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TV & Streaming

Mark Sanchez Arrest Has Fox “Trying To Wrap Our Heads” Around Stabbing

by jummy84 October 5, 2025

written by jummy84

As Friday’s stabbing incident involving NFL alum Mark Sanchez slowly comes into focus, the team at Fox Sports seems to be just as bewildered as the rest of us.

Over the weekend, the network addressed the incident on several occasions after he was arrested on three misdemeanor counts, following an altercation in which he was stabbed and another unidentified man suffered lacerations.

In a statement read by multiple Fox Sports anchors, they said, “Friday night in Indianapolis, one of our team members, Mark Sanchez, was involved in an incident that we’re still trying to wrap our heads around. At this time, our thoughts and prayers are with Mark, his family, and all of those involved.”

The latest statement comes after Sanchez was one of two injured people on a street in downtown Indianapolis, where police responded to a call around 12:30am, according to TMZ. The New York Jets alum was rushed to the hospital in critical condition.

“Mark Sanchez was injured in Indianapolis on Saturday and is currently recovering in the hospital in stable condition,” Fox previously shared in a statement on Saturday. “We are deeply grateful to the medical team for their exceptional care and support. Our thoughts and prayers are with Mark, and we ask that everyone please respect his and his family’s privacy during this time.”

Indianapolis Metropolitan Police Department has since announced that Sanchez was arrested at the hospital on counts of battery with injury, unlawful entry of a motor vehicle and public intoxication, all of which are misdemeanors.

October 5, 2025 0 comments

TV & Streaming

‘KPop Demon Hunters’ Singers Make Surprise ‘SNL’ Appearance

by jummy84 October 5, 2025

written by jummy84

Saturday Night Live season 51 is off to a “Golden” start.

EJAE, Rei Ami and Audrey Nuna, who voice the characters of Rumi, Zoey and Mira in the hit Netflix and Sony Animation movie KPop Demon Hunters, made a surprise appearance during an SNL skit in the season 51 premiere. The short performance as part of a brunch-themed KPop Demon Hunters sketch marks the first-ever live performance of the song by the three women.

The ladies of Huntrix are set to make their first official and full-length performance of the song during Tuesday’s episode of The Tonight Show with Jimmy Fallon. They’ll also be interviewed together. The news was announced last week, showing Fallon receiving a special invitation from some familiar faces for fans of KPop Demon Hunters.

The animated feature has become Netflix’s most popular title ever. The project — which chronicles the adventures of Huntrix, a K-pop girl group comprised of three members who just happen to also fight monsters from the underworld — has been a surprise hit for the streamer, and its soundtrack has spent several weeks in the top 10 of the Billboard 200 chart. THR has confirmed that a sequel film is in talks at Netflix and Sony Animation.

In August, Huntrix ended Alex Warren’s long-running No. 1 streak to take the top spot on the chart. After a flip-flop the following week, the song returned to No. 1, where it remains. Two other songs from the film are in the top 10 of the Hot 100. “Your Idol” and “Soda Pop,” sung by the film’s fictional boy group Saja Boys, sit at No. 3 and No. 5, respectively. Six other songs from soundtrack, including Twice’s “Strategy,” are also charting on the Hot 100.

Following the appearance, EJAE, who also served one of the film’s key songwriters, announced her debut solo single, “In Another World,” which is set to be released on Oct. 24. “I’m so humbled and grateful for the love I’ve received as a songwriter and the singing voice of Rumi from KPop Demon Hunters. Getting so much exposure so quickly has been strange, exciting, and truthfully a little scary,” she said in an Instagram post announcing the song.

“People keep referring to me as an ‘artist’ or a ‘star’ — which is everything 11-year-old EJAE dreamed of, but over the years, I became comfortable behind the scenes and I didn’t think I was meant to be an artist,” she continued. “Writing this song helped me through a hard time, and I hope that sharing it can help others too.”

See the surprise KPop Demon Hunters cameo on the SNL season 51 premiere below.

October 5, 2025 0 comments

TV & Streaming

Where was Frauds filmed? Location guide for ITV drama

by jummy84 October 5, 2025

written by jummy84

To secure a life-changing fee, they enlist a heist crew in true genre style, each of whom has their own set of skills – and their own stock of dangerous baggage that could derail the plan entirely.

If the cinematic setting of Frauds has left you dreaming of your own sunny escape, here’s your guide to where the comical ITV thriller is set (and the location where it was actually filmed).

