Beyond Paradise full cast including guest stars revealed for BBC series 3
The team faces a host of 'baffling cases' in the upcoming series, including a body discovered in a river on the county border, a 'perplexing' chocolate box poisoning, a long-standing farming feud, and a spiking incident at sea, the broadcaster has shared.
Away from the police station, Martha Lloyd and DI Humphrey Goodman must overcome unexpected hurdles as foster parents, while the reappearance of Martha's 'old flame' Archie presents an unexpected challenge.
Meanwhile, Esther experiences a 'surprising twist' in her personal life, Anne confronts painful memories following a health scare, and Kelby embarks on a 'transformative' journey of self-discovery.
It's almost time to return to Shipton Abbott! Our third series sees the return of regular cast members Kris Marshall, Sally Bretton, Zahra Ahmadi, Dylan Llewellyn, Barbara Flynn and Felicity Montagu. More familiar faces: Jamie Bamber, Jade Harrison, and Melina Sinadinou. pic.twitter.com/eljiEXdsMi
— Beyond Paradise (@BeyondPOfficial) March 5, 2025
But who will be joining Kris Marshall and Sally Bretton for the next instalment of Beyond Paradise? Let's find out.
The line-up of guest stars include Hugh Dennis (Outnumbered) as local councillor Arthur Donelan, Steve Oram (DI Ray) and Gabby Best (Changing Ends) as Humphrey and Esther's Cornish policing counterparts, Chizzy Akudolu (Holby City) who returns as Reverend Kate and Kevin McNally (Pirates of the Caribbean) and Caroline Quentin (Men Behaving Badly) as farming rivals George Ellis and Lotty Lewes.
Also being introduced to the BBC series is Bella Rei Blue Stevenson as Rosie, who arrives into Humphrey and Martha's life as their newest foster placement.
Other cast members returning to the seaside town are series regulars including Zahra Ahmadi (DS Esther Williams), Dylan Llewellyn (PC Kelby Hartford), Barbara Flynn (Anne Lloyd) and Felicity Montagu (Margo Martins).
Plus, Jamie Bamber (Archie Hughes), Jade Harrison (CS Charlie Woods) and Melina Sinadinou (Zoe Williams).
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More characters coming back for series three are Chris Jenks as Josh Woods, Eva Feiler as Nurse Lucy, Amalia Vitale as Hannah and Selwyn the Duck.
But joining all of the above is also Angela Curran (Doc Martin), Abra Thompson (Showtrial), Joseph Ollman (Queenie), Alexandra Gilbreath (Not Going Out), Alicia Charles (Pheonix Rise), Matthew Gravelle (Silent Witness), Brandon Fellows (Dead Hot), Abdul Salis (Love Actually), Jason Hughes (Midsummer Murders), Silas Carson (Star Wars), Syreeta Kumar (Fool Me Once), Amy Morgan (Mr Selfridge), Oliver Hembrough (The White Princess), Murray McArthur (Wonka), Dean Boodaghians-Nolan (House of the Dragon) and more.
Beyond Paradise series three is coming soon to BBC One and BBC iPlayer.
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Someone falls out of love too fast. The tragedies in 'Skin' may be quotidian, but they are exquisitely explored. Sarah Huxley moves from London to Paris for a demanding but well-paying corporate job, expecting beauty and romance. She is quickly disillusioned when the language barrier estranges her from conversations and connections. Instead, she stumbles into Ping Loh, a young woman from Hong Kong, who works as an au pair for a rich Chinese family in the city and who, like Sarah, has a barely functional grasp of French. They talk in broken tongues, spanning Cantonese, French and English, half understanding each other, embarrassing themselves often but becoming friends anyway. Punctuated by corporate drudgery and insufferable (sometimes sleazy) employers, their story unfolds with the help of text messages, dictionaries and outdoor activities. When they are together, no one seems to understand their 'strange patchwork of languages,' but, before we know it, this linguistic push and pull metamorphoses from painfully awkward friendship to earnest love story. Sarah's understanding of Cantonese remains shaky, but she understands Ping. 'When I speak another language, I can almost catch a glimpse, an entrevoit, of myself as another person,' Sarah muses. Apart from Albon's clever use of lettering that effortlessly intermingles multilingual exchanges, 'Love Languages' is visually conventional, verging on ordinary in its composition and paneling. But Albon's rich watercolors — saturated and sumptuous — of people, food and cities make for a gorgeous and emotionally tender read about two foreigners falling in love, obliviously at first and then with sudden speed. Sarah Huxley moves from London to Paris for a demanding but well-paying corporate job, expecting beauty and romance. She is quickly disillusioned when the language barrier estranges her from conversations and connections. Instead, she stumbles into Ping Loh, a young woman from Hong Kong, who works as an au pair for a rich Chinese family in the city and who, like Sarah, has a barely functional grasp of French. They talk in broken tongues, spanning Cantonese, French and English, half understanding each other, embarrassing themselves often but becoming friends anyway. Punctuated by corporate drudgery and insufferable (sometimes sleazy) employers, their story unfolds with the help of text messages, dictionaries and outdoor activities. When they are together, no one seems to understand their 'strange patchwork of languages,' but, before we know it, this linguistic push and pull metamorphoses from painfully awkward friendship to earnest love story. Sarah's understanding of Cantonese remains shaky, but she understands Ping. 