Who's on The One Show tonight?

Actor Riz Ahmed joins Matt and Michelle to talk about his new film City of Tiny Lights.

Meanwhile, Andy Kershaw, Kev Duala and Angellica Bell are in Glasgow, Manchester and London to see how ready we are for the new twelve-sided pound coin, Esther’s investigating the proliferation of rude greetings cards and George McGavin’s in Somerset on the hunt for glow worms. Emma Dabiri also looks at the history of passports.

Everything you need to know about new presenter Angela Scanlon

Everything you need to know about new presenter Michelle Ackerley

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This Harry Potter fan theory explains some of the Sorting Hat's strangest decisions

Harry Potter is a more intricate, clever, fascinating world than we could ever conceive in our wildest, wildest dreams. But every now and again, we come across a detail or piece of information from JK Rowling’s books that – on our ninth reading – doesn’t quite make sense. Like why was cowardly traitor Peter Pettigrew sorted into Gryffindor? And how did a pair of brutish dunces like Crabbe and Goyle end up in Slytherin?

A new fan theory has shed some light on the thinking process behind the Sorting Hat and why sometimes its decisions don’t make all that much sense.

User Straw_Boats suggests that the centuries-old hat bases its decisions on the personality traits 11-year-olds value the most, rather than the ones they possess themselves. 

They note the widely-held belief that “the brave go to Gryffindor, the intellectual to Ravenclaw, the cunning to Slytherin and the hardworking to Hufflepuff (or, if you believe the Sorting Hat in The Prisoner of Azkaban, Hufflepuff just gets the leftovers).”

But, pointing out the anomalies of Neville who, at 11 years old, certainly isn’t brave and Draco who – on entering the school – is not yet cunning, Straw_Boats puts forward a new theory:

“I’d argue it sorts a child based on their values. Specifically, a child who believes Bravery and Courage are the most important traits would go to Gryffindor, where as a child who values Intellectualism and Love of Learning above all else would go to Ravenclaw. The key difference is that a child need not possess that trait, but merely value it.”

Drawing attention to Harry’s advice for his son Albus – “The Sorting Hat takes your choice into account” – they suggest that it’s what the students desire that really matters. 

This explains how Draco, completely inept at becoming cunning (but growing up in a family where it is prized), can be sorted into Slytherin while Hermione (who is an intellectual, but wishes to become like her heroes in Gryffindor) can choose to become a Gryffindor. Additionally, this neatly explains how polarized the houses are towards one another. If you take all the kids that value bravery and stick them into one house (an environment where everyone else also values bravery above all else), you’ll start to see them all become brave (and, in some cases, to the exclusion of the other traits).”

We can’t help but recall our favourite Dumbleore quote: 

“It is our choices, Harry, that show what we truly are, far more than our abilities.”

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Trish has a painfully honest phone call with Beth in new clip from Broadchurch episode six

As we near the climax to series three of Broadchurch, a sneak peek of episode six offers a quiet, emotional scene between Julie Hesmondhalgh’s Trish Winterman and her support worker Beth Latimer (Jodie Whittaker). 

Trish – who was subject to a violent sexual attack at the start of the series – is seen at home, in the middle of the night, calling Beth for reassurance. “I feel like I’m sinking,” she tells her. “I hate myself. I don’t want to be in my body, I don’t want to be in my head.”

The exchange – a pared-down, intimate conversation compared with the theatrics we imagine are taking place between Mark Latimer and Joe Miller – ends with Beth admitting to Trish that what’s happened to her is not fair.

Broadchurch continues next Monday at 9pm on ITV 

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Captain America joins Spider-Man Homecomings brand-new trailer

A new trailer for the much anticipated Spider-Man: Homecoming has swung onto the internet, and it’s clear that the webbed wonder is a world apart from Marvel’s big-screen superheroes as we know them.

Desperate to join the Avengers, Spidey (aka Peter Parker, aka actor Tom Holland) has to make do with instructional school videos from Captain America (Chris Evans) and gentle discouragement from Iron Man (Robert Downey Jr).

