Hot off the hoof! Drag superstar Ginger Johnson is saddling up once again for a brand new UK tour with her spectacular live show Show Pony — a barnstorming blend of camp comedy, sequins, and theatrical mayhem that’s guaranteed to prance its way into your heart (and possibly your wig).

From Drag Race Throne to Live Stage

If you thought Ginger was content ruling RuPaul’s Drag Race UK — spoiler: she snatched the crown on series 5 — think again! Since winning the competition, this British drag icon (birth name Donald Marshall) has become a bona fide superstar in the queer entertainment world, beloved for her big laughs, big hair, and even bigger personality.

Her drag career stretches back well over a decade, with theatre shows, club gigs, and straight‑up carnivalesque performances under her belt — all wrapped up in that signature camp sparkle that only she can deliver.

What Show Pony Is All About

Following the wild success of Ginger Johnson Blows Off! in 2024, the inimitable Ginger is back on tour with Show Pony, described by promoters as:

“outrageous, untamed and completely off the reins” — and we don’t disagree.

This new live spectacular promises:

• High camp and low morals

• Whip‑smart comedy

• Ridiculous routines and signature silliness

• And all the glitter‑soaked joy that Ginger brings wherever she goes.

Fans who caught her recent stint on BBC One’s Celebrity MasterChef know Ginger doesn’t just serve looks — she slaysin the kitchen too. Mixing culinary chaos with drag glamour? That’s just Tuesday for her.

Hitting Theatres Across the UK

The Show Pony tour gallops through an exciting lineup of venues, kicking off in September 2026 and bounding all the way through February 2027. Expect appearances in:

• Cardiff Millennium Centre

• Soho Theatre, London

• The Lowry, Salford

• Nottingham Playhouse

• and many more theatres across the country!

Whether you’re a seasoned drag devotee or a curious theatre‑goer seeking an injection of theatrical sparkle, this tour is shaping up to be one of the most unmissable drag events of the year. Think of it as your raison d’gouden hoof to hit up the UK’s coolest venues in style.

Why It Matters

Drag has been a powerful vehicle for joy, community, and self‑expression — and Ginger Johnson is one of its most charismatic ambassadors. From stage to TV screens and now to a nationwide tour, she’s not just returning: she’s galloping back with flair.

So polish your rhinestones, warm up your vocal cords, and practice saying “Show Pony!” with gusto.

Steven Moffat has found a brand-new obsession, and this time it isn’t time travel, Victorian detectives, or morally complicated puzzles. Instead, he’s turned his attention to the most recognisable front door on Earth. Number 10 is Moffat’s upcoming comedy-drama set inside Downing Street, promising political chaos, workplace absurdity, and the kind of sharp dialogue that makes you laugh before you realise it’s uncomfortably close to reality.

This is not a documentary, nor is it a satire of any real political party. The government at the heart of Number 10 is entirely fictional, allowing the show to focus on the timeless madness of power rather than the headlines of the day. According to Moffat, it’s about “the madhouse that runs the madhouse” — a single building attempting to contain the ambitions, egos and caffeine dependencies of modern governance.

One House, Infinite Chaos

Set entirely within the Prime Minister’s residence and workplace, Number 10 treats the building itself as a character. The Prime Minister may technically be in charge, but the house has other ideas. Somewhere above, the PM is trying to run the country. Below, in the basement, a conspiracy-minded café manager is quietly convinced the real decisions are being made near the milk fridge. In between, over-stretched advisers argue over office space, crisis meetings collide with lunch orders, and even the famously resident Downing Street cat becomes part of the daily circus.

It’s a single location, but one that reflects the whole country under pressure — Britain condensed into corridors, stairwells, and rooms where history is made five minutes after someone spills coffee on a policy document.

Who’s Running the Country This Time?

At the centre of the storm is Rafe Spall, taking on the role of the fictional Prime Minister. Known for moving effortlessly between drama and comedy, Spall plays a leader whose biggest mistakes sometimes happen after a long lunch — with consequences that can escalate far beyond a mild headache.

