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'Adolescence' & 'Severance' Win At Seoul International Drama Awards
TV & Streaming

‘Adolescence’ & ‘Severance’ Win At Seoul International Drama Awards

by jummy84
written by jummy84

Adolescence and Severance have backed up big nights at the Emmys by securing major prizes at the Seoul International Drama Awards.

Netflix’s acclaimed limited series won the Grand Prize, Best Director for Philip Barantini and Best Actor for Owen Cooper, who made history on Sunday by becoming the youngest ever male winner of a Primetime Emmy. Barantini shared his award with Hirokazu Kore-eda, who won for Asura, the Netflix Japan miniseries about four sisters.

Ben Stiller took home the Golden Bird Prize for Apple TV+’s Severance Season 2, which just won eight times at the Emmys. The award goes to shows have significantly made an impact on the drama industry, and Best Screenwriter. Last year, Park Chan-wook won for HBO series The Sympathizer.

The Seoul organizing committee said that despite being just 15 years old (and 13 at the time of filming), Adolescence star Cooper had “showcased extraordinary acting talent, establishing himself as one of the most promising next-generation actors.”

It added that Stiller’s “creative and outstanding direction best reflects the Seoul Drama Awards’ mission of presenting works that deepen understanding of humanity and inspire reflection on the path toward harmony.” Dan Erickson also won Best Screenwriter.

Severance explores what happens to a person when their identity is split between their ‘Innie’ work self and ‘Outie’ personal self at a creepy biotech company Lumen Industries. Made by Red Hour Productions, Fifth Season, Westward and Animals & People, it stars the likes of Adam Scott, Zach Cherry, Britt Lower and Tramell Tillman.

The four-part Adolescence follows the aftermath of the murder of a schoolgirl on the family of the child accused of the crime, with each episode shot as one continuous take. Cooper stars alongside the likes of co-writer Stephen Graham, Christine Tremarco, Ashley Walters and Erin Doherty. Warp Films is the producer for Netflix.

Pachinko Season 2 made it an ever better night for Apple TV+ by taking home the Best Miniseries and Best Actress for Minha Kim. She shared the prize with Cate Blanchett, for Disclaimer, another Apple show. Best on Min Jin Lee’s book, Pachinko explores the generational experiences of a Japanese family from the colonial period to the present, charting their migration journeys. Alfonso Cuarón’s Disclaimer follows a famed documentary journalist, who learns a dark secret of her own is being fictionalized in a novel.

Elsewhere at the Seoul awards last night, Netflix won several K-drama awards, including Outstanding Korean Drama in the K-Drama Competition category for webtoon adaptation The Trauma Code: Heroes on Call and elevated romance When Life Gives You Tangerines. Ji-hoon Ju won Outstanding Korean Actor for his role in Trauma Code, while IU won the Outstanding Korean Actress award for Tangerines.

Turkish drama The Good & The Bad, from Ay Yapim and for free-TV network Show, won Best Series. Starring Aras Bulut Iynemli and Uğur Polat, it follows a genius mathematician struggling to confront his father’s dangerous schemes.

Best TV Movie went to CJ ENM’s The Son, while Outstanding Asia Star went to several actors, including Seonho Kim for The Tyrant and Newtopia, Yu Bair for Bank on Me and Daniel Padilla for Incognito. Youngtak won the song category Outstanding Korean Drama O.S.T. for the contribution to KBS drama For Eagle Brothers.

A ceremony for 20th Seoul International Drama Awards will be held on October 2 via SBS TV and the awards’ official YouTube channel. Jury members this year included CAA agent Nicolas Lafferty, KBA drama producer Sinil Kim, director Yang Leo and TV Globo’s drama exec producer, Luciana Monteiro.

