Category Archives: Luther

Idris Elba: Luther movie is close

After five series of varying length, Neil Cross’s Luther has become one of the UK’s biggest crime drama hits.

Speculation has always followed it, and after the end of each series the rumours begin – when’s the next series? Is this the last one?

One of the rumours that has always abounded has been that the series will eventually find its way onto the big screen.

Now, star Idris Elba has revealed that a Luther movie might be close. Speaking during a round-table interview to promote his new Sky series, In The Long Run, he said, per Deadline: “I’ve made it very clear that I’d like to see Luther come back as a film. And I can tell you this, that we are this close to making a film of Luther.”

Watch this space.



ITV commissions new drama from Luther creator Neil Cross

Luther, it seems, is over (for now).

But its creator, Neil Cross, has had a new drama commissioned by ITV.

Because the Night is described as a “chilling and suspenseful four-part story of murder – and perhaps ghosts – which exposes the quiet terror of a man trying to escape his past”.  The series is inspired by the novel Burial, also written by Cross.

The series’ central character is well-meaning but directionless Nathan, who has a terrible secret he’s long prayed would stay buried and for which he’s long worked hard to make recompense.

Almost a decade into his new and devoted married life, Nathan is rocked to the core when Bob, an unwelcome face from the past, turns up on his doorstep with shocking news….triggering a series of catastrophic decisions which cleverly drive a tense and compelling narrative of psychological suspense, dread, love and possible redemption.

Cross said:  “I’m truly excited to be working with ITV to make Because The Night. It’s one of my favourite stories: a tale of psychological suspense, of guilt and ghosts and murder. Oh, and love. Always love.  Our job is to make viewers want to sleep with the lights on. We’re looking forward to it.”


REVIEW: Luther (S5 E4/4)


It’s been a roller-coaster ride this week as Luther has hurtled to its (supposedly) final chapter. With his personal world collapsing in on him and an increasingly inhibited serial killer still on the loose, can John Luther roll the dice one last time and emerge unscathed?

A thoroughly efficient Palmer takes Luther through a series of checkpoints to ensure he is travelling alone, whilst he assembles a sniper rifle in anticipation of his arrival at the freezer where he has Mark and Alice locked up. Luther senses his situation is desperate and calls Halliday for a location fix on one of George’s known associates. This places the goon at one Hotel Octavian where – as luck would have it – George is residing at, portentously nursing his gun. A quick-fire alarm later and Luther breaches his hotel suite before knocking out his henchmen and demanding at gunpoint that George calls off Palmer from completing his job. A visibly deflated Palmer isn’t very happy he doesn’t get to kill some people, so decides to hang on at the location to see what transpires.

Back at the Lakes residence the team manage to access Jeremy’s safe to discover his personal scrapbooks which conveniently document his many crimes. Unfortunately that doesn’t help the poor gentleman Jeremy picks at random off the street to murder and hang off Southbank bridge – an audacious exposure in the intensity of his killings. Quite how Jeremy is able to be so mobile when there is a citywide man-hunt underway for him is one thing, but his ability to lift people off the street and murder them in private before such a public display is positively superhuman – the missing steps here requiring a light to medium dimming of your brain cells to play along with the plot. Unsated by his actions, he plans his next crime by booking an escort for the evening.

George travels to the location where Palmer is holding Mark and Alice. He assures Palmer his services are no longer needed, because he’s personally taken care of Luther – the detective is dead in his boot. Clearly having some trust issues, Palmer offloads a clip into the car just to be sure only to discover the boot is empty – before Luther pops up round a corner to incapacitate him with a bullet to the shoulder. For some inexplicable reason that is never made clear, George and Luther have teamed up to stop Palmer – but there’s time for one more double-cross when George executes the stricken assassin. He also manages to take a photo of Luther standing over the body with his gun out, proof positive the detective is corrupt and a chance to keep him in the gangster’s pocket. With this insurance policy tucked away, George seems satisfied to bury his resentment toward Alice, and leaves Luther to free her and Mark from the freezer. It’s all a bit too neat and doesn’t really gel with the rabid vendetta George has been promoting for the whole season – but we’ve only got twenty minutes to go, so c’est la vie.