Alongside him is Jenna Coleman, reuniting with Moffat after their Doctor Who collaboration. She plays the Deputy Chief of Staff, a role that requires equal parts political instinct, emotional intelligence, and the ability to keep a straight face while everything collapses around her. Katherine Kelly rounds out the leadership trio as the formidable Chief of Staff, a character who understands that power is less about speeches and more about knowing where the metaphorical (and literal) bodies are buried.

Together, the cast brings a distinctly British blend of competence, panic, sarcasm and quiet despair to the inner workings of government.

Moffat, Doors, and Disaster

Steven Moffat has joked that he’s always been fascinated by famous buildings. After 221B Baker Street and the TARDIS, Number 10 Downing Street was the next obvious step. What excites him isn’t policy or politics, but proximity — the way world-changing decisions are often made in rooms where someone is worrying about a broken printer or an over-steep teabag.

While the show leans heavily into comedy, it doesn’t shy away from the emotional and ethical weight of leadership. The laughs come from the systems, the misunderstandings, and the very human flaws of people tasked with impossible responsibility. It’s less about mocking politics and more about exposing the chaos that naturally arises when flawed humans attempt to run a country from a single building.

When Can We Watch?

Number 10 has been commissioned by Channel 4 and is produced by Hartswood Films, the company behind Sherlock and Dracula. Filming is underway, with a broadcast expected in 2026. Direction comes from Ben Palmer, whose experience balancing character-driven comedy with grounded storytelling makes him an ideal match for Moffat’s tone.

Final Word

Number 10 looks set to be one of those rare shows that manages to be sharp without being cynical, funny without being flippant, and absurd without losing its sense of reality. It’s a reminder that behind every grand political gesture is a cramped office, a stressed adviser, and someone desperately trying to remember where they left their notes.

The door at Downing Street has seen a lot over the years. In 2026, it’s finally going to tell its own story — and judging by Moffat’s track record, it’s going to be loud, clever, and very, very British.

If you thought the only thing lost from your youth was your last Tamagotchi — think again. Because now there’s a rare, dusty, never‑aired draft of a Christmas special from the classic BBC sitcom Blackadder, up for sale. And the reason it was shelved? As scandalous as a turkey that can talk.

The Script That Nearly Was: Meet Blackadder in Bethlehem

Back in 1988, writer Richard Curtis penned a draft for a festive special called Blackadder in Bethlehem. The plan was to time‑warp the wily (and sarcastic) titular character — played by Rowan Atkinson — all the way back to Bethlehem, where he would run an inn. Into the innwalk not scandalous West End types, but rather the Biblical Mary and Joseph — desperate for a bed on Christmas Eve. Cue chaos.

Fans have drooled at the premise ever since the draft was rediscovered. On paper (or rather, typewritten page), the lost episode includes some of the sort of irreverent jokes you might expect if the team behind Blackadder had tried to combine the farce of Fawlty Towers with the cheeky irreverence of Life of Brian. In fact, Curtis himself described the aborted script as “a strange mixture of Fawlty Towers and Life of Brian.”

But soon after writing the first 20 pages, Curtis balked. He described that he abandoned it “for fear it would cause too much offence.”

Hence, no angels, no wise men — and definitely no talking turkey, at least not on the BBC’s airwaves.

What Was in It — and What Was Too Hot for the 1980s Airwaves

The surviving draft is apparently only around 20 pages long — a skeletal Christmas special rather than a full episode. But the bits that made it into the file are rich with the sort of off‑kilter humour beloved in Blackadder:

• Blackadder as a “Basil Fawlty–esque innkeeper,” grumbling at having to host Mary and Joseph, tossing Baldrick (his sidekick) out of his usual lodgings.

• A moment in which Joseph, after Baldrick sneezes, mishears “atishoo!” as “Jesu” — and considers naming the baby “Jesu.” Yep, that’s the kind of comedic blasphemy that might’ve triggered an 80s uproar.

• A talking turkey, who learns it’s destined for dinner, wailing in existential horror — a gag so absurd it might’ve made you snort Christmas pudding out your nose.

• Chaos at the inn: shepherds, kings, a Roman demanding strippers, lion tamers and magicians — all crashing the nativity, turning sacred history into a farcical inn’s “anything‑goes” night.

