Latest news with #24HoursinPoliceCustody
Time of India
21-05-2025
- Entertainment
- Time of India
Alex Horne struggles in The Horne Section TV show season 2 is back on Channel 4
The Horne Section TV Show returns for a second season on Channel 4 on Thursday (May 22) at 10 pm. Featuring guest appearances, musical challenges, and general silliness, Alex Horne tries to prove his musical credibility amidst chaotic situations. The new season sees Alex Horne grappling with newfound fame and the pressure of filming live from his home, while trying to prove he is a credible musician. Channel 4 exec Ash (Georgia Tennant) commissions a new programme, the World's Strongest Musician, to film in Horne's house alongside the existing show. The series features the bandleader determined to prove that he's a credible musician, despite the presence of Reggie Watts threatening to overshadow him. The series includes corporate awards and a haunted TV studio. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Your IQ Is 140 If You Can Answer 10 Of These Questions Correctly IQ International Undo Thora (Desiree Burch) attempts to keep the show on air, while Channel 4 exec Ash (Georgia Tennant) is generally obstructive. Lucy (Camille Ucan) barely looks away from her phone, and intern runner Nelly (Tim Mahendren) is perpetually flustered. John Oliver is keen to join the band, and Reggie Watts makes an appearance. The show includes reimagined Channel 4 TV theme tunes. Live Events Alex Horne previews the new series, answering questions about guest stars , the challenges of being the frontman, and the show's musical and comedic elements. He admits to not being a natural singer or dancer. He acknowledges the stereotype of comedians wanting to be in a band. Horne reached Grade III on the French horn. The TV theme tunes being reimagined include "Location Location Location", "24 Hours in Police Custody", "Made in Chelsea", and "Married at First Sight". Episode 3 features a "Memento" style storyline. Horne emphasizes the importance of silliness in the series. Horne is excited about playing Glastonbury for the first time. He believes the band is a good fit for festivals due to their blend of music and comedy. Growing up, Horne enjoyed Bill Bailey and "The Blues Brothers". He used to get nervous before going on stage but stopped after having children. The Horne Section has branded shirts, and their merchandise includes non-absorbent tea towels. Horne's backstage rider consists of three cans of Asahi. Kyrah Gray is helping funny people find love in a new dating format. The series is backed by Sky and available online. She says 'We have created a funny and entertaining dating format that showcases my sense of humour and taps into my ethos for finding love – "It doesn't matter if you're not fine, you just better be funny!"'.
BBC News
26-04-2025
- BBC News
Luton paedophile Carson Grimes admits more sex crimes
A convicted child sex offender is set to spend more time in jail after 13 more victims emerged following coverage of his Grimes, 69, who lived in Dumfries Street, Luton, has admitted 24 further offences including rape and indecent 2021, Grimes was jailed for a minimum of 22 years after being convicted of 36 serious sexual offences relating to nine say media reporting, including an episode of the Channel 4 series 24 Hours in Police Custody, led to more people making allegations. Det Insp Clare Gilbert, from Bedfordshire Police, said: "Grimes was a horrific predator, who targeted young and vulnerable children for his own sexual gratification."He had an elevated sense of self-worth where he believed he could prey on vulnerable children and get away with it."His trial in 2021 heard how Grimes abused children in the 1980s when he lived in London, and his behaviour escalated when he moved to Bedfordshire and continued until about found him guilty of 19 counts of rape, 11 of indecent assault and six of indecency with a child. Grimes pleaded guilty to the 24 new charges at Luton Crown Court on victims - some of whom police said were boys at the time - accused him of sexually abusing them between 1987 and referred to Grimes - also known as Carson Phillips - as one of "Bedfordshire's most prolific sex offenders" and said one of his victims described his home as a "horror house".He is due to be sentenced on 23 May. If you have been affected by any of the issues raised in this story, you can get help and support at BBC Action Line. Follow Beds, Herts and Bucks news on BBC Sounds, Facebook, Instagram and X.
