The acting in Adolescence is superb—Stephen Graham has to be one of the best actors of his generation. Owen Cooper as Jamie Miller also stands out especially as it is his debut, actualy every performance is fantastic. The subject matter is important, as knife crime has sadly become part of the adolescent experience. Add to this the toxicity of social media, and perhaps the only clumsy element in the narrative is the portrayal of kids’ social media “codes” and parents’ lack of understanding. But overall, the entire narrative felt real and believable.
Then we come to the use of single takes and the unbelievably meticulous choreography of actors and camera movements to achieve this. Was it a way of creating an immersive experience for the audience? This technique was first really seen in 1917 with the WWI trench-based epic directed by Sam Mendes. Here, was it a gimmick or an honest attempt to create an immersive narrative? Personally, it took me a while to get used to it. The opening sequence felt a bit laboured to me, and yes, I know I’m in the business, but rather than immerse me in the action, I found myself thinking, “How did they do that?” And that broke the immersion for me—the moment we start to wonder or marvel at the techniques is, in my opinion, a distraction from the story.
Adolescence is a compelling four-part British crime drama series that premiered on Netflix on March 13, 2025. Created by Jack Thorne and Stephen Graham, the series is directed by Philip Barantini and produced by Jo Johnson.
Plot Synopsis:
Adolescence explores the harrowing aftermath of a 13-year-old boy, Jamie Miller, who is arrested for the murder of his classmate, Katie. The series delves into the impact of this event on Jamie’s family, particularly his parents, Eddie and Manda Miller, as they grapple with the shocking reality. Through a real-time narrative presented in single continuous takes, the show examines themes of youth violence, online radicalization, and the influence of toxic internet cultures on vulnerable adolescents. As the investigation unfolds, the series offers a poignant commentary on the complexities of modern teenage life and the unseen dangers lurking in the digital age.
Main Cast:
Stephen Graham as Eddie Miller
Notable works:
This Is England (2006) as Andrew “Combo” Gascoigne
Boardwalk Empire (2010–2014) as Al Capone
The Irishman (2019) as Anthony Provenzano
Ashley Walters as DI Luke Bascombe
Notable works:
Top Boy (2011–2023) as Dushane Hill
Bulletproof (2018–2021) as Ronnie Pike
Get Rich or Die Tryin’ (2005) as Antwan
Erin Doherty as Briony Ariston
Notable works:
The Crown (2019–2020) as Princess Anne
Les Misérables (2018) as Fabienne
Chloe (2022) as Becky Green
Owen Cooper as Jamie Miller
Notable works:
Adolescence marks his acting debut.
Faye Marsay as DS Misha Frank
Notable works:
Game of Thrones (2015–2016) as The Waif
Black Mirror (2016) in the episode “Hated in the Nation” as Blue Colson
Pride (2014) as Steph Chambers
Production Details:
Production Companies:
Warp Films, Matriarch Productions, and Plan B Entertainment.
I really enjoyed this—the cast were fantastic and definitely made me laugh. While it’s not the funniest show I’ve ever seen, having Bob Mortimer involved is a masterstroke, as he’s truly a comedy genius. I still consider “Would I Lie to You” my current favorite comedy show. The show originated as Documental, with the full title Hitoshi Matsumoto Presents Documental, a Japanese comedyreality television show created and hosted by Hitoshi Matsumoto. The IP is owned by Yoshimoto Kogyo, a Japanese company that has been making Japan laugh for 112 years through managing comedy clubs and artists.
Typically, streaming platforms with global reach acquire IP rights from creators, as there’s little benefit in international sales when your platform is already global. However, this deal likely includes a licensing arrangement. It’s encouraging to see an alternative to the common “make once and dub” approach to drama—there’s still room for locally adapted versions. This more traditional format has provided work for many freelancers. For TV industry professionals, studying the different versions offers valuable lessons in localization, as Lucy Smith notes.
“‘LOL: Last One Laughing’ is proof that competition formats drive audiences to streamers,” said Lucy Smith, director of Mipcom and Mip London. “Amazon is leading the way, emerging as key producers of unscripted formats. Understanding the strategy behind this hugely successful roll out and how each version has been adapted culturally and comically, will be invaluable for anyone in the business of travelling IP and production globally.”
It is well worth a watch and is very enjoyable, 20 countries can’t be wrong and congratulations to Amazon for giving the format business hope and jobs to freelancers.
