5 times Stirling and Stirlingshire have featured on property TV shows
A Bridge of Allan family recently appeared on Location, Location, Location.
It's not the first time Stirlingshire has featured on a property television show; from Scotland's Home of the Year to Love It or List It, viewers love a peek inside other people's homes.
From hunting for the perfect home to renovating run-down rooms – here are five times Stirling or Stirlingshire has featured on property TV shows.
A mother and daughter enlisted the help of Phil Spencer and Kirstie Allsopp on Location, Location, Location to find their dream home in Stirling.
The Channel 4 show, featuring Lorraine Macleod and Emma Carman, aired in June 2025.
The pair, who were living with Lorraine's parents, viewed four homes within their budget of £275,000.
However, despite offering well above the asking price for a cottage in Torbrex, Lorraine and Emma lost out on the property.
Luckily, they found their dream three-bedroom townhouse in Bridge of Allan for £255,000 after the show.
Scotland's Home of the Year has featured several Stirlingshire homes since it first aired in 2019.
This year, a steading conversion in Deanston was part of the BBC show.
The Dairy, owned by Mhairi and Andrew Wilson since 2023, boasts impressive views over the Trossachs.
In 2024, a mill conversion near Dunblane was part of the series. The 200-year-old building had been abandoned for 25 years before it was lovingly restored by Lee and Dawn Collins.
Plus, a Georgian renovation in rural Killearn was crowned the winner in 2021. Judges loved The Moss' 'dreamy pink interior' which included a pink Aga cooker in the kitchen.
TV presenter Kaye Adams appeared on a celebrity edition of Escape to the Country last year.
The Loose Women presenter viewed four properties in Stirlingshire to find a three-bedroom home with open plan living, a garden and space to record her podcast.
Kaye, who had a budget of £850,000, said her favourite house looked over Loch Ard.
An episode of Homes Under the Hammer featured a Stirling flat last year.
A Musical Sink saw host Martel Maxwell, from Dundee, follow Ross as he purchased a damp run-down property in the city centre.
He bought the two to three-bedroom flat prior to auction for £135,000 and carried out a five-month renovation to restore it to its former glory.
Ross invested £35,000 into the works and turned the property into a short-term let.
A property expert valued it as worth £180,000 to £200,000 – a profit of up to £30,000.
Kirstie and Phil's Love It or List It has also had a Stirlingshire episode.
In series two, the hosts set out to help Karyn and Duncan in the Carron Valley.
The couple had been arguing for two years over what to do about their three-bed rural semi.
Phil took Karyn and Duncan to view properties in Fife, Strathyre and Sauchie, while Kirstie inspired a £40,000 upgrade.
At the end of the 2016 episode, they decided to keep the property.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Spectator
2 hours ago
- Spectator
The past is another country: Ripeness, by Sarah Moss, reviewed
Sarah Moss is a prolific and vital novelist whose books encompass an array of subjects from Victorian social reform and 19th-century Japan to broken Brexit Britain and eating disorders. She combines teaching at University College, Dublin with writing in real time: The Fell, set during the second lockdown, came out in the summer of 2021, while My Good Bright Wolf, an experimental memoir about her anorexic breakdown in late 2020, was published last year. A forthcoming Channel 4 adaptation of Summerwater, which explored national identity and isolation against the backdrop of a soggy Scottish holiday park, may catapult her into the sort of gold-foil territory enjoyed by Maggie O'Farrell or Ali Smith. If not, then perhaps Ripeness, her ninth novel, will. Set partly in contemporary Ireland and partly in 1960s Italy, this is a tender book that explores issues such as identity, belonging and consent, themes that fit into Moss's wider oeuvre. 