Ronni Ancona Takes on Real Walford Role After Years of Spoofs

Image: BBC Press

By Jon Donnis

Ronni Ancona is swapping her EastEnders impressions for a real stint on Albert Square, taking on the role of Bea, an old school acquaintance of Linda Carter.

A familiar face in a leopard print top and fluffy jacket, Ronni will soon be seen outside the fictional Walford East tube station, stepping into the world she has long parodied. Despite her nervousness about meeting cast members she has impersonated over the years, she praised the EastEnders team for their brilliant sense of humour.

Ancona's career spans more than three decades, with credits ranging from Last Tango in Halifax and Penelope to Skins and The Trip. While this marks her first official appearance on Walford's streets, she is no stranger to Albert Square, having earned acclaim for her impressions of Peggy Mitchell, Sharon Watts and Kat Slater on the BAFTA-winning show The Big Impression.

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Whilst it's your first time appearing in EastEnders, you do have history with the show having impersonated some of its iconic characters in the Big Impression Show over the years. Did your connection with the show play a part in your decision to say yes to the character of Bea?

It was the very interesting and intriguing character that attracted me, and the dark humour she brought, but I have always been an admirer of EastEnders and have a great affection for the show and that does have a lot to do with my spoofs I did for Big Impression with Alistair McGowan.

What was it like to step onto the set for filming? Did it bring back memories from those earlier sketches?

It all felt rather bizarre and completely surreal. Over the years Alastair and I had filmed so many sketches deconstructing the very premise of EastEnders - from our spoof mash-up of The Truman Show and EastEnders, where the characters had no idea they were in a soap, to the "intellectual" version set in The Queen Vic, with everyone arguing passionately about early 19th-century Russian literature. We always made those sketches with real respect and affection for the show and its cast, so stepping onto the actual set for the first time was an especially strange experience. Although thinking about it I think they let us film our "EastEnders the Musical" on the outside lot, which would have been the old set.

My first scene was on the bench in the middle of Albert Square - exactly where Alastair and I had once filmed our sketch The Bench of Tears. That moment was so surreal I immediately phoned him to say, "I've just done a scene on the bench of tears," and he practically shouted, "NO WAY!" To add to the oddness, several members of the crew had worked with me years ago on Big Impression and The Sketch Show with Lee Mack, so it felt like past and present were colliding.

Filming in the Vic for the first time was unexpectedly emotional. I couldn't help remembering my impression of Peggy Mitchell - played by the much-missed Barbara Windsor - using our very sophisticated early-noughties special effects, which mostly involved me shuffling around on my knees in padded knee guards because Barbara was so much shorter than I am. I adored her, and I know she enjoyed the impression, so walking into her domain properly was a real moment.

I'll admit I was a bit nervous about meeting some of the cast I'd impersonated, but they all have a brilliant sense of humour. Jessie Wallace even did my impression of her back at me, which was hysterical. I may now have to do my impression of her impression - it could become an endless loop.

Can you tell us a little bit more about the character of Bea? How would you describe her?

Ben [Wadey] loves comedy and wanted to bring in a character who was both tragic and funny. Bea is misunderstood, and there's a touch of desperation about her. When she feels cornered, she can become rather dangerous. Deep down, she just wants to be loved and to fit in. She's the sort of person who "window-shops" other people's lives, trying to reshape herself into whoever she thinks others want her to be. In her mind, that's the only way to earn love and attention – which is, unfortunately, quite misguided.

Bea is intelligent, but she's never achieved what she hoped for, so there's an underlying frustration that her life hasn't lived up to her potential. She has shades of a Walter Mitty–type character; you're never entirely sure how much of what she says is real. She's complex, nuanced, and unusual – someone who has become convinced by her own narrative.

We first meet Bea at a school reunion – what can you tell us about Bea's relationship with Linda?

Bea was in a more senior year at school than Linda, but that didn't stop her being intimidated by her. They have both got very different perspectives on what happened at school, and initially she is very upset and slighted by that.

