New MasterChef series with Gregg Wallace and John Torode to air
The BBC released a statement, saying it had made the decision 'after careful consideration and consultation with the contestants'.
A BBC spokesperson said: 'After careful consideration and consultation with the contestants, we have decided to broadcast the amateur series of MasterChef on BBC One and BBC iPlayer from 6 August.
'MasterChef is an amazing competition which is life-changing for the amateur chefs taking part. The focus of it has always been their skill and their journey.
'This has not been an easy decision in the circumstances and we appreciate not everyone will agree with it. In showing the series, which was filmed last year, it in no way diminishes our view of the seriousness of the upheld findings against both presenters.
'We have been very clear on the standards of behaviour that we expect of those who work at the BBC or on shows made for the BBC.
'However, we believe that broadcasting this series is the right thing to do for these cooks who have given so much to the process. We want them to be properly recognised and give the audience the choice to watch the series.
'At this stage, we have not taken a decision on the celebrity series and Christmas special, which was filmed earlier this year, and we will confirm our plans later in the year.
'Most importantly, MasterChef is a brilliant, much-loved programme which is bigger than any one individual. There are many talented, dedicated and hard-working people who make the show what it is.
'It will continue to flourish on the BBC and we look forward to it returning stronger than ever in the future.'
The statement followed news last week that John Torode's contract on MasterChef would not be renewed, as confirmed by the BBC and production company Banijay UK.
Torode confirmed he was the subject of an allegation of using racist language that was upheld as part of a review carried out by law firm Lewis Silkin into the alleged behaviour of his co-presenter Gregg Wallace.
Torode said he had 'no recollection of the incident' and was 'shocked and saddened' by the allegation.
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Torode began presenting the BBC cooking contest alongside Gregg Wallace in 2005.
In November 2024, the show's production company, Banijay UK, announced Wallace would step down from his role on the BBC cooking show while historical allegations of misconduct were investigated.
Wallace issued an apology saying he is 'deeply sorry for any distress caused' and that he 'never set out to harm or humiliate' in the wake of a report that saw 45 out of 83 allegations made against him upheld.
Both MasterChef presenters will feature in the upcoming series but the edit will be looked at in light of the findings, with focus being given to the contestants, the PA news agency understands.
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South Wales Guardian
11 minutes ago
- South Wales Guardian
Gregg Wallace apologises, but says he is ‘not a groper, a sex pest or a flasher'
In an interview with The Sun, the TV presenter also defended his sacked former co-host John Torode, telling the paper he is 'not a racist'. Torode was the subject of an allegation about using racist language that was upheld as part of a review carried out by law firm Lewis Silkin into the alleged behaviour of co-presenter Wallace. Torode said he had 'no recollection of the incident' and was 'shocked and saddened' by the allegation. In November 2024 it was announced that Wallace would step away from his role on the BBC cooking show while historical allegations of misconduct were investigated. Wallace issued an apology saying he was 'deeply sorry for any distress caused' and that he 'never set out to harm or humiliate' in the wake of the Lewis Silkin review that saw 45 out of 83 allegations made against him upheld. The review concluded that the 'majority of the substantiated allegations against Mr Wallace related to inappropriate sexual language and humour', adding that 'a smaller number of allegations of other inappropriate language and being in a state of undress were also substantiated', with 'one incident of unwelcome physical contact' also substantiated. In fresh comments to The Sun, Wallace acknowledged that he had said things that 'offended people, that weren't socially acceptable and perhaps they felt too intimidated or nervous to say anything at the time. 'I understand that now – and to anyone I have hurt, I am so sorry.' Wallace added: 'I'm not a groper. People think I've been taking my trousers down and exposing myself – I am not a flasher. 'People think I'm a sex pest. I am not.' Wallace also said his recent autism diagnosis means he struggles 'to read people'. 'I know people find me weird,' he said. 'Autism is a disability, a registered disability.' Pointing to the allegation against Torode, Wallace told the paper: 'I've known John for 30 years and he is not a racist. 'And as evidence of that, I'll show you the incredible diversity of the people that he has championed, MasterChef winners, over the years. 'There is no way that man is a racist. No way. And my sympathies go out to John because I don't want anybody to go through what I've been through.' It was announced this week that a series of MasterChef filmed last year before allegations against Wallace and Torode were upheld will be broadcast on BBC One and BBC iPlayer from August 6. A decision on airing the celebrity series and Christmas special has not been decided, with plans to be confirmed later in the year, the BBC said. Both presenters will still feature in the upcoming series, but the edit will be looked at in light of the findings of an investigation, with focus being given to the contestants, the PA news agency understands. A BBC spokesperson said: 'After careful consideration and consultation with the contestants, we have decided to broadcast the amateur series of MasterChef on BBC One and BBC iPlayer from 6 August. 'MasterChef is an amazing competition which is life-changing for the amateur chefs taking part. The focus of it has always been their skill and their journey. 'This has not been an easy decision in the circumstances and we appreciate not everyone will agree with it. 'In showing the series, which was filmed last year, it in no way diminishes our view of the seriousness of the upheld findings against both presenters. 'We have been very clear on the standards of behaviour that we expect of those who work at the BBC or on shows made for the BBC. 'However, we believe that broadcasting this series is the right thing to do for these cooks who have given so much to the process. 'We want them to be properly recognised and give the audience the choice to watch the series. 'At this stage we have not taken a decision on the celebrity series and Christmas special, which was filmed earlier this year, and we will confirm our plans later in the year. 'Most importantly MasterChef is a brilliant, much-loved programme which is bigger than any one individual. 'There are many talented, dedicated and hard-working people who make the show what it is. It will continue to flourish on the BBC and we look forward to it returning stronger than ever in the future.'