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Introducing the cast of Netflix's new show House of Guinness
TV & Streaming

Introducing the cast of Netflix’s new show House of Guinness

by jummy84
written by jummy84

Anthony Boyle is Arthur Guinness

Anthony Boyle as Arthur Guinness in House of Guinness. Netflix

“I play Arthur, the eldest. He left Ireland early on and went to Eton. He rejected his Irishness; he’s a classic, what we Irish would call a ‘West Brit’ — someone who aspires to be more English than Irish. Arthur loves the trappings of high society and likes British rule. He’s in London having a lovely time, living his authentic, true self, when his father dies and he has to return home.

“He thinks he’s going to get a chunk of money from his father’s will. But he ends up tied to his brother Edward; they have to run the brewery and share all the money — or else they both get nothing. Arthur has also been concealing his sexuality. He’s gay — this was true — and he met partners at Eton. He just wants to go to London, have sex, drink, smoke, and have the craic. Whereas Edward lives the Guinness brand, as we’d say now.”

Louis Partridge is Edward Guinness

Louis Partridge as Edward Guinness in House of Guinness, sitting at a table with a book open in front of him.

Louis Partridge as Edward Guinness in House of Guinness. Ben Blackall/Netflix

“Edward is the youngest brother and, along with Arthur, the inheritor of the brewery. He’s lived in his father’s shadow, and he’s always thought, ‘Once Dad pops his clogs, I’m going to run this brewery my way.’ He has ideas, he’s a bit of a strategist and is quite confident in his ability to grow the business. He’s a champion of social benevolence — he pioneered the pension, which is amazing — but it’s because to him benevolence equals votes, votes equals power, power equals expansion, and expansion equals profits. He has ideas to expand Guinness into the New World — ideas that we now know worked.

“His problem is the rest of his family. Benjamin’s a complete f***-up and a liability; Arthur’s gay in a time when you could not be gay, and Anne’s sleeping with Rafferty [James Norton]. He just wants these problems to go away so he can concentrate on the business. But then he meets someone he shouldn’t and realises that there’s a life outside the brewery.”

Emily Fairn is Anne Plunket (née Guinness)

Emily Fairn stars in House of Guinness; she is seen here in a black funeral dress standing outside, near a large green hill in the background

Emily Fairn as Anne Plunket in House of Guinness. Netflix

“The eldest daughter of Benjamin Guinness, Anne is a very strong woman, particularly for this period when everything is piled against her. But when she’s given nothing in the will, she doesn’t know what to do with herself.

“She has a degenerative disease, which we believe was MS, so she’s desperately trying to make more of her life, but both society and her own health are pushing her down. Plus, she’s in an arranged marriage in which she’s deeply unhappy.”

Fionn O’Shea is Benjamin Guinness

Louis Partridge, Fionn O'Shea and Emily Fairn star in House of Guinness; their characters are sharing a church pew at a funeral service

Fionn O’Shea as Benjamin Guinness in House of Guinness. Netflix

“Middle son, Benjamin, is the black sheep. He has amassed a pretty significant gambling debt and is an alcoholic and a drug addict. When his father Benjamin Sr dies, Ben receives nothing in his will. It’s the final straw for him, so he quits Ireland, gets sober and joins the military in the UK. There’s a honeymoon period when he has money, a house in London, even an arranged marriage. But eventually he realises that none of these things will bring him happiness. That’s when he starts to unravel.”

James Norton is Sean Rafferty

James Norton stars in House of Guinness; he is seen here wearing late 1800s period attire, including a black top hat, in a dimly lit factory setting

James Norton as Sean Rafferty in House of Guinness. Netflix

“Rafferty’s a lapsed Catholic from south of Dublin, with a military background — we reckon he fought in the Crimea – who found himself working for the Guinnesses.
He’s the foreman of the brewery, officially. In actuality, he’s the fixer who runs things for the family – he’s known throughout Dublin as the man who will get his hands very dirty if needs be, but then the next day he’s in a smart shirt talking about balance sheets.

“His weakness is love. And sex. He has these complicated relationships with women of high status. And while normally he’s cool and reptilian, he starts to fall in love and it terrifies him.

“I have to say that until Steven Knight’s scripts came along, I hadn’t pictured myself doing a thick Dublin accent in mid-19th century Ireland. But when I read it, it’s Steven at his absolute best, firing on all cylinders.”

