame him . . . 

Hot Tyla, so cool

IF this heatwave carries on, I might have to start dressing like TYLA just to stay cool.

The South African singer took to the stage at Afro Nation festival in Portugal at the weekend wearing this miniscule white top and the tiniest of black miniskirts.

She is gearing up to release her second studio album A*Pop on July 24, which includes her recent singles Chanel and She Did It Again featuring Zara Larsson.

I’ve got a sneaking suspicion we can expect a tour announcement in the not-so-distant future, too.

Tyla was forced to cancel her first headline tour in 2024 due to injury, but she was back on stage last year and is earning rave reviews for her festival sets.

I’m keeping my fingers crossed it isn’t long until she’s back here in the UK.

Shania ends in Styles

HARRY Styles had a smile on his face and the Three Lions on his chest before taking to the stage for the 12th and final night of his record-breaking Wembley Stadium residency.

He posed backstage with Shania Twain, who has been opening for him at the shows, which have been seen by almost one million fans.

Writing on Instagram after the concert – where fellow singer Kylie Minogue and actress Rosamund Pike were spotted in the audience – Shania said: “Thank you again @harrystyles for the memories. You have the greatest fans! Leaving London with an overflowing cup – happy and grateful.”

MADONNA’s Confessions II is now outselling the rest of the Top Five combined in the UK album charts, as it races to become her first No1 record in 14 years.

It came out on Friday and is also on track to land two singles in the Top 40 – Danceteria and her Sabrina Carpenter collab, Bring Your Love.

For a long time, the lifestyles and foibles of the modest bourgeoisie were a mainstay of art-house cinema, with urbane, upscale audiences happy to turn out to see versions of their own lives depicted on the screen. But more recently, as ideas about what middle age looks like have shifted, along with the changing demographics of viewers, these films have largely disappeared. Which is what makes the seriocomic “The Invite” feel both fresh and something of a throwback — a movie for those who worry about losing their edge.

Directed by Olivia Wilde, “The Invite” was a clear standout when it premiered at the Sundance Film Festival in January and now arrives in theaters as one of the best dramas of the year so far. It feels daring for how it wants to actually examine the emotional costs of contemporary grown-up life, bringing wincing laughs of recognition.

The film begins with married couple Angela and Joe, played by Wilde and Seth Rogen, checking back in at their home in San Francisco at the end of the day. He has been at the teaching job he resents and she has been frantically preparing for the dinner party she may not have told him about. Their daughter is away at a sleepover for the evening and it seems they no longer fully know how to relate to each other. As they bicker and jab, their quiet dissatisfaction with their lives stops being so quiet.

Angela has invited over their neighbors from the apartment upstairs, who they do not know well and who often have loud sex. That couple, Piña and Hawk, played by Penélope Cruz and Edward Norton, seems more assured, self-possessed and adventurous, the kind of people you can absent-mindedly invent stories about, assuming their lives are much cooler than your own.

Things go in ways both expected and unexpected, the two couples warily feeling each other out as they wait to spring their own private agendas. Over the course of the evening, things will be alternately tense, flirty, vulnerable and revelatory as surprisingly little food is eaten. (Other substances get ingested instead.)

An adaptation of Cesc Gay’s 2020 Spanish film “Sentimental,” the screenplay is credited to Rashida Jones and Will McCormack. In an unusual step, the script was further workshopped and developed with the cast during rehearsals. Rogen came up with some of the biggest laugh lines and Norton wrote the deeply earnest monologue he delivers late in the film. (The popular Belgian psychotherapist Esther Perel is also credited as a consultant.)

This American version expands upon the characters more than Gay’s original film while consistently returning to the disappointment of Angela and Joe’s lives in terms both big and small. Neither of them are the people they once thought they might become. Whether two people who are each unhappy can make it as a couple becomes the overriding theme of the film.

This is Wilde’s third movie as a director and it is, by far, her most cohesive and accomplished, both contained and expansive. Her debut, 2019’s charming end-of-high-school tale “Booksmart,” had a throw-everything-at-the-wall quality, as if she wanted to get out every idea and try every trick in case she never got another chance to direct. Wilde’s follow-up, the 2022 psychodrama “Don’t Worry Darling,” became mired in behind-the-scenes gossip and tabloid speculation that overshadowed what was intended as a stylized portrait of female rage and discontent.

