TV
Peter Capaldi: ‘I was relieved the Tories lost. But it’s not that simple’
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Recently, whenever Peter Capaldi has been shown rough footage of himself acting in scenes, he’s done a double-take. “I’m horrified,” he says. “I go: who is that old, weird, gaunt guy with the white hair? Oh, it’s me. That’s what I’ve become. But that’s OK,” adds the 66-year-old with a shrug. “I always loved Peter Cushing, Christopher Lee and Vincent Price. Playing those villains, all those horror movie types, is great fun.”
Capaldi has certainly made a speciality out of sulphurous ne’er-do-wells with something of the night about them. On Friday, the crepuscular character actor who was more Doctor What? than Doctor Who returned to our screens in Prime Video’s twisty, time-bendy, supernatural thriller The Devil’s Hour as Gideon Shepherd, a mysterious criminal with a biblical name who may or may not be a serial killer. Meanwhile, details are scant on who or what he’s playing in the upcoming series of Black Mirror, but it’s a reasonable bet it’s a role with a whiff of the devil. Capaldi is happy with his run of malevolent characters – broadly. “I used to do voiceovers for Anchor butter. One day they said to me: ‘Could you try and sound a little less sinister?’ I thought: ‘I don’t know what’s happened, I’ve suddenly gone sinister.’ But sinister is good. I’ve always been a great fan of the sinister.”
Leaning in close over our lunchtime minestrone, eyes bulging, Scottish brogue bewitching, the Glasgow-born actor and Oscar-winning director is head-to-toe in black at a tiny table in a private members’ club in central London. Conversation turns to Criminal Record, this year’s low-key hit for Apple TV+ that is about to begin production on its second series. Capaldi plays an old-school copper with old-school values. You know, a bit of casual misogyny here, a bit of institutional racism there. All of which, naturally, rubbed up his counterpart, played by Cush Jumbo, an exemplar of “woke” modern policing. In a knotty drama developed by Capaldi’s producer wife Elaine Collins, the fact that DCI Daniel Hegarty was a barely likeable character was part of the attraction.
“Absolutely,” he affirms. “But also that he was complicated. That he wasn’t so simple to understand. We wanted to engage the audience in some sympathy for him. And understand that people are complex. He’s not black and white. But, yeah, in essence his role was to carry that darkness. That was appealing.”
Capaldi and Collins are both executive producers on Criminal Record. But he defers to his wife of 33 years – they met in 1983 on a touring theatrical production in Scotland but have long been based in north London – as “the boss, the creator”. While employed at the BBC, Collins developed Vera and Shetland – cosier police procedurals for sure. “Eventually she left, and went out on her own, and was keen to do a show that was maybe a bit harder.”
By “harder”, does he mean challenging woke sensibilities? “Well, I don’t know what woke sensibilities are. It’s trying to tell a story that’s interesting, arresting and makes people think – and is responsible. I’ve got the general picture [of what woke is]. It’s used all over the place. I don’t think half the people who use it know [what it means]. It’s just another word. This constant polarisation is not useful. It’s another tool to keep people apart.”
When I ask whether that’s what cancel culture is partly about, too, he professes confusion. “I don’t know – seriously. There have been points where there has been definite political motivation to cause [division]. To place people on the other side of the fence to each other. And it was contingent – it was more useful to the Tory party to have these wars than to try and find out what could bring people together.”
What he means is: it’s easier to foment a culture war than it is to tackle the problem of, say, social exclusion. “Yes. It’s all complicated, and simplifying it to black and white doesn’t help anyone.”
Now in late middle age, and a grandfather of two, Capaldi admits to feeling a bit surprised at the way his career has turned out. “When I started off, I was an easygoing buffoon – a gangly youth in a Bill Forsyth gentle comedy,” he says of his breakout role opposite Burt Lancaster in the great Scottish director’s beloved Local Hero (1983). “But The Thick of It changed everything for me.”
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Armando Iannucci’s excoriating political satire, which ran for four series between 2005 and 2012, rebranded Capaldi as Malcolm Tucker: the sweary spin doctor extraordinaire, a machiavellian operative who simultaneously oozed no-f’s-given superiority and radiated all-the-f’s rage. It exposed the inner machinations of government as both farcical and toxic. But this workplace comedy now feels very much of its time. Because surely post-get-Brexit-done, post-Parytgate and post-Liz-the-lettuce, politics today is beyond satire?
“We all felt that. I’m constantly asked by the press if I would do a new one,” he says of a show that won him a Bafta in 2010. “But [under the Tories] things were just too serious. The corruption was too deep. We’d be letting them off the hook by being funny.”