Where is ITV’s Frauds filmed?

Jodie Whittaker and Suranne Jones star in Frauds. ITV / Monumental Television

ITV drama Frauds was filmed in Tenerife, a Spanish island and popular tourist destination located off the coast of northwest Africa.

However, Tenerife is not playing itself in Frauds (so to speak), as the story of the show is set in mainland Spain; specifically, the southern province of Málaga, where co-creator Anne-Marie O’Connor has spent a significant amount of time.

She told press that she was excited by the “spaghetti western feel” that the area can provide, adding that “there’s a real otherness to it, a dry heat and that kind of outlaw feel you get in places like Las Vegas”.

O’Connor continued: “Even in famous places like Marbella, where you turn up and everything’s catered for, actually you just need to scratch the surface and it can be lawless.”

When scouting for shooting locations, executive producer Katie Kelly echoed the need for both a “glistening” outward appearance and a lesser known “underbelly” to tell the story that O’Connor and co-writer Suranne Jones had planned.

“Shooting in Tenerife offered us everything we needed and more,” she added, explaining why the popular Canary Islands destination was used as a substitute for Málaga.

“In a small area you can have a sort of Costa del Sol beachside strip full of clubs… and then suddenly you can find yourself in what looks like an old Spanish town or up in lush, verdant mountains.”

Frauds co-star Jodie Whittaker shared that enthusiasm for Tenerife, telling press that she found it an “incredible” place to work, describing travel for location shoots as one of the “great” things about her job.

Jodie Whittaker in ITV's Frauds; her character is standing on a clifftop with the ocean in the distance behind her — Jodie Whittaker in ITV’s Frauds ITV

“It was stunning,” she recalled. “My house was in a little town called La Laguna up in the north. It is literally gonna be in my top five places in life, I loved it so much.”

Whittaker noted that she had been to Tenerife on family holidays many years ago, but had never spent any significant amount of time in the north of the island, where she found the city of Santa Cruz to be another “brilliant” highlight.

The sub-tropical climate and western-style landscapes certainly give Frauds a distinct look among an occasionally homogenous TV landscape, but for O’Connor “it just felt like a really good place for a load of cons to be hanging out”.

She concluded: “It’s a part of the world that we think we know as British people… but we also don’t know it.”

Frauds premieres ITV1 and ITVX on Sunday 5th October 2025.

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

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

October 5, 2025 0 comments

TV & Streaming

Lawrence Saint-Victor Gets Emotional as Carter Sends Hope off to Liam

by jummy84 October 5, 2025

written by jummy84

Life can change pretty quickly, and not for the better! That’s what Carter Walton, played by Lawrence Saint-Victor, found out on The Bold and the Beautiful last week when he went from wanting to plan his wedding to Hope (Annika Noelle) to setting her free from their relationship.

The day started out well with the two celebrating Hope’s fashion line, Hope For The Future, being reinstated at Forrester Creations. The jubilation over the revived division prompted Carter to tell Hope that he wanted to plan their wedding.

Alas, viewers saw Carter come to a fast but firm realization that Hope’s heart was with her ex-husband, Liam (Scott Clifton), and their daughter, Beth (Jordyn Gracie). For his heartbreaking performance as a man who has inexpiably lost out in love again, TV Insider is bestowing Performer of the Week honors on Saint-Victor.

Hope became distracted from her wedding plans to Carter by taking a text from Liam that included a photo of him and Beth at their Daddy/Daughter dance. Carter couldn’t help but notice the emotional shift that the woman he loves was able to make so quickly. While moms usually aren’t on the guest lists for those events, Carter knowingly told Hope, “And you want to be there, don’t you?”

Saint-Victor brought an understated gravitas to his delivery on that line and others as he was in the process of coming to the inevitable conclusion that Carter’s relationship with Hope was on the verge of ending.

CBS

“You want to be with Beth and Liam tonight,” Carter said to Hope. Saint-Victor performed the word “tonight” in a way that indicated Carter knew that this wasn’t just for one evening. It was going to be forever.

Hoping against hope that the relationship still might be salvaged, Carter gave a nervous chuckle when he pointed out to Hope that she wasn’t obligated to be at a “Daddy/Daughter” dance given its nature. However, he couldn’t deny where Hope stood. He knew it before she did, in fact.