Elsewhere Schenk and Halliday interrogate Vivien but she’s adamant she won’t help. Quite the opposite in fact – she’s the victim here. She was helping Penny escape when Luther came barrelling into Jeremy’s dungeon – and she knows nothing about Jeremy’s perversions. Schenk explains that Jeremy is dying and even if he is caught will be long dead before his case makes trial. But it’s a different story for her, regardless of the psychobabble she uses to extract herself from being complicit. Unfortunately for Vivien, Jeremy has detailed everything he has ever done in his journals using a cypher – crimes that will clearly implicate Vivien as much as him. Faced with her meticulously constructed private world crumbling around her, she offers up the one final fantasy Jeremy wanted to explore. His greatest wish is to play “Happy Families” by bringing people to a house of their own free will and murdering them before placing them in scenes of domestic activity (clearly Jeremy has been watching The Bridge). The only question is where does he intend to enact his most gruesome crime?

Schenk is called away when Benny’s body is discovered on the site Palmer picked, having been left there by a desperate Luther earlier. A misplaced musical overlay indicates this murder weighs heavy on Schenk, but isn’t given any breathing space to develop. Instead, CCTV footage places George at the scene and the embittered DSU miscalculates what occurred, proclaiming “you wanted it old school” – before arranging a SWAT team to take down the gangster once and for all. However, they have second billing to a demented Alice, who having been earlier misled by Luther that George was dead and her troubles were over, turns up at his mansion with an assault rifle (quite where she keeps acquiring heavy weaponry is beyond me) before unloading a barrage of bullets into his conservatory windows. Missing her chance to execute her nemesis, she flees whilst George shows Schenk the photo of Luther he took as insurance previously. Seemingly a fan of immediately taking things out of context without explanation, Schenk orders Halliday to bring Luther in.

Unfortunately for Halliday both her and Luther are on their way to the residence of the original witness in the first murder, whose house has been taken over by an increasingly uninhibited Jeremy. The detectives break in but it’s all too late – the house is full of corpses wearing masks of the killer’s face, set in scenes of domestic bliss. Luther sends Halliday to answer the door when Jeremy’s final victim turns up in the guise of an unlucky pizza delivery guy, but not before Jeremy springs out of the darkness and tries to kill the detective. Luther is hot on her heels however, and after a few meaty punches to the face renders Jeremy compliant he handcuffs the killer to a radiator. It’s all a bit disjointed and rushed, certainly not a satisfying dénouement to the sickening crimes Jeremy has committed over the season – especially considering that for such a verbose adversary his final line of giggling “do you like it???” hardly seems in keeping with his character.

Unable to rescue any of the victims in time, Luther is visibly crestfallen. A tearful Halliday accuses him of using her as bait to lure out Jeremy, but his protestations of innocence are rendered unheard as his partner is immediately shot in the head out of nowhere by a crazed Alice. I thought we might get out of this season without poor Halliday being killed, but as I predicted in Episode One – this is Luther. It’s a wholly unnecessary murder that feels like it was shoehorned in to re-assert Alice as a threat after so much time spent humanising her as a character over previous seasons.

Equally, her final act of turning against Luther because he lied feels like a lazy excuse to see the pair square up one last time in an abandoned construction site, just for an uncomplicated way to ‘end’ the show. A neat mirroring of the opening scene of the very first episode from series one sees Luther make a different decision to that time, when he tries to rescue Alice from falling – but she determines her own fate by slashing him away with a knife before descending to her death. A late arriving Schenk and team turn up after to slap the cuffs on a broken Luther and we fade to black.