The latest issue of Radio Times is out now – subscribe here.

The Radio Times cover, featuring images from Slow Horses season 5.

Radio Times.

House of Guinness is coming to Netflix on Thursday 25th September 2025.

Add House of Guinness to your watchlist on the Radio Times: What to Watch app – download now for daily TV recommendations, features and more.

Check out more of our Drama coverage or visit our TV Guide and Streaming Guideto find out what’s on. For more TV recommendations and reviews, listen to The Radio Times Podcast.

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The Surreal Disney Cartoon That Inspired Fever Dream Episodes of 'Futurama' & 'Ted Lasso'
TV & Streaming

The Surreal Disney Cartoon That Inspired Fever Dream Episodes of ‘Futurama’ & ‘Ted Lasso’

by jummy84
written by jummy84

In 1950, Disney released an educational short titled Donald in Mathmagic Land, a 27-minute animated featurette in which the infamous belligerent duck with a speech impediment visits a surreal world filled with geometric shapes, numbers, and puzzles. Adorable, eye-catching, and credited for making mathematics accessible to generations of children, the toon is recognized for inspiring many future scientists, mathematicians, and engineers… and apparently TV writers, as it was used as the massive inspiration for both Futurama and Ted Lasso.

Guided by a disembodied narrator (voiced by Paul Frees, a.k.a. The Ghost Host for all you Disney adults out there), Donald in Mathmagic Land was much more than just a cartoon about math. It was nominated for an Academy Award for Best Documentary (Short Subject), and Walt Disney himself called it “the most interesting film we have ever made” in terms of educational value. More importantly, the brilliant mix of classic Disney animation, abstract design, and colorful visuals made it incredibly memorable.

In 1961, it became the first Disney cartoon ever televised in color as the premiere episode of The Wonderful World of Color, and it often played in syndication for generations, allowing audiences to watch and absorb its trippy, dippy lessons in geometry.

Everett Collection

Is it any wonder it got a wink from the writers of Ted Lasso and Futurama, who can’t resist raiding pop culture’s attic for inspiration?

In Season 3 Episode 6 of Ted Lasso (“Sunflowers”), Ted (Jason Sudeikis) finds himself in an American-themed sports bar in Amsterdam while high on mushrooms (as one does). As he sits watching an old basketball game he once shared with his father, a disembodied voice calling itself “The True Spirit of Adventure” (voiced by Corey Burton), who materializes and offers him advice on triangles, inspiring him to try “Total Football” with his players.

It’s no coincidence that this shares the name of the narrator in Donald in Mathmagic Land, who guides Donald through his lessons in spatial design. In addition to the name connection, just as the Disney waterfowl was guided by Frees, a popular Disney voice actor, Lasso is guided by Corey Burton, the voice of Captain Hook, Ludwig Von Drake, Dale, the Mad Hatter, and other iconic Disney characters.

Ted-Lasso_Season 3 Episode 6_Sunflowers_2

Apple TV+

Pretty neat, right? It gets better.

That takes us to Season 13 of Futurama, a show that is no stranger to satirizing pop culture references, no matter how obscure. Given the extraordinarily high level of mad genius on the writing staff, many of whom hold PhDs from Ivy League universities, it makes sense that many of the gags would be peppered with ambiguous references such as puns on architect Buckminster Fuller and the P vs NP problem in computational complexity theory, nods to Toad the Wet Sprocket, or visual sight gags to ELO’s Out of the Blue album cover, just to name a few.

FUTURAMA

Disney/Matt Groening

In the episode, ‘The Numberland Gap,” the gang travels to a mysterious world inhabited by numbers after receiving a numbered message through Bender’s (John DiMaggio) AM radio that led to an encoded plan in a paint-by-numbers painting. After Amy (Lauren Tom) builds the machine that transports the crew to the abstract world of Numberland, where the Professor (Billy West) meets a captive Georg Cantor and thus begins a dazzling carnival of clever, calculated quips.