“Do me a favour – couldn’t you just be a friendly, neighbourhood Spider-Man?” he implores the eager young hero, referencing a popular nickname for the character while also shattering Peter’s dreams as surely as his friend Ned Leeds (Jacob Batalon) later obliterates a Lego Death Star (props to Disney for great cross-promotion there).

Admittedly, Iron Man might have a point when keeping Peter “close to the ground” – various mishaps in the trailer see him accidentally reveal his secret identity, crash into a swimming pool and indirectly cause a huge ferry accident – but when push comes to shove, we’re sure he’ll prove his worth when taking on the deadly Vulture (Michael Keaton), who also seems to have a personal grudge against Peter’s mentor.

So all in all, it’s another exciting tease for 2017’s hottest superhero movie (sorry, Justice League). Fingers crossed the wait until July won’t be QUITE as boring as all of Peter’s high-school classes.

Spider-Man: Homecoming will be released in UK cinemas on the 7th July

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What time is Rio Ferdinand: Being Mum and Dad on TV?

Rio Ferdinand reveals his sensitive side like never before in this BBC1 documentary. It follows the ex-footballer as he seeks advice on coping with his grief, following the sudden death of his wife, Rebecca.

What time is it on TV?

The one-off documentary is on Tuesday 28th March at 9pm on BBC1.

What is it about?

It’s about the complexity of grief, and follows Ferdinand as he talks to other widowed dads and bereavement experts. Read our full review, here.

You can also read our interview with the ex-footballer, Rio Ferdinand on life after his wife’s sudden death – and the poignant ways his three children keep her memory alive.

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Even Bob Odenkirk wishes Better Call Saul would "move faster"

Better Call Saul star Bob Odenkirk says that even he wished that the series would “move faster” in charting the story of how lawyer Jimmy McGill becomes Saul Goodman from Breaking Bad.

Season three of the Breaking Bad spin-off is set to offer our first glimpse of ‘Saul’ when it begins airing in April, but Odenkirk admitted that he was worried viewers would lose interest in the story before it reached this crucial point.

“I personally have been wanting the journey to move faster,” he told RadioTimes.com. “And I know it’s an incremental journey, and it’s a little too slow for some people. It’s one of those things that, like Breaking Bad, they build the dominoes up, and then they start knocking them over. Once they start falling, it falls faster and faster.”

However, Odenkirk reassured impatient fans that season three would be “picking up speed”.

“I think it’s because of Breaking Bad,” he said of the show’s pacing. “Because Breaking Bad was so good, and made people so satisfied, one of the things that the creators have felt is that they can trust the audience even more than they did with Breaking Bad, take their time and let people go on this journey piece by piece. But we’re getting there, and it’s picking up speed.”

The actor reiterated his tease that season three would give viewers their first glimpse of Jimmy McGill as Saul Goodman – although not in the way you might expect.

“In season three he presents himself as Saul Goodman for the first time in a very conscious way. But he’s not a lawyer in this persona. Does that make any f***in sense? We’re getting closer to Saul.

“The more important thing is that in season three he starts to shut down emotionally, and that is what turns him into Saul. It’s when he just becomes a cold-blooded, self-serving bastard. He makes some choices in season three that made me feel sad. I call the creators and I said, ‘This is a shame’. And they said, ‘Tough beans. This is the journey’.”

Odenkirk, who also released his own Netflix movie Girlfriend’s Day earlier this year, said that part of the reason he might have found the series slow-going is that he is more used to the pace of comedy.

“I’ve done comedy my whole life, and comedy is more immediately satisfying. It’s pure candy! When comedy’s working you’re getting laughs, and it’s making you happy. With drama you have to trust so much more that the audience will tune in mentally and emotionally and stay with you.”

Don’t worry, we’re still with you Bob.

Better Call Saul season three will begin streaming on Netflix in the UK from Tuesday 11th April, less than 24 hours after the show’s broadcast on AMC in the United States.  

