EastEnders in major schedule shake-up TONIGHT as Emmerdale is pulled for the football
Click to share on X/Twitter (Opens in new window)
Click to share on Facebook (Opens in new window)
EASTENDERS has been moved from its usual Monday night slot as part of a BBC bank holiday schedule shake-up.
The soap won't air tonight in its regular 7.30pm position on BBC One.
Sign up for the Entertainment newsletter
Sign up
3
EastEnders is airing earlier than usual tonight
Credit: Kieron McCarron/Jack Barnes//BBC
Instead the long-running soap will screen at the earlier time of 6.50pm to allow room for the Beeb to show Disney's live action remake of Dumbo, which begins at 7.20pm.
It will be followed at 9pm by Paddy and Chris: Road Tripping.
However, eager fans can watch the latest edition of Enders on iPlayer now.
It isn't the only soap affected by Easter programming.
ITV will air a Championship football clash between Burnley v Sheffield United at 5:30pm.
The game will eat into Emmerdale's usual 7.30pm slot and, as a result, it has been pulled altogether though will return tomorrow evening when regular programming resumes.
Not only that, enthusiasts of the Dales will get a full hour instalment to kick off the week's action in the village.
This comes as John Sugden is set to have explosive battles in the village after it was revealed that he murdered Nate Robinson.
Actor Oliver Farnworth, 42, has teased what's to come now the secret is out about all the dastardly deeds John has been up to since arriving in the village.
Flashback scenes showed the character killing Nate, stalking and drugging Chas Dingle, framing Ella, and he later poisoned Mark.
Emmerdale killer John Sugden's secret victim revealed in chilling scenes
Oliver said: "There's lots of big stuff coming up.
"I guess with the sort of web that John's woven for himself in the back of his mind, he's anticipating people to start being suspicious, secrets to come out and people to start finding things out.
"He's probably got a few set pieces prepared in his mind for dealing with all of this, but really what he's had to do so far is just kind of think on his feet and adapt to situations around him.
He added: "I'm sure this will all change soon. And the jeopardy at stake for him now is that he's got his whole life in the village.
"He's got the love of his life, Aaron, (Danny Miller), he's got a family that he never had. He does not want to lose all that, under any circumstances.
"There's going to be a few battles ahead, I think."
The actor also opened up about what happened to Nate as he explained: "Obviously, what happened with Nate to all intents and purposes was an accident, but there's no way that John dealt with it, or is continuing to deal with it, in the right way.
"Not just from a legal point of view, but from the point of view of the families that will be affected.
'There will certainly be a lot of fallout from that."
3
Emmerdale fans will lose an episode due to the football
Credit: ITV
3
However, a special hour-long edition tomorrow will help them catch up.
Credit: ITV
Emmerdale continues every weekday on ITV at 7:30pm
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Daily Mirror
37 minutes ago
- Daily Mirror
EastEnders' Nicola Mitchell star slams ageism on TV
Newcomer Laura Doddington has proved quite a hit on Albert Square. Here, she talks nearly quitting acting before bagging her EastEnders role - and the struggle for 'women of a certain age' Laura Doddington has quickly become a soap favourite after her bombshell entrance as Nicola Mitchell in EastEnders just a couple of months ago. Since then, her character has been embroiled in a murder and now a long-ago affair has been uncovered, which has blown up into major drama. With the makings of a true soap matriarch, it's no surprise Laura, 44, found herself nominated for Best Newcomer at the British Soap Awards last month. But before bagging her dream role, the actress of 22 years, she tells OK!, considered changing careers, thinking her big break would never come. 'If I'm honest with you, the industry is hard at the moment,' says Laura, speaking to new prior to the awards ceremony. 'Before this audition came through, I'd been looking at retraining to do something else. I've got a young kid – and that makes you think about their future and stability for them. 'I cut my son's hair and I'm reasonably good at it, so I thought that might be an option. I was in Prime Suspect when I was in my twenties and The Midwich Cuckoos, but they weren't massive parts. I was beginning to think it might not be possible to have that lead role.' Cambridge-born Laura also had small roles in Doctors, Holby City a nd Casualty, as well as frequent theatre work, before getting the breakthrough she wanted so much. She landed the part of the latest feisty Mitchell woman, Nicola, nine months ago. 'I've been a jobbing actor for 22 years and over that time you deal with really amazing highs, but also lows – missing out on jobs, not even getting seen for jobs,' Laura says. 'So when I got the part, even though I'd been in it before for a fleeting moment, I was ecstatic. I'm really lucky that [former executive producer] Chris Clenshaw took a punt on a jobbing actor and gave me the chance. This came at the right time. It feels incredible.' Laura says the audition process was an emotional rollercoaster and she feared she'd missed out on the chance of a lifetime."'I didn't hear anything for four weeks,' she recalls. 