“Go, be with your family,” Carter told Hope after she shared that she’d love to be there with Beth on her special night.

Again, Saint-Victor played that Carter wasn’t just letting Hope go for the night – he was sending her away forever.

Hope wasn’t quite there yet, realizing that this would be a split for good. She offered to stay in touch with him as the evening progressed. “Stay as long as it feels right,” Carter said with nothing but love in his voice. Slowly, Hope started to come to the conclusion that something was amiss and Carter was talking about an issue that was more substantial than them just being apart for a dance.

“I know we both had ‘hope for our future,’” Carter wistfully said as he noted the play on words between his personal desire and the name of Hope’s company. This wasn’t the first time that the phrase “hope for the future” was employed in dialogue that had nothing directly to do with Hope’s fashion line. We’ve been waiting for someone on the show who uttered those words to be aware of the pun, and Saint-Victor chose to have Carter be aware of the ironic wording at a very emotional time.

He then put it all on the table. “This is really difficult,” he said. Carter struggled a bit but then he found the words that would set Hope free.

“Give your daughter what she wants,” Carter said. “Give her her parents back. That’s what’s in your heart.”

Then, Carter took the engagement ring off Hope’s finger. The two cried and kissed, realizing that while they still loved each other this was for the greater good.

“Goodbye,” Carter said. While some actors can’t muster up tears, Saint-Victor did in these scenes, reminding viewers that real men can — and do — cry.

Emotionally drained, Carter went to Il Giardino to hear Daphne Rose (Murielle Hilaire) perform. Later, she joined him at his table and he updated her on his status as a single man. Despite calling himself a “loser at love,” Carter was able to muster a bit of a smile when Daphne took his hand. (Perhaps there’s hope for their…well, you know the rest.)

Time will tell if and when Carter manages to capture someone’s heart. However, there’s no question that Saint-Victor has the ability to touch our hearts with his vulnerable performances. Bravo!

The Bold and the Beautiful, Weekdays, CBS

October 5, 2025 0 comments

TV & Streaming

How ‘The Lost Bus’ Created Fire with VFX and Real Flames In New Mexico

by jummy84 October 5, 2025

written by jummy84

Director Paul Greengrass thrives on recreating real-life crisis, whether it’s putting audiences aboard a commercial airplane hijacked on 9/11 (“United 93”) or a container-ship overrun by Somali pirates (“Captain Phillips”). However, his journey to discover how to recreate the 2018 Camp Fire that engulfed Paradise, California for “The Lost Bus” was filled with detours.

“The truth is I went in one direction when I was prepping the movie, and then radically went the opposite way,” said Greengrass said on the Filmmaker Toolkit podcast.

“I’d [wanted] to make a movie about a wildfire that is the best that it can be done, up to now, with the technology available,” he said. “And the reason for that is the world is burning, the fires are getting worse and more [frequent], so I wanted to find a way of conveying the intensity off what those things feel like and how it might feel to be in one.”

ANEMONE, from left: Daniel Day-Lewis, Sean Bean, 2025. © Focus Features / courtesy Everett Collection

He though he’d found the answer when he attended U2’s immersive concert at The Sphere in Las Vegas, which utilized the unique venue’s 160,000-square-foot, wraparound LED display to transport the audience to the desert.

“It’s absolutely extraordinary how realistic it is. Technology has got to the point now where you truly believe you are there. It’s eerie and uncanny, even though you know you are sitting in a seat in a theater, you feel like you are in the desert,” said Greengrass. “So I was very taken with that and thought, ‘Ok, what we’ll have to do is have a Sphere-type experience around the bus.”

This meant embracing the LED virtual stages pioneered by Star Wars series “The Mandolorian.” Greengrass and his team got to work, spending pre-production dollars on feasibility studies and tests. But for the director who cut his teeth making documentaries, he could never make the tech work for him.

“I came not to believe in it because, fundamentally, my soul as a filmmaker wasn’t really in not being in a real world,” said Greengrass of shooting on virtual stages. “So we then went in entirely the opposite direction.”

“The Lost Bus” locations team found an abandoned campus in Santa Fe, New Mexico. The enormous area supplied the production with different terrains, multiple winding tree-lined roads, and free rein to shoot with moving vehicles and to light its own controlled fires.

“It enabled us to have a bedrock of reality,” said Greengrass. “We could lay gas lines so we could have controlled flames that were safe. We weren’t burning stuff that [sent] particles into the atmosphere that could create a forest fire, and we could control all the dangers.”