As a footnote, in December 2023, two women anonymously accused Hitoshi Matsumoto of sexual assault at parties in 2015, as reported by Shukan Bunshun magazine. His agency denied the claims, and Matsumoto called them groundless but paused his career. More similar allegations followed. In January 2024, he sued the magazine’s publisher for defamation, seeking ¥550 million. The case went to trial in March but was later withdrawn in November without a settlement. Matsumoto issued a statement apologizing to anyone who felt hurt.
“LOL: Last One Laughing” is a reality comedy series that has been adapted in various countries, each featuring local comedians and hosts. Below is an overview of some notable versions:
Synopsis Last One Laughing
Ten comedians are placed in a room together and must avoid laughing while attempting to make their fellow contestants laugh. Any visible reaction results in a warning, and a second offense leads to elimination. The last comedian remaining wins the competition.
Comedy reality competition featuring ten professional comedians from the UK. Contestants include Bob Mortimer, Richard Ayoade, Daisy May Cooper, Joe Wilkinson, Judi Love, Sara Pascoe, Joe Lycett, Rob Beckett, Lou Sanders, and Harriet Kemsley.
Genre & Contestants:
Jimmy Carr, known for his stand-up comedy and hosting roles on shows like “8 Out of 10 Cats,” and Roisin Conaty, a comedian and actress recognized for her work on “GameFace” and appearances on panel shows.
Host
Channel & Premiere:
Premiered on Amazon Prime Video on March 20, 2025.
Key Creatives:
Created by Hitoshi Matsumoto. Produced by Banijay UK labels Zeppotron and Initial.
Next Episode Info:
All six episodes of the first season were released between March 20 and March 27, 2025.
In my last newsletter, I highlighted where we really are with AI video generation—and the truth is, it’s still a long way off from what most people think.
So reviewing The Capture feels timely.
Now in its second series, the show explores the concept of deepfakes—taking things further in Season 2 with fakery happening in real time, even on live TV. The truth? We’re nowhere near that level yet.
That said, I really enjoyed the series. The story’s gripping, the production values are strong, and it’s a solid binge if you like tech-driven thrillers. Though I do think the title doesn’t quite reflect what the show’s about.
Here’s what the AI critic had to say after scraping reviews:
The Capture stands out as a compelling British thriller that delves into the unsettling possibilities of manipulated media and surveillance. Its strong performances and timely subject matter have resonated with both critics and audiences, despite some criticisms around plausibility and narrative execution.
If you’re into this genre, you might also enjoy Bodyguard or Line of Duty.
The Capture is a British thriller series that delves into the complexities of surveillance and the manipulation of evidence in the digital age. The narrative follows Detective Inspector Rachel Carey as she investigates cases involving deepfake technology and misinformation, raising questions about the reliability of visual evidence and the nature of truth.
Original Channel and Premiere Date
Channel: BBC One
Premiere Date: 3 September 2019
Key Creatives
Writer: Ben Chanan
Director: Ben Chanan
Production Companies: Heyday Television, BBC, Universal International Studios
Cast
Holliday Grainger as DCI Rachel Carey
Notable Works: Strike, The Borgias
Callum Turner as Shaun Emery (Season 1)
Notable Works: Fantastic Beasts: The Crimes of Grindelwald, War & Peace
Paapa Essiedu as Isaac Turner (Season 2)
Notable Works: I May Destroy You, Gangs of London
Ben Miles as Commander Danny Hart
Notable Works: The Crown, V for Vendetta
Lia Williams as DSU Gemma Garland
Notable Works: The Crown, The Missing
Next Episode Information
As of April 2025, The Capture has been renewed for a third season, with filming scheduled to commence in spring 2025. Specific release dates and the expected release schedule are yet to be announced.
I’ve just binged Gangs of London Series 3 and This City Is Ours back-to-back. What stuck with me wasn’t the body count. It was the contrast. Not just in tone, but in purpose. So Why We Watch: Violence…
Gangs is still the same slick, brutal show it always was. Stylish. Loud. Out to shock. It does that incredibly well. It practically dares you to look away. But by Series 3, even as a long-time fan, I found myself wondering if the violence had become the main event rather than a tool in service of story.
The placenta scene says it all. Not just excessive, but distracting. When violence becomes that inventive, it stops supporting the drama and starts dominating it. There’s still real craft at work, and I don’t doubt the talent behind the camera. But when you can’t remember why characters are trying to kill each other, or who’s double-crossed who, something’s off. The emotional anchor gets lost.