This season has certainly been an improvement over previous outings, and the cast definitely seemed like they were enjoying the reunion. For committed fans, it leaves enough plot strands dangling that a new season could happen, even though the signs are this is the final run. But in the new landscape of crime drama, we have now Luther feels like all its options are ultimately played out. Its legacy is that as a genre, there are many creative paths you can adopt to tell a story – and while the show felt refreshingly different and vibrant once, it hasn’t managed to evolve into anything more meaningful than a constant remix of a doomed romance driven by the demands of fan-service, surrounded by disposable characters and paper-thin plots.

Andy D




REVIEW: Luther (S5 E3/4)


Whilst the first two episodes of this new season of Luther have barreled along at a rapid pace, things slowed up somewhat tonight to take to a well-earned breather as we focused on the consolidation and convergence of certain plot-lines whilst the net tightened both on our suspects and Luther himself. With time running short and everybody’s backs up against the wall, desperate measures are taken.

With nothing more than a seductive wink, Alice escapes George’s mansion after killing his son. Luther apprehends her (rather conveniently it has to be said) directly outside and takes her back to the station so he can grab George’s rap sheet. Once he realises he cannot expect to detain Alice with her intimate knowledge of their previous complicity, the pair hatch a plan to assault George’s lock-up and rescue Benny. A quick dribble from a seemingly bottomless petrol canister later, and the place is an inferno much to Alice’s delight (Ruth Wilson is clearly having a blast returning to her breakout role). Luther uses the distraction to grab Benny and make good their escape. The trio then cross London to hole up at an exasperated Mark North’s house, who must be wholly sick of the sight of any of them by this point.

Meanwhile Vivien and Jeremy reminisce about holidays past killing teenage hitchhikers over a bottle of wine (Saga Cruises this ain’t), whilst the woman he kidnapped screams helplessly in the trunk of his car. Vivien again talks about playing by their rules (“play safe”) but it’s clear Jeremy is increasingly incapable of doing that – drugging her before going off to play with his new victim, explaining to her with a detached coldness that he intends to keep her captive until she succumbs to Stockholm Syndrome and falls in love with him. Only then will he release her. Enzo Cilenti really draws out the supreme entitlement that Jeremy exudes to a staggeringly creepy effect and has been uniformly excellent all season long as the villain of the piece, a man who can make your skin crawl with just a look.

Elsewhere the increasingly resourceful Halliday searches Jeremy’s office for the MRI he was looking at when they originally visited. Once found, the image shows a frontal lobe tumour, which would encourage uninhibited behaviour. It becomes clear the MRI is Jeremy’s own and his tumour is exacerbating his behaviour to unprecedented levels – and it won’t be long before it kills him outright. Not only this, but Halliday finds two seperate CCTV images that show Hauser and the real killer standing next to the same lamppost at different times, showing a marked difference in height.

Halliday immediately strings this and the precise use of a scalpel on Hauser’s throat to surmise it’s Jeremy Lake that is the real killer, with Vivien as his enabler. It’s a bit of a reach even for a show like Luther that all those pieces would slide into place so easily, but a decreasing running time dictates a resolution is required, logic be damned. Luther isn’t so sure Vivien is as fully complicit in the crimes as Halliday suspects, but more that she begrudgingly accepts them and facilitates the clean up of his murders to ensure a facade of a normal life.

Schenk meets with George for a reminisce about the “dead days” of 1970s police brutality before warning the old gangster off stalking Luther any further. But this is before George discovers his murdered son, blasting his own clueless henchman to death in his rage. He decides to end things once and for all with a terminal finality by calling a certain sociopath assassin by the name of Mr Palmer to execute Luther and Alice. Across London at Mark North’s house, Alice and Luther slowly realise the game is truly up and there is no escape, sharing a fleeting kiss (finally!). Luther calls George and attempts a half-hearted threat at taking down his criminal empire but it’s too little too late. The clock is ticking on both their lives.

Likewise for Jeremy things are getting a little too close for comfort. Whilst at work, a call from an enraged Vivien reveals she has woken from her drugged slumber and discovered Penny locked up in his dungeon  – and upon seeing Halliday and Schenk coming for him, the surgeon begs his wife to “clean up his mess” before making good his escape in an ambulance. Whilst the police make their way to the Lakes residence to question Vivien, she is busy preparing the chamber to dismember a drugged Penny. Luckily, Luther and Halliday are on hand to boot the door in and discover her before it’s too late – but with a stoic Vivien in custody and unwilling to help, Jeremy is in the wind and becoming progressively more murderous by the second.