The production lit fires in the foreground and around the bus that could be augmented by visual effects,. Greengrass argued these were every bit as real as the flames on set.

“People talk about CGI as in computer-generated images, but the truth is nowadays some of them are not,” said Greengrass. “In this case, we went and shot a thousand pieces of fire for different fires operating in different ways, different smoke operating in different ways.”

Visual effects supervisor Charlie Noble’s team created their own controlled burns to film in an effort to capture the wild and wide range of fire’s unpredictable behavior. The Paradise inferno’s movement, color, power could change in a split second.

“It was real image married to real image via a computer to create a seamless whole,” said Greengrass. “It was the most painstaking piece of work I’ve seen. We’d try some pieces, then say, ‘That’s not right,’ and [Noble would] have to go and shoot other bits.”

THE LOST BUS, director Paul Greengrass (center), on set, 2025. ph: Melinda Sue Gordon / © Apple TV+ / Courtesy Everett Collection — Paul Greengrass on ‘The Lost Bus’ set©HLN/Courtesy Everett Collection

Perhaps the most painstaking adjustment Greengrass felt compelled to make came in form of light. Specifically, what happens when a fire produces so much smoke it blocks the daylight.

“You’re blocking out the sun, but you got the flames,” said Greengrass. “ It’s a very strange light. It’s both dark and light all at the same time. You can see, and yet there’s no light.”

Greengrass said the only direct comparison is the infrequent, fleeting moments of a solar eclipse, but the closest analog is the 45-minute window before sunset — aka, “magic hour.”

“That led me to think that the only way that we could successfully make this movie [excluding the beginning and end of taking place in the non-smoke-filled daylight] was that it had to be shot at magic hour,” he said. “That’s only 45 minutes at the end of the day, but that’s what we did: We actually shot the bulk of this movie in a tiny portion of time.”

This meant a very different way of approaching the shoot day. The cast and crew would arrive late morning and spend six to seven hours rehearsing all the vehicle movements, stunts, gas burns, and actor staging (including the child actors on the school bus with Matthew McConaughey and American Ferrera). Then, rather than split the action into different camera setups or shots, Greengrass would aim to get two or three longer takes of that day’s action, which later could be cut together with additional, tighter coverage of the cast shot on a sound stage.

“That gave the film its dramatic emotional intensity in terms of performance because it was a sort of once and only once kind of experience, in the light, rather than, ’Shot four, now we go on to shot seven,’ and the orthodox way you might do it, so those are the elements,” Greengrass said.

“The Lost Bus” is now available on Apple TV+. To hear Paul Greengrass’s full interview, subscribe to the Filmmaker Toolkit podcast on Apple, Spotify, or your favorite podcast platform.

October 5, 2025 0 comments

TV & Streaming

How to Watch Vikings vs Steelers in London NFL Football Game Online

by jummy84 October 5, 2025

written by jummy84

If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission.

Last week, it was Dublin. And this week, it’s London. With the NFL expanding American outside of the United States, more and more games are taking place overseas to court fans from different countries. The league now travels to England for NFL London Game.

For Week 5, the Minnesota Vikings (2-2) battle the Cleveland Browns (1-3) at Tottenham Hotspur Stadium in London, England. The game broadcasts on NFL Network on Sunday, Oct. 5, with kickoff at 9:30 a.m. ET/6:30 a.m. PT.

Want to watch the NFL London Game online? There are a number of ways to watch online.

Even without cable, you don’t have to miss any of the action. You can access the game livestreams on a number of streaming platforms, including DirecTV, Fubo, Sling TV and Hulu + Live TV. All of these services (with the exception of Sling) offer free trials that you can use to livestream select NFL games online for free.

How to Watch NFL Network Online Without Cable

Scroll down and check out the best ways to stream the NFL London Game, below:

DirecTV

DirecTV is one of the best ways for cable-cutters to access live sports and TV from home. Starting at $49.99 for the first month of series ($89.99/month afterwards), you get access to the streamer’s Choice package for NFL regular season games on NFL Network. The service also includes NBC, ABC, ESPN, CBS and Fox for games.

How to Watch Vikings vs Steelers in London NFL Football Game Online

Sling TV

Sling is one of the best options for affordable live streaming with the Sling Blue package, which is half off for the first month of service. The package includes NFL Network for games, analysis, commentary, highlights and more. Please note: Pricing and channel availability are subject to your local TV market.