It also features Danica McKellar as a head in a jar! From The Wonder Years! A truly whackadoo episode that only the brilliant maniacs over at Futurama can cook up.

“It’s a very experimental episode,” said showrunner and writer David X. Cohen. “So that is one of the most interesting episodes of the year. It’s called ‘The Numberland Gap,’ but it was inspired at Matt Groening’s suggestion by this old Disney cartoon, Donald in Mathmagic Land, where Donald Duck creeps through this land of numbers and has adventures. And he wanted us to do a version of that, but with more actual math in it, as opposed to vague references to how math is important to architecture.

“He said, ‘You guys do something like that, but with real math,’” recalled Cohen. “It sounds kind of hard, but we’re up for the challenge. So our crew goes into a land inhabited entirely by numbers.”

FUTURAMA -

Disney/Matt Groening

“There’s some really spectacular 3D graphics, I have to say, in the two done by our studio, Rough Draft Studios and Scott Vanzo, the 3D director there,” continued Cohen. “I’m very pleased with how it came out. But I’m particularly curious because it’s a wacko episode.”

“So it’s an exceptionally abstract episode, but I think we worked extra hard on it for that reason, and came out pretty funny, and there’s some math in it, but you don’t have to know the math to appreciate it. But for those who do know the math, I think it’ll be an extra treat.”

In the end, Donald in Mathmagic Land didn’t just teach kids about geometry; it also taught TV writers how to turn math into comedy gold and how to find magic and humor in treasures from our shared pop culture past.

Futurama, Hulu

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Evan Shapiro on the Affinity Economy — In Development
TV & Streaming

Evan Shapiro on the Affinity Economy — In Development

by jummy84
written by jummy84

Four months ago, I launched the In Development newsletter with a question: With the entertainment industry in crisis, what should we do next? 
 
Since then, we’ve explored: 
• The making and selling of vertical videos 
• Filmmakers getting money from rich people 
• A pay-to-play model that might make sense 
• How filmmakers can own their release strategies 
• How crews are learning to think like influencers 
• Why living lean is business strategy 
 
This week asks something different: 
 
What if your success as a filmmaker is tied to the strength of your personal community? 
 
That sounds like (and probably is) the first thing you’d hear at a TED Talk, followed by trenchant anecdotes and thoughtful homilies. I offer neither, and I am the sort of person who cringes a bit at “personal community,” but still I persist: 
 
What if investors or buyers valued your project not only on story, cast, production team, and director CV — but also on the collective value of the communities they brought to the table? 
 
I’m not talking about Instagram followers (though you’d probably have those, too). I mean the ability to demonstrate there’s a collection of humans with a specific affinity for your work and for each other. 
 
We already know what this looks like: It’s what built Comic-Con and the franchises that fill it. But what if that same logic applied to you—an indie filmmaker, fledgling producer, actor, or cinematographer? 
 
I believe this is what happens next. 

4238_D045_00238_R Jessie Buckley stars as Agnes and Joe Alwyn as Bartholomew in director Chloé Zhao’s HAMNET, a Focus Features release. Credit: Agata Grzybowska / © 2025 FOCUS FEATURES LLC

Enter the Affinity Economy

It already has a name — the Affinity Economy — and credit goes to Evan Shapiro, a former TV executive with a talent for inhaling massive amounts of data to identify what’s already true but not yet declared. 
 
Two years ago, Shapiro rattled legacy-media executives at global conference IBC when he declared they now operated in a creator economy. 
 
“I looked at the room and I said, ‘This is the moment in time where you’re going to have to change everything or go out of business,’” he said in a recent video post, shortly before he took the stage at IBC 2025. “It pissed off a lot of people in the room to the point that there were a bunch of harrumphing old men who got up and left.” 
 
Today, YouTube is the number-one television channel and the creator economy is a given, like gravity. Shapiro’s now moved on: He describes the Affinity Economy as “a new ecosystem where mainstream media and the creator economy have collided and melded and turned into a Frankenstein monster.” 
 