David Tennant told me that, after ‘Doctor Who’, I wouldn’t be able to walk down the street without people knowing me
Capaldi was raised in a working-class household in Glasgow and it’s not hard to divine his political sensibilities. But while he’s “glad, obviously” that the Tories lost the election, he insists that he’s “not politically engaged”. Why not? “I was forced to be politically engaged,” he answers, presumably a reference to the demands placed on him by Iannucci’s typically nuanced scripts. “I’m not interested in it. In fact I hate it. I don’t want to spend my life thinking about all this stuff. Of course I was relieved the Tories lost. But it’s not that simple, is it?” He pauses and twitches a salt-and-pepper eyebrow. “Sorry, I sound mournful, don’t I?”
It’s that mournful demeanour that made him find some elements of his three-series run as the Time Lord difficult. He recalls talking to his predecessor-but-one, David Tennant, before his casting was announced in August 2013. “David said: ‘Is this true, you’re going to be the Doctor? Well, let’s go have a talk.’ It might have been here actually,” says Capaldi, gesturing round this clamorous room beloved of film and telly folk. “And he said to me: ‘What will change is your visibility. You won’t be able to walk down the street without people knowing who you are.’ I was like: ‘OK, we’ll see how that goes…’”
Capaldi ultimately found having to be nice to fans all the time “a bit of a stress… My [personal] character leans more to the melancholic and cynical. The daily good-heartedness of it all is quite a leap for me. But that’s what I was paid to do. But that’s exhausting… And that’s one of the things I’m glad to have left behind: I’m not responsible for the endless cheerfulness [of] little kids.”
He’s watched Ncuti Gatwa, yet another Scottish Time Lord, as the 15th Doctor and pronounces him “fantastic. I met him and thought he was lovely.” Add in the fact that original reboot showrunner Russell T Davies is back, and that Disney – and their money – are partners on the show, and it all makes for a show that, on paper at least, should feel very different. But as a corollary of that, some viewers feel that the world’s longest-running sci-fi show, a cornerstone of British culture, has been Disney-fied. Does he agree?
“I think that the show is… whatever those who love it want it to be,” he replies, carefully. “I come from [seeing] it in 1963. So even the show, when I came into it, was different from the show I remember. And I loved the show that I remember. I loved the show that we did, but it was different.”
Can he, though, imagine being in Gatwa’s shoes, as the brand ambassador for this new Doctor Who, one with demanding American audiences (and producers) to please?
“It must be tough,” he concedes. “That’s one of the hardest things about the job. Apart from the day-to-day business of delivering those lines, and you’ve got to have lots of ideas and energy, there’s always a knock at the door at lunchtime: ‘Can you come and talk to these visitors we’ve got onset?’ ‘Can you look at these new toys?’ ‘Can you sign these things?’ ‘Can you go to this meeting with so-and-so who’s selling this in South Korea?’ There’s always a [request]. It’s a big brand. So it’s quite a demanding job. It takes its toll.”
Capaldi also experienced the demands of geek fandom and blockbuster IP during his brief foray into the superhero world, with his role in James Gunn’s 2021 film The Suicide Squad. He found filming alongside an all-star Hollywood cast on huge sets in Atlanta, Georgia a blast; the endless promotion less so.
Still, the three-month shoot allowed him plenty of him to reconnect with his first passion: music. In the long hours in his Suicide Squad trailer, Capaldi wrote a bunch of songs that were eventually released as an album, 2021’s St Christopher.
It was a debut that was a long time coming. While at Glasgow School of Art in the early Eighties, Capaldi was in a band, The Dreamboys. “Bizarro punk” was Capaldi’s estimation at the time. Or “showbiz Bauhaus” according to their drummer Craig Ferguson, who went on to become a stand-up comic, actor and American chatshow titan (James Corden inherited his chair on The Late Late Show).
What kind of frontman was Capaldi? “I was OK,” he demurs. “I’m sure I jumped about a lot. You’d have to ask somebody else, really.”
So I do. “Oh, spectacular!” Ferguson tells me. “My girlfriend at the time was in another band and she said: ‘Your band are rubbish, but you’ve got a really good actor as the frontman.’ Peter was very charismatic – he still is – and onstage had that ineffable presence I’ve seen in a few people. Your eye goes to him. He was a star player from the word go.”
Capaldi has since completed a second album, Sweet Illusions. It’s a robustly melodic set, with Capaldi’s voice a cross between Leonard Cohen and The Blue Nile’s Paul Buchanan. Quelle surprise, the songs have a touch of midnight, too. “All the songs hanker back to that time,” he says of early Eighties, glad-to-be-grey Glasgow. “To an eternal, dark, synthesiser, guitar-y kind of vibe. Because I’m picking up where I left off.”