'I thought it had gone to someone else. Unfortunately, in this industry, when you get to over the age of about 35 and you haven't made a name for yourself, the interesting roles sort of start drying up. "We stop being interested in women when they get over a certain age, which is bonkers, and that's why I love soaps and continuing dramas as they champion individuals of all ages and put characters at the heart of storytelling.' Eventually the call came through to say that Laura had got the part. 'When I found out, there were a lot of tears and a lot of expletives,' she says, laughing. Laura admits she was full of nerves when she stepped out in Albert Square for her first scenes as Nicola. But she says Adam Woodyatt, who plays Ian Beale and was her mentor, was on hand to help. 'He was on set on my first day in case I had any questions,' she says. 'It was his day off but he came in, bless him. Everyone on the show is so welcoming and kind. It was daunting doing scenes with soap legends as colleagues. Seeing Steve [McFadden], Letitia [Dean] – it was just like, 'Oh my God.' But they are amazing. And the boys – Roland, Elijah and Lewis – they were awesome. We gelled so quickly.' The new Mitchells – Teddy (Roland Manookian) and his sons Harry (Elijah Holloway) and Barney (Lewis Bridgeman) – arrived in Walford in June 2024, causing a stir when it was revealed they were Stevie Mitchell's secret family. Mum Nicola joined later, having spent time behind bars for injecting unlicensed filler. Laura says it can be intense filming dramatic scenes, so the cast often try to lighten the mood in between takes. 'The boys and I often burst into song between takes,' she reveals. 'It's hilarious when you belt out a tune and no one else joins in and you're like, 'That song was too random.' 'I'm high energy, a bit like a cocker spaniel most of the time. Then I realise that I have to portray the character and I'll take a minute to focus and get back into Nicola's head.' Although very different to her villainous character, Laura says they do share one quality. 'I relate to her protectiveness of her children,' she says. Letting her young son watch her EastEnders entrance last year was the first and last episode he's seen. 'He turned to me and he said, 'Mummy, you're not very nice in this, are you?' I went, 'No I'm not, lovely.' Then he asked, 'Do you mind if I don't watch it?' In my head I was going, 'Thank God – I mean, you were never going to watch it!'' With a murder, an affair and a huge family secret now exposed, is there a future for Nicola on the soap? 'There's always redemption,' Laura jokes. 'The knock-on effect of a secret of 16 years coming out would bring drama into anyone's life. In Nicola and the boys' case I think there's a journey to be had in that. It'll be interesting to see what she will do, how she repairs it with Barney.' Hoping to be an Albert Square favourite for years to come, Laura says, 'I don't want to go yet! But in the end that's not up to me. Everything is finite. I will just enjoy every moment that I'm here.'
The National
2 hours ago
- The National
John Purser: Well-orchestrated lessons
At the same time, a touch of something approaching arrogance is helpful. My fellow composition student at the Royal Scottish Academy of Music was John Geddes. I remember once we were in the back row of the Royal Scottish Academy of Music choir in the alas no more St Andrew's Hall. Ranked below us were the rest of the choir, the full body of the Scottish National Orchestra, and a team of solo singers of major repute. As the conductor, Alex Gibson, came on to the usual applause, John turned to me and, with an expansive gesture spreading his arms to indicate the vast forces ranged below, announced: 'These are the rocks that I chisel!' John chiselled some magnificent rocks, especially in his Second Symphony. Books on orchestration are all very well and some remarkably insightful – notably Ebeneezer Prout's two-volume work The Orchestra. Poor man, with a name like that his credibility is shot to hell before you even read a word or hear a note. His Clarinet Concerto and Organ Concerto No 1 are on YouTube. They sound a lot better than his name. The best lessons come from following orchestral scores, attending orchestral rehearsals, asking your fellow students to try things out, and listening to professional musicians. Orchestral musicians are a tough bunch and not all of them will smooth your path if difficulties arise. The one utterly unforgivable thing is mistakes in the parts. They waste time and annoy the hell out of everybody, not least the conductor whose business it is to fight your corner. Even with modern part extraction from computer typeset scores, mistakes can occur. Computer typesetting is a wonderful thing, but it does deprive the musicians of that sense of direct contact with the composer which you can get from her or his hand-written parts. It's the difference between a handwritten and a typed letter. This particularly applies to the full score which is used by the conductor. Each composer has to work out his own style of orchestration, her own palette. The composer picks the instrumental forces and lays them out in a conventional order, so readers