Then you hit This City Is Ours. Almost the opposite. It doesn’t chase headlines. It doesn’t try to top itself. Instead, it stays small and deliberate. The focus is loyalty. Trust. The cracks that form under pressure. The violence, when it comes, is rare. And because of that, it lands harder. Not from shock or gore, but because you didn’t see it coming.
This show is slower. And to be fair, not everyone’s sold. Some say it leans too hard on crime tropes. Others find the pace too measured. But if you stick with it, you get something more grounded. More plausible. Tighter. It has fewer moving parts, but better control. You feel the weight of every choice the characters make.
The Last of Us Season 2
It reminded me of the opening of The Last of Us Season 2. Yes, it’s about a zombie-infested world. But really? It’s about a stepfather and a teenage girl. A man trying to protect someone he loves. It’s a survival story, sure, but it’s not about the monsters. It’s about the people. That’s what great acting and writing can do. They pull you past the genre and into something real.
The big question for me is this: why do we watch anything? Is it for spectacle? Action? Familiar tropes? Or are we watching for connection? For honesty?
Take the Minecraft movie. It did huge numbers. Millions at the box office. And critics didn’t get it. But the audience did. The under-26s turned up because it was made for them. No apologies. No genre confusion. Just a story their generation could connect with.
And that’s the point. It’s not about what kind of drama you’re making. It’s about who you’re making it for. Gangs of London and This City Is Ours are both well-made shows. But they speak to very different audiences. One is chaos with flair. The other is clarity with focus.
The danger is trying to do everything. Trying to be for everyone. That’s how we get generic settings and safe drama. That’s how cinema and television end up bland.
People will show up for a good story. They’ll stay for characters who feel true. And they’ll talk about something that makes them feel.
So forget the genre. Forget the gimmicks. If the acting is strong and the writing honest, the audience will find you.
“This City Is Ours”
“This City Is Ours” premiered on BBC One on Sunday, 23 March 2025, at 9 pm GMT. All eight episodes are now available to stream on BBC iPlayer.
Series Synopsis:
Set in Liverpool, “This City Is Ours” follows Michael Kavanagh, a longtime figure in organized crime, as he contemplates leaving his illicit lifestyle behind for a future with his girlfriend, Diana. Complicating matters, crime boss Ronnie Phelan is considering retirement, igniting a power struggle between Michael and Ronnie’s son, Jamie, for control of the family’s criminal empire.
Writer, Director, and Production Company:
Writer: Stephen Butchard
Directors: Saul Dibb, John Hayes, and Eshref Reybrouck
Production Company: Left Bank Pictures
Top 5 Cast Members and Selected Previous Credits:
Sean Bean as Ronnie Phelan
Previous Credits:
“Game of Thrones” (2011–2019) as Eddard ‘Ned’ Stark
“Sharpe” series (1993–2008) as Richard Sharpe
“The Lord of the Rings: The Fellowship of the Ring” (2001) as Boromir
James Nelson-Joyce as Michael Kavanagh
Previous Credits:
“A Thousand Blows” (2024) as Treacle Goodson
“The Gold” (2023) as Micky McAvoy
“Time” (2021) as Johnno
Jack McMullen as Jamie Phelan
Previous Credits:
“The First Team” (2020) as Jack Turner
“The Souvenir” (2019) as Max
“Little Boy Blue” (2017) as Jordan Olssen
Hannah Onslow as Diana
Previous Credits:
“Empire of Light” (2022) as Ruby
“This Is Going to Hurt” (2022) as Erika Van Hegen
“Call the Midwife” (2021) as Janet
Julie Graham as Elaine Phelan
Previous Credits:
“Shetland” (2014–2019) as Rhona Kelly
“Benidorm” (2016–2018) as Sheron Dawson
“Survivors” (2008–2010) as Abby Grant
“Gangs of London”
“Gangs of London” Season 3 premiered on Sky Atlantic on March 20, 2025.
Series Synopsis:
In the third season, chaos erupts in London’s underworld after a spiked shipment of cocaine results in numerous civilian deaths. Former undercover cop turned gangster, Elliot Finch, now operates at the top echelons of the criminal hierarchy alongside the Dumanis. This catastrophe disrupts their operations, leading to intense power struggles, unexpected alliances, and violent turf wars as various factions vie for control.