The Affinity Economy doesn’t care if you’re indie or blockbuster, theatrical or TikTok. It doesn’t particularly care about likes, which can be casual or bought. It’s all about the thing that can’t be faked or AI’d: the community your work creates or inspires. 

The Reception

When Shapiro returned to IBC this September, audience reaction was starkly different. 
 
“The reception was very positive—from the people in the audience, from the organizers, and from the people who pay to fund the conference,” he wrote me. “It was a bit overwhelming tbh… I also had the opportunity to ask a sizable sample of delegates about what they would most want to transform if they could. The overwhelming answer—more than 2/3—was to shift from the vision-less CFO centric culture in the industry and return to vision and mission. This was across media and tech. Big companies and small.” 
 
That’s encouraging news in a world where Paramount is preparing to swallow Warner Bros. Discovery whole. 

The Affinity Economy is an aspiring buzzword, but there’s evidence that its reality is already here. When I spoke with Cineverse exec Erick Opeka last week about MicroCo, we talked about the upcoming LA vertical drama market and its fan event VertiCon, which is inspiring attendance from as far away as Australia.  

Why It Matters

More importantly, he said, that devotion can translate directly to dollars. If microdrama star Kasey Esser shows that his fans convert into paying customers, he can get more money… from companies like MicroCo. 
 
“If they build their own franchises, if they have their own characters and get popular,” Opeka said, “they’re going to demand it and they’re going to get it.”  
 
In other words: Those who can convert fans into audience will win. However, that also demands young creators start building a fanbase now — before they’ve made the big sale, or any sale; possibly even before they’re really good.  
 
That is some hard work, but under the Affinity Economy it’s essential — not only for future returns, but because community is the only metric that matters. 
 
How to do that? That’s a future issue of In Development.  

✉️ Have an idea, compliment, or complaint? 
[email protected];  (323) 435-7690.

Weekly recommendations for your career mindset, curated by IndieWire Senior Editor Christian Zilko.

Music can make or break a movie, but indie filmmakers who pour their souls (and savings) into making a film often end up neglecting it when they get to post-production and see their budgets have evaporated. This article offers a detailed breakdown of the options available to artists looking to stretch their budgets and assemble soundtracks that make their films sound more expensive than they actually are.

A clever article that analyzes the strategies behind an expensive studio film with a massive marketing budget and then seamlessly applies them to microbudget filmmakers handling their own distribution. Even if you don’t make genre films, every filmmaker can find something in here to help give their own marketing campaign a bit of the “Weapons” magic.
 

If you need a reason to feel good about making your films independently (either by choice or lack of other options), this insightful look into the processes and priorities that lead to many of Netflix’s least inspired films is a great place to start. 

I always enjoy seeing someone take the time to write a detailed article about the parts of filmmaking that never make their way into the spotlight. Donny Broussard’s Punk Rock Producing Substack (a favorite of this newsletter) did just that this week with this explainer on feeding crews on the smallest of films.
 

I’ll be the first to admit that social media marketing does not come naturally to me, but any filmmaker looking to make their bones in the Affinity Economy needs to learn it. Vora offers 26 easily digestible bits of info for any director looking to build a following for their film, making for a fun read and a resource you can refer back to again and again.

 

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Busan Competition Film 'Spying Stars' Debuts First Trailer
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Busan Competition Film ‘Spying Stars’ Debuts First Trailer

by jummy84
written by jummy84

The first trailer for “Spying Stars,” the latest feature from acclaimed Sri Lankan filmmaker Vimukthi Jayasundara, has been unveiled ahead of its world premiere in competition at the 30th Busan International Film Festival.

The sci-fi drama, a France/India/Sri Lanka co-production, follows scientist Anandi as she visits Hanuman Island to perform last rites for her father. Set in a dystopian future plagued by “Illvibe” — a pandemic caused by machine dominance — Anandi finds herself quarantined in a remote hotel where a mysterious star begins following her. She eventually escapes and seeks refuge with a mother and her transgender daughter.

