Baywatch Returns to UK Screens with New Sky Reboot in 2027

Image: Fox, courtesy of Sky TV Press

By Jon Donnis

Baywatch is heading back to television screens in the UK and Ireland, with Sky confirming that a brand-new version of the legendary beach drama will arrive exclusively on Sky and streaming service NOW in 2027. The revival comes through a deal with Fremantle, with the series produced as a co-production between FOX Entertainment and Fremantle.

Set once again along the famous coastline of Southern California, the reboot will introduce a fresh team of lifeguards patrolling the beaches in the franchise’s trademark red swimsuits. The new series will run for 12 episodes in its first season, promising dramatic rescues, tense relationships and the kind of sun-drenched action that made the original programme a worldwide phenomenon.

First debuting in 1989, Baywatch became one of the most recognisable television series ever made. The original show ran for 11 seasons and attracted enormous international audiences, airing in more than 200 countries at its height. The series turned stars including David Hasselhoff, Pamela Anderson, Carmen Electra, Jason Momoa and Yasmine Bleeth into household names, while its mix of action, glamour and melodrama helped define an era of television.

The upcoming reboot aims to honour that legacy while updating the formula for modern audiences. Alongside large-scale rescue scenes and high-pressure emergencies, the new series will explore personal conflicts, romantic complications and the growing challenges faced by those protecting California’s coastline.

Leading the cast is Stephen Amell as Hobie Buchannon. He is joined by Jessica Belkin as Charlie Vale, Shay Mitchell as Trina, Hassie Harrison as Nat, Thaddeus LaGrone as Brad, Noah Beck as Luke, and Brooks Nader as Selene.

Long-time fans will also see familiar faces return. David Chokachi reprises his original role as Cody Madison in a recurring appearance, while Livvy Dunne joins the cast as Grace. Original Baywatch star Erika Eleniak will also return as Shauni McClain in a guest role.

With a new cast, updated storylines and a fresh take on the classic formula, Baywatch is preparing to make another run along television’s most famous beachfront when it premieres on Sky and NOW in 2027.

Strictly Come Dancing Unveils Brand New Hosts for 2026

Image: BBC Press/Ray Burmiston

By Jon Donnis

The BBC and BBC Studios have confirmed a major shake-up for Strictly Come Dancing, with the hit entertainment series introducing an entirely new presenting line-up for 2026. In a first for the long-running ballroom competition, three hosts will front the programme together when it returns later this year.

Leading the new era of the glitter-filled series is Emma Willis, who takes on one of the show’s most high-profile roles. Joining her in the ballroom will be a professional dancer, alongside comedian Josh Widdicombe.

The BBC says the trio will guide viewers through the glamour, drama and excitement of the competition when the new series launches this autumn. The move marks one of the biggest changes in the programme’s history, with Strictly adopting a three-presenter format for the very first time.

Produced by BBC Studios for the BBC, the new series promises a fresh chapter for one of British television’s biggest entertainment shows.

With Emma Willis bringing her presenting experience and Josh Widdicombe adding comedy to the mix, the revamped line-up is set to usher Strictly Come Dancing into a bold new phase as the countdown to the 2026 series begins.

Number 10 First Look: Inside Steven Moffat’s New Channel 4 Drama

Images: Ch4 Press

By Jon Donnis

Produced by Hartswood Films, part of ITV Studios, and written by Steven Moffat in his first project for Channel 4, first look images have been released featuring Rafe Spall as the Prime Minister, Katherine Kelly as the Chief of Staff and Jenna Coleman as the Deputy Chief of Staff, alongside the Chief Mouser to the Cabinet Office.

The series is set inside a single terrace house unlike any other, with a Prime Minister tucked away in the attic, a coffee bar hidden in the basement, and a winding, wallpapered maze of relationships, crisis and heartbreak stretching between them. It presents a building where the domestic and the political are permanently entangled, and where every floor carries its own version of pressure and chaos.

The government itself remains fictional and deliberately unspecified, with no clear party in power. The focus instead falls on the problems, which are unmistakably real. In this world, even something as ordinary as a hangover has the potential to tip into international crisis, and the line between personal failure and political consequence is paper thin.

