#peaky-blinders-influence

#peaky-blinders-influence

Bad Girls creators Maureen Chadwick and Ann McManus had a fiery belief in social justice and did rigorous research. Those are often the foundations of successful serial drama.

Michael Jackson not that one, the BBC Two controller wanted to be more like Channel 4, so decided to commission a cool drama for young people about trainee lawyers. When I told [executive producer] Tony Garnett that I'd briefly been a lawyer, his eyes lit up. But I didn't want to write a show about lawyers! Fuck, so boring. That's why I'd left to become a writer.

01 Antony Genn, Carlos O'Connell, & Martin Slattery: "Opening Scene / The Currency" 02 Antony Genn, Carlos O'Connell, & Martin Slattery: "The Immortal Man" 03 Antony Genn, Martin Slattery, & Grian Chatten: "Ruby's Scarf" 04 Amy Taylor, Tom Coll, Antony Genn, & Martin Slattery: "Nobody's Son" 05 Antony Genn & Martin Slattery: "No Heaven No Hell for Duke Shelby" 06 Andrew Falkous, Jack Eggleston, & Damien Sayell: "People Person"

Labey stars as Rex Gallagher, a former gang member and the son of Fraser Black (Jesse Birdsall) and the late Grace Black (Tamara Wall). Rex has not been the nicest person to the residents of Hollyoaks but is trying to make amends whilst also processing his grief over Grace's death. As part of a new storyline, Rex was seen admiring his mother's clothes and put on her lipstick.

An armed gang posing as police blew up a security van on a motorway dubbed the modern day "Italian Job" on Sunday. Video footage shows armed men driving a black Alfa Romeo which had a blue light on the roof and forced the cash security van to a stop. The organised crime gang wore balaclavas and blocked the motorway with a large truck which was set a blaze blocking access for the police to attend the scene.

The 32-year-old once served as a background figure in the Gucci Gang, one of Dublin's most prolific organised crime collectives. The ever-changing and often fatal landscape of gangland activity meant that Salmon eventually emerged as the unlikely leader of that group - a leader who built a reputation for violent intimidation in the pursuit of drug debt.

Each series explores technology that feels just one step ahead of reality. In the era of AI, it feels more and more timely. Ben does a lot of research and we have advisers who inform us about the latest developments. Not just from the Met and counter-terror but military consultants as well. They're banks of information and a lot more open than you'd expect because it's all off the record.

I had felt like a circle had been closed, and I said, 'Well, if we're going to continue, then we need to open a new circle.'

So many tourists he picks up want to talk about the hit comedy and, as a fan himself, he's happy to oblige. We're stuck in traffic, which is odd for this small city on a wet Tuesday morning. It's because all the media are here, he jokes. But there is some truth to it. I'm visiting for the world premiere of How to Get to Heaven from Belfast,

I posted a rave review of the new Sam Raimi film, Send Help, the other day and triggered a debate I didn't expect: is it OK for Christians to watch horror films? Send Help a gore-laced plane-crash survival face-off, according to the Guardian review (which was less kind than mine) is more comedy-horror than horror, or maybe horror/thriller. But there's definitely horror there you get the point.

There was so much to do, and it really pushed the team right to the very limits. The new backlot at Shepperton had to be intricately designed and constructed to transport actors back in time to Georgian-era England with horse-drawn carriages trotting down worn cobblestone roads. Then we also had to design the Queen's World set of rooms, which was an absolutely enormous undertaking.

We're literally representing every single aspect of UK life. Unlike other series that focused on wealth and power with tantalizing sets to match—Succession, most recently—there's usually a darker, colder sheen to the environs of Industry. Each character is depicted in their own environments more often than previous seasons, just as the scripts reveal deeper and more intimate layers of the characters. The spaces on screen align with their interiority and they're less gleaming penthouse than tarnished mansion.

This time, the drama steps beyond the fluorescent glow of Pierpoint's trading floor and into a broader, more unsettling social landscape. Whilst capitalism is, of course, still the driving force behind each storyline, season 4 is more attuned to the power structures that orbit it. This time, Industry unfolds as a sharp, uncomfortable on-the-nose commentary of modern politics, media, technocrats and the seemingly-immovable aristocracy of British society. It's still sweaty-palm television, but with an even more sinister edge.