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When he is handed a full report of her injuries, the blue book is upside down. This simple design choice puts us in his shoes, showing us the book as he sees it. Panchaud's diagrammatic style, informed by his dyslexia, is conceptually fresh; it's somewhat reminiscent of the style of Chris Ware but pared down further: flat colors, schematic drawings, dots, lines. There is a distinct '90s computer graphic aesthetic that clashes absurdly with the film noir qualities of the plot. What results is a fine example of successful, if strange, formal experimentation. Curious in both form and content, 'From Above' is crime fiction told in color-coded dots from an aerial perspective. An oft-bullied kid, Simon Hope, bets on an unlikely racehorse based on the advice of a clairvoyant neighbor. He wins 16 million pounds. When his mother is brutally beaten into a coma and his father goes missing, he is unable to claim the prize money. There are twists, turns and constantly unfolding chaos as the plot devolves into a surreal whodunit. There is a sense of interactive unraveling, because the story demands that the reader carefully decipher visual information delivered in the form of floor plans, flowcharts, maps and diagrams. In a particularly clever use of minimalist design, Simon's entire family history is summarized in one infographic. Each living thing in the story — people, ducks, dogs and pigeons — is represented by a dot of a certain color. One would think such a detached style — where we never see the characters — would undercut emotional expressiveness, but it is surprisingly easy to empathize with the solitary dot that stands in for Simon. The aerial perspective is punctuated by the occasional illustration in one-point perspective for emphasis, such as when the page itself becomes a door that leads to the hospital ward where Simon's mother is comatose. When he is handed a full report of her injuries, the blue book is upside down. This simple design choice puts us in his shoes, showing us the book as he sees it. Panchaud's diagrammatic style, informed by his dyslexia, is conceptually fresh; it's somewhat reminiscent of the style of Chris Ware but pared down further: flat colors, schematic drawings, dots, lines. There is a distinct '90s computer graphic aesthetic that clashes absurdly with the film noir qualities of the plot. What results is a fine example of successful, if strange, formal experimentation. 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But he also tells us stories that are closer to his own life: how Chua's family made it across the Mekong River to Thailand before eventually arriving in the ginseng farms of rural Wisconsin at the end of the Vietnam War, for example, or his own research trips to China and Korea. Thompson's intricately drawn maps and illustrations are dense, but they give way to a lucid network of panels and pages that braid these distinct threads. 'I want ginseng to be what heals me, especially if it's the industry that may have poisoned me,' he writes in a page where the younger version of Craig and an anthropomorphic ginseng root stand hand in hand, encouraging the adult Craig to start making comics again. A history lesson, a travelogue and a memoir all wrapped together with elements of graphic journalism, Thompson's 'Ginseng Roots' spans the history of farming American ginseng, the trade relationship between the United States and China, and Thompson's lingering guilt over the gap between his ostensibly easy career as a cartoonist (he is the author of the classic graphic novel 'Blankets,' among other books) and his working-class childhood in rural Wisconsin. At 20, Thompson moved out of Marathon, a town of 1,200 that was once the world's leading producer of American ginseng, where he spent many summers working in the fields as a child laborer along with Phil, his younger brother. Before the two were teens, they joined their parents plucking weeds and picking roots, rocks and berries — all for just a dollar (which eventually became three) an hour. With their earnings, they would buy comic books. 'When our dad came home with acid burns from factory welding and stories of wading neck deep in septic tanks … we dreamed of the cushy lifestyle of the cartoonist, indoors all day, playing make-believe, and doodling,' Thompson recalls. On a trip to China, years later, Thompson injures his wrist. Worried it will affect his ability to draw, he seeks treatment and finds ginseng grown in America at a local pharmacy. Once he is back in America, he discovers that the injury is an aggressive form of fibromatosis, which will deteriorate whether he draws or not. When Thompson returns to Marathon for the International Wisconsin Ginseng Festival, he interviews people including his old bosses (who complain about environmental regulations and declining American work ethic), his childhood friend, Chua (whose family was among the first Hmong people to settle in Wisconsin) and Will Hsu, a ginseng farmer whose hard-won success is threatened by the anti-Chinese sentiment that has become commonplace since 2020. Thompson traces the history of ginseng in the East and the West, moving easily from the Wausau Chamber of Commerce in the present to 1634, when the French explorer Jean Nicolet arrived in Wisconsin 'convinced he'd made it to China,' to the real China in the 1700s, where Jesuit cartographer and mathematician Pierre Jartoux received a gift of ginseng roots and became the first Westerner to experience the herb and record it with illustrations. But he also tells us stories that are closer to his own life: how Chua's family made it across the Mekong River to Thailand before eventually arriving in the ginseng farms of rural Wisconsin at the end of the Vietnam War, for example, or his own research trips to China and Korea. Thompson's intricately drawn maps and illustrations are dense, but they give way to a lucid network of panels and pages that braid these distinct threads. 'I want ginseng to be what heals me, especially if it's the industry that may have poisoned me,' he writes in a page where the younger version of Craig and an anthropomorphic ginseng root stand hand in hand, encouraging the adult Craig to start making comics again.