of the score know what is where. For full symphony orchestra with choir and soloists, woodwind instruments are at the top, brass section next, then percussion and keyboard instruments, soloists and vocal lines: finally the string section. These, if you like, are the tubes of paint. My first lessons were from Frank Spedding but mostly he left me to my own devices, following the Gordon Jacob and Walter Piston books on orchestration. These provided the basics – the ranges of the various instruments and their fundamental characteristics. There were little extra snippets of information. If you have only two trumpets and want the effect of four, you can slip in a couple of low flutes if the music is quiet. The audience won't be any the wiser so long as you dove-tail them. The same trick can work blending horns and bassoons. It wasn't all technical. Gordon Jacob, I was told, once criticised a student of orchestration for overuse of the snare drum, declaring that it would 'sound like somebody pissing into a biscuit tin'. Two of my composition teachers had diametrically opposed approaches to orchestration. Tippett was all for 'gestures', featuring the different tonal qualities of the instruments. Hans Gál was more for blending the sounds. A master at both was Tchaikovsky and on one occasion he set up a deliberate surprise. The Dance of the Sugar Plum Fairy, in The Nutcracker features the celesta. In Tchaikovsky's day the instrument (invented around 1886) was a newcomer and very few had heard its fairy-like silvery tones. So keen was Tchaikovsky to spring this sound as a surprise on his audiences that he had the instrument secretly imported by his publisher and kept well out of hearing until the premiere. He wrote: 'Have it sent direct to Petersburg; but no-one there must know about it especially not Rimsky-Korsakov and Glazounov who might make use of the new effect before I could. I expect the instrument will make a tremendous sensation.' It did. Its predecessor had been invented in Glasgow by Thomas Machell – the dulcitone, first made in 1860 and used by the French composer Vincent d'Indy in Le Son de la Cloche in the 1880s. In the celesta, the hammers hit metal plates: in the dulcitone they hit metal tuning forks. These days, however, composers often introduce instruments from indigenous cultures and even archaeological reconstructions such as Bronze Age horns. As for the Highland bagpipes, they were first used with orchestra by Aloys Fleischmann in Cork, then Ian Whyte in his ballet Donald of the Burthens, then by Edward MacGuire in Calgacus and then in a kitsch colonialist scenario by Peter Maxwell Davies in Orkney Wedding with Sunrise. It used to be the best known, being in the 'Donald, where's your troosers?' class of artistry, but Bear McCreary's Outlander has overtaken it by an American mile. Anyway, there's no manual for combining bagpipes and symphony orchestra, not even Norman del Mar's magnificent Anatomy of the Orchestra. Norman (above) was not to be messed with – a large man with a formidable intellect. To orchestral musicians, he was variously known as 'The Mass of Life' (a pun on the title of a composition by Delius), 'The Greatest Waste of Space' (which was not fair), 'The Butcher' (on account of his decisive but inelegant beat), and, more affectionately 'Bubble Bum'. Confronted by more than 60 hardened professional musicians, many of whom had served in the Second World War and knew what it was like to be made to run 10 times round the parade ground carrying a heavy shell for playing a wrong note, even a Del Mar was put to the test. On one such occasion, he was guiding the BBC Scottish Symphony Orchestra through a mountain of challenging scores – Strauss's Till Eulenspiegel and the like – deliberately thrown at him by the BBC in London because public protest had prevented them from axing the orchestra. Norman had a desk with scores to the right of his conductor's podium – the In-Tray, and another to the left – the Out-Tray. They had no time for proper rehearsals, only run-throughs, and Norman was running them. At one point, in the frantic passage of scores and decisive beating of time, Norman's baton flew out of his hand and fell to the floor. He was a tall man, standing on a podium and barked out: 'My baton please!' Quick as a flash, the principal violinist, Peter Gibbs (who had piloted Spitfires during the Battle of Britain) deliberately dropped his bow and turned to the second desk of violins and demanded: 'My bow please!' But Norman loved these people and understood them better than many a conductor, taking in his stride the fourth horn, Billy Bull who, on being told by Del Mar that he couldn't see him, replied: 'Ah cannae see you either, sir, but ah can feel your presence.' Never was a truer word spoken. So I was frightened but fortunate that Norman gave an early piece of mine a run-through with the same orchestra. It made use of sundry effects – singing at the same time as playing, different kinds of mute and so on. Norman was immensely encouraging but also warned me against striving for effect. A year later, I got my comeuppance in that department from the timpanist in the Radió Teilefis Éireann Symphony Orchestra. His name was Kurt Hans Goedicke and this was back in 1962 so I was only 19 and he was still in his 20s. He subsequently acquired an international reputation and is more or less a legend in his own time. I had won the Radió Éireann Carolan Prize for orchestral variations on Amhran Dochais. One of the variations had a fanfare for the brass, followed by a solo for the timpani. Four timpani, one timpanist. I was really looking forward to hearing this. I thought it would sound spectacular. The brass section sounded great but the timpani bit was very disappointing. Too slow, almost stumbling. During the coffee break Kurt came to me with the timpani part. The conversation went as follows, he with a thick German accent: 'Zees timpani part – she is ver difficult. Ver difficult indeed.' 