TV tonight: the remarkable story of Ireland's first female president
'Climate change is a man-made problem and requires a feminist solution.' Mary Robinson has one hell of a legacy: Ireland's first female president – she helped decriminalise homosexuality and legalised female contraception – who later became a UN high commissioner and has put global focus on the climate crisis. As women's rights are going backwards in the US and the climate challenge is running out of time, she tells her story in this documentary. Hollie Richardson
7pm, BBC Four
The festival of Welsh arts is celebrated in Wrexham this year – with Wrexham FC and its Hollywood owners inspiring the opening show about supporting local teams. Events include a tribute to Dewi 'Pws' Morris and a performance by classical harpist Catrin Finch, folk fiddler Patrick Rimes and singer Al Lewis. HR
7.20pm, BBC One
In India, a pregnant Hanuman langur babysits a mate's little one to get some practice in. Will she get the hang of it? And how will she stay safe from stray dogs? It's another round of nature's sweet and scary parenting moments, this time focusing on animals in the grasslands across the globe. HR
8pm, ITV1
A new case for Adrian Dunbar as the grieving, jazz-loving detective in this Sunday night sleuther. A body found decomposed in thick local woodland belongs to a woman who went missing six years previously. With his team in shock, Ridley has to call on a disgraced ex-officer to help him find the culprit. JS
9.20pm, BBC One
The book launch is approaching in the final episode of this impressively realised novel adaptation, and the older Dorrigo is reflecting on his life. He's still tormented by memories of his wartime experiences but will externalising them allow him a measure of peace? PH
11pm, Channel 4
With suspected Islamic State operative Adilah (Yumna Marwan) having escaped her captors, and MI6 agent Imogen (Elisabeth Moss) getting blamed, the two women are separated for much of this episode. But that doesn't mean their uneasy alliance is over. Meanwhile, has anyone in this show considered the ethics of kidnapping a child for leverage? Seems not. Ellen E Jones
Premier League Football: Chelsea v Crystal Palace, 1pm, Sky Sports Main Event At Stamford Bridge. Followed by Man United v Arsenal at 4pm.
Super League Rugby: St Helens v Huddersfield Giants, 2.15pm, BBC Two From Totally Wicked Stadium.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Guardian
12 minutes ago
- The Guardian
Christy review – outstanding actors and Cork landmarks shine in a moving and funny Irish drama
Here is a terrifically warm and involving Irish movie about two brothers from Cork's northside; it is moving and funny, with plenty of affectionate shots of the iconic Knocknaheeny water tower looming futuristically over the skyline like a 70s spaceship or one of eastern Europe's Soviet-era war memorials. Screenwriter Alan O'Gorman and first-time director and story co-creator Brendan Canty deliver a social-realist film with heart, featuring outstanding performances of sympathy and strength, developed from Canty's 2019 short film of the same name. It's tough, but capable of delicacy and succeeds in conveying something very difficult to achieve without sentimentality: love of your home town. You can come for the drama and stay for the cheeky hip-hop sequence over the closing credits, a final stretch of sweetness and fun that the movie has more than earned, and which Canty, a former music video director, is more than capable of putting together. Shane (Diarmuid Noyes) is a young guy once in care, but turning his life around in Cork with wife Stacey (Emma Willis), a baby and a painting-and-decorating business. It is now Shane's grim task to deal with his younger half-brother Christy (Danny Power), a seething, glowering 17-year-old who has just lost his place with a foster family in Ballincollig on the other side of town owing to an ugly scrap, a video of which is going viral on social media. So Shane brings him back and lets him live in his place for a while on the understanding that he will soon move back out, probably into a grim hostel. Christy finds that people around the neighbourhood remember him, as they do his late mother – but Christy himself does not remember them, having perhaps suppressed these painful childhood memories. Slowly but surely, Christy begins to fit in. It turns out that fighting isn't all that he's good at: he has an unlikely talent for cutting hair, which becomes the talk of the town, especially when he gives a trim to local kid Robot (a nice performance from real-life Cork rapper Jamie 'the King' Forde). But he is also in danger of being drawn into the orbit of his scary criminal cousins, and Shane realises that the threat of that hostel might be driving Christy into their arms. Where another type of movie might have a gravitational pull towards disaster and despair, this one doesn't; equally, though, it's under no illusions. There's always a heartbeat of humour, especially when Christy helps out with painting jobs; he and dopey fellow painter Trevor (Chris Walley) can't resist weighing themselves on a well-off client's hi-tech digital scales in his bathroom – synced to the client's Fitbit, which then goes crazy. It's a smart, likable picture. Christy screened at the Edinburgh film festival, and is out in Ireland and Northern Ireland on 29 August, and the rest of the UK on 5 September.
