Peter Capaldi says there was a specific moment he realised his casting had transitioned from affable geek to bad guy. It was during an advert for butter.
The 66-year-old actor, who’s been called the world’s most terrifying actor, told Sky News he had the realisation he’d “gone sinister” while recording a voiceover for Anchor Butter.
About to reprise the role of serial killer Gideon Shepherd in series two of psychological thriller The Devil’s Hour, it’s a quality the Scottish star is making the most of.
Capaldi explains: “I don’t quite know how that happened… When I was a young actor, I always played sort of slightly geeky and pleasant, easy-going sort of people. And then somewhere – probably around Malcolm Tucker time – I began to change.”
He played tyrannical spin doctor Malcolm Tucker in BBC sitcom The Thick Of It for seven years, as well as reprising the role in the 2009 movie version.
Widely considered to have been based on spin doctor Alastair Campbell, who was aide to Tony Blair during his Labour leadership, Capaldi’s portrayal was ripe with ruthlessness, ranting and extreme profanity.
The role was a fan favourite, turning Capaldi into a household name.
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Capaldi goes on: “The key moment for me was doing a voiceover for Anchor butter, which [culminated in the line] ‘Anchor, tastes like home’.
“Then one day, on what I didn’t realise was my last voiceover, they said, ‘Could you sound a little less sinister?’
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“I thought, ‘Oh no, I’ve gone sinister, and I don’t know how that’s happened’. But then I thought, ‘Well, if people want to buy it, that’s fine’.”
Image: Capaldi as spin doctor from hell, Malcom Tucker in The Thick Of It Pic: BBC
‘A time travelling timey-wimey kind of character’
In 2013, the year after the final series of The Thick Of It, Capaldi became the Twelfth Doctor in sci-fi classic Doctor Who.
A fan of the show as a child, he was widely praised for reinventing the role, with a heavy dose of grumpiness at the outset, transitioning to kindness by the end of his four-year tenure.
He says he wasn’t worried about time-travel typecasting for his role in The Devil’s Hour, which also sees him bounce back and forward in time.
Executive produced by Steven Moffat – head writer of Doctor Who during Capaldi’s stint – along with Moffat’s wife, acclaimed TV producer Sue Virtue, the actor credits them with being “very gifted” programme makers.
Capaldi explains: “I think they probably felt with a sort of time travelling timey-wimey kind of character, I might fit that. And that’s fine.
“I guess I’m able again for some reason to kind of plug into a kind of cosmic vibe, so that was useful for Gideon, and I’m quite happy to do that.”
Image: Pic: Amazon Studios
‘I’ve got terrifying and cosmic things in my toolbox’
With early gigs in theatre, before TV and film roles followed, Capaldi looks back to his youthful knock backs as his building blocks for latter-day success.
He admits: “The thing that stops you getting work when you’re young, is often the thing or things that will bring you work when you’re older.
“It’s your individuality. It’s the things that are odd, the things that are different. And if I’ve got terrifying and cosmic things in my toolbox that are mine then that’s good, they get me work.”
Capaldi labels himself a “lucky” actor, explaining: “Life is unpredictable.
“You can be tootling along thinking things are going fine, and then some difficult challenge can suddenly floor you.
“By the same token, the stars can align, and your life can be transformed in a very positive way, through nothing that you’ve done.
“Certainly, in my experience, things have happened to me that were pure luck – I just happened to be in the right place at the right time or available.”
Image: Capaldi as the Twelfth Doctor in the 60th Anniversary Special alongside Jenna Coleman Pic: BBC
Brutal and violent – but not gratuitous
Other recent roles include a morally grey police chief in Criminal Record, supervillain The Thinker in Suicide Squad and tragic war poet Siegfried Sassoon in biography Benediction.
He’s also been announced as one of the stars of the next season of Black Mirror, which will air next year, and while details of his part are yet to be confirmed, Charlie Brooker’s dystopian anthology is unlikely to be full of rainbows and sunshine.
But it’s his latest role in The Devil’s Hour, playing a criminal mastermind who “remembers the future”, that is the darkest so far.
The storyline involves multiple murders – including those of children – terrorism and domestic abuse.
But while the crimes are grisly and brutal, they’re not portrayed gratuitously on screen.