Meanwhile, Mr Palmer enjoys his work so much that within a short space of time he’s killed poor Errol for a phone number and located Mark North’s house, from where he calls Luther to explain the game is well and truly over – reinforcing this by shooting the unfortunate Benny in the head (adding to the many gruesome deaths Michael Smiley has endured over his acting career). Unable to control the situation like he always does, Luther realises he is rapidly running out of road in his attempts to keep everybody he loves safe – just how is he going to get out of this now?

Andy D



REVIEW: Luther (S5 E2/4)


So she’s back. It was possibly the worst kept secret of the year when the return of Luther was originally announced – Alice Morgan was back. She’s arguably the best character in the show (spin-off anybody?) and therefore the default fail-safe to bring back every time the plot looked like it is flagging, which is often. But this time around there was the not insurmountable task of unpicking the fact she was very dead the last time we heard about her. So where has Alice been all this time and why is she back?

An opening flashback to two years previous in Belgium sees Alice working for George Cornelius on a diamond smuggling job. Unfortunately for Alice, George has decided a double-cross is in order – taking the diamonds and the money before executing Alice. But more unfortunately for George, we all know Alice is no pushover – swiftly killing both his hired henchmen but leaving her permanently on the run. Fast forward to the present day and her arrival on Luther’s doorstep comes with an unfortunate case of a shrapnel blast to her abdomen, care of George’s pump-action shotgun as it transpires it was Alice that kidnapped his son Alistair in revenge for his father’s former actions.

Luther does a quick patch-up job on his modern-day Moriarty, but it’s not long before we have a comedy of errors emerge as first Schenk and Halliday turn up at his flat to expound on theories about Lake and her patient – Hauser wasn’t a suicide risk so why would he cut his own throat? Halliday promises to look into Lake’s private life whilst Schenk bags up a bloody tissue on the sly before leaving as secondly George and his hired goons step in to the place and make swiss cheese of Luther’s ceiling whilst he and Alice make their escape across the rooftops of London.

Meanwhile across the capital we properly meet couple of the month Vivien Lake and her hubby Jeremy, who we first saw in the boot of Vivien’s car last episode. Here he gets a cold bucket of water to the knackers and a firm telling off for going against Vivien’s carefully laid out plans, wasting the time and effort she had spent on constructing Hauser as their scapegoat in the process. But later on it’s all sweetness and light with Jeremy looking very smart in his work suit, a light compliment on his tie ringing in his ears and the pair warmly reminiscing over that time when Jeremy “kicked that Somalian rent boy half to death”. You certainly wouldn’t want to invite this pair to your dinner party (or at least you’d hide the cutlery).

In a neat twist it turns out Jeremy is a prominent heart surgeon, literally placing him in a position with the life of his patients in his hands. It’s clear Vivien worries Jeremy’s “impulse control” is slipping and she has a right to be concerned – if he’s not stalking a young mother in the park he’s unconsciously telling a patient she’s a “diseased whore” and he intends to kill her. This encroaching madness manifests itself later in a gruesome visual nightmare – being helpless on a hospital gurney whilst a surgeon violates your bodily privacy against your will. He stands transfixed by the appearance of his wife as he risks stabbing away casually at his patient’s exposed heart, something which she admonishes him later for attempting when so many people were present to witness his risk-taking.

Vivien is full of professional hubris, thinking she has clinical control over Jeremy’s animal desires – but it’s clear her grip is as tenuous as the placating words he uses to soothe her concerns, as later he lies about coming straight home from work  and instead pretends to be picking up a fridge from a young woman (using yet another app to access a victim, did Neil Cross get scammed on a second-hand microwave from eBay or something?) before stuffing her drugged body into a suitcase before her partner returns home. It’s another genuinely creepy scene that plays with our common fears around being paranoid of strangers and what we will accept as standard behaviour when it’s shrouded in the false normality of an everyday situation – something the show exploits time and again to unsettling effect.