Lastly, what can viewers expect from this storyline?

Lots of twists and turns and lots of unexpected developments. She's a mercurial character who is witty, and charismatic, yet vulnerable as well.

Channel 4 Sets Off with VisitScotland for New Comedy Travel Series

Image: Ch4 Press

By Jon Donnis

Channel 4 has announced a new branded entertainment series with VisitScotland titled Where to Next?, fronted by British comedians John Tothill and Fatiha El-Ghorri.

The series sees the pair compete to be crowned the best tourist as they take on a set of challenges shaped by local recommendations. Armed with a microphone and a sense of adventure, they travel across Scotland, exploring everything from ancient castles and dramatic coastlines to hands-on rural experiences in the south of the country, all while uncovering lesser-known locations.

The main episode will launch on Channel 4's YouTube channel on 6 January 2026, supported by four short-form videos across Facebook, Instagram and YouTube Shorts. The social-first content celebrates Scotland's natural beauty, culture and history in a tone designed to feel distinctly Channel 4.

Where to Next? was produced by Strong Watch Studios, with the partnership brokered by media agency Carat. The project continues Channel 4's recent run of Partner Labs collaborations, following titles such as Chris Ramsey's Alternative Christmas Guide with Sainsbury's and Filtered Interiors with Wayfair.

House Of The Year Opens Its Doors Again on BBC iPlayer

Image: BBC Press

By Jon Donnis

House Of The Year returns to BBC iPlayer with the first five episodes landing on Monday 5 January. Each episode sees three very different homes competing for a place in the grand final, where just one will eventually be crowned House Of The Year.

Laurence Llewelyn-Bowen is back to guide viewers through the series, once again joined by a panel of expert judges. Award-winning architect Jane Larmour, interior designer James Fairley and interiors business owner Patricia McGinnis face the task of selecting the five homes that will make the final shortlist.

Laurence says the programme has always been close to his heart, having been involved since its first run in 2010. He describes it as a powerful way of showcasing an aspirational view of the housing landscape in Northern Ireland. Returning to the series now, he notes a clear shift in confidence and creativity, with homeowners embracing individuality and no longer feeling the need to play it safe or follow traditional rules.

The opening episode sets the tone, with the judges choosing between a 1970s bungalow transformed with bold ambition, a semi-detached house reinvented with imagination for a young family, and a penthouse apartment overlooking a golf course, carefully designed around the needs of its owners.

Across the series, Laurence and the judges travel from Belfast to rural County Tyrone and on to the coast at Ballycastle. Along the way they explore a wide mix of homes, including thoughtful new builds, a colourful terraced house, a cottage created using traditional craftsmanship, an upside-down property shaped around sea views, and an eco house designed with sustainability in mind.

Jane Larmour says she is always drawn to homes that reflect how people truly live. For her, the strongest entries combine beauty with practicality and sit naturally within their surroundings. She looks closely at how a home will age and adapt over time, valuing light, comfort, durability and good planning, believing that when a house works well, character and beauty follow naturally.

James Fairley says he is delighted to return to the judging panel alongside Jane, Patricia and Laurence. Having been impressed by the quality and variety of homes in the previous series, he feels this year uncovers even more hidden gems, each with a story that adds depth to the design.

Patricia McGinnis says the new season reflects the diversity of real homes and real tastes, with something to appeal to everyone. She also promises Laurence at his best, delivering sharp observations and keeping the judging lively.

House Of The Year begins on Monday 5 January on BBC One Northern Ireland and BBC iPlayer. The first five episodes will be available on BBC iPlayer after the opening episode airs. The grand final will be broadcast on Monday 9 February on BBC One Northern Ireland and BBC iPlayer.