The Guardian
08-03-2025
- Entertainment
- The Guardian
Dope Thief: Brian Tyree Henry is so incredible he could invest a Philly cheesesteak with complex emotion
It takes approximately 3,600 hours of on-the-job training to qualify as a police detective in the UK – or about 1,000 hours of true-crime content. Once you're up to date on 24 Hours in Police Custody, can accurately guess the killer within the opening strains of the Dateline theme tune (pro tip: it's the husband), and have developed a strong working theory on the Jill Dando assassination, you should be automatically granted powers of arrest, shouldn't you? Similarly, while watching Dope Thief, the Apple TV+ miniseries (streaming from 14 March) about a pair of small-time stick-up guys, played by Brian Tyree Henry and Wagner Moura, any ordinary viewer will feel they'd climb the cartel's promotion track faster than these knuckleheads. I know I would. You don't watch all five seasons of The Wire and Breaking Bad, plus six of Better Call Saul, without picking up a thing or two about evading police detection and the importance of a clear managerial structure among meth-heads. Meanwhile, these dumb-dumbs are stumbling on to the eastern seaboard's main drug-trafficking corridor, without so much as pressing play on Narcos season one. Which is especially weird, because Moura also starred in that one. At first, Ray (Henry) and Manny (Moura) come across as an intelligent, self-motivated duo. Their stakeout banter is sparkling and Ray has an amusing bit about doing 'the command voice': that authoritative tone used to train dogs, say, or rob drug dealers at gunpoint, while posing as a DEA agent. Still, this grift was bound to go awry sooner or later, and when it does – in explosive 'Hillbilly Chernobyl' fashion – Ray and Manny make the kinds of mistakes that only someone who'd never seen an episode of Ozark could muster. They're like co-eds in a slasher film, the way they run around massacre scenes in a panic and credulously hang on to every word uttered by a bad guy on the other end of the phone line. This guy – Gravel Voice, let's call him – never actually asks the question 'Do you like scary movies?', but you can tell he really, really wants to. He represents a shadowy Alliance and his identity is supposed to be a mystery, though if you can't guess it by episode six, I suggest you ask your GP to check you for signs of a serious brain injury. Gravel Voice isn't the most naturally authoritative person on the show. That honour goes to Ray's brassy foster mum, Theresa 'Ma' Bowers, played by Kate Mulgrew with a flamboyant regional accent. It's not quite Kate Winslet in Mare of Easttown, but she's doing her darnedest to entertain with rhotic 'r's and rounded 'o's, and it's appreciated. Nor is Gravel Voice even the gravelliest voice. That would be Mina (Marin Ireland), the DEA agent with the serious larynx injury. So why Ray and Manny bother with him is anybody's guess. Beyond all this, though, their most inexplicable error is not simply getting the hell out of Dodge – or, in this case, north Philly – as soon as they start to feel the heat. They insist on sticking around, even with the DEA, a white supremacist biker gang and a Mexican cartel on their tail. Omar from The Wire would never. Is Philadelphia that great that you would risk life, limb and loved ones to stay within the city limits? Hard to say, since every episode, including the Ridley Scott-directed premiere, makes this town look much the same as any other decaying, post industrial, end-of-empire American city. It's a place where the only available healthcare is 'self-medication', and not just for the mental health impact of childhood trauma either, but for actual gunshot wounds. So many guns! So many traumatic memories! Dope Thief is basically shootouts interspersed with sepia-tinted flashbacks ad infinitum, and I only made it past episode three because Ma has a leopard-print coat I want and Brian Tyree Henry is such a ridiculously good actor he could invest a Philly cheesesteak with vulnerability and complex emotion. But maybe it needs to be said in a command voice, if we really want people to listen? Give this man a role worthy of his talent. Now.
The Guardian
28-02-2025
- Entertainment
- The Guardian
Is this the most terrifying TV show of our times? Adolescence, the drama that will horrify all parents
The first few minutes of Netflix's new drama Adolescence are among the most incredible you will ever see. Two police officers drive to a house, smash its doors in, sweep from room to room and apprehend a teenage boy suspected of murdering a female classmate. They load him into a van, drive to a police station then process him for arrest. On the surface this sounds like any workaday drama, but the incredible thing about Adolescence is this: the whole sequence is conducted in one take. From car to house to van to station, the camera never leaves the action. Even more incredibly, the entire series follows in kind. There are four episodes, each without a single edit. Adolescence is very much the baby of Stephen Graham, who not only stars as the boy's father, but also co-created and co-wrote the series. 'There had been a lot of cases of stabbings across the country,' explains Graham. 'Some were incidents with young boys who were stabbing young girls.' These incidents started to meld with his love of the documentary series 24 Hours in Police Custody and his previous work in the one-shot film Boiling Point, and Adolescence began to take root. But it was ambitious, and required a dream team. To build it out, Graham pulled from talent he'd worked with before. He cast his childhood friend Christine Tremarco to play his wife and, from his new Disney+ series A Thousand Blows, Erin Doherty and Ashley Walters. 'Steve was like: 'You might think you've played this type of part before, but you will never have done anything like this,' says Walters, who stars as the lead detective. As much as he was excited by the challenges of the shoot, getting to work more with Graham was the real draw. 'He's just a nice person,' says Walters. 'He's dedicated to helping others. I don't think there's a person in the industry that he doesn't know, and I don't think there's a person in the industry who doesn't like him. This might be breaking the fourth wall, but most people are not spoken about like that.' Graham extended the same family attitude to the other creatives. The only choice to direct this was Boiling Point's Philip Barantini. And as a writing partner, Graham chose his frequent collaborator Jack Thorne. 'We've developed this wonderful little marriage, me and Jack,' grins Graham of the prolific playwright. 