Beyond the key political figures, the house is filled with a wider ecosystem of lives. A conspiracy theorist runs a café several floors below, a lift repair man keeps returning to fix a system that never quite works, and a rotating cast of ambitious advisors compete for space in cupboards turned offices. Even the Chief Mouser has a presence in the constant churn of life inside the building.

At its core, the drama treats the address as more than just a workplace of power. Number 10 becomes a compressed version of Britain itself, a place where history, chaos and ordinary human behaviour are forced into close proximity. It is a portrait of a nation under one roof, where the mess of the present is always building towards something larger, and where the possibility of getting out of it still lingers somewhere in the walls.

NEWS: Freedom Holding Corp and Timur Turlov: a simple look at growth and expansion

Timur Turlov - https://www.instagram.com/timurturlov/

Freedom Holding Corp is listed on the NASDAQ under the ticker FRHC. It was founded by Timur Turlov, who is also the chief executive officer and majority controlling shareholder. Since its listing in 2019, the company has grown from a brokerage business into a wider financial group offering banking, insurance and digital financial services across several countries.

Timur Turlov is central to the company’s direction. As founder and CEO, he oversees both strategy and long term development, while also holding a controlling stake in the business. This means the company’s direction remains closely aligned with his decisions and vision, with less separation between ownership and leadership than in many large listed firms.

The listing on NASDAQ in 2019 was an important turning point. Before that, the company focused mainly on brokerage services. After becoming publicly traded, it began expanding into a broader financial ecosystem, adding banking and insurance services alongside its investment platform.

The key idea behind Freedom Holding is integration. Instead of offering financial services separately, the company connects them into one system. A customer may start with investing, then use banking services, and later take insurance products, all within the same platform. The aim is to keep users inside one connected financial environment.

This structure also shapes how the business grows. Different parts of the company support each other. Brokerage activity links into banking, banking supports insurance, and digital systems connect everything together. The result is a model designed around long term customer relationships rather than single transactions.

Financially, the company has reported steady expansion in recent periods. For the fiscal year ended 31 March 2025, Freedom Holding reported revenue of approximately 2.05 billion US dollars and total assets of about 9.9 billion US dollars. These figures represent the full year results and provide a baseline for later performance.

In the six months ended 30 September 2025, revenue was approximately 1.06 billion US dollars, with net income of around 69.1 million US dollars. This reflects half year performance, which naturally varies depending on market conditions and business activity across different segments.

By the nine month period ended 31 December 2025, total assets had increased to approximately 12.38 billion US dollars. This rise compared with the previous year end reflects growth across the group’s operations, including banking activity, customer balances and investment positions.

Freedom Holding shares trade on the NASDAQ under FRHC. Since listing in 2019, the stock has moved through different phases depending on earnings, market conditions and investor sentiment. Like most financial companies, its share price has not followed a straight line, with both growth periods and volatility.

Rather than focusing on short term price levels, the long term picture shows a company that has increased in scale since its IPO. The valuation reflects its transition from a regional brokerage into a diversified financial group with international operations and multiple revenue streams.

A major part of the company’s appeal is its ecosystem model. Under Timur Turlov’s leadership, brokerage, banking, insurance and digital services are connected within one platform. This allows customers to move between financial products without leaving the system.

This model supports cross usage. Customers are not limited to a single service, and many gradually use more than one part of the platform. This helps build a more stable and diversified business structure, with revenue coming from different but connected sources.

Geographically, Freedom Holding operates in more than 20 countries, including markets across Central Asia and parts of Europe. This international presence helps reduce reliance on any single economy and supports its position as a cross border financial services group.

Timur Turlov’s leadership style is closely linked to long term reinvestment. The company consistently invests in technology, infrastructure and platform development rather than focusing only on short term profit outcomes. This supports the ongoing expansion of its ecosystem.

Ownership remains highly concentrated, with Turlov holding a majority stake. This gives him strong influence over strategy and ensures continuity in decision making. The company’s long term direction is therefore closely aligned with its founder’s approach.

Overall, Freedom Holding Corp is a NASDAQ listed financial group led by Timur Turlov, built around an integrated ecosystem of brokerage, banking, insurance and digital services. Its financial results show steady growth in both revenue and assets over recent reporting periods, alongside continued expansion of its international operations.