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Do Marvels Netflix superhero series share a secret symmetry with the main movies?

Other than the odd reference to “the Green Guy” and some fallout from “The Incident”, comics giant Marvel has managed to keep their Netflix shows and films family separate, with the “street-level” heroics of Daredevil, Jessica Jones et al far removed from the high-flying antics of Thor, Captain America and friends.

Or so we thought – because one perceptive fan has noticed an eerie similarity between the Netflix series and the movie universes, centring on how the individual superhero series (Daredevil, Jessica Jones, Luke Cage and Iron Fist) correspond with films in Marvel’s first phase prior to the original Avengers movie. 

Basically, each of the Netflix series performs a similar function to each of the films, building up to the upcoming Defenders crossover as the movies originally built up to the Avengers.

You can see below how the original reddit post explains it:

Factoring in the fact that the latest Marvel/Netflix series Iron Fist has in marketing described its lead as The Last Defender, a clear riff on final Phase One movie Captain America: The First Avenger, and this whole thing starts to look really spooky. 

Now, as many fans subsequently pointed out this might not be sheer coincidence. Marvel knows what works when developing superhero franchises, and it could be that they deliberately structured their Netflix series in a similar way to their successful Avengers project.

Then again, Iron Fist was originally supposed to air before Luke Cage (the latter’s popularity from appearances in fellow series Jessica Jones meant his series was bumped up), meaning that this whole sense of symmetry is probably more of a lucky accident than anything.

That, or it’s something else to do with the Infinity Stones. It’s always the Infinity Stones.

Iron Fist is streaming on Netflix now

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Harlots uncovered: behind the scenes of ITV's new period drama

From dirty doorways and cramped whorehouses, to sumptuous four-poster beds and tastefully-decorated Soho parlours, ITV’s new drama Harlots looks like it must have been filmed at great expense at a vast array of locations. 

But in reality, just one building has been cleverly used to create the entire world of sex work in Georgian London – from the bottom to the top. That building is Langleybury Mansion. 

Samantha Morton leads the cast of this ITV Encore/Hulu production as Margaret Wells, an ambitious brothel owner who has worked her way up from the streets and now runs a popular establishment – though she wants to move to fancy new premises.

Downton Abbey’s Jessica Brown Findlay stars as her daughter Charlotte Wells, who is living under the protection of her “keeper” Sir George Howard (Hugh Skinner), while Lesley Manville is the dastardly Lydia Quigley who owns a rival brothel serving the elite of Georgian society. 

“Well, it was quite a challenge, finding somewhere where we could shoot all this stuff, because you are going from St James’s type houses to Covent Garden to Nancy’s little hovel, and there are limits to where you can find [all that],” Executive producer Alison Carpenter says, taking time out on a winter day to chat in the freezing, high-ceilinged, once-grand room that will soon be transformed into Margaret’s back parlour. 

Luckily, she and the team – including co-creators and writers Alison Newman and Moira Buffini – struck on Langleybury Mansion, an empty country manor near Watford with the perfect balance of run-down bits and done-up bits to create the whole spectrum of Georgian sex work. It has been used before for TV (you’ll have seen parts of it in the BBC’s Great Expectations), but this time, the Harlots team took over the whole building. 

Downstairs at the mansion we can see the remnants of grandeur, but climbing up the rickety stairs we reach a warren of rooms that are more down-at-heel. “It in the way that you do in these houses, you have ground floor rooms where you have the biggest, stateliest rooms – we’re using those for Lydia Quigley’s house, and you’ve got the magistrate’s court and the coffee house. And as you go up the house the rooms get smaller,” Carpenter explains. 

We come to a suite of bedrooms, all ready and waiting for Margaret’s girls to use, before exploring the really dingy rooms at the top. A shout comes up the stairs: the cameras are rolling, so we freeze in place on creaking floorboards in a tiny, tatty, run-down chamber like robbers caught in the act (though not the “act” this room will soon be used for by dominatrix Nancy).