The first single is out now. It’s called “Bin Night”, a lullaby that’s a tribute to his infant grandchildren, to the “ticking clock” of his own mortality and to the domestic concerns of a Muswell Hill grandpa.
“I love bin night. It’s the one night when I can control the chaos of the world. The one night when I can restore some order to the entropy. Everything goes out on bin night.”
Even if Peter Capaldi’s borough, like my neighbouring borough, only takes recycling weekly but waste is fortnightly and garden refuse God knows when?
He splutters and straightens up. “They might only take one of them. But then I’ll just take the other one back in. That’s my rules. Bin night is my rules.”
‘The Devil’s Hour’ is on Prime Video from 18 October. The single ‘Bin Night’ is out now, and the album ‘Sweet Illusion’ is released on Last Night From Glasgow in March 2025
TV
CNN host gets into awkward argument with top Republican about Trump’s bizarre Arnold Palmer comment
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CNN anchor Jake Tapper got into an awkward argument with Republican House Speaker Mike Johnson about the odd comments that Donald Trump made about former professional golfer Arnold Palmer during a rally on Saturday.
With just days to go before the election on 7 November, Trump used a campaign rally in Latrobe, Pennsylvania, Palmer’s birthplace to speak for 12 minutes about Palmer’s manhood.
“This is a guy that was all man,” Trump said. “He took showers with the other pros, they came out of there, they said, ‘Oh my God, that’s unbelievable.’ I had to say it.”
“I had to tell you the shower part because it’s true,” he added.
Speaking to Johnson after the rally, Tapper questioned why Trump used a good chunk of his rally to talk about Palmer in such a manner, asking the Speaker of the House: “Is this really the closing message you want voters to hear from Donald Trump stories about Arnold Palmer’s penis?”
Johnson tried to ignore the question and attempted to pivot to a debate about Kamala Harris but Tapper refused to let the issue go.
“I’m sure that you think that a policy debate would be better than a personality debate, but if President Biden had gone on stage and spoke about the size of a pro golfer’s penis, I think you would be on this show right now saying you were shocked and appalled and you would suggest it was evidence of his cognitive decline,” Tapper propositioned Johnson, asking: “Why is he talking about Arnold Palmer’s penis in front of Pennsylvania voters?”
“Jake, you seem to like that line a lot,” retorted Johnson.
Tapper protested this, claiming that he didn’t like talking about Trump’s comments but that he had because “Donald Trump is out there saying it.”
Johnson did eventually address Trump’s comments about Palmer, saying: “ I get it. There are lines in a rally. When President Trump is at a rally, sometimes he’ll speak for two straight hours.”
Johnson then went on to attack Biden and Harris again and put forward why he believes Trump will win in November.
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The 52-year-old concluded by saying: “He says things that are off the cuff. But I’m telling you, I’ve been in those events. I’ve been in those arenas, and people have a great time at those arenas.”
Social media users were quick to mock Trump for his Palmer anecdote.
“According to the most recent NYT/Siena poll, the top three issues for swing voters include: 1. Inflation 2. abortion 3. The size of Arnold Palmer’s schlong,” podcast host Dan Pfeiffer wrote on X.
“But don’t call them weird,” author Jennifer Taub posted, alluding to Kamala Harris’s moniker for the former president and his running mate, JD Vance.
Sky reported a doubling of its annual losses last year as the media and telecoms company spent more on programming and costs relating to its broadband services and hardware such as mobile devices and Sky Glass TVs increased.
The company, which earlier this year cut 1,000 jobs, reported an operating loss of £224m for 2023.
Sky, which was bought by the US media company Comcast for £30bn in 2018, reported an operating loss of £111m in 2022. The company’s total revenues remained flat at £10.23bn.
The direct-to-consumer business, which includes its pay-TV, mobile broadband and streaming operations, grew revenues by almost 1.6% to £8.5bn. The company attributed this to the revenue growth of its internet-enabled smart TV Sky Glass as well as mobile, broadband and streaming services, fuelled by price increases for consumers.
Sky said the modest improvement was offset by a decline in the popularity of its Sky Q box as consumers move toward streaming and smart TVs for their viewing.
The company also recorded a slight fall in advertising revenue, from £1.27bn to £1.2bn, which it said had “held up well in spite of the market squeeze driven by the cost of living crisis”.