Legendary comedy historian Jem Roberts — who first revealed the script when researching a book about the series — called the draft “the rough workings of a comic genius.” He admitted that it was never fully formed, but that it had flashes of brilliance that might have made a truly mad, riotous Christmas special.

However, those flashes were never refined into filmed comedy — because even its creator thought it would be too risky.

A Script on Sale — For Charity

Fast‑forward to 2025, and the script is no longer just a dusty relic hidden in a filing cabinet. The draft of Blackadder in Bethlehem is now being auctioned — all proceeds to go to the global children’s education charity Theirworld.

The auction lot also includes something else to excite true fans and collectors: an original studio script from the episode Corporal Punishment (from Blackadder Goes Forth) — complete with handwritten notes from the filming process.

Curtis himself has spoken about the decision to donate the script: he said that in today’s world — now that the show has been over for decades — “there’s no harm in people reading it — if only to see just how far things used to improve before first draft and recording.”

In other words, this isn’t a cynical cash‑grab. It’s comedy archaeology, charity‑style.

But, Should It Have Been Made?

You almost have to admire the restraint. Had that turkey gag made it to screen, or the “Jesu” joke, or a Roman demanding strip‑teasers at the nativity — the uproar might have made today’s “taboo‑comedy” backlash look like a polite garden party.

But ironically, part of what makes this script fascinating is the contrast between what might have been and what actually was — the sharp, biting satire of Blackadder turned loose on sacred narrative, and then promptly swaddled and locked away.

There’s also a sense of “what if”: what if the creators had stuck with boldness rather than caution? Could Blackadder in Bethlehem have become a cult classic — or a laughable misstep?

As Roberts put it: “It’s the rough workings of a comic genius.” But genius doesn’t always equate with good taste — and maybe, just maybe, the right call was made. Still, for collectors and comedy nerds: what a find.

British comedy’s own improv dynamo Kiell Smith-Bynoe is hitting the road with his wildly popular improvisation show Kool Story Bro. Yes, you heard right: all the spontaneous chaos, audience‑driven storytelling and last‑minute hilarity you’ve been dying to witness — now live, nationwide.

From TV Fame to Improv Stardom

You probably know Kiell from his roles on hit shows like Ghosts, Stath Lets Flats, and his recent stint as host of The Great British Sewing Bee — a post he took over after the Christmas special in 2021.

But comedy has never satisfied him sitting still. Drawing on years of sketch‑writing credits and improv experience, Kiell dreamed up Kool Story Bro — a show where nothing is pre-written and the only script is whatever bizarre story the audience throws at him.

The Tour: Bring On Mayhem (And Laughter)

The 2026 nationwide tour of Kool Story Bro is a big deal: 15 dates across the UK.

With a rotating troupe of comedy talent — including the likes of Emma Sidi, Lola-Rose Maxwell, Nic Sampson, and Graham Dickson — each show promises brand‑new, never‑to‑be-repeated scenes.

Past shows have even featured surprise celebrity guests — from musicians to comedians — mingling with the improv set and adding extra chaos to the mix. Names like Lily Allen, Mo Gilligan, Guz Khan, and even Kiell’s own Ghosts co‑star Charlotte Ritchie have all turned up.

I mean, what’s better than an improvised skit based on “that time someone accidentally sent a text meant for their mum to their boss (oops)”? Now imagine that, with TV stars, last‑minute chaos and a live crowd howling with laughter.

Why Now? Because Improv Is Back, Baby

Once viewed as the “ugly step‑child” of UK comedy — overshadowed by stand‑up and sketch — improv is now enjoying a full-blown renaissance. Performers like Kiell are helping to revive interest by blending improv’s raw spontaneity with A‑list comedic talent.

Kool Story Bro rides this wave perfectly: part comedy experiment, part crowd‑sourced chaos, all heart. As Kiell himself said, he often asks audiences “make some noise if you’ve never seen improv before” — and apparently about 40 % do, meaning there are still loads of people for whom this will be their first taste of unscripted comedy.