Image: Jessica Raine in The Devil’s Hour Pic: Amazon Studios
‘I’ve got a grandpa thing going on’
Like his co-star Jessica Raine, Capaldi admits his tolerance of depictions of violence around children in TV and film hit a wall when he became a parent.
Father to one daughter, now 30 with two children of her own, Capaldi says: “I feel that very powerfully. But that’s the business we’re in.
“I think we’re all very warm and concerned and protective of our children. But at the same time, they love Grimms’ Fairy Tales.
He goes on: “I was just about to say maybe everything should be Disneyfied. But then, you know, all of those old fairy tales are full of the most terrible violence and horrors.
“There’s a kind of fine line between trying to keep children safe and keeping them aware of the world. It’s not all Disney.”
Then, after a beat, Capaldi adds: “Although I am available if Disney are watching… to bring my cosmic and terrifying but cheerful toolbox.”
After five decades of success in the notoriously fickle world of showbiz, Capaldi’s chameleon-like nature continues to bring him work.
And always looking to the future, he adds: “I’ve got a grandpa thing going on now, that might be quite useful.”
Season 2 of The Devil’s Hour is streaming on Prime Video from Friday 18 October.
Season 3 of The Devil’s Hour, which has already been filmed, will air in 2025.
Succession writer Jesse Armstrong says he hopes his new film about toxic tech billionaires can be a receptacle for anyone who is “feeling wonky about the world”.
Now making his film directorial debut with Mountainhead, starring Steve Carell and Jason Schwartzman, Armstrong has shifted his focus from cut-throat media moguls to a group of billionaire friends meeting up to compare bank balances against the backdrop of a rolling international crisis they appear to have stoked.
Speaking to Sky News about the project, he said: “For a little while I poured some of my anxieties and feelings into it… and I hope it can be a receptacle for other people if they’re feeling wonky about the world, maybe this can be somewhere they put some of their anxieties for a while.”
Image: Cory Michael Smith (R) plays Venis in Mountainhead. Pic: Mountainhead/HBO
Image: Jesse Armstrong with Ramy Youssef. Pic: Mountainhead/HBO
Few television writers achieve widespread recognition beyond their work, but Armstrong – the man behind Succession, one of the most critically acclaimed TV shows of the past decade – has become a household name and is today one of the world’s hottest properties in high-end drama.
“If there was more self-reflection and self-knowledge, there probably wouldn’t be such amenable targets for comedy and satire,” he admits.
Long before he gifted viewers with the likes of manipulative Logan Roy and sycophantically ambitious Tom Wambsgans, back in the beginning, there was selfish slacker Jez and the perennially insecure Mark on his breakthrough hit Peep Show.
“I love comedy, you know, it’s my way in,” he explains. “I think I like it because… the mixture that you get of tragedy and absurdity strikes me as a sort of a true portrayal of the world… and I just like jokes, you know, that’s probably the basic reason.”
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After putting his pen down on the finale of Succession, walking away with 19 Emmys and nine Golden Globes, attention was always going to be drawn to what Armstrong did next.
“I had a couple of other things that I thought I would write first and this kind of snuck up on me as an area of interest,” Armstrong says.
“After I’d listened to a bunch of tech podcasts and Ted talks, I sort of needed somewhere to put the tone of voice that was increasingly in my head.”
Tapping into the unease surrounding big tech, he wrote, shot and edited Mountainhead in less than six months.
Image: Jesse Armstrong says the film’s theme ‘snuck up on me as an area of interest’
Capturing the audience mood
Explaining why he worked so fast, he said he “wanted to be in the same sort of mood as my audience, if possible”.
While he insists there aren’t “any direct map-ons” to the billionaire tech moguls, which frequently make headlines in real life, he joked he’s “happy… to play a game of ‘where did I steal what from who?'” with viewers.
“You know… Elon Musk… I think at least people would see some Mark Zuckerberg and, I don’t know, some Sam Altman, there is a bunch of those people in all the [film’s] different characters… and we’ve stolen liberally from the world in terms of the stories we’ve given them.”
Steve Carell is tasked with delivering some of the film’s most memorable lines as the satire explores the dynamic between those holding the power and those pulling the strings.
“People who lack a certain degree of self-knowledge are good for comedy….and if there was more self-reflection and self-knowledge, there probably wouldn’t be such amenable targets for comedy and satire.