The Guardian
an hour ago
- The Guardian
BBCNOW/Bancroft/Grosvenor review – from the brilliantly bonkers to heavyweight Shostakovich
The BBC National Orchestra of Wales's second Royal Albert Hall date this summer opened with the kind of thing UK audiences only really hear at the Proms: Sofia Gubaidulina's Revue Music for Symphony Orchestra and Jazz Band, written in 1976. It's not what you'd have expected from this serious, intense, spiritually driven composer, who died earlier this year – or, to be honest, from any other composer. It opens in atmospheric, modern-classical style, ominous bells against high, tense strings. Then it explodes into funky bass guitar and brass, driving drum kit and the Star Trek-like ahhing of a close-miked vocal trio – here it was Synergy Vocals – and it's as if the stage has been taken over by Magnum PI. Gubaidulina pits these two musics against each other, with the jazz-funk periodically dissolving into snatches of Mahlerian melody and translucent orchestral stillness – at one point a few lines of poetry are spoken on top, amid an aura of whispers from the orchestral players. Finally, there's a slow splurge of Bond theme-ish excess – brilliantly bonkers, and the Albert Hall loved it. A quick recalibration of the ears was required for Ravel's G major Piano Concerto, Benjamin Grosvenor the quicksilver soloist. His playing brought out the bluesiness of Ravel's music, especially in the slow movement, where the tender, meandering melody sounded a split-second out from the accompaniment, as if it were being delivered by a singer perched on a stool in a jazz club. Every note was clear, even as the conductor Ryan Bancroft romped through ever-faster tempos in the finale – and that also went for Grosvenor's encore, the finale of Prokofiev's Sonata No 7, three glorious minutes of ferocious edge-of-the-seat brilliance. The second half was less crowd-pleasing, if still powerful. Shostakovich's 1962 Symphony No 13 employs a bass-baritone soloist and men's choir to give voice first to a harrowing response to the Holocaust massacre at Babi Yar near Kyiv and then to four other darkly subversive poems about Russia. Bancroft had the orchestra playing with pointed character, and the men of the BBC National Chorus of Wales delivered line after Russian line excellently, but for all his velvety, cavernous bass tone the Lithuanian soloist Kostas Smoriginas needed more swagger in this huge space. Perhaps the work itself travels less well than Shostakovich's other symphonies; certainly, it was a heavy counterweight to a kaleidoscopic first half. Listen again on BBC Sounds until 12 October. The Proms continue until 13 September
BreakingNews.ie
3 hours ago
- BreakingNews.ie
New Netflix series to chronicle the rise of the Guinness Family
A new Netflix series will look at the rise of the Guinness Family when it launches next month. In his new drama series, Peaky Blinders creator Steven Knight will swap the mean streets of Birmingham for the back alleys and stately mansions of Dublin — as well as its world-renowned brewery. Advertisement Premiering on September 25th, House of Guinness whisks us back to the 1860s, where the powerful and debaucherous titular family is on the precipice of greatness. 'It's the extraordinary story of a family who happens to be the inheritors of the biggest brewery in the world. They're young and are given the task of taking on this incredibly successful brand,' Knight tells Tudum. 'The first priority is: Don't screw it up. And the second priority is to make Guinness even bigger.' Siblings Arthur (Anthony Boyle), Edward (Louis Partridge), Anne (Emily Fairn), and Ben (Fionn O'Shea) experience ecstatic highs and heartbreaking lows as they work to live up to their birthright of black gold. Photo: Netflix. House of Guinness explores an epic story inspired by one of Europe's most famous and enduring dynasties — the Guinness family. Advertisement Set in 19th-century Dublin and New York, the story begins immediately after the death of Benjamin Guinness, the man responsible for the extraordinary success of the Guinness brewery, and the far-reaching impact of his will on the fate of his four adult children, Arthur, Edward, Anne, and Ben, as well as on a group of Dublin characters who work and interact with the phenomenon that is Guinness. Creator Knight is excited for audiences to meet the 'naturally wild' clan. 'I'm just in awe of their zest for life — their lust for life, often literally,' he says. Knight reveals that brothers Arthur and Edward are the 'heart' of House of Guinness. 'I won't give away the plot — but they were given joint stewardship of the brewery for very interesting reasons,' he explains. 'Before he died, their father very deliberately chained Arthur and Edward together in responsibility for the brewery. You'll find out why when you watch.'