Her latest fulfills and exceeds the promise of those earlier movies. Shot on 35mm film by cinematographer Adam Newport-Berra, the action of “The Invite” is almost entirely confined to Angela and Joe’s apartment, which thanks to a recent renovation has plenty of rooms to explore. All four players are exceptional in their roles, playing smartly off their screen personas while exploring the nuances of the characters and their intersecting dynamics.

Wilde’s Angela is expressive and antic; Rogen’s Joe is sullen and snarky. Cruz is alluring and watchful, while Norton turns out to be the film’s secret weapon. He has a low-key comic energy and helps guide the story through a few of its trickier emotional turns. At one point he simply rises from behind a couch and it plays like a punchline.

Skip the next two paragraphs if you want to hold onto the film’s purest pleasures. Those noises from upstairs have been Piña and Hawk hosting group sex parties and they are now cruising Angela and Joe for some extramarital couples’ fun. Here, the movie pivots from passive-aggressive party conversation into farce, as Angela and Joe try to process the idea anyone else might find them desirable, as they have long since given up on seeing themselves in that way.

Wilde in particular lights up during this section, Angela’s mind racing at possibilities she never considered for herself while fumbling over the practicalities of protocols and just how this would work. Before pushing the film into its final forlorn section, the excitement that something sexy might happen charges the actors. It is very likely that streams of Sade’s seductive “By Your Side” will skyrocket.

But the focus stays very much on the struggles of married life. One of the biggest strengths of “The Invite” is the way it keeps evolving as the night progresses so it never feels claustrophobic or repetitive. There is a sense of visual invention and imagination to the film that continues all the way through, such as a moment when Wilde crouches down to check on a doomed soufflé in the oven and addresses the camera directly, looking up as if talking to Rogen. The viewer is frequently placed in an adjacent POV to the different characters, as if you are there in the room too.

The film has a propulsive rhythm to it, a relentlessness, even as Wilde and editors Yorgos Mavropsaridis and Anthony Boys know when to ease off the throttle and take it easy for a bit. The film breathes in a dynamic way, the last few beats taking a startling turn toward a somber wistfulness. The ending is just enigmatic enough to have audiences talking it through as they make their way out of the theater.

The end credits include a handwritten dedication, “For Diane,” a nod to Diane Keaton. The live-wire wit and idiosyncratic verve that she embodied in “Reds” and “Something’s Gotta Give” are very much on display here. Early in the story, Norton dryly notes, “We love a contentious environment.” Thanks to Wilde’s confident direction and the ensemble’s unpredictable performances, audiences will too.

As Coronation Street revealed it was Sarah who killed Theo on Monday, actress Tina O’Brien addressed whether she could be leaving the ITV soap and her reaction to the twist

Coronation Street’s Sarah Platt has been exposed as Theo Silverton’s killer.

Now, actress Tina O’Brien, who has played the character since 1999, has addressed whether she’s about to bow out for good. Flashbacks during Monday’s episode confirmed what really happened to Theo, and who was to blame.

We saw Sarah accidentally killing Theo after he turned sinister. As he threatened her, she shoved him before hitting him over the head with a metal pole, leading to him plummeting off the scaffolding.

In the fallout, Sarah will be desperate to cover her tracks. But will she be caught out, and could it lead to a prison stint, or possibly a permanent exit from the ITV soap after after nearly 30 years in the role?

Tina shared: “It’s not just about her now, it’s about her family and her son, and there are times when she can’t cope with the pressure and you think she’s just going to hand herself in. And then she thinks about her son growing up without a mum, if she’s convicted and can’t prove she acted in self defence.

“And because of those things, she’s so desperate to do whatever it takes to be part of her family’s life.” It was her ex Gary that she frantically called for help, with him now keeping her secret.

With Gary’s rivalry with Sarah’s partner Kit Green now at boiling point, Tina explained why Sarah told Gary and not detective Kit. She said: “I think she absolutely went into panic mode, shocked, stunned and numb. She obviously didn’t know what to do, she didn’t know how to react and in that moment she thought, I can’t call Kit because of his job in the police.

“And so in that moment, she thought who can I call and it was Gary. There’s a lot of guilt there and I think also, selfishly, she feels like she’s ruined her chance with Kit, because if he knows what she’s done, he might not want her anymore and she so wanted him to be her future.”

This isn’t the first time Sarah has been caught up in a murder plot. Fans will recall that back in 2015, Sarah’s sister-in-law Kylie Platt murdered Sarah’s love interest Callum Logan. Callum had tried to attack Sarah, leading to Kylie killing him with a wrench.