Rick Astley Looks Back on a Life in Music for BBC Two’s Reel Stories

Image: Ora Et Labora/Craft Films via BBC Press

By Jon Donnis

In February 2026, Rick Astley will take a seat in a London cinema alongside Dermot O'Leary for the next edition of Reel Stories on BBC Two and BBC iPlayer. The programme, which first launched in 2018, invites some of the biggest names in music to revisit the defining moments of their lives and careers through archive footage, memories and reflection.

For Astley, the experience proved deeply personal. He describes the programme as a journey that takes him right back to the beginning and carries him through to the present day. Watching it unfold with Dermot O'Leary, he says, was an emotional ride filled with love and gratitude, made all the more special by O'Leary's presence as a companion through those memories.

Dermot O'Leary, a long time admirer of Astley's work, speaks warmly about the time they spent together recording the episode. He says Astley talks openly about his memories across the decades, revealing a depth to his story that many viewers may not expect. O'Leary describes him as a true gent with a wise soul, and hopes audiences enjoy the extended interview as much as he did.

Rachel Davies, Commissioning Editor for BBC Pop Music TV, says Reel Stories is designed to let audiences reflect alongside artists as they watch back their achievements and career milestones together on screen. She adds that the February edition is a celebration of Astley's life and work as he reaches his 60th birthday, and calls him the one and only Rick Astley.

During the programme, Astley and O'Leary discuss his early years as a drummer before becoming lead vocalist in the soul band FBI. They explore his time at Stock Aitken Waterman, where he progressed from making tea to becoming a global pop star following the release of his debut album Whenever You Need Somebody in 1987. Astley also revisits his first appearance on Top of the Pops and reflects on his relationship with fame after his debut single reached Number 1 in 25 countries.

The conversation continues through his decision to leave Stock Aitken Waterman and refocus on family life, the unexpected global phenomenon of Rickrolling, and his return to recording new music after a 20 year break, encouraged by comedian Peter Kay. Astley also talks about his success over the past decade, including his Number 1 album 50 in 2016 and his appearance on Glastonbury's Pyramid Stage in 2023. Along the way, he even shares his thoughts on what he considers the best Stock Aitken Waterman single of all time.

Reel Stories: Rick Astley will air as part of a themed night on BBC Two and BBC iPlayer. The evening will also include another chance to watch Astley's Glastonbury 2023 set, alongside Stock Aitken Waterman at the BBC, featuring classic performances from Astley, Dead or Alive, Donna Summer, Bananarama, Mel and Kim, and Kylie and Jason Donovan.

The Graham Norton Show Rings in 2026 with Star-Studded Special

By Jon Donnis

BBC One and BBC iPlayer are set to host the Bafta-winning The Graham Norton Show New Year's Eve special at 10.30pm on 31 December. The show promises its trademark mix of sparkling conversation, laughter, and music, with Graham and his iconic sofa welcoming a glittering array of guests as 2025 draws to a close. Audience members will also share the final stories of the year from the legendary Big Red Chair, keeping the tradition alive.

This year's line-up is packed with talent. Tom Hiddleston returns as spy Jonathan Pine in the eagerly awaited second series of The Night Manager. Oscar winner Laura Dern joins comic actor Will Arnett in Is This Thing On?, inspired by the life of British comedian John Bishop. Owen Cooper, the breakout star of the TV sensation Adolescence, will also appear, alongside triple Oscar nominee Carey Mulligan and comedian Tim Key from the feelgood British hit The Ballad of Wallis Island. Musical entertainment comes from Alison Limerick, performing her classic dance anthem Where Love Lives, celebrating its 35th anniversary this year.

Can You Keep A Secret? Delivers Family Chaos with a Criminal Twist

Image: BBC Press

By Jon Donnis

Deception, fraud and family drama form the backbone of Can You Keep A Secret?, a darkly humorous new series that finds chaos lurking behind the most ordinary of family facades. Dawn French leads the cast as Debbie Fendon, a seemingly typical granny whose love for lawn bowls masks a sharp, cunning streak. She is fiercely protective of her family, although the truth is that her well-intentioned schemes often cause more problems than they solve.

