producers

It’s been four years in the making, now a staggering ‘real life’ Lion King tells the story of how one cub makes it all the way to the top

When the makers of National Geographic’s Lion started out on their four-year mission to tell the story of a pride of lions in the Masai Mara, they did not think they get the real-life version of The Lion King.

But after 52 shoots over 1400 filming days in Kenya and 1,000 hours of footage, they ended up focusing on the journey undertaken by eight-week old male Kio – the first natural history series to follow a lion throughout their full journey from a tiny cub to a king.

The four-part series is the brainchild of The Lion King director Jon Favreau and BBC Studios executive producer Mike Gunton, and has a score by renowned composer Hans Zimmer. Series producer Jane Atkins said it had been a rollercoaster of emotion. “We poured so much love into the project, so I just hope that passion comes through with the way audiences receive it. We want to make films that transport people.”

Lions have a high infant mortality rate, with more than 50% not making it past their second year – and male lions are notoriously hard to follow because they are always wandering off. Jane initially thought the main story would be about a female matriarch but she soon knew that Kio, who was incredibly close to his experienced mother Summer, had potential to become the main star. “I knew it was risky, because of all the statistics, but I was backing that story quite early on. To not have a clue right at the beginning what our end story was going to be was terrifying. But we thought we must be bold, ambitious and able to shift if we don’t get the story that we want. We were playing a very kind of high-stakes gamble the whole time.”

Mike said that when he pitched the project to National Geographic all those years ago, he could only do so in the vaguest terms. “My pitch was not to tell the Lion King, it was to tell the story of a lion pride,” he explained. “None of us knew that it would end up being a male but relatively quickly this male started to stand out as a potential character. But you’d be foolish to just follow him. We were following some adult females, we were following many other lions but as time went on, he became more and more a key character.

“As time goes on, it gets increasingly risky, because you’ve invested more and more in that individual, both emotionally and in terms of footage. As you get closer and closer to the end – which is when you run out of time and money – every day, you think, please don’t die, please don’t die.”

Across the four episodes Kio not only loses important family members, he also loses his home. But over time he proves himself an equal among his older brothers, becoming strong enough to fight rival males and together he and the brotherhood take over a new pride of females, and finally take control of a new kingdom.

Jane said she has found the filming process pulled at the heartstrings in more ways than one. “We were so in love with the characters, by the end I felt really emotional, not just because I was so proud of the team, but also – this sounds strange – I was so proud of this little cub who had made it. He had become this incredible adult male, and it’s like seeing my 14-year-old son, over those years, kind of become a man.”

She said the male lions had to fight hard to succeed, which wasn’t always easy to watch. “You feel incredibly protective, so it is like having your own son, and having to sort of let go of them a little bit.” She could only relax after three and a half years of filming. “We lived and breathed every second of it,” she said. “Jon Favreau was so nervous, he’d say ‘every time you phone me, I feel like you’re about to say something terrible’. His first question was always, ‘is Kio alive?’

At one point, one of the big characters does die and director of photography Sophie Darlington had to overcome her grief to carry on filming. “The way she died was incredibly sad,” Jane said. “We had meetings straight away in the office, and people were crying and there was a lot of upset, and then we had to ask Sophie to go back out to film the aftermath of what happened on Kio and the boys.”

Mike told the Mirror that it was nerve-wracking to make a drama featuring a cast over which they had no control with one of the biggest challenges simply keeping tabs on them. “They’re not collared so we rely on the guides to find them. Every morning before dawn you’d go to where you saw them last, and hope they’re there. If they’re not you drive around and hope that you can find them.”

He said the only script was the one that “nature has written” and explained: “Our job is to just gather and pick the moments of relevant excitement.”

He said the skills of those on the ground were phenomenal. “You are spending 90% of the time with nothing, and then, bang, something will happen almost out of the blue. That’s why the skills of the trackers and the camera teams are extraordinary, they know it’s coming, they’ve got that sixth sense.”

One shocking storyline involves Kio’s mother. “Viewers are going to be shocked by Summer’s story,” Mike warns. “We knew what happened, and it was an interesting filmmaking challenge, how you tell that story without the actual imagery. But you also have to be quite careful politically about how you frame that story.”

Mike found that while it was extremely challenging – it was also incredibly rewarding. “It’s been one of the most joyful things I’ve ever worked on. I say that because it all worked ou,” he laughed. “Imagine if after three and a half years they all died – I would probably be having a very different conversation.”

Mike, who works on many of the David Attenborough series for the BBC, added: “I know epic gets overused, but it does feel, genuinely, like an epic story. I think it’s a real privilege to do something that is this epic.”