Sarah and Kylie, with the help of Sarah’s brother David Platt, covered up the crime, and buried the body under their house. Sarah’s mental health spiralled in the fallout, and she was admitted to a psychiatric unit for treatment.

With Sarah caught up in another murder, Tina said this time her character could face prison. She teased: “If she’d have called the police straight away and explained what happened, she would have been in a much better situation, because it was clearly not pre-meditated, it was a situation where she felt she had no other choice.

“But to cover it up, to actively cover something up, she knows that she crossed a line that she can’t come back from.” She added on exit fears: “I genuinely didn’t worry, at the end of the day this job is incredible, but to be an actor is not necessarily a job for life. So, I just was really excited to be given the honour of being the murderer, and then hopefully, however it plays out, I’ll enjoy Sarah’s arc.”

So does this hint that Sarah will stick around? After keeping quiet for months, Tina shared: “I’ve literally been a big bag of nerves. It’s been so difficult, I told my mum and I just recently told my daughter Scarlett and my son Beau. You’re seeing all the chat on social media, everyone’s saying I think this, and I think that.

“Actually filming these scenes the weeks after have been the hardest thing I’ve ever filmed because I felt like my face looked guilty constantly and I thought everyone’s going to know it’s me instantly.”

It came as no surprise to Tina though that Sarah killed Theo. She explained: “I completely understand how it happened, why it happened. For me to get into her character and her head, I feel like in that moment, she didn’t feel like she had any other choice.”

Coronation Street airs weeknights at 8:30pm on ITV1 and ITV X. * Follow Mirror Celebs and TV on TikTok, Snapchat , Instagram , Twitter , Facebook , YouTube and Threads.

True crime fans are urged to check out the Netflix documentary series described as “one of the best” ever made.

A “fascinating” Netflix series with a major twist is the perfect binge watch for fans of true crime documentaries.

The docu-series, which viewers have described as “heartbreaking” and “mindblowing”, first aired back in 2019.

It follows the stranger-than-fiction story of Henry Lee Lucas, who was known as “the most prolific serial killer in the US”.

However, the bizarre case takes an unexpected turn, and the series about his extraordinary life has left viewers stunned.

The synopsis on Netflix reads: “Henry Lee Lucas rose to infamy when he confessed to hundreds of unsolved murders. =

“This documentary series examines the truth – and horrific consequences.”

Titled The Confession Killer, the Netflix series was a hit when it first came out, earning a rare 100% fresh score on Rotten Tomatoes.

Audiences took to the review section to share their thoughts on the mini-series, with many praising its detail and calling it a “must watch”.

“Superb, my mind was blown as the story unfolded,” one person wrote, as another agreed: “This is amazing. One of the best, if not the best, true crime doc series of late.”

“Very well described in terms of details and information. Very little bias,” another praised, as a fourth person said: “Henry Lee Lucas is a tragic story where everyone involved was surprised in the end. It’s heartbreaking. You must watch it.”

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Another person reflected: “As someone as complicated as Henry Lee Lucas, this is probably the best and most well put together documentary about him that has ever been made.”

One more viewer observed: “This was fascinating and SO well done. The old footage was terrific as were the interviews with people who are still alive to tell their versions of the story. I was hooked.

“I thought I was just watching a good profile of a serial killer and then everything took a completely different turn. Anyone interested in true crime will find this a compelling documentary. Highly recommended.”

Critics also applauded the documentary, with Mashable noting: For true crime devotees, watching the five-part series will do more than hit the spot.”

The Confession Killer is available to stream now on Netflix.

Coronation Street boss Kate Brooks has revealed when viewers will find out the identity of Theo Silverton’s killer after the scaffolder was killed off in the soap’s latest whodunnit

Coronation Street boss Kate Brooks has revealed when viewers will find out the identity of Theo Silverton’s killer.

The scaffolder, who was played by former Tracy Beaker star James Cartwright, was killed off at the end of the soap’s much-hyped Murder Week after almost a year of abusing partner Todd Grimshaw, and along with Todd himself, George Shuttleworth, Gary Windass, Summer Spellman, Christina Boyd and Danielle Silverton were named as official suspects.

It all came about following a flashforward, which aired earlier this year, and five potential victims were named in the incredibly dramatic storyline. In the end, it was Theo who was revealed as the victim after viewers had to sit through the same day played out over and over again, all played out from various points of view.