Nice to see Dawn French back making TV instead of making ignorant and ill-informed commentary on politics and world affairs. Stick to the comedy and Dawn French is a national treasure.

The story begins when Debbie's husband William, played by Mark Heap, is declared dead in a bureaucratic mix-up. Seizing the unexpected opportunity, the couple concocts a plan to cash in on William's life insurance, hiding out in the loft for several months in hopes of enjoying their retirement in comfort. While the scheme is audacious, it places enormous strain on the rest of the family, particularly their son Harry. Played by Craig Roberts, Harry has his own household to manage, along with the looming promise of an insurance payout that is both tempting and morally compromising.

Complications escalate when Harry's wife Neha, portrayed by Mandip Gill, enters the equation. A local police officer by profession, Neha embodies practicality and caution, meaning any slip-up by her in-laws could expose the family's deception. Harry, already stretched thin by parenthood, suddenly finds himself juggling toddlers, marital loyalty, and the absurd criminal antics of his parents. The resulting tension between generations, combined with moments of sharp comedy, makes the series both entertaining and surprisingly relatable in its portrayal of family dynamics.

Can You Keep A Secret? blends comedy, suspense and familial chaos into a series that is as witty as it is unpredictable. Viewers can catch it on iPlayer and BBC One from 7 January.

Channel 4’s Christmas Gift to The Far Left

Image: Ch4 Press

By Jon Donnis

Channel 4's decision to hand its Alternative Christmas Message to Jimmy Kimmel says a great deal about where the broadcaster's priorities now sit. This is not a brave or thoughtful choice. It is a knowingly provocative one, built around a figure who spent part of 2025 engulfed in controversy after comments made following the murder of Charlie Kirk.

Kimmel was briefly taken off the air in September after those remarks triggered widespread protest and a fierce debate in the United States around freedom of speech and the responsibilities of the press. He directly lied about the assassination and presented claims as fact that were not supported by what was known at the time, as time as passed, it only looks worse for Kimmel, as it now clearly seems that he told a deliberate lie to protect those on the far left. The backlash was strong enough that his own network felt compelled to pull him, even temporarily. That context matters, no matter how much it is softened by the language of a "personal" and "jovial" address.

Jimmy Kimmel wearing blackface as he insulted black basketball players

Yet Channel 4's framing avoids that seriousness. Instead, it casts Kimmel as a kind of embattled truth teller, supposedly on the "frontline" of America's cultural battles. That is a generous reading of events. Being taken off air after highly contentious comments is not evidence of bravery or insight. It is evidence of poor judgement, and in this case, of a willingness to speak loosely about an ongoing and sensitive case.

There is also the question of tone. Kimmel's own quoted line, "From a fascism perspective, this has been a really great year", is presented as a knowing joke. To many viewers, it will land as smug and glib, especially given the circumstances that led to his suspension. The idea that this is the voice best suited to address the nation on Christmas Day feels less like tradition and more like provocation for its own sake.

Jimmy Kimmel in blackface again, this time as a woman

Channel 4 has a long history with the Alternative Christmas Message, and that history includes challenging and uncomfortable figures. But there is a difference between offering a platform for reflection and handing the microphone to someone whose recent notoriety stems from disputed claims and public outrage. This choice looks less like thoughtful counter programming and more like an indulgence in culture war theatre.

Christmas Day television reaches beyond the usual echo chambers. By selecting Jimmy Kimmel, Channel 4 is not merely reflecting on the year gone by. It is endorsing a particular voice, warts and all, and inviting viewers to treat recent controversy as entertainment. For a broadcaster that prides itself on seriousness and responsibility, that feels like a lapse rather than a statement.

I wonder if Ch4 has paid any attention to the trouble the BBC face right now, after spreading lies about Donald Trump in attempt to interfere in the US election. Let's hope that Ch4 seriously edit the Christmas address, or else it could find itself facing a huge lawsuit just like the BBC.