Additionally, NFL fans can add the Sports Extra package to their plan for an additional $11/month to gain access to the NFL RedZone network.

Fubo logo

Fubo

Fubo is one of the best options for streaming NFL regular season games because it’s the most comprehensive. The service features NFL Network, as well as the other networks that broadcast games, including NBC, ABC, CBS, Fox and ESPN, while it has additional channels for analysis, like NFL Red Zone. It even has more than 230 live TV channels for cable-free streaming. The streamer offers a 7-day free trial to try out the service before you commit.

Hulu + Live TV Deal

Hulu

Starting at $82.99/month, Hulu + Live TV is a great option for live channel streaming NFL games with access to NFL Network, along with more than 90 other channels, like NBC, ABC, ESPN, CBS and Fox, as well as access to hit originals on Disney+, Hulu and ESPN Unlimited.

How to watch NFL+ online

NFL

For die-hard NFL fans, the NFL+ streaming service is a must. It features all games across broadcast and cable networks, including NFL Network, during the regular season, post-season, preseason and even the Super Bowl. It broadcasts 24 hours of everything NFL starting at $6.99/month. Learn more about NFL+ here.

October 5, 2025 0 comments

TV & Streaming

Benicio Del Toro Makes Surprise Cameo In ‘SNL’ Skit About Spanish

by jummy84 October 5, 2025

written by jummy84

Benicio Del Toro made a surprise cameo appearance on Saturday Night Live tonight, joining host Bad Bunny and frequent collaborator Marcello Hernandez in a sketch spoofing the idiosyncrasies of the Spanish language.

Set in a medieval Spain, Bad Bunny and Hernandez were seen explaining to a cohort of scholars the reasoning behind why certain nouns were masculine or feminine.

“Yes, the ocean is a boy because it is fun, but sometimes, for no reason, it kill you,” Hernandez said.

Kenan Thompson then made the conclusion that a “girl word is a girl thing.” For example, dress would be feminine. “No, dress [vestido] is a boy,” Bad Bunny clarified.

Meanwhile, the word Bible is feminine “because it’s beautiful,” Bad Bunny said, and “also because, the Bible, everything you wanna do, it say no,” Hernandez added.

The Barcelona delegate, as portrayed by an overly ceceando Mikey Day, suggested skipping the tiresome lecture, only to be taken off camera to be beheaded.

At this point, Hernandez introduced his cousin to list “a few more rules that you’ll only need to remember for school but will be totally useless in real life.”

Enter stage left: Del Toro, fresh off his press tour for Paul Thomas Anderson’s One Battle After Another.

“Listen carefully. We will do also formal and informal, like you or You,” he began, drawing the difference between the informal tú and formal usted, both Spanish pronouns for second-person singular.

He continued, “What if the letter ‘r’ lasted a really long time? Like errrrre,” joking about the Spanish rolled R, or trill as it’s known in English, and vibrante múltiple, as it’s known in Spanish.

Watch the sketch above.

October 5, 2025 0 comments

TV & Streaming

Rebecca Miller’s Apple TV+ Martin Scorsese Doc

by jummy84 October 5, 2025

written by jummy84

An early montage in Rebecca Miller‘s montage-heavy five-part documentary on Martin Scorsese focuses on the ways that friends, loved ones and collaborators address the Oscar-winning director.

There are several “Martys” among the ultra-familiar, a lot of “Martins” among the respectfully familiar, and a few “Mr. Scorseses” among the familiar but deferential. (“Martin Scorsese” would be reserved for the respectfully distant and, of course, “Scorsese – Monster: The Martin Scorsese Story” for Ryan Murphy.)

Mr. Scorsese

The Bottom Line

Conventional but utterly engaging.

Venue: New York Film Festival (Spotlight)
Airdate: Friday, October 17 (Apple TV+)
Director: Rebecca Miller

Miller’s docuseries is titled Mr. Scorsese and that encapsulates her approach as well: This overview of Scorsese’s career is thorough, peppered with warmth and affection, but perhaps just a shade more conventional and, yes, deferential, than the subject matter might ideally require. Especially in its second half, Mr. Scorsese becomes a little bit of a laundry list, and its attempts to tie together aspects of Scorsese’s career feel a little rushed. But the series has enough wonky inside-baseball film conversation for serious fans — in its best moments, it could nearly be called Ms. Schoonmaker — and enough clips and colorful stories to inspire casual observers to seek out a couple more semi-obscure Scorsese titles.