Elsewhere Alice takes Luther back to where the whole show started – her family home and scene of her parents murders – seen here in a quick flashback. There she has George’s son Alistair tied up and drugged, presenting Luther with two options – her favourite being killing the boy and escaping with Luther to a new life in the sun. Luther takes the first option and drives Alistair back to George, but not before fantasising about what a life with Alice might actually look like. Luther plays out a fictional relationship with her in his head but it ends up that his desire to save imaginary victims (spurred on by footage of rolling news coverage that seems to come from an episode of Hard Sun about an equally stab-happy chap with a penchant for masks, how’s that for being meta) supersedes his desire for her. Likewise she does the same in parallel, eventually becoming turned off by the myopic nature of his impotent morality. Either way it’s clear to both no good can come from their desire for each other, regardless of how much the audience would will it to happen.

Schenk soon finds out the tissue he nabbed from Luther’s flat contains the blood of one Alice Morgan, deceased – and immediately calls Benny for answers. Unfortunately for Benny, he’s too busy having jump leads attached to his ears – something which his captor George is only too happy to ring Luther about. George has considered Luther’s offer to buy off the hunt for Alice, and rejected it – he wants her dead and will gladly electrocute poor Benny until Luther delivers the goods. One problem – Luther has no idea where Alice is since she absconded from her family home. Alice being Alice has other ideas however – taking the fight directly to George, she rustles up a quick disguise as a prostitute and literally walks into the Lion’s Den that is the gangster’s mobbed-up fortress home before sliding a hat pin forcefully into a sleeping Alistair’s ear canal – letting out a long and happy exhale as she does, satisfied in her work. She’s back alright.

Andy D


REVIEW: Luther (S5 E1/4)


It’s that most wonderful time of the year… where the BBC brings out its post-festive big hitters. And there are none as big as one of its biggest international success story Luther, returning tonight for its fifth (and final?) season. After a decidedly bum note of a truncated fourth run, the broadcaster has gone to great lengths across a long promotional campaign to indicate this new series is a return to form, dropping spoilers galore about the return of certain characters (more of that later) and how Luther will face his greatest test to date (doesn’t he always?).

I should probably state for the record I have an ongoing love/hate relationship with the show. Like many, I was blown away when it first stepped on the scene at the turn of the decade (yes, it’s been that long), and it’s overwrought comic-book styling and pantomime villains were like nothing else in the genre at the time. It had a certain sense of creative freedom to it, a penchant for breaking the narrative rules that made other shows look stale in comparison. But upon re-watching all the seasons back to back in preparation for its return, there definitely felt like a law of diminishing returns was present as it progressed – and it certainly hasn’t aged well in some other regards. However, the more outlandish it got the more popular it became – but by the end of the fourth season it seemed that writer Neil Cross was running out of steam – and ideas (his attention focused elsewhere at the time on the woeful Hard Sun). So truth be told, I was done with the show – did it really need another series?

But Luther as a show really lives or dies by the juggernaut charm of it’s lead Idris Elba. Now a bonafide Hollywood star in his own right, his muscular acting style was the driving force behind what made the show so entertaining in the first place. Without him you might argue the show would have died off years ago, but the combination of his rising stock abroad as a film star and the show’s broad brushstrokes vision of Britain as a grimdark neo-Victorian slum chock full of demented serial killers seems to have struck a note globally, where the show has been sold to over 230 territories, bagged multiple awards for it’s leading man and even inspired remakes in South Korea and Russia.