'Ripeness, not readiness, is all. Life has no form, you don't get to choose.' So mulls the protagonist Edith, riffing on Shakespeare's familiar lines, pitting a youthful Hamlet's readiness for death – 'voluntary, an act of will' – against an ancient Lear's ripeness – something that 'happens to us as to plums and pears, regardless of agency or volition'. The age dichotomy is deliberate. The novel features two different Ediths at two different life stages. The first is 73, living alone and happily divorced in present-day Ireland. The second is 17, taking a gap year before studying at Oxford. It is the mid-1960s and hemlines are rising everywhere, but 'had not reached the thigh of Italy'. Edith has been dispatched there by her mother, where her sister Lydia, a ballet dancer, is waiting out the final weeks of an unwanted pregnancy in her ballet master's sumptuous villa. Moss alternates chapters and perspectives, switching between third person for the older Edith and first person for her teenaged version, who is recounting her Italian adventure to an unnamed 'you'. This, it emerges, is her sister's child, who is handed over for adoption at birth. Edith writes without expectation that her words will ever be read but can't think what else to do. Despite the dark underside to what happened to Lydia, which has a parallel in the older Edith's story, this feels like a novel Moss had fun writing, not least because she gets to indulge the childhood love for ballet she detailed in My Good Bright Wolf. Her imagery is vivid. A jar of plum jam is 'still slightly warm, as if asleep'; Irish dry stone walls have 'a kind of stone lace… a tracery'. In Moss's hands, ripeness is more than just old age: it represents every woman's fertile body, to which too many men have helped themselves over the ages. This is an important and convincing book.
Spectator
2 hours ago
- Spectator
Channel 4's Beth is a sad glimpse into the future of terrestrial TV
On the face of it, Beth seemed that most old-fashioned of TV genres: the single play. In fact, Monday's programme was the complete version of a three-parter made for YouTube and excitedly announced as Channel 4's first-ever digital commission. A less excited interpretation, however, might be that it was Channel 4's first sign of surrender to the hostile forces of streaming now threatening all of Britain's terrestrial networks. Either way, it was a peculiar watch that, over the course of its 36 minutes, felt less like a fully fledged drama than notes towards one. In a nervous bid to ensure YouTube viewers were gripped before they could search for something else, it began with a good-looking couple having sex. But not for long. Within 50 seconds, the man, Joe, noticed blood on the sheets and the woman, Molly, realised she'd had the latest in a series of miscarriages. Seconds after that, the pair were visiting their hunky private doctor who advised them to knock off the IVF, in favour of 'lots of sex': advice he bestowed with a distinct leer in Molly's direction. Following the consultation, Joe and Molly (Nicholas Pinnock and Abbey Lee) wondered about adoption or fostering, but as an interracial couple, decided they wanted 'our kid to look like both of us'. In one of these 'notes towards' moments, it also appeared that Joe himself had been unhappily fostered. But of course there wasn't time to get into that and instead the first 12-minute section ended with Molly suddenly pregnant. Once she was, there were some more hints at a theme the show would clearly have liked to explore in more depth, in this case Joe's class unease about having a much posher partner. Yet, no sooner was this suggested than we cut to the delivery room, where Molly gave birth to a white baby – moments later, a white primary-school girl whom Joe, now separated from Molly, was picking up from a party. Despite his (and our) suspicions, the reason for the child's colour wasn't the pervy doctor, but something wholly unguessable which relied on a lurch into the supernatural that I'd better not spoil, but that, once again, the show didn't have time either to prepare us for or to reflect on, and so simply plonked in front of us. Beth was by no means a disaster. The two leads did their considerable best with what they had to work on – as did the script, which often managed to be intriguing before the time constraints rendered it merely frustrating. Nonetheless, you couldn't help thinking how much more could have been done with the material in a mini-series that wasn't quite so mini. If this was a glimpse of the terrestrial-TV future, the best you can say is that its programmes certainly won't overstay their welcome; the worst is that they'll be badly lacking in the swagger and storytelling confidence of the pre-streaming era. Still, if it's old-fashioned you want, there's always Not Going Out – the longest-running sitcom now on British television and by some distance the most traditional. There remains something almost heroic about Mack's determination to keep the British-sitcom faith Defending his chosen form, its creator Lee Mack said recently: 'The thing you always hear people say about studio sitcoms is: 'They're so 1970s.' But then you ask people to name their favourite British