In order to know precisely what they were filming, the team gave each lion its own identification card and quickly becoming expert at identifying up to 50 lions from different prides by name and family relationships.

The four episodes will be voiced by actor OJ Lynch – because Favreau wanted the series to use a “storyteller’s voice,” as if the audience was sitting around a campfire with an elder. Lynch previously played Mufasa in the West End version of The Lion King – and also used to work at BBC Studios’ Natural History Unit. “I knew him when he was a postboy about 40 years ago,” Mike says. “I just thought his voice was fantastic. I wanted a voice that wasn’t a famous voice but could be anybody from that part of the world, and Jon felt the same. We felt this was a story that could have been told at any time – 10 years ago, 100 years ago, a thousand years ago. It’s a story of all time.”

– Lion airs on National Geographic as a double bill from Thursday 20 August at 8pm and 9pm, and also streams on Disney +

EXCLUSIVE: The series will end after the 11th run and a plan to go out with a funeral got vetoed, despite many attempts to make it work

Grantchester’s producers planned to kill off Robson Green’s character in a tear-jerking series finale of the TV drama. But in the end they got cold feet and decided viewers would prefer a happier ending.

The final series of the ITV smash – starring Robson and Rishi Nair as crime fighting duo Det Geordie Keating and The Rev Alphy Kottaram – will air in the UK next year.

But viewers in the US have already the eleventh and last-ever series and got a shock when Keating was shot and left fighting for his life. Now screenwriter Daisy Coulam has revealed how she wrestled with the idea of killing him off altogether.

She confessed: “I mean the amount of times we tried to be like, ‘He should die. He should definitely die’. I mean he died probably about four times in the story meeting and we just couldn’t do it. It would just be too big.

“You’re like ‘No, because you need that moment at the end’. You need hope and you need joy because it’s a (platonic) love story and you need your two lovers alive at the end, I think.”

Instead fans will see Keating survive the shooting and decide to retire from the force. But he hands ‘the baton’ over to fellow officer Larry Peters (played by Bradley Hall) to carry on sleuthing with the help of The Rev for future cases.

And in a touching moment, Keating leaves his protégé his hat – which he has kept with him since the start.

Daisy added: “The hat moment … it was randomly filmed the day James Norton came to set for a little visit. We were sitting and we said to Robson ‘What kind of thing would you like to do? You know, what scene do you want?’

“And he said ‘I think you should give Larry the hat’. We were like ‘Yes’ because Emma and I are obsessed with Indiana Jones and it’s basically Indiana Jones, isn’t it? It’s ‘the putting the hat on’. So we were very happy and I just think Bradley acted his socks off and he doesn’t say anything but you really, really feel his pride. It’s so sweet.”

During filming of his final scenes on a hospital trolley Robson, 61, decided to lighten the mood. He sneaked in a sign which read ‘Available for panto’ – as the cast knew they needed to start looking for new projects now Grantchester is ending.

When the hospital porters wheeled him in and the cameras started rolling he held up the sign and made everyone burst out laughing.

Afterwards he told The Masterpiece Studio podcast: “I’m going to miss that feeling of when you look at a schedule, you’re going to a certain location. And in this case, it was Grantchester. I’d always look at the schedule and go, ‘When are we going to Grantchester?’ Because it’s like going on holiday with lots and lots of friends. That’s what I’ll miss.”

Plotlines for the final series will see The Rev Alphy question his faith in God and new fashion boutique owners Cathy Keating and Mrs C (Kacey Ainsworth and Tess Peake-Jones) get caught up in a murder.

Grantchester launched back in 2014 and has run for 11 series. It has had three vicars helping Keating along the way including James Norton as The Rev Sidney Chambers and Tom Brittney as The Rev Will Davenport.

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MADONNA has paid an emotional tribute to William Orbit following his death aged 69.

The Grammy award-winning music producer – who died on July 23 but whose death was only announced on Friday – worked with the singer on her album Ray Of Light in 1998 – known as one of her most beloved musical projects.

Featuring hits such as Frozen and Nothing Really Matters, the record marked a change in style for the Queen of Pop, moving her into an electronica sound following previous albums of dance-pop and disco.

Taking to Instagram, Madonna shared a video of her winning a Grammy for the album, which she accepted with William next to her on the stage.

In the clip she admitted the record wouldn’t have been possible without him.

A montage then showed that era in her career, working with the producer, with the title track Ray Of Light accompanying it.

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She captioned the post: “Goodbye William Orbit – I had an epiphany when I met you and started working with you.

“I realized that music did not have to fit into categories or genres – so we created our own.

“You pressed a magic button inside of me and I fell into a galaxy of unrealized dreams.