“I chose to construct ‘Illvibe,’ a disease of the future that finds its origins in technology and devices to narrate a film of loss and mourning, an existential common experience of all mankind of today and in future,” Jayasundara says in his director’s statement.

The film stars Indira Tiwari, Hidaayath Hazeer, Saumya Liyanage, Samanalee Fonseka, Shreepura Mithra, and Kaushalya Fernando. Eeshit Narain serves as director of photography, with music by Alokananda Dasgupta.

Jayasundara has established himself as a major voice in international cinema, notably winning the Caméra d’Or at Cannes for his debut feature “The Forsaken Land” (2004). His subsequent films including “Between Two Worlds” (2009) have screened at prestigious festivals including Cannes, Venice, Locarno, and Toronto.

“‘Spying Stars’ is a liberation film that is spiritual in nature,” the director explains. “It asks one question: in a time of pervasive voyeurism and technological control, how do we retain our humanity?”

The film is presented by House on Fire, Eleenora Images, and Film Council Production, with world sales handled by Bangkok-based Diversion. BIFF runs September 17-26.

Watch the trailer here:

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Terence Crawford Vs. Canelo Alvarez Rakes In 41.4M Viewers On Netflix
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Terence Crawford Vs. Canelo Alvarez Rakes In 41.4M Viewers On Netflix

by jummy84
written by jummy84

Terence Crawford defeated Saúl “Canelo” Álvarez to claim the undisputed Super Middleweight Championship Saturday during what seems to be another successful live event for Netflix.

The fight, which sold out Allegiant Stadium in Las Vegas, scored an estimated average minute audience of 36.6M global viewers from opening to closing bell, per a combination of internal data and live + same-day data from VideoAmp.

Within one day, that number had risen to 41.1M globally, Netflix said Monday. In the U.S. alone, about 20.3M tuned in live + same-day, per the streamer.

The event was No. 1 on Netflix in 30 countries, including the US, Mexico, UK, Argentina, Australia, Canada, Ireland and the Philippines, and made the Top 10 in 91 countries, the streamer added.

This appears to be another promising notch in Netflix’s live events belt, particularly with professional fights. However, it’s hard to say exactly, since Netflix has been using different services to measure performance, making comparisons difficult.

In November, Netflix said that an AMA of 74M tuned in live to watch Katie Taylor go up against Amanda Serrano, per both internal data as well as metrics from TVision. The co-main event that night (and still Netflix’s biggest fight to-date), Jake Paul vs. Mike Tyson, pulled an AMA of 108M, Netflix said.

When Taylor and Serrano rematched in July, Netflix partnered with VideoAmp to report that 6M live + 1-day viewers tuned in. Netflix didn’t give a same-day number for that one.

Measurement data can change depending on the service, which makes direct comparisons nearly impossible. TVision uses 5,000 connected TV devices to measure and extrapolate that audience data. VideoAmp says it uses a “proprietary commingled dataset” which includes 39M households and 63M devices.

More insights will be available on Tuesday, when Netflix releases its weekly Top 10, which this event will surely be part of. At that time, it’ll at least be easier to make comparisons against other Netflix live events and titles.

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Charlie Hunnam Is Nightmarish in Full Trailer
TV & Streaming

Charlie Hunnam Is Nightmarish in Full Trailer

by jummy84
written by jummy84

Charlie Hunnam has fully transformed into a monster in the full trailer for Monster: The Ed Gein Story.

Hunnam plays the haunting serial killer in the third season of Ryan Murphy and Ian Brennan‘s Netflix horror anthology series, and the official and full trailer (below) lives up to the streamer hyping this season as the most harrowing yet in the Monster franchise. All episodes release Oct. 3.

Gein’s horrific legacy inspired Psycho, The Texas Chain Saw Massacre and The Silence of the Lambs, becoming the “blueprint for modern horror.” The first footage had explored Gein’s house-of-horrors home being investigated by police who were so disturbed, they could barely go through what they found, and ended with a haunting conversation between Gein and his mother, who is played by Laurie Metcalf.