Scorsese’s life and work, still ongoing thank heavens, have been given a rather simple five-act structure for purposes of the documentary. Miller starts with Scorsese’s early biography and his evolution from aspiring priest to student filmmaker to first-time feature director on the Roger Corman-produced Boxcar Bertha. Then it’s over to Mean Streets, Scorsese’s early Robert De Niro collaborations, cocaine and over-exertion. Then more cocaine, plus Raging Bull and the director’s mid-80s wandering in the cinematic desert. Then the series concludes with Last Temptation of Christ and Goodfellas, followed by the Leonardo DiCaprio years, resolving with pre-production on Killers of the Flower Moon.

For the most part, Miller has access to all of the people you need to tell Scorsese’s story — starting with Scorsese, who clearly sat for a lot of in-depth interviews in a variety of locations, including what appears to be a waterside vacation house; a cluttered urban office; and, best of all, several darkly lit restaurants, where he gets to gab with friends from childhood as they remember their rough-and-tumble upbringing with a mixture of candor and nostalgic romanticization. Miller sits down with all three of Scorsese’s daughters, ex-wife Isabella Rossellini, peers like Brian De Palma and Steven Spielberg, stars such as De Niro and DiCaprio (along with the likes of Miller’s husband Daniel Day-Lewis, Margot Robbie and Sharon Stone), and an assortment of regular collaborators, with longtime editor Thelma Schoonmaker and writing partners like Paul Schrader and Jay Cocks among key behind-the-scenes figures.

Rounding out the documentary are younger directors following to varying degrees in Scorsese’s footsteps, like Spike Lee, Ari Aster and both Safdie brothers. Journalist/film scholar Mark Harris pops up late in the series to smooth some intellectual transitions. These relative outsiders offer some insight, but rarely feel as seamlessly integrated into Miller’s story as the people who were there.

The first two episodes, which lay the foundation for all of Scorsese’s fixations and themes, were my favorites, with Scorsese and his assortment of matured tough-guy pals steering anecdotes interspersed with storyboards drawn by a young Scorsese and footage from his acclaimed student films. Miller is never formally adventurous, though some of the art/artist parallels are illustrated in thoughtful split-screens. From the violence he witnessed in the streets to the escape offered by secure and air-conditioned movie theaters to the moral inquiry prompted by his immersion in Catholicism, this is Scorsese in a nutshell, delivered with the director’s trademark volubility that remains delightful even if most of the background was conveyed in documentaries like Italianamerican and A Personal Journey With Martin Scorsese Through American Movies.

Martin Scorsese has always been an open book, a storyteller who has offered his autobiography freely and an auteur whose deepest philosophical themes have been recurring and explored in bold type. That he’s never been an “Oh, I’d prefer to let the work speak for itself” recluse is to Miller’s advantage. But she has to push to get different or deeper engagement, leaving many of her questions and conversational detours audible.

Given that it could easily have become oversaturated with testosterone, it’s obvious that Mr. Scorsese benefits from being made by a director who isn’t simply a giddy fanboy. It’s in moments like Miller’s inquiry about the use of hands as a motif in The Age of Innocence that you can see Scorsese relax and embrace a topic that isn’t the usual gabbing about violence and Catholic guilt and whether or not he can be classified as a gangster filmmaker — not that those topics are excluded.

Nothing is exactly off-limits, but one can sense Scorsese trying to de-sensationalize his drug use or the work-related obsessiveness that led to his many divorces so thoroughly that there’s nothing for Miller to dwell on. This makes the version of Scorsese’s life presented here follow a very familiar “Rise, slight fall, rise again” arc, along with a “Sexagenarian or septuagenarian gets another chance at fatherhood and corrects the mistakes he made the first time, much to his older children’s resignation/chagrin” formula that has become so common for documentaries about men of a certain age.

Scorsese’s big movies get the most extensive focus, and the truth is I could happily watch five hours of Scorsese and Schoonmaker breaking down tape on Raging Bull, Goodfellas and Mean Streets. But it’s often just as interesting when Scorsese goes somewhat deep on a less expected film, like the long-term dream project Gangs of New York, or a less universally adored project like Casino.