Key Production Details:
• Creators/Writers: Gareth Evans and Matt Flannery.
• Directors: Gareth Evans, Corin Hardy, and Xavier Gens.
• Production Companies: Pulse Films, Sister Pictures, and Sky Studios.
Top 5 Cast Members and Selected Previous Credits:
Ṣọpẹ́ Dìrísù as Elliot Finch:
• “His House” (2020)
• “The Huntsman: Winter’s War” (2016)
• “Humans” (TV Series, 2016)
Joe Cole as Sean Wallace:
• “Peaky Blinders” (TV Series, 2013–2017)
• “Black Mirror” (Episode: “Hang the DJ”, 2017)
• “A Prayer Before Dawn” (2017)
Lucian Msamati as Ed Dumani:
• “Game of Thrones” (TV Series, 2011–2019)
• “Luther” (TV Series, 2010–2019)
• “Kiri” (TV Mini-Series, 2018)
Michelle Fairley as Marian Wallace:
• “Game of Thrones” (TV Series, 2011–2013)
• “Suits” (TV Series, 2013)
• “Harry Potter and the Deathly Hallows: Part 1” (2010)
Pippa Bennett-Warner as Shannon Dumani:
• “Harlots” (TV Series, 2017–2019)
• “MotherFatherSon” (TV Mini-Series, 2019)
• “The Smoke” (TV Series, 2014)
Episode Schedule:
Season 3 consists of 10 episodes. The series premiered on March 20, 2025, with episodes airing weekly on Thursdays at 9 pm on Sky Atlantic. Subscribers can also stream all episodes on NOW TV.
1923 What’s not to love about this series, with Harrison Ford and Helen Mirren making a brilliant and highly believable married couple! Helen Mirren’s performance in particular as the matriarch is sublime. I feel slightly bereft as season 2 comes to a close, and I’m not sure there’s room for a 1923 series 3—no spoilers. As part of the Yellowstone franchise, this is probably my favorite, and I have to say the talent of Taylor Sheridan is off the scale; his performance in the contemporary series is fantastic. There is one negative, and that’s Julia Schlaepfer as Alexandra. Her cut-glass English accent makes for an overall wooden experience—not so much a stiff upper lip as a stiff everything about it. I know she’s meant to be doing a 1920s royal posh RP accent, but honestly, as an English person, it sounds quite ridiculous and forced. You have Harrison being Harrison—a great actor, but his voice is his voice, and I’m sure it’s not authentic 1923 American. As for Timothy Dalton, he was just British, so why inflict Julia’s accent on us all? And speaking of Timothy Dalton, he was brilliant as the villain of the series. So 5 stars from me i loved it, as i have the entire franchise. May they find some spin offs soon!!
“1923” is a television drama series that serves as a prequel to “Yellowstone,” exploring the Dutton family’s challenges in early 20th-century Montana, including Western expansion, Prohibition, and the Great Depression.
Alt.review: Dune: Prophecy (HBO USA, Sky Atlantic UK)
Dune: Prophecy on Sky Atlantic embraces the monumental task of adapting Frank Herbert’s legendary science fiction epic for television. Following Denis Villeneuve’s cinematic masterpiece and David Lynch’s divisive 1984 adaptation, this series seeks to carve out its own niche. But does it succeed, or is it just another mirage in the desert of Dune retellings?
The Format: Deep Dive or Dragging Pace?
Television offers Dune: Prophecy a distinct advantage—time. The episodic format allows for intricate exploration of the politics of Arrakis, the Bene Gesserit’s manipulative schemes, and the ecological stakes of spice mining. Fans of Herbert’s books will revel in the detail, but the slower pace may alienate casual viewers.
Where Villeneuve emphasized grand cinematic scope and Lynch condensed the chaos into surreal storytelling, Prophecy opts for deliberate pacing. While this lends depth to characters like Lady Jessica and a richer portrayal of Fremen culture, it risks testing viewers’ patience with drawn-out scenes that sometimes feel indulgent.
Paul Atreides: A Hero Reimagined
The portrayal of Paul Atreides is a key differentiator. Where Timothée Chalamet’s Paul was a charismatic blend of reluctant heir and budding messiah, Prophecy leans heavily into his internal struggle. This version of Paul feels more vulnerable, burdened by the weight of prophecy, and truer to Herbert’s original vision.
While some may find this introspection refreshing, others might miss the magnetism that made Chalamet’s performance so compelling. The gamble pays off in emotionally charged moments but falters when Paul’s doubt drags pivotal scenes.