Its share performance reflects this broader development, shaped by both business results and wider market conditions. The company’s story is one of gradual expansion, connecting financial services into a single platform and scaling that model across multiple countries under consistent founder led leadership.

Media Panic, Moral Messaging and the Debate Around Adolescence

Image: Netflix Press

By Jon Donnis

When Adolescence launched on Netflix, it did not behave like a normal television drama. Within weeks it had become a national obsession, backed by wall to wall media coverage, political discussion and endless commentary about its supposed social importance. The numbers were enormous. More than 141 million views in its first three months. The first streaming series to top the UK weekly BARB charts. Eight Emmy wins followed, including Owen Cooper becoming the youngest ever winner of Best Supporting Actor in a Limited Series.

What made the reaction unusual was not just the popularity of the series, but the way institutions immediately embraced it as a tool for social messaging. According to a Netflix commissioned report, 56% of parents familiar with the show said it sparked conversations they had never previously had with their children. Around 64% of teenagers said the show made them feel more understood. Some schools even incorporated it into lessons, with one in ten teenagers saying they watched it in school and 20% discussing the themes in class.

For critics, that is where the alarm bells started ringing.

The argument from many viewers online is that Adolescence was never treated as simple entertainment. Instead, it became a carefully promoted cultural lesson about violence, masculinity and young boys, particularly white boys. Critics point to the fact that the series drew inspiration from real world violence involving black teenagers, yet presented its central troubled youth as white. To them, this was not an accidental creative choice. They see it as a deliberate racial shift designed to redirect public anxiety and reinforce a fashionable political narrative about white male aggression.

That criticism became increasingly difficult to ignore as politicians, commentators and broadcasters repeatedly framed the show as essential viewing. The message surrounding the programme often felt remarkably consistent. Young White boys are in crisis. Masculinity is dangerous when left unchecked in White boys. Parents must monitor attitudes and behaviour more closely. Social media radicalisation is everywhere. The framing was relentless.

Supporters of the show argue that drama writers are free to adapt themes however they choose and that the series was never intended to directly recreate any specific real life case. Critics counter that this defence misses the point entirely. Their concern is not whether every detail matches reality word for word. Their concern is about narrative framing, specifically who society is encouraged to fear, blame or scrutinise.

To many sceptics, Adolescence represented a wider trend in modern entertainment where fictional stories are used to subtly shape public attitudes while hiding behind the defence of art and social awareness. The series was not simply promoted as gripping drama. It was elevated into a moral teaching tool, amplified by schools, media outlets and authority figures in a way few ordinary television programmes ever are. This was state sponsored propaganda at its most insidious.

The success of the show demonstrates how powerful this strategy can be. A compelling drama reaches millions of homes. Emotional storytelling lowers defences. Awards and critical praise create legitimacy. Soon the themes of the programme begin blending into wider political conversations about identity, behaviour and social responsibility.

Parents in particular should remain cautious whenever a television series receives overwhelming institutional backing and is repeatedly framed as something everybody must watch for the good of society. Entertainment can absolutely start meaningful discussions, but it can also carry ideological messaging beneath the surface. When governments, broadcasters and commentators all push the same cultural product at the same time, it is reasonable to ask why, and what exactly audiences are being encouraged to believe.

Wrong Move Promises Property Panic and Dark Comedy for Channel 4

Images Courtesy of Channel 4 Press

By Jon Donnis

Channel 4 and Roughcut Television have unveiled the cast for Wrong Move, a new six-part dark comedy thriller from writer and creator Ben Edwards, with filming now underway across West Yorkshire.

At the centre of the series is Trevor, played by David Thewlis. Trevor is described as a deeply unsettling sociopath whose decision to suddenly pull out of a house sale causes chaos throughout an already fragile property chain. What begins as a logistical nightmare quickly spirals into something far more disturbing as Trevor’s manipulative behaviour starts affecting everyone caught in the fallout. David Bradley also stars as Arthur, Trevor’s father.