“You know, living in a gated community and travelling by private jet certainly doesn’t help you to understand what life is like for most people.”
Armstrong’s gift for using humour to savagely dramatic ends is arguably what makes him one of the most sought-after writers working today.
Behind his ability to craft some of the sharpest and scathing dialogue on our screens, he views what he does as more than getting a laugh.
“I do believe in the sort of nobility of the idea, that this is a good way to portray the world because this is how it feels a lot of the time.”
Mountainhead will air on Sky and streaming service NOW on 1 June.
Taylor Swift has bought back all the rights to her master recordings – but has suggested she won’t be re-releasing her Reputation album.
“All the music I’ve ever made now belongs to me,” the star announced on her official website.
“I’ve been bursting tears of joy… ever since I found out this is really happening.”
The pop star had originally lost the rights to her first six albums in 2019 when her first record label, Big Machine, sold them to music executive Scooter Braun.
After she learned Braun had acquired her musical catalogue, she opened up about it in a lengthy Tumblr post, blaming him for being complicit in Kanye West’s “incessant, manipulative bullying” of her.
Swift said she was not given the opportunity to buy her work outright, and so, in a bid to diminish the value of the master tapes, she set about re-recording them.
Image: Taylor Swift’s back catalogue was eventually sold on by Scooter Braun
She had re-released four “Taylor’s Version” albums to date. Just her self-titled debut album and Reputation remained.
Braun later sold his stake in her albums to Shamrock Holdings, a Los Angeles investment fund, in a deal reported to be worth £222 million.
It is not known how much Swift paid Shamrock to re-acquire the rights to her songs.
Swift said she was “forever grateful” to Shamrock for allowing her to buy the rights to her music back.
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“This was a business deal to them, but I really felt like they saw it for what it was to me: My memories and my sweat and my handwriting and my decades of dreams,” Swift wrote on her website.
“I am endlessly thankful. My first tattoo might just be a huge shamrock in the middle of my forehead.”
What it means for Reputation fans
Just two albums remained to be re-released by Swift – her self-titled debut album and Reputation. The latter was a particularly strong source of speculation among fans, who would look for clues in her outfits during her record-breaking Era’s tour.
But this announcement could spell the end of that.
“Full transparency: I haven’t even re-recorded a quarter of it,” Swift said.
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Prince William spotted ‘dad dancing’ at Taylor Swift’s Wembley concert in 2024.
She said Reputation was “so specific” to a certain time in her life, that she kept hitting a block when she tried to re-record it. She also said she felt it was the first album she could not improve by re-recording it.
Debut has been re-recorded, with Swift saying she “loves how it sounds now”.
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But both albums could still “re-emerge when the time is right”, particularly the unreleased tracks.
“If it happens, it won’t be from a place of sadness and longing for what I wish I could have,” Swift said.
How Swift’s stance changed the music industry
In the music industry, the owner of a master controls all rights to their artists’ recordings. This is usually agreed in contracts with artists, and allows them to recoup the financial investment they make in stars, including funding production, marketing and promotion.
It also means they can distribute it to new streaming services or license the songs to be used in movies.
Image: Pic: AP
Swift, as co-writer of her music, had always maintained publishing rights.
“I do want my music to live on. I do want it to be in movies. I do want it to be in commercials. But I only want that if I own it,” she told Billboard in 2019.
Swift said today she had been “heartened by the conversations this saga had reignited within my industry among artists and fans”.
“Every time a new artist tells me they negotiated to own their master recordings in their record contract because of this right, I’m reminded of how important it was for all of this to happen.”
Russell Brand has pleaded not guilty to rape and sexual assault charges as he appeared in court in London.
The British comedian and actor, from Hambleden in Buckinghamshire, was charged by post last month with one count each of rape, indecent assault and oral rape as well as two counts of sexual assault.
The charges relate to alleged incidents involving four separate women between 1999 and 2005.
The 49-year-old, who has been living in the US, was flanked by two officers as he pleaded not guilty to all the charges at Southwark Crown Court today.
Image: Russell Brand appears at Southwark Crown Court. Pic: Reuters
Brand stood completely still and looked straight ahead as he delivered his pleas.
The comedian, who has consistently denied having non-consensual sex since allegations were first aired two years ago, is due to stand trial in June 2026.