“Your music gave me a magic carpet to fly on and I visited many places: Sad and Joyful, I sang in ways I’d never sung before – I used words without caring if they made sense or not.

“In many ways you were my Ray of Light -as was my daughter Lola who was born around this time – I was starting a new chapter, I was choosing another road to walk down – and you were right by my side with your crooked teeth and your genius way of hearing music.”

She went on: “The studio was often church like and I would sit in silence, waiting for your ideas to explode out of your keyboard or your guitar and then I would run with them… I miss those days.

“Only you could inspire me to write a song like Drowned World or Swim – you were so otherworldly, so singular.

“The years passed and I moved on to make music with other people, but I have never forgotten you or the magical time we spent together.

“Goodbye Billy Bubbles – I was so lucky to have known you and fallen down the rabbit hole with you.”

William’s resume featured a plethora of musical icons – including Britney Spears, Pink, All Saints and Blur.

But Madonna was often considered the pinnacle, garnering him the most fame.

Having initially worked with her on singles Erotica and Justify My Love, Ray Of Light then followed, with the pair also collaborating on 1999 track Beautiful Stranger for the Austin Powers franchise.

Speaking previously about working with William, Madonna hailed him as a “complete madman genius”.

She told The Guardian: “I’d come to him with an idea of where I wanted to go musically, hum melodies or read lyrics, and then leave him alone in the laboratory.

“Sometimes he’d go in the direction I wanted and sometimes he’d swerve off somewhere else entirely.

“We’d end up with trance tracks that were eight minutes long and then keep adding and subtracting until we had real verses and choruses.”

The pop producer was hailed for his “friendship and kindness” in a touching statement on his social media.

It read: “It is with profound sadness that the family and friends of William Obit announce that he passed away at home on July 23. We are deeply saddened by his passing. He will be greatly missed by us and by so many whose lives he touched through his music.”

Harare, Zimbabwe – Zimbabwe wants to move beyond being a supplier of raw minerals and build industries that process and manufacture from its own resources. But as the government tightens restrictions on unprocessed mineral exports, smaller miners are asking whether they will share in that transformation or be left behind.

The government has restricted exports of unprocessed strategic minerals, including lithium, as part of a broader drive to increase domestic beneficiation. Authorities argue that Zimbabwe should capture more value from its mineral wealth instead of exporting raw materials and allowing other countries to profit from refining and manufacturing.

The policy has attracted more than $1bn in investment into Zimbabwe’s lithium value chain, according to government officials and industry representatives. But smaller miners warn that the cost of building processing facilities, unreliable electricity supplies and limited access to finance could make it difficult for them to participate in the country’s industrial ambitions.

Speaking during a technical media tour of Prospect Lithium Zimbabwe (PLZ) in Goromonzi, Mashonaland East, on 17 July, Minister of Mines and Mining Development Polite Kambamura said Zimbabwe’s 2022 ban on exports of unbeneficiated lithium ore had encouraged companies to invest in domestic beneficiation.

“The construction of the first lithium sulphate plant in Africa is behind me, and this was done in Zimbabwe,” Kambamura said.

He said Zimbabwe’s ambitions extended beyond lithium sulphate and lithium carbonate production, with a long-term goal of developing industries capable of manufacturing lithium batteries and solar panels locally.

Prospect Lithium Zimbabwe, owned by China’s Zhejiang Huayou Cobalt, said its lithium carbonate plant was about 90 percent complete.

PLZ public relations officer Patience Mushore said Huayou’s investments had generated more than $1.1bn in foreign exchange for Zimbabwe while expanding the country’s lithium value chain.

Policy shift

Supporters of Zimbabwe’s export restrictions argue that the country can no longer remain a supplier of raw minerals while other nations capture greater profits through refining and manufacturing.

Public policy expert Tedious Ncube said Zimbabwe’s lithium sector demonstrated why the government had prioritised beneficiation.

He pointed to investments at Arcadia Mine and Bikita Minerals as examples of companies expanding Zimbabwe’s lithium sector.

Ncube said domestic processing could create skilled jobs, strengthen local suppliers and allow Zimbabwe to retain a greater share of the income generated from its mineral resources.

“The success of Zimbabwe’s lithium industry shows that the right policy can attract investment that builds industries, creates jobs and leaves a bigger share of mineral wealth in Zimbabwe,” he said.

Mining concerns

For smaller producers, the debate is not whether Zimbabwe should process its minerals locally, but whether they will have the infrastructure, finance, and market access needed to participate.

Shelton Lucas, business development director at Naivo Mining, said the company operates chrome, antimony and tungsten projects in Mashava, Ngezi and Kadoma but faces challenges accessing affordable processing options.