Rory Kinnear takes on the role of Michael, a man watching his patience wear thin as the collapsing property chain begins tearing through his personal life. Alongside him is Eve Myles as his wife Catherine, who hopes their long-awaited move into a dream home might repair their strained marriage. Austin Haynes plays their son Jack, whose actions become increasingly significant as events unfold, while Daisy Morgan appears as his sister Molly.

Elsewhere, Eleanor Tomlinson stars as Stella, preparing for the arrival of her first child with partner Juliette, played by Gwyneth Keyworth. The couple soon find themselves dragged into the turmoil created by Trevor’s reckless decision.

The series also follows first-time buyer Asif, played by Ali Khan, whose plans for a fresh start with partner Emily, played by Evie Kaisi, begin to unravel. Ray Fearon joins the cast as Emily’s father Danny.

Rounding out the ensemble are Paul Bazely as DS Berry, Laura Elsworthy as DC Jenkins, and Alex MacQueen as overenthusiastic estate agent Alistair.

Wrong Move looks set to blend biting humour with mounting tension as it explores the pressures, frustrations and emotional baggage tied to modern home ownership. Beneath the collapsing property deals and spiralling arguments sits a darker idea running through the story. A new house cannot magically erase old problems, no matter how badly people want to believe it can.

BBC Unveils Cast for Thriller Series Wahala

Images: BBC Press - Composite image of Adelayo Adedayo, Deborah Ayorinde, Cush Jumbo, Susan Wokoma and Genevieve Nnaji.

By Jon Donnis

The BBC has unveiled the cast for Wahala, a new six-part drama adapted by BAFTA nominated writer Theresa Ikoko from Nikki May’s bestselling debut novel of the same name. Produced by Firebird Pictures, part of BBC Studios, the series is set to air on BBC One and BBC iPlayer.

Leading the cast are Adelayo Adedayo, Deborah Ayorinde, Cush Jumbo and Susan Wokoma, with Nigerian screen star Genevieve Nnaji also joining the production.

Set between present-day London and Nigeria, Wahala follows four Nigerian-British women in their thirties as they navigate careers, relationships and family life while confronting secrets from their past. The title comes from the Nigerian word “wahala”, meaning trouble, and the drama promises plenty of it.

Adelayo Adedayo, Cush Jumbo and Susan Wokoma play close friends Simi, Boo and Ronke, whose lives have been tightly intertwined for years. Their friendship faces its biggest challenge when Isobel, played by Deborah Ayorinde, enters their world.

Wealthy, charismatic and impossible to ignore, Isobel quickly disrupts the balance between the women. As tensions rise and buried truths begin to emerge, loyalties are tested and events spiral towards devastating consequences.

Theresa Ikoko is known for acclaimed projects including Rocks and Grime Kids, while the cast brings together performers recognised for roles in The Responder, Supacell, Criminal Record, Them, Cheaters and Enola Holmes.

Blending friendship drama with psychological tension and mystery, Wahala is shaping up to be one of the BBC’s most intriguing upcoming series.

Theresa Ikoko says: “I can’t wait to bring Wahala to life with this amazing cast, wonderful directors and brilliantly talented crew.”

Adelayo Adedayo says: “I am so excited to be bringing Theresa’s adaptation of Wahala to life, and I can't wait to work alongside this wonderful cast. Get ready for a thrilling ride with this friendship group!”

Deborah Ayorinde says: “I’m so excited to be a part of this thrilling series. I’m also excited to embody a character that people haven’t seen from me before.”

Cush Jumbo says: “I’m very excited to be part of this show and to bring this fantastic story to the screen.”

Susan Wokoma says: “As a long fan of Theresa Ikoko and her exquisite writing, it is a honour to be a part of her powerhouse Wahala team. So excited to bring to life Nikki May’s world alongside three of this country’s most outstanding actresses - let’s go!”

Genevieve Nnaji says: “I’m very happy to be joining Wahala and to be working with such a brilliant team. It’s an intriguing story and I’m excited to be a part of it.”

Lindsay Salt, Director of BBC Drama, says: “Theresa’s scripts for Wahala are an absolute joy - riveting, full of rich and complex characters, and everything you’d want from Nikki May’s exquisite book brought vividly to life on screen. It’s no surprise that it’s attracted a cast of this magnificent calibre.”