Arrakis Reimagined: Harsh and Intimate
The series’ depiction of Arrakis stands out. The desert is presented as an unforgiving and dangerous force, capturing its hostility better than the romanticized sands of Villeneuve’s films. However, the trade-off is a scaled-down aesthetic. Intimate, grounded sets replace sweeping vistas, offering a more functional, lived-in look that appeals to purists but lacks cinematic grandeur.
Supporting Cast: Shining Moments
The supporting characters are a highlight. Stilgar, the Fremen leader, receives a richer narrative arc, aligning more closely with Herbert’s depiction. His leadership and pragmatism shine in ways underexplored in previous adaptations.
Lady Jessica, however, sparks debate. While her expanded role as a Bene Gesserit operative adds intrigue, it sometimes sidelines her maternal depth, leaving fans of Rebecca Ferguson’s nuanced portrayal in Villeneuve’s films longing for more balance.
Themes: True to the Source
Dune: Prophecy excels in honoring Herbert’s core themes: ecological warnings, colonial critiques, and the interplay of religion and power. However, these themes are more subtly woven into Villeneuve’s films, while Prophecy makes them explicit through dialogue and character dynamics. This approach rewards dedicated fans but may feel heavy-handed to others.
Production Design and Sound: Mixed Results
While the series’ detailed production design captures the functional essence of Arrakis, it lacks the iconic visual splendor of Villeneuve’s adaptations. Similarly, the sound design and score, though competent, fail to evoke the emotional resonance of Hans Zimmer’s unforgettable compositions.
Final Thoughts
Dune: Prophecy is a bold attempt to bring Frank Herbert’s vision to the small screen. It’s a treasure trove of detail for fans of the book, with nuanced characters and a commitment to the source material. However, its slower pace and understated design may not appeal to casual viewers or those seeking the grandeur of Villeneuve’s films.
The question remains: Should Dune adaptations always be judged against their predecessors? Perhaps Prophecy deserves credit for telling its story on its own terms. If you have the patience, it’s a rewarding—if imperfect—journey through the sands of Arrakis.
A seasoned media consultant and multi-camera TV director, Jonathan brings decades of global experience in creating, producing, and directing innovative formats. Drawing on insights from the cutting edge of television and media trends, he offers a unique perspective on the challenges and opportunities shaping the industry today.
Sky Atlantic’s The Day of the Jackal reimagines Frederick Forsyth’s classic 1971 thriller for a modern audience. Eddie Redmayne takes on the iconic role of the Jackal, a calculating and elusive assassin, while Lashana Lynch’s MI6 agent Bianca matches him step for step in a tense game of cat and mouse.
This version isn’t just a straightforward adaptation—it dares to explore the Jackal’s family life, adding emotional complexity to the fast-paced intrigue. It’s a bold choice that might divide audiences, but it brings something new to a story many of us thought we already knew.
so, is the Day of the Jackal good or bad? Read on
The Family Plotlines: Bold or Distracting?
One of the biggest changes from the original story is the way the show delves into the Jackal’s personal relationships. These moments reveal a more human side to a character we’re used to seeing as an enigma. His strained family connections, quiet struggles, and flashes of vulnerability are unexpected but compelling.
This approach adds a fresh layer to the story—it makes the stakes feel more personal. However, it’s a choice that not everyone will agree with. Some may feel that shining a light on the Jackal’s private life takes away from his mystique. Whether it works or not depends on what you want from the character: the cold, unreachable professional, or a man grappling with the personal cost of his actions.
Alt.Review: A Layered Experience
Here’s what I found most engaging about the series:
The Jackal’s Planning and Precision
The Jackal’s meticulous strategies are a highlight. Every step he takes is calculated, and every pivot feels deliberate. It’s fascinating to watch his mind at work, whether he’s outsmarting authorities or improvising under pressure. It’s the kind of storytelling that rewards paying attention to detail.
A Truly International Thriller
The series doesn’t just confine itself to one or two locations—it takes viewers across Europe and beyond. From the streets of London to safehouses in Paris, from the sun-drenched coasts of Spain to the shadowy corners of Estonia and Germany, every setting feels distinct and vital to the story. These locations aren’t just backdrops; they’re integral to the atmosphere and action.