Now Kate, who took over as producer of the ITV soap in November 2024 and previously held the top job on Emmerdale, has told viewers that they will have to wait just a bit longer to find out who was responsible for the murder.

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She said: “It’s later in the summer. We reveal to the audience who it is during late June, July. There’s lots of people you definitely think it could be. It’s a massive story, there’s so many different twists, and there’s so many different offshoots to the story as well. You think you’re watching one thing, and then it diverts into a completely new kind of story territory. It’ll definitely keep people guessing. “

In the coming weeks the investigation shifts, and pulled in for questioning are Summer, Christina and Danielle. As lies are exposed, and arrests are made, it’s yet to be revealed if any of the six are actually the murderer.

They all have motives, and upcoming scenes will reveal why they are a suspect. Todd was being abused by Theo, and the night Theo died he was trying to hunt Todd down – so did he find him?

For Summer, the last time we saw Theo alive was when he trapped her in the flat alone. So did Summer kill Theo? Gary has also been seen acting weirdly – even though wife Maria Connor has givne him an alibi.

We know Gary had threatened him and the pair had clashed, and he’s also killed before. Did Gary take revenge? George also stood up to Theo, and on the night of the murder he was alone at home.

Finally there’s Theo’s ex-wife Danielle. She was also acting suspiciously on Monday and upcoming scenes tease her marriage faced it’s troubles. So might she have killed her violent ex?

Coronation Street airs weeknights at 8:30pm on ITV1 and ITV X.

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Just over three years ago, the U.S. Air Force moved to cancel the AGM-183A Air-launched Rapid Response Weapon (ARRW) hypersonic missile. ARRW had been in line to be the U.S. military’s first operational hypersonic weapon. Now, the program has not only reemerged from purgatory, with missiles being ordered for operational use, but a new variant is on the horizon. The “Increment 2” ARRW is set to feature an all-new seeker, which would give it a moving target engagement capability. A version of the AGM-183 able to strike enemy ships at sea could be especially relevant in a future high-end fight against China in the Pacific.

The U.S. Air Force is asking for just over $296 million to support work on the new ARRW variant in its 2027 Fiscal Year budget request. This money would fund “the design, test, and evaluation of Air-Launched Rapid Response Weapon (ARRW) Increment 2 with terminal seeker and data link capability and other cost reduction production initiatives into ARRW,” according to official budget documents.

The Air Force’s budget documents also indicate that prior work has already been done that “integrated Air Force and DARPA [Defense Advanced Research Projects Agency] enabled system technologies into a prototype that demonstrated the viability of this concept to be fielded as a long range prompt strike capability.”

Furthermore, the “ARRW [program] designed, developed, manufactured, and tested, [sic] a number of prototype vehicles to inform decisions concerning ARRW acquisition, production, and leave behind capability,” the budget documents add. “ARRW Inc.2 adds enhanced capability.”

“FY27 [Fiscal Year 2027] plans to begin [ARRW] INC 2 technology efforts such as but not limited to integrating pre-planned product improvements, design, trade studies, hardware upgrades, facilitization, affordability initiatives, and testing,” the documents also note.

To take a step back quickly, ARRW is known as a boost-glide vehicle-type hypersonic weapon. Designs of this type use a rocket booster to get an unpowered glide vehicle to an optimal speed and altitude. The glide vehicle then detaches from the rest of the weapon and proceeds to its target along a relatively shallow flight path within the Earth’s atmosphere. The vehicle is also designed to maneuver along the way, sometimes erratically. The combination of speed, flight trajectory, and maneuverability creates particular challenges for opponents when it comes to spotting and tracking incoming glide-vehicles, let alone attempting to intercept them or otherwise reacting to the threat. It is this ability to pierce enemy air defenses and very rapidly strike very high-value targets that makes hypersonic weapons so attractive.

“The Air Force will employ units equipped with ARRW to provide an offensive, high-speed strike capability to destroy high-value, time-sensitive, land-based targets in anti-access/area-denial environments,” according to a report from the Pentagon’s Office of the Director of Test and Evaluation that was released in March. “Launched from bomber aircraft, ARRW provides standoff capability to prosecute targets in a timely fashion.”

To date, the Air Force has disclosed plans to integrate ARRW onto its B-52 and B-1 bombers, but other aircraft could potentially carry these weapons, or variants thereof, in the future.