The company will face increasing market pressure when Warner Bros Discovery (WBD) launches its streaming service, Max, in the UK in 2026. WBD, which owns brands including HBO and franchises including Harry Potter and superhero franchises such as Superman and Batman associated with DC Comics, has a deal in place for all its content to run through Sky which is up for renegotiation next year. Without the WBD content and the US company as a rival, Sky’s revenues could come under even more pressure.
Emphasising the difficulties media companies face in managing collaborative deals, Sky also registered a £327m impairment due to the performance of its loss-making streaming service SkyShowtime, a joint venture with the US media company and Channel 5 owner, Paramount.
Sky’s total operating expenses increased from £10.3bn to £10.45bn, with programming costs increasing marginally to £3.45bn. Direct network costs increased to £1.66bn in line with its growing number of mobile and broadband customers.
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The group also took a £1.2bn write-down related to loans provided to its subsidiaries in Germany and Italy.
Sky’s employee costs increased from £843m to £887m as its number of staff grew from 9,528 to 10,036. The highest paid was unnamed director who received £3m.
An Aussie drama which was ITVX’s most streamed premiere, has been given the green light for a third series.
The Twelve is a courtroom drama which has has been getting UK fans in a frenzy.
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The aussie drama has been a huge hit in the UK, it has been streamed over 26 million times since it launched on ITVX in February 2023.
This makes it one of the platform’s most successful dramas to date.
Now it has been commissioned by the FOXTEL Group for a another series.
The show is produced by Warner Bros, International Production Australia and Easy Tiger, while FIFTH SEASON is the global distributor for the series and reportedly secured the new deal.
The new series sees the return of Sam Neill known for his roles in Peaky Blinders and Jurassic Park, as the formidable criminal barrister Brett Colby.
Watch as he dissects a cold case murder trial set in Margaret River in Western Australia.
Teasing the fans ahead : “With many twists and turns and surprises. It will keep you guessing until the end.
Seen through the eyes of twelve ordinary jurors who must weigh up the evidence and find the defendants guilty or not guilty. Each one is struggling with their own personal issues.
One trial involved two ex-lovers accused of murdering Bernice Price, played by Kris McQuade, after her body is found at the farm’s pump well. Kris is known for her parts in Rosehaven and horror movie Cargo.
The second season also starred Frances O’Connor as senior solicitor Meredith Nelson-Moore. O’Connor is also known for writing and directing the 2022 Emily Bronte film Emily, starring Sex Education‘s Emma Mackey.
The series also featured Tasma Walton, Amy Mathews, Erroll Shand and Fayssal Bazzi, Josh McKenzie, Anthony Brandon Wong, Stefanie Caccamo, Sharon Johal and Luke Pegler.
The Twelve is based on an adaptation of the 2019 Belgian miniseries De twaalf by Sanne Nuyens and Bert Van Dael.
Stream the last two series on ITVX. The third series is currently in production.
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Strictly Come Dancing star Chris McCausland melted hearts with a four-word question to his professional partner after his most emotional dance yet.
The BBC show continued on Saturday (19 October) with an episode that saw several standout dances and a surprise contestant top the leaderboard.
One talking point was comedian McCausland, who performed an emotional Waltz to Liverpool football anthem “You’ll Never Walk Alone”, which left Shirley Ballas in tears.
McCausland is a fan of Liverpool and, at one stage in the dance, the comedian, who is blind, walked alone before meeting pro Dianne Buswell in the middle of the dancefloor for a rousing conclusion to the performance.
After they had finished, as the audience were applauding, Buswell embraced McCausland and said “I’m so proud of you.” The sincere moment was picked up by the microphones, with the comedian asking in response: “Did I do OK?”
McCausland’s question left many viewers in tears, with fans expressing how sweet they find his off-screen friendship with Buswell.
Many posted McCausland’s question accompanied with crying emojis, while one viewer wrote: “Did I do ok? You did more than OK, Chris.”
Others branded the moment “sweet” and “heartwarming”, with an additional fan stating: “Absolutely burst into tears when he said that. And I’m not exaggerating.”
One more fan agreed, writing: “When he asked her that, I got a lump in my throat!!”
Buswell told McCausland in response: ‘You did good, yeah. Really, really good.”
McCausland is blind and lost his sight when he was 22 due to a hereditary condition called retinitis pigmentosa.
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Ahead of the show, McCausland, who is married and has a 10-year-old daughter, explained that he can “still see light and space” and has “an awareness of the space around me, not in terms of objects and things, but in terms of the room and whether there might be something in front of me”.
He also once said that he does not want to “bang viewers over the head” with his blindness, stating: “It’s great that there’s people coming through who are able to represent disability while also having the experience to do the job properly. There’s no point fast-tracking performers on to TV before they’re ready.