The Emotional Conflict
The Jackal’s family life adds emotional weight to the story. It’s not just about whether he’ll succeed in his mission—it’s about what he’s sacrificing along the way. These moments are thought-provoking and uncomfortable, adding a raw edge to the narrative.
A Brilliant Counterbalance in Bianca
Lashana Lynch’s Bianca is a standout. She’s sharp, determined, and brings a humanity to the story that contrasts with the Jackal’s cold professionalism. Her pursuit of him is as compelling as the assassin’s own schemes, creating a dynamic where you’re invested in both sides of the chase.
My Writer’s Thoughts
The pacing of the series feels uneven at times, particularly when switching between plotlines or locations. But instead of being frustrating, I found it added to the sense of unpredictability. The narrative mirrors the Jackal himself—never letting you settle, always keeping you on edge.
The family plotlines, while divisive, are one of the boldest parts of the series. They ask us to look at the Jackal in a new way, as someone with vulnerabilities and connections. It’s a gamble, but one that adds depth to the story.
Final Thoughts
The Day of the Jackal is more than a retelling—it’s a reinvention. Stylish, smart, and layered, it challenges our expectations while delivering the high-stakes tension of a classic thriller. Whether you’re drawn to the intricate plotting, the emotional depth, or the stunning international settings, this series has a lot to offer.
If you’re a fan of character-driven thrillers, I think you’ll enjoy this fresh take. And if you see it differently, I’d love to hear your perspective. That’s the joy of stories like these—they spark discussion and make us think.
Written by Jonathan Glazier
A seasoned media consultant and multi-camera TV director, Jonathan brings decades of global experience in creating, producing, and directing innovative formats. Drawing on insights from the cutting edge of television and media trends, he offers a unique perspective on the challenges and opportunities shaping the industry today.
Harry and Meghan Documentary: Hidden Messages is part one of my look at some of the production techniques used in the Netflix documentary. It’s not a review of the documentary or a commentary on the story. Its is my analysis of how the production team have used certain techniques to tell the story. Some of these techniques have a hidden psychological effect on the audience. They are well known in the advertising business. I use them all the time; even the title of this video is designed to hook you in; the Harry and Meghan Documentary: Hidden Messages, Harry and Meghan -is probably the most talked about and searched-for keyword today, and Hidden Messages is designed to create curiosity in the reader. Giving you the desire to find out what these messages may be and implying that you will come away from watching the video better informed. #uktvreviews #jgtvdirector #harryandmeghannetflix
So let me know what you think of my observations.
Key moments in this video
0:00 Start 0:06 What is this video about 0:40 Review Time 0:48 The Disclaimer and what it really means 2:45 Power Words set Agendas 4:00 The Towel Shot 5:05 The Master IV
EXCLUSIVE: TV Director on the INSIDE STORY of How TV works. Do you want to know how to make better videos to attract, engage and retain viewers? Using my experience making shows like Asia’s Got Talent and my 40 years in the broadcast business, I hope I can help. Using reviews of good and bad shows you watch and connecting them to YouTube videos that work, I will share my techniques for great storytelling. I am also going on a journey on YouTube. Using it as a place to experiment, make mistakes, and hopefully succeed. After 40 years, I still have so much to learn. How TV works is a mixture of reviews and behind the scenes of TV and my career.
Jonathan Glazier: TV Director, Executive Producer, Lecturer at University for the Creative Arts. Former Head of BBC Light Entertainment and International Formats, MD FoxWorld TV UK. Creative Director at Talent TV, Creative Director Endemol Asia.
Red Joan Review by Jonathan Glazier: This is a terrific film. With that cast, it should be Dame Judi Dench, Sophie Cookson and directed by Trevor Nunn. I found the narrative style fresh and exciting, the use of flashback is always a fine line, but I thought it was a line used to perfection. So that’s the good stuff, now for my issue. How loose does loosely based mean? Yes, Tube Alloys was the real cover for the British Nuclear Program, yes the real Joan was a secretary to the Chief Professor doing the research. And yes the real Joan gave a press conference on her suburban doorstep much to the amazement of her neighbours.
But the real Joan went to Southampton University, not Cambridge, she had long flirted with the communist party etc. etc. Her advocate was her daughter, not her son. So it really is a long list of points that goes beyond dramatic licence, in my view its a different story, a good story but actually fictional. I have always had an issue with that. It doesn’t matter how well observed the cars, costume and design match the period. If the facts are so bent, it’s not based on it is just very loosely inspired by. All said and done this is a film worth seeing.