Lucas said smaller producers were struggling to access processing capacity, particularly in the chrome sector.

“For our raw chrome, we are now forced to sell to local Chinese smelters where they underpay us. For antimony, I have the resources to build the value-addition plant, but for chrome I cannot because the plant is very expensive,” he said.

He said he supported domestic processing but warned that smaller miners could be excluded if new requirements were introduced without support mechanisms.

Lucas proposed a toll-smelting system, where public institutions or industry bodies invest in shared processing facilities that miners can access at transparent rates while retaining ownership of their minerals.

“The challenge is not only building processing plants, but also ensuring smaller producers can access capacity on fair terms,” he said.

Without such measures, he warned that a small number of companies could end up controlling processing capacity and market access.

“If these companies also hold export rights, they could dictate prices to small-scale miners, creating what could become a predatory market that undermines the very people the mining sector is meant to empower,” he said.

Economic constraints

Economists say Zimbabwe’s processing ambitions will depend on whether the country can overcome longstanding challenges affecting mining and manufacturing.

United Kingdom-based Zimbabwean economist Chenayi Mutambasere told Al Jazeera that the policy faced obstacles including power shortages, expensive financing, weak transport infrastructure, foreign exchange constraints and limited access to processing technology.

“The ban should be more than a political slogan; it should be an industrial practical strategy,” she said.

Mutambasere said the government needed to support the policy with reliable electricity, investor incentives, skills development and clear implementation timelines.

She warned that restrictions introduced before the necessary support systems were in place could create unintended consequences.

“An abrupt ban where companies have invested in the sector may push the mining sector further underground, which could increase mineral leakage,” she said.

Government vision

Permanent Secretary in the Ministry of Information, Publicity and Broadcasting Services Nick Mangwana told Al Jazeera that the policy was intended to ensure Zimbabwe gains more from its finite mineral resources.

“The government is implementing this beneficiation policy in our minerals for the growth of our economy and to create a lasting legacy that will be witnessed by future generations,” Mangwana said.

He said the policy applied not only to lithium but also to other strategic minerals, including platinum group metals such as palladium, rhodium, ruthenium, iridium and osmium.

Zimbabwe’s push reflects a wider debate among resource-rich countries: whether restricting raw exports can build domestic industries without concentrating opportunities among a few large companies.

For smaller miners, the success of the strategy will depend not only on how much mineral processing takes place inside the country, but whether beneficiation creates broader participation or leaves only the biggest players able to compete.

Lucas said the goal should be to ensure that local processing expands opportunities across the mining sector rather than creating new barriers for smaller producers.

“Beneficiation should not become a barrier to participation. It should be an enabler of inclusive growth, industrial development and sustainable economic transformation,” Lucas said.

Before the war, roughly 15 million barrels of Gulf oil passed through the Strait of Hormuz every day, as roughly a fifth of the world’s traded oil moved through the maritime chokepoint in peacetime.

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With the channel still largely closed and prices elevated, at least seven major pipeline projects are now under construction, in planning or under discussion to push supplies out through the Red Sea, the Suez Canal and the Gulf of Oman instead, according to Gulf officials, energy companies and market analysts.

With the Iran war reignited this month, Brent crude is trading again at around $93 a barrel at the time of writing, well above the roughly $72 it fetched after June’s short-lived truce, and the US benchmark WTI has also risen to roughly $90 a barrel.

Depending so heavily on the Strait of Hormuz “is no longer a prudent long-term strategy,” said Victoria Grabenwöger, a senior researcher at the data firm Kpler.

Two escape valves already exist, and both are close to their limits.

Saudi Arabia’s East-West pipeline, built in the 1980s when Tehran threatened shipping during the Iran-Iraq war, carries crude from the Abqaiq complex to Yanbu on the Red Sea, where tankers head south towards the Arabian Sea or north to the Suez Canal.

Meanwhile, the UAE has been channelling more oil to Fujairah, its port on the Gulf of Oman about 145 kilometres south of the Strait of Hormuz.

Together the two links had a spare capacity of some 3.5 to 5.5 million barrels a day before the war, according to the US Energy Information Administration, and both now run close to full representing around 6.5 million barrels a day.

Abu Dhabi’s state oil company is also racing to finish a project it began before the war.

Its $3 billion (€2.6bn), 300-kilometre pipeline to Fujairah, laid alongside an existing line, is designed to lift deliveries by over 1.2 million barrels a day and is roughly half built, according to Kpler, which expects the official early-2027 completion target to slip to mid-2027 because the port itself must be expanded.

Even that timetable, the firm argues, only became conceivable because of the blockade.