What to Expect — And Why You Should Go

• Total unpredictability: Every show is unique. Audience stories, surprise guests, spontaneous madness. You won’t get the same thing twice.

• High energy & big laughs: This isn’t low‑key drama; this is “can’t‑breathe‑between‑gasps‑and‑laughs” theatre.

• Mix of celebrity & fresh talent: A mix of well-known faces and up‑and‑comers — which means it’s funny, but also full of surprises.

• Welcome to improv — no experience necessary: Whether you’ve never seen improv or you’re a die‑hard fan, this show is made for you.

If you’ve ever thought “I wish comedy was more spontaneous, more weird, more live,” then grab a ticket to Kool Story Bro while you can. With Kiell Smith‑Bynoe at the helm, you’re signing up for chaos, joy — and maybe the most ridiculous night out you’ve had in ages.

If you thought Christmas was all mince pies, mulled wine and merriment, prepare to adjust your snow-globes — because British comedy treasure Julian Clary has reportedly taken a turn for the… grinchy. Yes, the same man who once sashayed across TV screens in glittering suits, cooing jokes with a delicately raised eyebrow, is now the subject of a rumour suggesting he’s gone full Christmas curmudgeon.

From Glitter to Grumble

Julian Clary has never been shy about reinvention. After bursting onto the 1980s alternative comedy scene with gleefully provocative personas — including his delightfully camp early act “The Joan Collins Fan Club” — he evolved into one of the most recognisable comedians in the UK. He presented boldly playful shows such as Sticky Moments in the late ’80s and the courtroom-spoofing All Rise for Julian Clary in the ’90s, cementing his reputation as the master of sly innuendo and outrageous charm.

But now? Well, imagine Clary gliding through a Christmas market with a furrowed brow, tutting at fairy lights, batting baubles out of his way, and declaring that there is “simply too much cheer this year.” The image alone has delighted fans and mischievous rumour-spreaders alike.

Where Did the Grinch Talk Begin?

Whispers began after Clary was reportedly overheard making a dry remark about the “over-commercialised nonsense” of Christmas while promoting his live tour, A Fistful of Clary — a show he describes as adult, cheeky and filled with the kind of jokes that make the audience giggle like naughty schoolchildren. Some seized upon the remark as evidence that he has finally snapped under the weight of festive jingles.

However, there is absolutely no solid indication that Clary has deliberately declared war on Christmas. Nothing in his public appearances suggests he has turned into a full-time Scrooge. In fact, fans of his carefully-curated theatricality suspect something else entirely: that the whole idea is simply Clary being Clary — a man whose comedy thrives on exaggeration, irony and lovingly camp mischief.

A Grinch? Or Just Another Fabulous Persona?

Given his decades of performing with a wink and a flourish, it isn’t hard to believe that Julian might lean into a “grumpy Christmas villain” persona purely for fun. This is a performer known for outrageously flirtatious audience banter, lavish costumes, and a knack for transforming everyday situations into theatrical silliness. The notion of him donning emerald green velvet and lamenting the horrors of carol singing feels like exactly the sort of festive twist he’d relish.

His career has always shone brightest when he subverts expectations: whether as a mock judge presiding over ridiculous disputes or as a camp icon delivering lines so naughty they could curdle eggnog. A seasonal shift into grinch-hood fits beautifully into that pattern.

So, Is Julian Clary Really Turning Grinch?

The short answer: probably not. There’s no declaration that he despises Christmas, no evidence he’s sabotaging nativity scenes, and certainly nothing to suggest he’s barging into pantomimes to confiscate tinsel. At most, he has provided a single dry comment that has blossomed — or perhaps mutated — into a delightful rumour.

But the idea of Julian Clary as Britain’s most glamorous Grinch? It’s irresistible. It’s perfectly silly. And frankly, it’s the kind of wonderfully offbeat holiday story that feels right at home in the universe of a man who has always delighted in bending the rules of comedy.

So until he’s spotted stealing a turkey from a supermarket or booing “Silent Night,” we’ll chalk it up to festive fantasy — and enjoy the thought of Julian Clary, the coyest Grinch Christmas never knew it needed.