The Herald Scotland
29 minutes ago
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‘First-class' producer at BBC Scotland and promoter of Gaelic dies
Died: July 18, 2005 Neil Fraser, who has died aged 86, was a former head of BBC Radio Scotland and a seminal figure in the evolution of Gaelic broadcasting. He was widely respected for the high production standards he brought to all his work and the sense of ambition he encouraged in young colleagues. The former controller of BBC Scotland and lifelong friend, Pat Chalmers, paid tribute to him as 'a first-class programme maker'. He said: 'Neil was high-minded in the best sort of way. He believed in giving audiences what he thought they needed, which was not always what they said they wanted.' A notable broadcasting legacy in this vein was an epic series of 30 programmes on Scotland's Music by John Purser, which traced its history from Bronze Age to the present day with recordings commissioned including reconstructions of early music and works by many little-known composers. It is difficult to imagine such an undertaking today. One of Fraser's first acts when he took over at BBC Radio Scotland in 1987 was to ban music from the airwaves before 10.30am in order to establish a more serious news and current affairs profile. When he resigned after five years, he said it had 'become more difficult telling people you are reducing their resources and manpower'. While capable of great charm and diplomacy, there was also a steely determination, to deliver outcomes which matched his high standards, particularly where Gaelic was concerned. He navigated successfully through BBC politics and lived most of his life in Glasgow, while retaining a deep affinity with the society from which he came. Neil Fraser was born in Lochboisdale, South Uist. His father, Alexander, was a teacher and the family of his mother, Ina (née Maclennan) ran the Post Office. They were a piping family and although Neil did not play, his love of the music stayed with him throughout his life. When Neil was five, the family moved to Skye when his father was headmaster of Staffin School. He was Dux of Portree High School in 1955 and proceeded to Glasgow University to study maths. This was Gilmorehill's golden age, famed for debaters and budding politicians as well as notable Gaels. Neil flourished in this environment, played shinty and became president of the SRC, though his academic career was less distinguished. Read more 'He never gave up': tributes to patriarch of Scottish undertakers | The Herald Tributes to countess who modernised royal Scottish castle | The Herald Tributes to 'Mr Stirling': journalist dedicated to his home town | The Herald He took employment as a maths teacher in Glasgow but quickly discovered it was not his calling. Fred Macaulay was head of [[Gaelic]] at the BBC and rescued Neil from the chalkface by offering him a job. In 1973, he became the BBC's first [[Gaelic]] TV producer, making programmes across the spectrum from current affairs to light entertainment. The production standards and journalism in the Gaelic current affairs output of that era were exceptional while the twee formats associated with early Gaelic song programmes were transformed, bringing in traditional musicians who had never been seen or heard on the BBC. Neil moved into the English language mainstream as head of current affairs in 1978. Again, these were days of ambitious programmes from Queen Margaret Drive, with some outstanding journalists and broadcasters. Neil's own award-winners as producer included The Glorious Effect about the history of the great Highland bagpipe, and The Pinch based on the recovery of the Stone of Destiny. In 1983, in succession to Fred Macaulay, he became head of Gaelic. Disparity of treatment compared with Welsh was glaring and Neil had the long-term vision of moving towards a dedicated channel. 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He continued to make films for independent companies. One of these, about the folklorists John Lorne Campbell and Margaret Fay Shaw, led him to become a key member of the Canna Advisory Group which was dedicated to maintaining their priceless recordings. His love of piping was reflected through the John McFadyen Memorial Trust which he initiated along with Alasdair Milne and as a board member of the Silver Chanter in Dunvegan. In 1972, Neil married the distinguished singer, Anne Lorne Gillies. They parted in 1990. He is survived by their three children – Robbie, a film-maker; Rachel, a clinical psychologist; and Marsaili, who has worked for humanitarian NGOs at home and abroad; and by five grandchildren. BRIAN WILSON At The Herald, we carry obituaries of notable people from the worlds of business, politics, arts and sport but sometimes we miss people who have led extraordinary lives. That's where you come in. If you know someone who deserves an obituary, please consider telling us about their lives. Contact
Scotsman
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One of Britain's brightest young film stars tells David Pollock why he's bringing his debut play to the Edinburgh Fringe Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... 'I've been using this term, and I kind of wish I'd never said it, but I'm saying it now,' explains David Jonsson. 