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The Herald Scotland
4 days ago
- The Herald Scotland
Behind the scenes on Scotland's top true crime show
Suddenly, as if a switch had been flicked, the fog lifted to reveal a herd of red deer standing close by, watching what the strangers were doing. 'It was quite a moment,' the officer tells Murder Case: The Vanishing Cyclist, a documentary about the disappearance of Tony Parsons, a 63-year-old grandfather from Tillicoultry, Clackmannanshire. Grandfather Tony Parsons was on his way home from a charity bike ride (Image: Firecrest Films/BBC Scotland) It is no ordinary reminiscence, but then Murder Case and its sister series Murder Trial don't do ordinary. Made by Firecrest Films for BBC Scotland, the award-winning true crime documentaries attract big audiences in Scotland and across the UK, with three million streaming requests on iPlayer alone. It's a television success story, and a Clyde-built one at that. Firecrest is based in the Fairfield building in Govan, once home to a mighty shipbuilding operation, now a museum and offices. True crime documentaries are just one part of their output. The rest ranges from Michael Palin's Himalaya to Denise Van Outen's latest supermarket sweep. Kirsty MacFarlane is series producer of The Vanishing Cyclist and Murder Case: Who Killed Keisha, which deals with the 2023 death of Kiesha Donaghy, a mother-of-two from Elgin. MacFarlane is the main contact with Police Scotland's Major Investigations Teams (MIT), who deal with the cases covered. Firecrest makes much of this access, variously described as exceptional, unprecedented and unparalleled. Similar arrangements exist however, notably between The Garden, makers of 24 Hours in Police Custody, and Bedfordshire Police. 24 Hours in Police Custody is often compared to Murder Case, but there are differences. The Channel 4 series focuses more on the nuts and bolts of an investigation in the critical early period, while Murder Case takes the longer view, as in the Tony Parsons case. In September 2017, the former Navy officer was on a charity bike ride from Fort William to Tillicoultry when he disappeared. His wife Margaret, son Mike and daughter Vicky were left in agony, not knowing what had happened. Three years later, police received a call from a woman saying a drunk driver had hit Mr Parsons. Not only did the caller name the driver and his twin brother as Alexander and Robert McKellar, she knew where the body was buried on the vast Auch Estate. With her help - she had marked the location with a drinks can stamped into the ground - police and forensics teams, watched by those inquisitive deer, finally found Mr Parsons. The Auch Estate where the body was found (Image: Firecrest Films/BBC Scotland) As well as liaising with police, MacFarlane is the main point of contact for families. While every case is different, the initial approach is made by letter, passed on by the police. Should the family say yes to taking part, further meetings follow. Read more: MacFarlane met the Parsons two and a half years ago, but it was only six months ago that Margaret and Vicky felt ready to speak on camera. The interviews with family and police officers are always moving and often astonishing. Mrs Parsons says of the two men jailed for the crime: 'When they get out of jail they are going to go back to life as if nothing's happened. I can't do that because Tony is not here. They are not the ones that are left with a life sentence, I am.' A can stamped into the ground marked the grave's location (Image: Firecrest Films/BBC Scotland) Contact with the families continues after a programme airs. The other week someone sent MacFarlane photos from a family wedding. Such close ties are understandable with families, but I wonder about the relationship with police. Isn't there a risk in it becoming too close? The police have ultimate control over access. The films, moreover, show officers officers in an unfailingly flattering light. It's great PR for the MIT. MacFarlane is having none of that. 'Our job is not to be inside the police as part of their organisation. We have editorial control of the programme and are not guided by them in any way. I personally haven't felt like we've been pushed away from cases to protect their reputation.' As a production company operating in Scotland, Firecrest has one major advantage over its rivals elsewhere in the UK - access to trials. Executive producer Vari Innes explains how it works. There are eight cameras in court, none of which should be noticeable. 'They basically just look like a lightstand or a bit of equipment in the corner.' The golden rule is that filming should have no impact on proceedings. The cameras are controlled by a director and a camera operator, working in a separate room. Putting the images together can yield dramatic results. In The Vanishing Cyclist, we see Mike Parson's reaction in real time as the court hears in detail about the place where his father's body was found. Sometimes, says Innes, it is just as important to look away, as the camera does with Mrs Parsons. 'We've chosen not to show her genuine reaction to it because it felt too much. It was inappropriate to show how upset she was.' This victim-centred approach is a world apart from the sensationalist way crime used to be covered. Some fear the ever-growing demand for stories will mean a return to the bad old days. Not at Firecrest, though. The only change at their end is a move into podcasts with Inside Murder Trial (BBC Sounds). MacFarlane says: 'I don't love the word victim, but we certainly put the person who has died at the centre of every programme we make, and their family. It's an absolute privilege that they allow us to tell their story.' Murder Case: The Vanishing Cyclist, BBC Scotland, 9pm, August 12. Both episodes, plus Who Killed Kiesha, on BBC iPlayer the same day.
