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Thomas Cromwell and Gregory Cromwell in The Tudors (2007-2010) — Season three, episode eight "The Undoing of Cromwell"

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Welcome to 1970. In Call the Midwife Season 14, the groovy opener (airing March 30 on PBS) comes into the decade strong with storylines involving teenage pregnancy, political strikes, and more drama for the East London community of Poplar. Jenny Agutter, who has played Sister Julienne since the start, says that creator Heidi Thomas‘ Dickensian-style storytelling has created “quite a strong story” in the first installment, with a teen pregnancy that is handled in a way that only Midwife can.

She’s referring to the plight of a 14-year-old with child who “becomes a problem for Dr. Turner [Stephen McGann] and the nurse,” teases Agutter, because her deeply religious family believes it’s an immaculate conception. “They try to get the girl to denounce the devil,” she adds. “It’s scary stuff.”

Meanwhile, Sister Julienne and her longtime colleague Trixie (Helen George) are fighting back against a Board of Health that wants the state in control of the district’s healthcare. But as workers strikes and a building explosion caused by lack of regulatory checks later this season show, the state often fails the people, making the midwives’ grassroots aid vital. They really do have a higher calling!

Agutter also promises that burning questions from the Call the Midwife 2024 Christmas special will be answered in the premiere. It “is a conclusion” to all the loose strings. Overall, Season 14 is, in a word, about “poverty,” says the star. “Poverty and all the social issues that come out of it, the abuse that might happen, the difficulties.”

“It seemed like the ’60s brought a lot of growth and optimism,” Agutter explains. “And you’ve had a Christmas episode, which is actually half of a story. So it must be rather tantalizing for people because it doesn’t actually complete at all until you get into March, and you see that second half. And as I say, it being a completion of a Christmas episode, really it has the sense of joy of people getting together and enjoying a period of time together with family and making that family work in a community.”

“But it also shows the beginnings of what one’s feeling in 1970, which is the problems that come out of expecting more from might’ve been offered and what actually is on offer,” she continues. “We have strikes, people unhappy about what they’ve got. As far as Julienne’s concerned, the [Board of Health] really want Nonnatus House out of the game, so their sense of control there is being diminished. But they serve the community, and oftentimes when you hand over to state to take care of everything, it doesn’t actually take care of all those things.”

PBS / BBC Studios

That’s where the explosion later this season comes in. It’s brought about by the fact that “there haven’t been enough checks on the building” with the state managing housing regulations, Agutter shares. “It’s a very poor tenement building and fortunately there are no injuries, but it’s a sign of something falling apart, going wrong,” she says.

Homelessness and racism are also prevalent in Poplar in Season 14. “We’ve got an extremely good nurse who’s from Trinidad who’s joined us, and someone that Sister Julienne is very proud to have as part of her team,” Agutter reveals. Julienne is later shocked to learn that a patient throws out false accusations about this nurse alleging negligent medical care. Agutter says “it purely comes because she doesn’t like being touched by this person.”

“There’s also issues like spina bifida that comes up, the difficulties that sometimes come with we’re getting less home births, more births in the hospital, and then people being dismissed from hospital early and not being followed up,” Agutter adds.

Adding to those troubles is Nonnatus House’s increasingly diminished power to handle things themselves, aka state control places time-consuming roadblocks to their solutions.

“It’s one of those issues as to, if you don’t have the authority to do something yourself and you’ve got to run by the guidelines, it’s like what happens with education and all the rest of it,” Agutter shares. “Things become very difficult to do because you are being monitored all the time for what you can and can’t do. And then you can’t run things efficiently in your own way.”

Run-ins with the local council will be impossible, as Nonnatus now own their building, so they have the issues of having to take care of that building as well. They go to the council for help that, but they’re not particularly wanting to help with that.” Sister Julienne will spend much of this season figuring out “how to continue” the good work of Nonnatus House, “how to keep it going and what they can do” now that the government is stepping in so strongly.

Times certainly are changing in Poplar. From the set design to the fashion of the times, everything is going to look different. But as Agutter says with a laugh, “Unfortunately, the habits stay the same.”

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Keto Shimizu has been active for nearly two decades since writing her short Razor Man in 2006. Fortunately, her passion for horror and procedurals served her well, predominately in the superhero genre, with her work on The Cape, Being Human, the Arrowverse, and Vixen. Her latest is a departure in the NBC procedural series The Hunting Party, which follows a team of specialists led by Rebecca "Bex" Henderson (Melissa Roxburgh) as they track fugitive series killers who escaped an off-the-books supermax. The writer and executive producer spoke to Bleeding Cool about a few of the episodes she's written in episode two's "Clayton Jessup" and the upcoming episode "Denise Glenn," which airs tonight.

The Hunting Party EP/Writer Keto Shimizu on Embracing "Deep Dark Places" in Her Writing

Bleeding Cool: How did you get involved with The Hunting Party?'

I got involved early in the process when we were developing the show in a "mini" room or development room. This was about a year and a half before the show started. I was brought in because of my friendship and connection with [Jake] Coburn, the co-showrunner. He and I worked on 'Arrow' a decade or so ago [laughs] and remained friends. We also developed together other projects in the past, so he knew I liked to go into pretty dark spaces, and people's psychoses, he knows how much I love horror, and that I'm also good at procedurals because that's what we did on 'Arrow,' essentially.

What's the inspiration behind the 'Clayton Jessup' from episode two, and how did Patrick [Brennan] capture the character so well?