'This is an anti-romantic comedy. It's one hundred percent meant to be funny, and there's definitely a great element of romance in there, but the anti part comes from all the bits that are knotty and taboo. I guess people will be confused by that description, but you have to come and see it to get it.' David Jonsson in rehearsals for his debut play, Paldem, ahead of its premiere at the 2025 Edinburgh Fringe. | Contributed As an actor, 31-year-old Londoner Jonsson is one of the hottest young talents in Britain at the moment – from his breakout role as hotshot financier Gus Sackey in the first two series of the BBC/HBO banking drama Industry, to recent film roles in Rye Lane and Alien: Romulus – and he has the BAFTA Rising Star Award to prove it. The Edinburgh Festival Fringe has already played a part in his story, and this year he's returning with Paldem, his full-length playwriting debut. It's a grown-up comedy about sex, friendship and modern online life. Advertisement Hide Ad Advertisement Hide Ad 'I did a National Youth Theatre show called Pidgeon English a very long time ago in Edinburgh, just before I went to drama school,' remembers Jonsson, referring to an adaptation of Stephen Kelman's novel - 'a very long time ago' means 2013, emphasising his youth. 'It was my first show, I was 18 at the time and I got my agent from there. It was absolutely the making of me, I've got a real special place for Edinburgh because of that. There's no place like it.' Jonsson verbally kicks himself here, noting this all happened in the same year and at the same venue that Fleabag premiered. Offered the chance to see it for free, he decided he wasn't a big fan of one-person plays and politely declined: 'And it ended up becoming f***ing Fleabag! That's why Edinburgh's an electric place, you never know if the next thing you see is the next big thing. I love it, I still come up frequently to visit and have a drink with mates.' Jonsson says he's 'always been writing. I've been waiting for the right time to express myself, but sometimes it's out of your reach, isn't it? It's like the chicken and the egg, you need one thing (acting success) for the other (interest in his writing) to happen. I've always felt an affinity to telling stories I know to be true or that say something about the world, but timing is everything and now feels like the right time for this one.' Advertisement Hide Ad Advertisement Hide Ad Which brings us onto Paldem, a play which Jonsson doesn't actually summarise. 'I can't put it into a blurb, I'm sorry,' he smiles, but he says the gist I've picked up from press releases is correct. It's about two old friends, Kevin and Megan, who find themselves in an unexpected one-night stand which is inadvertently caught on camera, leading them to consider the world of amateur online porn. According to the blurb, it 'crosses the murky lines of interracial dating, fetishisms and hook-ups in the digital age'. 'Essentially it's a play about relationships, and how do we love the people that we love?' says Jonsson. 'I've always been really interested in people, in when we get it right, when we get it wrong and how we navigate someone in their whole entire self, as opposed to what we think is them. It's a tricky thing, especially today, where I think we have the most empathy we've ever had, yet we can put our foot in it quite a bit. This play is funny and silly and a bit offbeat, and you probably shouldn't be laughing, but you do. Then underneath it all you have something that feels extremely raw, that's what I'm really interested in.' Jonsson is on a Zoom link from a rehearsal room near London Bridge, on a break from first day's rehearsal. He's flanked by the play's actors Tash Cowley and Michael Workeye and its director Zi Alikhan, who he worked with on Industry, and although he's the star name attached, there's a real sense of collaboration in the air as the quartet figure the play out. 'If somebody's looking at Kevin and Megan's value system from a generation above, they'll be like, 'I do not understand the way they make decisions',' says Workeye, who met Jonsson at an audition for an as-yet-unreleased short film directed by the latter. 'But what's interesting is, we're of that generation and even as the actor I'm going, 'I don't understand these decisions!' There's something about these two people that teeters on the edge of amorality, and this process for me is about understanding their communicative style and how much easier it is for them to lead with their bodies than their words.' Advertisement Hide Ad Advertisement Hide Ad 'There are really interesting moments between them, where they move from emotional intimacy to physical intimacy and back again,' says Cowley, who met Jonsson in drama school. 'These people live in each other's pockets, but you question how much they really see and hear each other. They're best friends, but it always feels that there's something teetering on the edge. They both end up in a very different place to where they started, and that's fundamental with friendships, with any relationships – you either grow together through the movement of your life, or you grow apart.' 'I keep thinking about the difference between shock and taboo,' says Alikhan. 'When we see something with shock value, the experience feels so far away. You think, 'oh, I would never do that, that would never happen to me'. What's titillating about something taboo is it's about what we don't want people to see that we do, and what makes this play special is, it really penetrates everybody. It's about our sexuality, our identity, everything, and it manages to really make you feel a delightful discomfort, then to get on the other side of that and have new ideas about it.' The ingredients are all there for a Fringe hit, not least the sheer enthusiasm and engagement from all involved. Yet in the nicest possible way, I wonder, why is Jonsson doing this now and what does he want from it, just as his acting career is beginning to explode? 'I'll do my best to answer that, because I guess I'm still figuring it out,' he smiles. 'I think about Gary Oldman, who I love and idolise, having an amazing screen career and then making Nil By Mouth because he just had to. It was something he had to say about the world at the time, and maybe there's an echo of that here. Theatre is everything to me, the Fringe was literally one of my first experiences of finding community, and you have to be able to pull back into that, but only if you've got something worthwhile to say. I'd like to think maybe I do. We'll see.'