ARRW, in its current guise, is also understood to only be capable of engaging static targets. Adding a terminal seeker would open up the ability to hit targets on the move, including ones at sea. The budget documents do not provide any further details about what kind of seeker the Air Force is looking to add to the Increment 2 variant. Imaging infrared sensors, radars, or passive signal homing seekers – or some combination thereof – could be potential operations.

The extreme heat and physical stress that hypersonic weapons experience in flight, as well as the shape of the glide vehicle, would make integration of any seeker system of these more complex. It is worth noting that ARRW’s prime contractor, Lockheed Martin, is already developing an anti-ship-optimized version of the Precision Strike Missile (PrSM) short-range ballistic missile for the U.S. Army. A key element of the new PrSM variant is the addition of a multi-mode seeker system to enable engagement of moving targets. It is possible that some of that technology could be applicable now to work on the new iteration of the AGM-183.

A data link would also allow targeting updates to be sent to Increment 2 ARRWs in flight, helping to get it first to a general area where the enemy is, or at least believed to be, before its seeker takes over. That system would also need to be able to communicate under hypersonic flight conditions. Given the AGM-183A’s range, off-board platforms would be required for initial target detection and tracking. The weapon’s ability to close that distance very quickly does limit the time available for the target to try to leave the area.

The Air Force did demonstrate exactly the kinds of networks that would be required to close this extremely long-range kill chain in a simulated ARRW strike during Exercise Northern Edge 2021. The designated target was 600 nautical miles from the launch platform, a B-52 bomber. In that instance, no weapon was actually released.

Multiple ARRW flight tests have been conducted since then, including the launch of an AGM-183A with a live warhead from a B-52 flying from Andersen Air Force Base on Guam in 2024. As TWZ noted at the time, the Guam test sent clear signals to China. The Air Force has made no secret of how important it views the development and fielding of hypersonic weapons as part of larger preparations for a potential future high-end fight against the Chinese People’s Liberation Army (PLA) in the Pacific. This is further underscored by the fact that the mention of the “terminal seeker and data link capability” for Increment 2 of ARRW is actually contained in the Pacific Deterrence Initiative (PDI) section of the Pentagon’s Fiscal Year 2027 budget request.

In the context of a major conflict in the Pacific, there would also be a very high demand for prompt, long-range anti-ship capability. The ability to conduct those strikes even in the face of dense anti-air defenses would be even more attractive for engaging very high-value vessels, such as China’s growing fleets of aircraft carriers or big deck amphibious assault ships. The PLA Navy’s (PLAN) combat fleets, overall, continue to grow in scale and scope at a prodigious rate, as well. This, in turn, has put additional emphasis on the development and fielding of new and improved anti-ship capabilities that can be air-launched, as well as employed from the maritime and ground domains, across the U.S. military in recent years. Increment 2 ARRWs could also offer another means to strike mobile, high-value targets on land, such as ballistic missile transporter-erector-launchers.

For its part, the PLA has been actively developing and fielding various types of hypersonic weapons, including boost-glide vehicle designs. Its ever-growing arsenal of traditional ballistic missiles now includes several air-launched types, including ones with nuclear and conventional warheads. The latter are widely believed to be capable of being employed against enemy ships, as well as targets on land.

To reiterate, a plan now to develop an Increment 2 version of ARRW is also just an important step forward for the program as a whole. As mentioned, the Air Force had previously moved to cancel work on the AGM-183 in 2023. The announcement followed a number of failed flight tests of what had been expected to be the first operational hypersonic weapon anywhere within the U.S. military. The explicit intent at the time was to shift resources to the Hypersonic Attack Cruise Missile (HACM) effort. HACM is an air-breathing hypersonic cruise missile that functions in a completely different way from ARRW.

In the years that followed, there were steady signs that the Air Force’s position on ARRW was changing and that it had not actually been axed in the end. Last year, it became clear that the service had rebooted the program when it requested funds to purchase missiles for operational use in its Fiscal Year 2026 proposed budget. The Air Force ultimately received $362.15 million for the procurement of ARRWs in the current fiscal year, and is now seeking a little over $452 million to continue doing so in Fiscal Year 2027. How many of the weapons the Air Force has ordered to date, and how many more it plans to buy in the coming years, is currently deemed to be Controlled Unclassified Information (CUI) that is not releasable to the general public.

Depending on how ARRW and HACM programs progress, the former could still be the first hypersonic weapon to enter operational U.S. Air Force service, with an Increment 2 version able to hit targets on the move following close behind.

Contact the author: joe@twz.com