The official trailer now exposes Gein’s nightmarish proclivities, as he is seen committing several murders and literally trying on (and dancing around in) the skins of his victims. Hunnam also reveals the mannerisms and voice he took on to play Gein, which he previously spoke about when discussing his research for the part.

Monster: The Ed Gein Story follows the first two Monster seasons, The Jeffrey Dahmer Story and the Lyle and Erik Menendez Story, respectively. Each cycle of the franchise tackles a different true-crime story, following the massive success of the series’ 2022 debut.

Gein is the serial murderer and body snatcher often referred to as “the Butcher of Plainfield” who gained notoriety in the 1950s for his crimes. The logline explains that “driven by isolation, psychosis and an all-consuming obsession with his mother, Gein’s perverse crimes birthed a new kind of monster that would haunt Hollywood for decades.”

The cast for Monster: The Ed Gein Story also includes Tom Hollander (as Alfred Hitchcock) and Suzanna Son, with Vicky Krieps, Olivia Williams, Lesley Manville, Joey Pollari, Charlie Hall, Tyler Jacob Moore, Mimi Kennedy, Will Brill and Robin Weigert.

Executive producers include co-creators Murphy and Brennan, along with Max Winkler, Eric Kovtun, Scott Robertson, Nissa Diederich, Louise Shore, Carl Franklin and Hunnam. Brennan and Max Winkler are directors on the series.

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Martin Freeman's crime drama with Downton Abbey star leaving Netflix
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Martin Freeman’s crime drama with Downton Abbey star leaving Netflix

by jummy84
written by jummy84

ITV crime drama A Confession is leaving Netflix very soon, meaning viewers have only a matter of weeks left to watch it on the streamer.

The six-part series, which was released in 2019 and is written by Jeff Pope, is based on the real-life murder of Sian O’Callaghan, who went missing in 2011 after a night out.

Martin Freeman (Sherlock) stars as Detective Steve Fulcher, the real-life police officer who went to great lengths in order to get justice to prevail, while Siobhan Finneran (Downton Abbey) appears as Sian’s mother, Elaine Pickford.

Alongside Freeman and Finneran, the drama also stars Imelda Staunton, Joe Absolom, Daniel Betts and Charlie Cooper.

A Confession is leaving Netflix on 30th September 2025, but is still available on ITVX, where it looks set to remain for the foreseeable.

Siobhan Finneran plays Sian’s mother.

Liam O’Callaghan previously opened up to RadioTimes.com about how he worked with writer Jeff Pope to tell the story of his sister Sian’s disappearance and murder.

He said: “As soon as we’d seen what Jeff had produced, we were happy with what was produced. It shows Sian as a person, it doesn’t focus on Sian’s life being taken.”

He added: “Which was important, for us. Because we didn’t really want that to be a focus, we didn’t want to have to envisage that or see it played out. So the fact that it steers away from that and just shows Sian as a person, and then also tackles Steven Fulcher and his actions – it’s a good piece of work.”

Read more:

A Confession is available to stream now on Netflix until 30th September. Sign up for Netflix from £5.99 a month. Netflix is also available on Sky Glass and Virgin Media Stream.

Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what’s on. For more from the biggest stars in TV, listen to The Radio Times Podcast.

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SHEFFIELD, ENGLAND - MAY 22: Vince Neil of Mötley Crüe performs live for the
TV & Streaming

‘Doctors Didn’t Think I’d Go Back on Stage Again’

by jummy84
written by jummy84

Back in March, Mötley Crüe postponed their Las Vegas residency under mysterious circumstances, revealing only that their frontman Vince Neil had to “undergo a medical procedure.” Now, Neil is opening up about what happened: He shared with the Las Vegas Review-Journal that he suffered a stroke during his sleep on Christmas and was forced to learn to walk again and underwent months of physical therapy.

He recalled in the interview, “My whole left side went out. I had to learn to walk again, and that was tough. The doctors said they didn’t think I’d be able to go back on stage again. I go, ‘No, no, I’m gonna do it. Watch and see.’”

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