So we return to the world of Luther and everything is as you would expect. We open on him doing what he does best – relentlessly tearing after some unfortunate criminal through an unmarked industrial wasteland. Of course, he’s as delightfully surly and terminally exasperated as usual – just how we like him. Unfortunately, the reward for him nabbing another toerag is a light tasering to the neck and a quick kidnapping when old-school gangster George Cornelius (the wonderful Patrick Malahide) demands an audience. George’s son has gone missing – presumed being held to ransom by persons unknown – and the crime boss suspects Luther knows his whereabouts. Even with a quick game of Russian roulette out the way, Luther can’t say what he doesn’t know and subsequently MacGyvers his way out of the situation thanks to a loose chair screw and some fisticuffs. George releases Luther and warns against him getting involved – but we all know how that will go.

Elsewhere London is portrayed as the usual nocturnal playground of sleazy deviants we’ve come to expect from the show, when an unfortunate hoodlum witnesses somebody being murdered through a basement flat window and is subsequently hunted down by the killer sporting a rather festive light-up LED mask. His body is discovered the next morning with its eyes and tongue cut out in a frank display of what happens to nosy neighbours. Luther surveys the scene with new recruit DS Halliday (Wunmi Mosaku), who is a fast track addition from the public sector much to DSU Schenk’s consternation. Her mixture of procedural greenery and studious understanding of psychotic behaviours already has me worried for her fate from the first scene – this is Luther after all. Speaking up for any latecomers to the show, Halliday asks “Is this normal?” to a bemused looking Luther.

Their investigations lead them back to the scene of the original murder – where a poor soul called Paul Redford whose use of dating apps (apparently the default gateway to getting yourself killed) has led him to being nailed to death in what looks like an over-eager crucifixion or an explosion in a B&Q carpentry section. Back at the station, Luther suggests the killer is clearly getting more brazen and that this behaviour doesn’t exist in a vacuum – so whilst the gang try and dig up old files that point towards this type of activity, he enlists Benny Silver (Michael Smiley) to keep tabs on George’s activities off the books, whilst Schenk looks on disapprovingly from afar.

We’re then treated to a quarter of an hour of what feels like absolute filler, as Benny and Luther enlist the talents of petty criminal Errol to eavesdrop on George’s ransom call. Being the wily old gangster he is, George immediately suspects an increasingly panicked Errol is up to no good and sends the detectives on a wild goose chase through London to find the informant’s whereabouts, as he lays stranded in an abandoned warehouse with a bomb collar around his neck. It’s all a bit frantically silly and frankly unnecessary, given that it cuts attention away from the active investigation – thereby dissipating any tension – although it’s good fun to see George go the full Old Testament with a pump-action shotgun when he tries to kill the assailant that supposedly kidnapped his son. Does this relate in some way to the main case? Only time will tell…

With the case flagging somewhat, Doctor Vivien Lake (Hermione Norris) steps forward with a suspect. Norris excels in playing cold, aloof characters so from the offset there were alarm bells ringing that there was something odd about her behaviour. She explains she was visited by her patient James Hauser the night of the murders, when he broke into her house buck naked having a bout of the chuckles as he wore an LED mask – and yet we see her methodically clean down her apartment for traces of blood and wait until a specific time before contacting the police, two activities that don’t exactly exude innocence.

After a long explanation of psychobabble from the good doctor it’s made clear that James really, really likes stabbing people in the backside. With knives. Lake kindly supplies the detectives his photo, address and a selection of rather funky drawings of his various stabby fantasies. It all feels too good to be true, and despite everybody’s Spidey senses tingling that Lake is a total oddball, they storm Hauser’s address and discover the stereotypical serial killer lair with pornographic photos nailed into the wall and a dismembered head in a jar. Not exactly Habitat catalogue material. Unfortunately, Hauser is nowhere to be found.

With the word out that Hauser is the killer, he escalates his activities. There’s a genuinely creepy scene where he stalks a woman on a bus by crawling along the floor that’s pure horror movie material, especially grim as a passing buses inhabitants witnesses the murder. The detectives start to suspect there is some psycho-sexual relationship between the good Doctor Lake and her patient, and an exasperated Halliday threatens to charge the psychiatrist with obstruction of justice in a bid to get more information out of her. Lake doesn’t budge but she is clearly in contact with James as he gets more desperate – and the police are listening in.