'We are like a combined Frankenstein. I bring him body parts – a torso, a head, some legs, a few hands – and he miraculously injects a spirit.' 'Steve's starting point was not wanting to blame the parents,' says Thorne of his collaboration. 'It was: 'Let's not make this about a kid who commits a crime because of an evil thing going on at home.'' 'I didn't want his dad to be a violent man,' confirms Graham. 'I didn't want Mum to be a drinker. I didn't want our young boy to be molested by his uncle Tony. I wanted to remove all of those possibilities for us to go: 'Oh, that's why he did it.'' As a result, Adolescence takes us somewhere even more terrifying. Jamie, the show's 13-year-old subject, is an outwardly normal, well-adjusted kid. But the conversations around him, at school and online, start to lean towards incels and the manosphere. Slowly, a picture builds about how this regular kid found himself radicalised without anyone even realising. 'Stephen and I talked a lot about the last few years in that family, and the moment Jamie just disappeared,' says Thorne. 'It just happens. He's gone. He's locked behind the door, and he's in another world, and the parents think it's fine.' 'I also wanted it to be about how it's affected everybody else around him,' says Graham. This was a smart, if grim, choice. Seeing a family uneasily try to put themselves back together after a moment of such unimaginable violence is nothing short of harrowing. If you have children of a certain age, on the precipice of getting their own phones, this will be particularly hard to watch. Still, as heavy as Adolescence is, it also stretches the capacity of what can be achieved with a single take. One sequence in the second episode, which I won't spoil, is so technically audacious it made me gasp. Barantini confesses that the logistics kept him awake at night. Where Boiling Point only required Barantini and a cinematographer, the scale of Adolescence meant that the camera had to be continually passed from operator to operator, getting clipped in and out of different devices by various teams as necessary. He takes me through the show's opening sequence. 'When the episode starts, my cinematographer Matt is holding the camera,' he explains. 'As we're filming the actors in the car, the camera's being attached to a crane. The car drives off, and the crane follows. While this is happening, Matt has gone in another car, driven ahead and jumped out so he can take the camera into the house. When we come back out of the house, the other camera operator Lee is sat in the custody van. Matt would pass Lee the camera, so now Lee's got the camera while Matt drives ahead to the police station, so he's ready to take the camera when we go inside.' Such visual flashiness might suggest that Adolescence is purely a technical experiment, but that couldn't be further from the case. 'I never want the one-take thing to be at the forefront,' says Barantini. 'I wanted this to be seamless, but not a spectacle.' Sign up to What's On Get the best TV reviews, news and features in your inbox every Monday after newsletter promotion To demonstrate this, the centrepiece of the series is the third episode. There's no elaborate camerawork; the whole thing is largely confined to a single room. The only characters are the young suspect and Erin Doherty's child psychologist – and it is absolutely bruising. 'I said to Jack: 'I just want you to write me your version of a David Mamet play,'' says Graham. 'And he went: 'Have you got any more notes?' I went: 'No, that's it.'' The result is remarkable, not only for how unbearably stressful it is, but in the way that it comprehensively introduces 14-year-old Owen Cooper – a young man with no previous acting credits – as a force to be reckoned with. His performance might qualify as the highlight of the whole enterprise. To watch him is to see a top-tier talent emerge in real time. 'This guy is hands down one of the best actors I've ever worked with,' marvels Doherty, grinning at Cooper. 'Seriously, it blows my mind that this is your first job. It's absolutely ridiculous.' 'Erin was the first actor I'd ever worked with,' admits Cooper, who was hired after casting director Shaheen Baig looked at more than 500 boys for the part. I ask how he found his first audition. 'I'd never had a job before, so I just sent a tape across, not expecting that much,' says Cooper, completely unfazed. 'I got back from school and my mum told me I got the part.' Was Barantini nervous about handing something so meaty to a first-timer? Not at all, he says. 'There'd be moments where Owen really had to be quite evil and nasty to Erin's character,' he says. 'In rehearsals, he was quite scared to go there, because he'd never been that angry before in real life. There was one moment where he had, maybe not a panic attack, but he got quite emotional, and he couldn't get out of it. I took him outside, and we just sat on a wall and chatted. And I was like: 'You're smashing it, you're incredible. But now that you've felt that emotion, you know what it feels like and how to bring yourself out of it.' It felt like a real turning point.' With Adolescence now under his belt, Cooper's career is starting to enter orbit. As well as one project he's sworn to secrecy over (but will inevitably be enormous upon release) he has also filmed a new comedy with Aimee Lou Wood. 'That was the first job I had where it wasn't a one-shot,' he shrugs. 'So I had to get used to that.' But despite all this – the camera wizardry and the sheer heft of the performances – it's the themes of Adolescence that will stay with you. 'I hope we don't make the question of male rage an easy question,' says Thorne, before becoming emphatic. 'And I certainly hope the conversation around the show doesn't become about Andrew Tate.' The name of the self-styled 'misogynist influencer' comes up a few times during Adolescence, but Thorne is keen to make an important distinction. 'Jamie never talks about Andrew Tate once. When he's mentioned, it's only by adult characters who are trying to understand him.' After interrogating such a dark subject, I wonder if Thorne has located the secret of male rage. 'I don't think anyone would be interested if I did,' he says. 'And it would be a bad drama if I did. I hope we pose the question well enough that there is conversation on sofas, and that parents have the chance to talk about this stuff with their children.' This seems inevitable. Adolescence is set to be a cultural touchpoint for young masculinity for years to come. What an astonishing thing these people have made. Adolescence is on Netflix on 13 March.