'I'm sorry. I thought it would be fine.' 'You see, I cannot keep crossing my arms like zis.' He demonstrated the knots he would get into when one arm had to cross over the other and the first one had to be retrieved from underneath in no time at all to get to the next of the four timpani. Truly impossible and I hadn't thought of it. 'O-o-oh! I'll try to re-write it then.' 'But zis is ze original inspiration, ja?' 'It's what I first thought of ... I ...' 'Oh ve must not change. Ve must not change ze original inspiration!' 'I'd rather change it and make it work better.' 'No, no. I tell you vat I do! I praaaactice!' And with that he forewent his coffee and spent the break trying to make the impossible possible. He got as close as could be but what he really achieved was the very kindliest of lessons in correcting incompetence, and I remain grateful to him to this day. The improper installation of a Rumford chimney was what won me that Carolan Prize. I composed it in St Kevin's Cottage in Co. Wicklow with the score opened out on the kitchen table. I was completing a double-page spread a day and the fine turf (peat) ash was falling on the pages and the smoke circulating promiscuously. As soon as you took the anonymous score out of the brown envelope you could smell the turf. Orchestral scores are not easy to judge and this no doubt saved everyone the bother. I imagine a judge exclaiming as he extracted the manuscript: 'Can you smell that now! Straight from the bogs! That's the winner. No discussion!' Not imaginary is the sixpence I attached to the start of the trombone part of my Opus 7, adding a signed 'with sympathy'. It came about because I was concerned about the top D. In those days, top Ds on a tenor trombone were not commonplace, and this was a held note in an already high-pitched passage. I asked him how he would manage it and his answer explains all! 'Well, it's like this, John. When you're going for the top D, you take a sixpence, stick it up your arsehole, squeeze like hell, and when it bends you know you've got it!'
Daily Mirror
2 hours ago
- Daily Mirror
Only those with razor sharp vision can spot tiny ball on busy beach in 3 seconds
You'll need 'impressive observational skills', great spatial awareness, and speedy reactions to crack this baffling beach-themed brainteaser in just three seconds or less Put your visual skills to the ultimate test with this deceptively difficult seaside-themed brainteaser. With summer officially underway, many Brits are packing their bikinis or speedos - giddy at the sheer thought of escaping the daily grind for a week or two in the sun. Whether you're jetting off to sunny Spain, or making the most of the UK coast, there's something unrivalled about spending the day on a golden sandy beach. To celebrate the holiday season, instantprint, the UK's leading online printer, has released a baffling puzzle to test whether you have eagle eyes, or need to nip to Specsavers before hopping on a plane. Seriously, you'll need 'impressive observational skills' and great spatial awareness to figure this one out. In the image above, you'll see a sandy scene packed with all of your coastal necessities - from beach towels to flip-flops and umbrellas. But amongst the busy stretch of sand lies a rogue beach ball - and you have just three seconds to find it. If you're struggling to find the beach ball in the tight time frame, don't worry - take a little bit longer to find it. If you need a hint, focus your attention on the row of pink and black flags near the bottom of the image. Finally found it, or giving up completely? Scroll down to reveal the answer. Want to avoid the doom and gloom? Get the latest positive news sent straight to your inbox with our Bright Stuff Newsletter If that puzzle didn't even make you break a sweat, it's time to ramp things up. These challenging pub-style questions may seem easy, but each one is strategically designed to trip you up - and only a true genius can score five out of five. You only have five seconds to answer each question before you need to move on to the next, but you still need to make sure you read each one carefully to avoid making a huge error. Once you're done, you can check your answers here. How many pairs of animals did Moses take on the Ark? You're in a race and pass the person in 3rd place. So, what place are you in now? John's father had three sons: Snap, Crackle, and...? If a plan crashes right in between France and Spain. Where do you bury the survivors? If it takes seven people seven minutes to eat seven burgers, how long will it take 30 people to eat 30 burgers? Do you have a story to share? Email us at yourmirror@ for a chance to be featured.