Red Sea relief, Red Sea risk

The Red Sea route has vulnerabilities of its own, and this week served as a reminder.

Yemen’s Iran-backed Houthi rebels, who declared a blockade on Saudi-linked shipping in retaliation for the kingdom’s blockade of Yemen and an attack on Sanaa’s airport, said on Thursday they had attacked two Saudi tankers, the Encelia and the Layla, setting both on fire.

Saudi state media reported a blaze at the bow of the Encelia with no casualties, while the UK Maritime Trade Operations centre reported a tanker struck by “an unknown projectile” southwest of Al Shuqaiq.

The Iran-backed group has disrupted the Bab el-Mandeb Strait before, a maritime chokepoint carrying about 12% of world trade, and a Houthi drone strike forced the East-West pipeline itself to shut back in 2019.

Iraq’s $60 billion bet on Washington

Nowhere is the scramble more urgent than in Iraq, which draws about 90% of state revenues from oil exports and has had to cut output because of its dependence on the Strait of Hormuz.

Prime Minister Ali al-Zaidi returned from Washington last week with 48 agreements signed with American firms, spanning energy, healthcare and technology and worth more than $60 billion, according to Reuters, including tie-ups involving ExxonMobil, Shell, Halliburton, KBR and GE Vernova.

The centrepiece is a deal with Syria to rebuild the long-dormant pipeline running from the Kirkuk fields to the Mediterranean port of Baniyas, a project Iraqi state media says Chevron will execute and which the US State Department, welcoming the plan, called “a critical energy corridor” with an initial capacity of 2 million barrels a day.

Baghdad is also weighing a line from Basra to Jordan’s Aqaba.

Washington’s ambassador to Turkey, Tom Barrack, predicted the agreements would render the Strait of Hormuz “an afterthought”.

The second series of The Celebrity Traitors will hit screens later this year – and there’s reportedly going to be a huge plot twist that even the producers didn’t see coming

The second series of Celebrity Traitors is set to feature a huge plot twist that has never been seen on the hit BBC show before – that has reportedly left producers “shocked”.

Already being billed as the “most treacherous series so far”, it’s claimed that a third of the contestants will end up as Traitors when the new season starts later this year.

Revealing how the latest celeb series will be different to anything viewers have seen before, a source told The Sun: “Those working on the programme were quite shocked by the approach adopted by the core Traitors. They went on a recruiting spree that has never been seen on either the celebrity or the ‘civilian’ version of the show in the UK.

“Last year, the original three Traitors secretly selected by Claudia remained as a trio throughout the competition — which turned out to be a winning approach. But on the follow-up series, all that changes. There’s a thrilling shift in the balance of power,” the source added.

“Even though the whole programme is based on skullduggery, nobody thought it would reach these levels.”

Filming in the famous Scottish castle is already believed to have wrapped, but fans will have to wait for the show to air to find out who the Traitors are – and which famous faces they will go on to recruit.

This year’s impressive line-up of has already been revealed and there will be 21 contestants on the celebrity version of the show that’s hosted by Claudia Winkleman.

Among those taking part this year is actor Richard E Grant, along with Mick Jagger’s ex Jerry Hall, former EastEnders star Ross Kemp, You’re Beautiful singer James Blunt and Little Mix star Leigh-Anne Pinnock.

Love Island host Maya Jama will also battle it out to win the 2026 series alongside comedians Miranda Hart, Romesh Ranganathan, Rob Beckett, James Acaster, Joe Lycett and Joanne McNally.

Actors Michael Sheen, Sharon Rooney, Bella Ramsey, Myha’la, Sebastian Croft and ex Corrie star Julie Hesmondhalgh have also signed up to the show. Journalist and broadcaster Amol Rajan, boxer and YouTube star King Kenny and mathematician Professor Hannah Fry complete the 2026 line-up.

In the 2025 series, comedian Alan Carr schemed his way to victory after being cast as a traitor. And rumours are already swirling over who this year’s traitors will be.

Perrie Edwards has already predicted that her bandmate Leigh-Anne Pinnock will likely be cast as a traitor because of her affinity for mischief.

Speaking on the Hanging Out with Ant & Dec podcast, she said: “Oh she is so annoying, I already know she is going to annoy me. You don’t understand how infuriating it is, she would lie about silly things so she would do pranks and we’d be like, ‘Leigh-Anne’s that’s…’ and she’d be like ‘it’s a prank’ and I’m like ‘that’s not a prank you’ve just lied, it’s just annoying’. And so I don’t know if I’ve got it in me to watch her do that for a full series.”

*Celebrity Traitors will return to BBC One and iPlayer later this year

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