The Herald Scotland
5 days ago
- The Herald Scotland
Going behind the scenes at Murder Case is an eye-opener
Suddenly, as if a switch had been flicked, the fog lifted to reveal a herd of red deer standing close by, watching what the strangers were doing. 'It was quite a moment,' the officer tells Murder Case: The Vanishing Cyclist, a documentary about the disappearance of Tony Parsons, a 63-year-old grandfather from Tillicoultry, Clackmannanshire. Grandfather Tony Parsons was on his way home from a charity bike ride (Image: Firecrest Films/BBC Scotland) It is no ordinary reminiscence, but then Murder Case and its sister series Murder Trial don't do ordinary. Made by Firecrest Films for BBC Scotland, the award-winning true crime documentaries attract big audiences in Scotland and across the UK, with three million streaming requests on iPlayer alone. It's a television success story, and a Clyde-built one at that. Firecrest is based in the Fairfield building in Govan, once home to a mighty shipbuilding operation, now a museum and offices. True crime documentaries are just one part of their output. The rest ranges from Michael Palin's Himalaya to Denise Van Outen's latest supermarket sweep. Kirsty MacFarlane is series producer of The Vanishing Cyclist and Murder Case: Who Killed Keisha, which deals with the 2023 death of Kiesha Donaghy, a mother-of-two from Elgin. MacFarlane is the main contact with Police Scotland's Major Investigations Teams (MIT), who deal with the cases covered. Firecrest makes much of this access, variously described as exceptional, unprecedented and unparalleled. Similar arrangements exist however, notably between The Garden, makers of 24 Hours in Police Custody, and Bedfordshire Police. 24 Hours in Police Custody is often compared to Murder Case, but there are differences. The Channel 4 series focuses more on the nuts and bolts of an investigation in the critical early period, while Murder Case takes the longer view, as in the Tony Parsons case. In September 2017, the former Navy officer was on a charity bike ride from Fort William to Tillicoultry when he disappeared. His wife Margaret, son Mike and daughter Vicky were left in agony, not knowing what had happened. Three years later, police received a call from a woman saying a drunk driver had hit Mr Parsons. Not only did the caller name the driver and his twin brother as Alexander and Robert McKellar, she knew where the body was buried on the vast Auch Estate. With her help - she had marked the location with a drinks can stamped into the ground - police and forensics teams, watched by those inquisitive deer, finally found Mr Parsons. The Auch Estate where the body was found (Image: Firecrest Films/BBC Scotland) As well as liaising with police, MacFarlane is the main point of contact for families. While every case is different, the initial approach is made by letter, passed on by the police. Should the family say yes to taking part, further meetings follow. Read more: MacFarlane met the Parsons two and a half years ago, but it was only six months ago that Margaret and Vicky felt ready to speak on camera. The interviews with family and police officers are always moving and often astonishing. Mrs Parsons says of the two men jailed for the crime: 'When they get out of jail they are going to go back to life as if nothing's happened. I can't do that because Tony is not here. They are not the ones that are left with a life sentence, I am.' A can stamped into the ground marked the grave's location (Image: Firecrest Films/BBC Scotland) Contact with the families continues after a programme airs. The other week someone sent MacFarlane photos from a family wedding. Such close ties are understandable with families, but I wonder about the relationship with police. Isn't there a risk in it becoming too close? The police have ultimate control over access. The films, moreover, show officers officers in an unfailingly flattering light. It's great PR for the MIT. MacFarlane is having none of that. 'Our job is not to be inside the police as part of their organisation. We have editorial control of the programme and are not guided by them in any way. I personally haven't felt like we've been pushed away from cases to protect their reputation.' As a production company operating in Scotland, Firecrest has one major advantage over its rivals elsewhere in the UK - access to trials. Executive producer Vari Innes explains how it works. There are eight cameras in court, none of which should be noticeable. 'They basically just look like a lightstand or a bit of equipment in the corner.' The golden rule is that filming should have no impact on proceedings. The cameras are controlled by a director and a camera operator, working in a separate room. Putting the images together can yield dramatic results. In The Vanishing Cyclist, we see Mike Parson's reaction in real time as the court hears in detail about the place where his father's body was found. Sometimes, says Innes, it is just as important to look away, as the camera does with Mrs Parsons. 'We've chosen not to show her genuine reaction to it because it felt too much. It was inappropriate to show how upset she was.' This victim-centred approach is a world apart from the sensationalist way crime used to be covered. Some fear the ever-growing demand for stories will mean a return to the bad old days. Not at Firecrest, though. The only change at their end is a move into podcasts with Inside Murder Trial (BBC Sounds). MacFarlane says: 'I don't love the word victim, but we certainly put the person who has died at the centre of every programme we make, and their family. It's an absolute privilege that they allow us to tell their story.' Murder Case: The Vanishing Cyclist, BBC Scotland, 9pm, August 12. Both episodes, plus Who Killed Kiesha, on BBC iPlayer the same day.