“My attitude has always been to represent by not banging you over the head. I think the best way to represent a disability is to make people forget about it whenever possible. It’s always part of you.
“But if you can do a show where, say, 80 per cent of it isn’t about being blind, that makes it more impactful and funnier when you do talk about it. I believe in representation within the mainstream.”
Strictly Come Dancing continues with Halloween Week on Saturday (26 October).
TV
‘They’ve gone rogue!’ fume Strictly fans as they slam leaderboard results and the judges for ‘overscoring’ TWO couples
STRICTLY Come Dancing judges have come under fire this weekend after two dances have been deemed to be over-scored.
Week five of the dance competition saw the 12 remaining celebrities deliver their dance routines in a bid to take home the Glitterball trophy.
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Now fans believe judges have ‘overstepped’ the mark with fans up in arms at last night’s leaderboard.
EastEnders actor Jamie Borthwick and his dance pro partner Michelle Tsiakkas took top place on this week’s board after wowing the judges with a ‘near-perfect’ Paso Doble.
The duo danced to Malagueña by Ernesto Lecuona in matching monochrome outfits and were praised for their “paso-bleeding-tastic” performance by judge Craig Revel Horwood.
Judge Moti Mabuse then said: “This is how a Paso Doble works.”.
“All that intention, all that intensity, leading, shaping, being alive with your dance partner – brilliant!”
However, fans weren’t sure, with many taking to X, formerly Twitter, to express their dance dismay.
One said: “Challenge for the judges next week… stop over marking Jamie, it’s coming across like judges favourite, his footwork isn’t perfect yet is never critiqued on it, yet others are marked down for it, that was never a 10, it was an 8 max a 9.”
Another fumed: “It’s coming across fixed for Jamie this year, I like him but I feel we’re being manipulated into thinking he’s a better dancer than he actually is.”
Another dance duo in the scoreboard firing line were Wynne Evans and partner Katya Jones.
No stranger to controversy, the pair danced the quickstep to Mr Blue Sky by Electric Light Orchestra this week before judges gave their views.
After scoring 33 from the panel fans were left raging, with one adding a comment alongside a screenshot of the scores that said: “I want them to defend this score in a court of law. #scd #strictly.”
Another replied with: “The most bonkers score I’ve ever seen #Strictly.”
A fan of the show said: “Disappointed with Wynne on #Strictly tonight! Am I the only one who saw him stumble at one point? And he still scores 9’s! How???”
One fan headed online to comment: “I honestly think this season has had the ROGUEST scoring and tbh all the men (Wynne, Jamie, Chris etc.) have been overmarked and all the women (Sarah, Punam etc.) have been undermarked.”
“I don’t think I’ve ever seen more inconsistent and unfair scoring!”
Another fumed: “Wynne and Jamie both getting 9’s?? what is up with the scoring this week!”
This week’s Strictly leaderboard in full
Marks from judges Craig Revel Horwood, Motsi Mabuse, Shirley Ballas and Anton Du Beke
- Jamie Borthwick and Michelle Tsiakkas: 9 + 10 + 10 + 10 = 39
- Montell Douglas and Johannes Radebe: 9 + 10 + 10 + 10 = 39
- Chris McCausland and Dianne Buswell: 8 + 9 + 9 + 9 = 35
- Wynne Evans and Katya Jones: 7 + 9 + 9 + 8 = 33
- Shayne Ward and Nancy Xu: 7 + 8 + 8 + 8 = 31
- JB Gill and Amy Dowden: 7 + 8 + 7 + 8 = 30
- Tasha Ghouri and Aljaž Škorjanec: 8 + 9 + 8 + 9 = 34
- Sarah Hadland and Vito Coppola: 8 + 8 + 8 + 8 = 32
- Sam Quek and Nikita Kuzmin: 6 + 7 + 6 + 7 = 26
- Pete Wicks and Jowita Przystał: 4 + 5 + 6 + 7 = 22
- Dr Purnam Krishnan and Gorka Marquez: 4 + 6 + 5 + 6 = 21
- Paul Merson and Karen Hauer: 3 + 5 + 5 + 6 = 19
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Blind comedian, Chris McCausland, is being praised by Strictly Come Dancing viewers after a “beautiful” routine that saw him dance alone.
McCausland, along with his partner, Dianne Buswell, danced to “You’ll Never Walk Alone”, which has become synonymous with Liverpool football fans.
In one section of the routine, Buswell steps aside as McCausland takes to the floor by himself, despite not being able to see.
“Did I do ok?”, he was heard asking her after the performance, to which she responded: “I’m so proud of you.”
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