Outside, the team has created the streets of Georgian London – Greek Street on one side, Covent Garden on the other – complete with shopfronts and houses and pavements, water-pumps and wagons, and dark passageways perfect for the harlots to vanish down with their clients. A green screen is strung up at one end of the street so the rest of the scene can be painted in. 

“We absolutely didn’t want it to feel all very interior and dark and fusty, we wanted to feel the scale of London,” says Carpenter. Buffini adds: “It was always really important that it wasn’t a show that was set in rooms, because London is such a character and it really does come across, this amazing full, vibrant, lively city.”

Lunchtime arrives, so we grab some food and head to a trailer to eat with the cast and crew. No matter how many times I hang out on the set of a period drama, I can never quite get over the oddness of seeing actors decked out in petticoats and wigs and sitting down to a nice plate of lasagne and chips as they check their iPhones. They stare at us as if we, not they, are out of place: what is a pack of 21st century hacks doing in Watford’s version of Georgian London? 

On our way back to the Wells’ parlour (press HQ), we walk past a young woman in an elaborate dress, with her hair piled high in a towering wig and a heart-shaped mole painted on her face. It’s Jessica Brown Findlay!

Later, Lesley Manville pops into our parlour in the same outfit. “This is a particularly done-up outfit and wig because it’s the end of the series and there’s a storyline where Jessica Brown Findlay’s character and I, I’ve sort of taken her on board and brought her into my house, and so we’ve gone a bit twin-like in our looks,” she explains, with a laugh. “But this is really, really quite a big look. I’m not going to Tesco, let’s put it that way.”

Is it comfortable, transforming into an 18th century high-class brothel owner?

“The corsets are quite tight,” Manville says. “The wigs are alright, I don’t mind the wigs so much, but the make-up’s very pale, it’s very cakey and it’s very ageing because it gets into every little nook and cranny. And so you feel like you’re 105 when you’re not.”

When Samantha Morton pays us a visit, she’s looking a lot less fancy. “I play someone who is of a lower class than Lydia. So I don’t really spend my money on myself, I spend it on my girls, making sure they look good,” she tells us. “It’s a different world. You’ve got Lydia Quigley’s world and you’ve got Margaret Wells’ world.”

So many worlds in just one building – and who would guess? “It looks like it’s had twice the budget than it actually has,” Buffini confides. “People have just been so imaginative and so clever.”

Eight-part period drama Harlots will premiere on Monday 27th March at 10pm on ITV Encore. It will also be available via US on demand service Hulu from 29th March

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Genius 12-year-old creates brilliant Beauty and the Beast prequel starring Gaston and LeFou

If the new Beauty and the Beast live-action remake didn’t have enough Gaston backstory for you, then boy do we have a treat for you: an entire clay animation explaining how Gaston and sidekick LeFou first met, complete with catchy song.

Written by 12-year-old Robert Nelson, the short film was directed by Kevin Ulrich as part of a team-up between Disney, Young Storytellers and Tongal to give four kids the chance to tell Beauty and the Beast stories.

Watch it in all it’s low-fi glory below.

Sure, it’s not exactly the “soldiers at war together” backstory suggested by the new film, but this short is so charming we doubt any fans will be frothing at the mouth at any continuity issues.

And if you want to create a short film yourself? Come on – be our guest. 

Beauty and the Beast in is UK cinemas now

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JK Rowling's Mother's Day tweet made everyone in the US panic

Mother’s Day: a time for giving your lovely Mum a great big hug or remembering just how much they supported and cared for you.

The day is special on both sides of the Atlantic. However, it comes with a warning: British people celebrate Mother’s Day on a different day to people in the United States. 

This proved a real problem when Harry Potter author JK Rowling tweeted this lovely tribute to her mother Anne, only for her fans in the US to freak out with worry that they might have forgotten this all-important date.

Just look at the reaction.

The confusion wasn’t just in the US, either.

Although Mother’s Day takes place on 26th March in the UK, it won’t take place until Sunday 14th May in the US. Don’t worry, you haven’t missed it.

Then again, why stop with just one day?

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