sitcoms and they're all from the 1970s: Fawlty Towers, Dad's Army, Steptoe and Son.' Sadly, I'm not convinced that many of these 'people' would be under 50. But there remains something almost heroic about Mack's determination to keep the British-sitcom faith, especially as he can get at least as many laughs from his lightning ad-libs on Would I Lie to You? without any of the hard writing yards required here. Even so, it's not quite true, despite those references, that the show's influences are all British – because it's too full of wisecracks for that. Captain Mainwaring, Basil Fawlty and the Steptoes would be wildly indignant if they knew we were laughing at them, whereas the characters in Not Going Out (like those in say Cheers and Frasier) constantly make remarks that are intended to be funny. So it was that the 14th series started with the fictional Lee and his wife Lucy (Sally Bretton) being shown round a property by a seller who doubled as a straight man setting up Lee and Lucy's stream of one-liners – which carried on just as relentlessly once the episode developed into a full-blown, well-plotted farce based, naturally, on implausible lies, implausibly believed. I can't claim that Not Going Out is among my weekly unmissables (unlike Would I Lie to You?). But I'm definitely delighted that Mack continues to fly the flag for a sitcom that has no desire to throw in some dark drama to provide an edifying moral lesson – or indeed to do anything much beyond making us laugh.
Scotsman
3 hours ago
- Scotsman
Who won Race Across the World today? BBC final recap
See which of the four teams managed to win Race Across the World series 5 🏃♂️ Sign up to our daily newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to Edinburgh News, 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... Race Across the World has crowned the winners for series 5. The winning pair walks away with the grand prize after the final leg. But which team made it to the last checkpoint first? The fifth winners of Race Across the World have been crowned after a rollercoaster final on the BBC. The remaining teams faced one last dash to reach the last checkpoint on a truly mammoth journey. After eight weeks - and around 14,000km - four pairs successfully completed the journey from the Great Wall of China to Kanyakumari in India. It is an incredible journey that has taken them across two of the most populous countries in the world - via Nepal. Advertisement Hide Ad Advertisement Hide Ad However, all good things must come to an end, as they say. The final of Race Across the World's fifth series took place tonight (June 11) and just over seven hours separated the top three teams heading into the last leg. But which of the pairs managed to run out as victors at the end of the race? Here's all you need to know: Who won Race Across the World series 5? Race Across the World series 5 finalists | BBC Heading into the final leg of the mammoth race from China to the bottom of India, mother and son duo Caroline and Tom were in the lead. They reclaimed the top spot at the end of last week's seventh leg - as then-leaders Brian and Melvyn saw themselves tumble to the bottom of the leader board after opting for the rural route and avoiding Mumbai and falling 17 hours behind. Advertisement Hide Ad Advertisement Hide Ad Caroline and Tom had a nearly seven hour lead over sisters Elizabeth and Letita. Young Welsh couple Fin and Sioned were ever so slightly further behind at seven hours and 48 minutes - having clawed back from a 33 hour deficit earlier in the season. It set things up for a dramatic final dash across the southern states of India. But who made it to Kanyakumari first? Caroline and Tom were the first to reach the last checkpoint and thus were crowned winners of Race Across the World series five. What does the winner of Race Across the World get? The winning couple walk away with a £20,000 jackpot - as well as bragging rights of course. It has been the same prize since the show began back in 2019. Advertisement Hide Ad Advertisement Hide Ad Fortunately for fans, the show is not completely over as there is still one episode left in the season. Race Across the World will be back next week (June 18) with a reunion special that will reunite the five teams six months after the end of the race. It promises unseen footage, behind-the-scenes insights and plenty more. Find out how to watch it here. Have you got a story you want to share with our readers? You can now send it to us online via YourWorld at . It's free to use and, once checked, your story will appear on our website and, space allowing, in our newspapers.