Oh my gosh! Patrick was amazing. The initial inspiration for Clayton was an episode we broke in that development room quite a while ago. The idea came from wanting to tell a story about someone who… started their murder spree as a teenager. Someone who got their hands bloody at a very young age, and thinking then, "What if that person grew up in a way in The Pit?" and "How would they have been frozen in this childlike state, but also how dangerous would that be when it came out? The idea went through so many twists and turns ultimately, but to reach what we ended up with. It was a concept that started in a very dark place, but it took some interesting turns along the way for sure.

Speaking of twists and turns, I was wondering about how you and David [Loong] developed this upcoming episode, 'Denise Glenn'? Was it always having her be the sort of Hannibal Lecter-type play here as far as being the master in prison, and then it became her having an apprentice? Can you speak of Janet Kidder's performance?

The notion of an artist killer came up very early on when we were figuring out the whole concept of this show when we were in that development room. We wanted to do some sort of artistic killer, but we didn't quite know how to crack it back then until later when we had the fuller room, we were in production, and everything was knowing that it came together.

Part of that was I'm a huge fan of Greek mythology. I'm a huge mythology nerd, so when we were still trying to figure out like, "What is this killer's thing? What is it? What do they do? What's this artist killer?" I went, "Well, muses. Where does art come from? It comes from muses. It comes from inspiration." [Josh] McKenzie came into the writer's room, and from there, it gave the story a lot of momentum because suddenly we were like, "Okay, now we can see what this person did in the past and how maybe they didn't come to the project. What if someone else is out there doing it for them?"

Instead, we can have a scenario where we have, as you said, a Hannibal Lecter-type character in custody for the whole episode to allow our two master profilers to go head-to-head with this person, have these mind games, and have these interesting conversations that dig deep into their dynamic, relationship, test the bond between these characters and also get to see [Nick] Wechsler in action. We haven't gotten a chance to see Oliver shine as a profiler, and this is a great case where he and Bex must lean on each other to get the better of this very coy, malicious, and incredibly manipulative person who is sitting at the other end of the table from them knowing they need something from her.

[Denise] has absolutely no intention of giving them anything without having a lot of fun first. It's a juicy dynamic, and again, it allows us to play with this wonderful theme of master and apprentice. Dealing with that, both on Bex and Oliver, the killer and her protégé, was very rich and it allowed for the stories to come together in a very satisfying way.

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@nbc - some people just can't handle rejection 😳 catch all-new the hunting party – watch nbc on @peacock

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@dramaclubfox - Bar pics are the best!

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Told you. Too many cops.

Leverage (2008—2012) The Rundown Job (S05E09)

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PETE MAKES GOOD ON HIS PROMISE TO FIND A GIRL FOR SASAPPIS BY BRINGING IN A WISECRACKING 1940s SCREENWRITER WHO ALSO HAS THE ABILITY TO ROAM, ON “GHOSTS,” THURSDAY, APRIL 3

“His Girl Shiki” – Pete makes good on his promise to find someone for Sasappis by bringing in a wisecracking 1940s screenwriter who also has the ability to roam, on the CBS Original series GHOSTS, Thursday, April 3 (8:31-9:01 PM, ET/PT) on the CBS Television Network, and streaming on Paramount+ (live and on demand for Paramount+ with SHOWTIME subscribers, or on demand for Paramount+ Essential subscribers the day after the episode airs)*.

WRITTEN BY: Joe Port & Joe Wiseman

DIRECTED BY: Todd Biermann

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JAY, SAM AND THE GHOSTS ATTEMPT TO FIX THE GHOST TRAP IN HOPES OF GETTING SASAPPIS ACROSS THE GHOST BOUNDARY TO VISIT HIS LONGTIME CRUSH, SHIKI, ON “GHOSTS,” THURSDAY, APRIL 10

“Smooching and Smushing” – Jay, Sam and the ghosts attempt to fix the ghost trap in hopes of getting Sasappis across the ghost boundary to visit his longtime crush, Shiki, on the CBS Original series GHOSTS, Thursday, April 10 (8:31-9:01 PM, ET/PT) on the CBS Television Network, and streaming on Paramount+ (live and on demand for Paramount+ with SHOWTIME subscribers, or on demand for Paramount+ Essential subscribers the day after the episode airs)*.

WRITTEN BY: Rupinder Gill and Sophia Lear

DIRECTED BY: Todd Biermann

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ANGIE HARMON as JANE RIZZOLI Rizzoli & Isles 1.06

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Let’s Talk About Grammar!

Hi all! Sicktember is a ways away, but it’s always good to practice!

Here’s some common grammar mistakes and how to avoid them!

1. Your/You’re

Your indicates possession. For example: “How’s your cat?”

Meanwhile, you’re means “you are.” For example: “You’re burning up.”

2. There/Their/They’re

There refers to a place. Example: “It’s over there!”

Their indicates possession. Example: “It’s their cat.”

They’re means “they are.” Example: “They’re not feeling well.”

3. Dialogue Rules

Use a comma before the speaker tag. Example: “I love you,” he said.

Write actions as a separate sentence from the dialogue. Example: “That’s ridiculous!” She laughed.

4. Apostrophe Errors

It’s and Its have different meanings! It’s means “it is,” while its indicates possession. Make sure you’re using the correct words!

5. Formatting

Please make sure you’re putting spaces between your paragraphs!!

That’s all for now! Happy writing!! ^_^

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Remembering Joseph Barbera on his birthday #botd

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Fandom Problem #8056:

It's really kind of sad when you look up what some of the greatest TV shows of all time are and see all kinds of reasons as to why they would never survive long if they were made today.

Those types of shows became as great as they are because they dared to be bold, because they dared to go there, because they were actually funny, and so many other reasons!

This overly sensitive social media culture should really get out of their bubbles and see what great entertainment was like back before the 2000's instead of settling for something that feels so bland, or clearly made for 1 specific minority that will barely be watched and remembered.

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