Miller is so eager to at least touch on everything on Scorsese’s resumé that the few gaps stick out. I’m pretty sure, for example, that Scorsese’s only scripted feature not to get even a token mention is Hugo. Do I need a deep exploration of Hugo? Nah, but Scorsese’s ability to adapt to and evolve with cinematic technology is a big part of his venerability. Do I need deep dives into Boardwalk Empire or Vinyl? Probably not, but those HBO dramas, one a reasonably large success and the other a large failure, represent a not-insignificant portion of Scorsese’s output from the past 15 years.

I’m also a bigger fan of Scorsese’s documentary work than Miller seems to be. While The Last Waltz gets ample attention, it’s odd that Mick Jagger is in the documentary for basically one quote about the way music is used in Casino, without mentioning the Rolling Stones concert film Shine a Light.

Again, though, what’s missing in Mr. Scorsese stands out because so much is present, and present in such solidly rendered ways. Scorsese is an always entertaining raconteur; the footage and outtakes from his films fuel an instant desire for a career retrospective binge; and his daughters (especially Francesca, whose social media posts with her dad have often gone viral) round out the character portrait beyond his normally fast-talking, excitedly curmudgeonly persona. I never wanted anything different, just slightly more, from the docuseries.

October 5, 2025 0 comments

TV & Streaming

Jodie Whittaker on keeping Doctor Who secrets and comedy Frauds

by jummy84 October 5, 2025

written by jummy84

Co-created by Jones (who plays Bert) and writer Anne-Marie O’Connor, the project appealed to Jodie, 43, because it was so different from anything she had done before. “I think what is amazing about Frauds is having Suranne as one of the creators and she’s telling stories that she doesn’t feel that she’s been a part of before,” Jodie says, speaking exclusively to RadioTimes.com.

Filmed in Tenerife (doubling for mainland Spain), the series begins with the pair reconnecting when Bert is released from prison after serving time for a crime they were both involved in. While Sam is pleased to see her friend, she is also wary of their relationship (which Jodie describes as “toxic”), especially when Bert uses devious means to convince her to commit a dangerous robbery.

“Sam is such a different kind of role for me to play within this dynamic,” Jodie explains. “It was a wonderful challenge to have that kind of repressed rage that she has, and also there’s such a complicated back story between them, and having the moments where it flashes. It’s like someone trying to contain this, and contain Bert, but also themselves.

“I’m used to playing a lot of different types of roles, but I would say that a lot of the time I play people where their emotions are quite quick to the surface, and Sam is the opposite of that.”

The role of Sam is also quite physical, with Jodie and Suranne’s characters having a play fight in a bull ring in the first episode that involved Suranne wielding a shirt like a bullfighter’s cape close to her co-star’s face. “I think there was many a time we were kicking or accidentally bashing into each other, and there were definitely some close calls, but it’s all fine and I can forgive her instantly,” Jodie laughs.

Read more:

Another action scene involved the pair fighting in a swimming pool after Sam discovers that Bert has betrayed her. “That was the scene that made me want to take the job, in a way, because you don’t usually see that. You don’t see women of that age having that kind of response to each other, but that response is as normal as crying and cuddling each other, but we only normally see the crying and cuddling,” she says.

“What I loved about Frauds is it explores fear, the relationship between these two women, and it shows the versions that are within all of us but aren’t necessarily shown on television.”

“So when we got to film that, I was really super excited. Obviously, once you are four hours in, you’re a bit like, ‘oh, god!’ but they are really fun to do. I love the fact that within a stunt scene there’s always a massive amount of choreography so it feels really satisfying, because it becomes this rhythmical dance between you. And once you’ve got that down, then you can add all the elements, the dramatisation, the tension and the humour. That’s one thing I love about every scene in this. There was always something in it that kind of had that tone, where you sit in what you think it is, and then the tone slightly shifts, and it’s something completely different.”

Jodie Whittaker and Suranne Jones star in Frauds ITV / Monumental Television

During the making of Frauds, Jodie had to pull off her own secret operation – a quick return to Cardiff to film scenes for the surprise return of her Thirteenth Doctor in the series 15 finale of Doctor Who that was broadcast in May this year and marked Ncuti Gatwa’s final regular appearance as the Fifteenth Doctor.

“Suranne and the production team on Frauds didn’t know I was going to shoot it as it was under a complete pseudonym,” she explains. “They knew it was a pick up [the filming of extra footage after a main production has wrapped] on something. Of course, it wasn’t a pick up, it was a brand new day.