A bit of a confusingly shot set piece then occurs as they follow her to Hampstead Woods, where she confronts the killer and tells him she would be turned on if he stabs her rather than anybody else, which he duly obliges. Hauser spooks when he sees Luther lurking in the bushes, who gives chase when the killer takes to his toes. A quick runaround ensues, resulting in Hauser cutting his own throat to avoid arrest. Lake berates Luther for his behaviour and blames him for killing a “sweet man” (er…). It’s all very conveniently squared off and for a second I thought we were back to the old one-shot case episodes of the first season (remember how good they were?).

So case closed! Or is it? Halliday certainly isn’t convinced, and there’s something about the case that’s really bugging her. She sets off to find Luther with DSU Schenk in tow (who’s seemingly getting his booze on in secret). Meanwhile, Lake drives home and opens the boot of her car to let out the REAL killer, scolding him for stabbing her too deeply. What the what now? It seems the story is far from over, but Luther has his own problems, as unknown to him an enraged (and misguided) George and crew are descending on his flat for more information – but the knock on his door opens up a whole other world of complication when he finds one Alice Morgan on his front step instead…

Andy D

Luther gets New Year’s Day transmission date

We’re all looking forward to the fifth series of Luther, and we initially thought that the four-part series would play out – or at least start – before Christmas.

Not so.

The Idris Elba behemoth gets a primetime New Year’s Day start date and then plays out every night for the rest of the week.

This fifth series will see “the moonless shadows of London give birth to a new nightmare” as a series of killings pave the way for “devastating consequences” for those closest to Luther.

Look closer and you can see new guest stars Winmu Mosaku and Hermoine Norris, as well as a certain Ruth Wilson right at the end. Oh, and there’s a terrifying-looking new villain.

Here’s the latest trailer:

Luther (series five): Tuesday 1st, Wednesday 2nd, Thursday 3rd and Friday 4th January, 9pm, BBC One


BBC releases new Luther trailer

Series five of Luther – one the big British crime shows – is almost upon us (seriously, it’s very close), and the BBC has dropped a new trailer today.

Here it is:

So what do we know about this short series five?

Episodes will see “the moonless shadows of London give birth to a new nightmare” as a series of killings pave the way for “devastating consequences” for those closest to Luther.

Look closer and you can see new guest stars Winmu Mosaku and Hermoine Norris, as well as a certain Ruth Wilson right at the end. Oh, and there’s a terrifying-looking new villain.

A few weeks ago, the Beeb also dropped this little scene, which is pretty brutal (John Luther never has it easy does he?):

So we’re primed an ready to go – the transmission date should be with us in the next day or two.


BBC iPlayer makes available all episodes of Luther

With the new, fifth series of Luther imminent, BBC iPlayer has dropped every single episode of the top-rating cop show, starring Idris Elba, onto its streaming service.

The the new series around the corner, it’s a great way to catch-up. Fill your boots.


BBC releases Luther teaser; Ruth Wilson confirms return

Idris Elba fans sang from the rooftops when a fifth series of Luther was announced last year.

With four new episodes coming, the plot goes something like this:

As a series of monstrous killings becomes ever more audacious, Luther and new recruit D.S. Catherine Halliday are confounded by a tangle of leads and misdirection that seems designed to protect an unspeakable horror.

But even as the case brings him closer than ever to the nature of true evil, a reluctant Luther must also face the ghosts of his own past. Striding back into the line of fire, he must choose who to protect… and who to sacrifice.

Whatever his next move, it will have devastating consequences for those around him – and will change John Luther forever.

Now the BBC has released a new teaser:

Elsewhere, actress Ruth Wilson, who plays nemesis/BFF Alice Morgan, confirmed that the character will be back.

She told the Independent:

“She is in it,” she told us, adding: “It’s not what you expect. She’s definitely back for a bit. [Alice is] back with a vengeance.”

With a new teaser out there, we tend to think Luther will be back sooner than we thought it might.