Scotsman
17-07-2025
- Entertainment
- Scotsman
Official tartan for Glasgow Commonwealth Games unveiled
The design is inspired by Glasgow's shipbuilding history Sign up to our daily newsletter – Regular news stories and round-ups from around Scotland direct to your inbox Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, 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... The official tartan for the Commonwealth Games in Glasgow next year has been revealed. The bespoke tartan was designed by Scottish fashion designer Siobhan Mackenzie, whose previous designs have been worn by stars including Justin Bieber and Alan Cumming. Advertisement Hide Ad Advertisement Hide Ad It features the Glasgow 2026 colours, blue, pink and purple, against a grey base - which the designer said was a nod to Glasgow's industrial past. The tartan is being made using Scottish textiles and manufacturers | Glasgow 2026 The base has a thread count of 74 to represent the nations and territories competing at the games. 'I love weaving stories into tartan design and while many people might be expecting a blue or green base, I looked at Glasgow's rich history and felt inspired by the shipbuilding stories,' said Ms Mackenzie. Ms Mackenzie is known for her contemporary take on Scotland's classic tartans, and founded her own label in 2014. Advertisement Hide Ad Advertisement Hide Ad She took on a graduate tailoring technician role at the games in Glasgow in 2014, and went on to design the Team Scotland parade outfits at Birmingham 2022. 'At that point, designing the official tartan for the Games seemed like a pipedream - so this is truly a full circle moment,' she said. Ms Mackenzie founded her label in 2014 and her designs have been worn by Justin Bieber and Alan Cumming | Glasgow 2026 Ms Mackenzie will also design a bespoke tartan for Team Scotland's athletes and officials. The tartan is being made using local textiles and manufacturers, and its first appearance will be revealed on the clothing of the new mascot, whose identity will be released later in July. Advertisement Hide Ad Advertisement Hide Ad The tartan incorporates the Glasgow 2026 colour scheme | Glasgow 2026 Fans will also be able to get their hands on official Glasgow 2026 tartan merchandise. Phil Batty OBE, Chief Executive of Glasgow 2026, said: 'Designing and creating tartan is a revered part of Scotland's heritage and we're honoured that Siobhan Mackenzie is weaving it into Glasgow 2026's story with a bespoke Games tartan, designed in Scotland. 'Siobhan is an expert in her field and has collaborated closely with us throughout the production process. This special tartan draws inspiration from Glasgow's Clyde-built history, and she has carefully selected the threads of wool to celebrate the Games with this one-off tartan. 'As Glasgow 2026 fast approaches with our one year to go milestone next week, this tartan is a sign of what's to come next summer and will be part of the fabric of Glasgow 2026 across the city.' Advertisement Hide Ad Advertisement Hide Ad The games are taking place from July 23 to August 2 next year and will see 3,000 athletes from 74 nations and territories descend on the city. Athletes will compete across 10 sports across four venues, including Scotstoun Stadium, the Scottish Event Campus, the Sir Chris Hoy Velodrome and Tollcross International Swimming Centre.
The Herald Scotland
17-07-2025
- Entertainment
- The Herald Scotland
Bespoke 2026 Commonwealth Games tartan unveiled
It is the official tartan of the 2026 games and has a nod to Glasgow's industrial history with blue, pink and purple tones against a steel grey base. The grey base has a thread count of 74 to represent the nations and territories competing at the event. The newly designed tartan will be made in Scotland and its first appearance will be on the clothing of the new mascot, whose identity will be revealed later this month after it was confirmed Clyde the Thistle from 2014 would not be returning. Siobhan Mackenzie, famous for reinventing tartan classics into contemporary styles and whose designs have been worn by Justin Bieber and Alan Cumming, commented 'I feel honoured to be designing a tartan for such a momentous occasion in my home country. Read More No return for Clyde at Glasgow 2026 as new Commonwealth Games mascot to be revealed 'When I graduated as a fashion design student in 2014, I took on a role as a tailoring technician for the technical officials of The Games. At that point, designing the official tartan for the Games seemed like a pipedream - so this is truly a full circle moment. 'I love weaving stories into tartan design and while many people might be expecting a blue or green base, I looked at Glasgow's rich history and felt inspired by the shipbuilding stories. This led to a steel grey base with the Glasgow 2026 colours woven through in my signature style. 'It's incredibly important to me that every thread of this project is made in Scotland and I'll be working with local textiles and manufacturers to bring this design to life, and I can't wait to see it across next year's Games.' Phil Batty OBE, Chief Executive of Glasgow 2026, added: 'Designing and creating tartan is a revered part of Scotland's heritage and we're honoured that Siobhan Mackenzie is weaving it into Glasgow 2026's story with a bespoke Games tartan, designed in Scotland. The tartan has been designed for next year's games (Image: Glasgow 2026) 'Siobhan is an expert in her field and has collaborated closely with us throughout the production process. This special tartan draws inspiration from Glasgow's Clyde-built history, and she has carefully selected the threads of wool to celebrate the Games with this one-off tartan. 'As Glasgow 2026 fast approaches with our one year to go milestone next week, this tartan is a sign of what's to come next summer and will be part of the fabric of Glasgow 2026 across the city.' Earlier this month, Team Scotland announced that Siobhan Mackenzie will also design a bespoke tartan for their athletes and team officials.