“It had a whole level of secrecy, because Doctor Who has to have its pool so tight. Wonderfully for me, Frauds released me to film it, I got to get there and no one leaked it.”

Jodie admits that her time on Doctor Who has meant she is “brilliant at keeping secrets”.

“I think I loved how secretive it was, because I understood the sadness when you’ve spent six to 10 months working on something, and for someone to not even casually, to intentionally leak a spoiler, and you’ve worked so hard on it.”

“I’m the least affected, it’s the art department, it’s the writers, it’s all the creatives and also the real fans and the Whovians, the most loyal and wonderful group of fans you could ever encounter. They love Doctor Who because it can go in any direction and be a surprise, so to have the spoilers is just frustrating. So I understood the level of secrecy, and I love a rule! If you say, ‘don’t tell me, don’t tell anyone,’ I won’t tell anyone. I am a vault. I was a good Doctor because I never leaked anything.”

Jodie inhabited the role of the Thirteenth Doctor from 2017 until 2022, and it’s clear that playing the Time Lord holds a special place in her heart. “I love Doctor Who more than I can ever describe,” she says. “Our seasons were longer than any other job I’ve ever done and I moved to Wales to film it, so it wasn’t just the job, it was the people, it was the life.”

There are other past roles she is particularly fond of, especially trainee nurse Samantha in writer/director Joe Cornish’s cult sci-fi comedy horror movie Attack The Block, where she starred alongside John Boyega, battling aliens invading a south London council estate.

“Attack The Block was one of my happiest times,” she remembers. “As a kid, I was hugely influenced by all the 80s creature features, and the 90s adventure films. I was in our version of that, and I adored it.”

Fans have been calling for a sequel since the film was released in 2011, and Jodie admits she is one of them. “There’s been talk of a sequel for years and I know no more than last time [it was rumoured]. I would absolutely do it. There’s probably no job I wouldn’t go back to. If someone said ‘do you want to do Black Mirror again?’ I’d say yes. I don’t think I have had an experience I wouldn’t revisit and I think with Attack The Block there is always that chat. So hopefully that continues. Maybe I should be sending a self-tape to Joe Cornish as I could definitely pop up again. I could send him an aggressive email!”

West Yorkshire-born Jodie was 29 when she was cast in Attack The Block, and just 23 when she made her big screen debut in the movie Venus, for which her co-star Peter O’Toole was nominated for his eighth Oscar at the age of 74. Looking back, it’s a role she describes as “such a gift” that has shaped her view on acting in the years since.

“It was one of the last roles he played in his life and he was at the end of what can only be described as a phenomenal, inspiring career,” she says. “He’s one of the great British or Irish acting legends, and he was a wonderful human who was such a joy to be around. I was fresh out of drama school and it was a master class with people like Vanessa Redgrave, Peter O’Toole, Richard Griffiths, Leslie Phillips and director Roger Michell.

“And it goes to show that you can still be doing phenomenal parts in your seventies, and I think what an exciting thing that is.”

With a career that has included the aforementioned Black Mirror (the 2011 episode The Entire History of You), acclaimed drama Broadchurch, medical series Trust Me and the upcoming Dear England, as well as stage performances in Antigone and The Duchess, Jodie Whittaker has already played a rich variety of roles, but admits there is one part that she would have loved to have taken on… though sadly she wasn’t quite the right age for it.

“I would have loved to have been Eleven in Stranger Things,” she reveals. “I would have loved to have been a kid with a shaved head!”

“When I saw the first series I thought, ‘Oh my God, to be Millie Bobby Brown right now, what a part. The first season of that show was incredible. It homages everything I adore, and that part is incredible. If I could have been a child with a skinhead, that would be the role for me, but I don’t think I was in the running. So, no animosity to Millie Bobby Brown,” she laughs.

“Maybe if I had tried a little bit of sellotape to make me look a bit younger?”

Frauds premieres on ITV1 and ITVX at 9pm on Sunday 5th October.

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October 5, 2025 0 comments

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On the afternoon of Oct. 4, 1972, ABC aired the first-ever ABC Afterschool Special and launched a children’s programming revolution. Called “The Last of the Curlews,” the animated special was based on a Fred Bodsworth novel, crafted by the legendary animation studio Hanna-Barbera and served as a sort of nature documentary for kids as it followed the tragic plight of a now-extinct bird species.

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