and career playing powerful and interesting women.- career playing powerful and interesting women. grit, good sense and _ interesting women. grit, good sense and determination... in| sense and determination... in film, tv and in the theatre. she found fame aged just 2a as dennis kelly in the x—files. isn't it nice to be dennis kelly in the x—files. isn't it nice to he suddenly so highly— isn't it nice to he suddenly so highly regarded? isn't it nice to be suddenly so highly regarded?— highly regarded? before completely _ highly regarded? before completely changing - highly regarded? before - completely changing direction for her next role in the bbc�*s bleak house and ms havisham in great expectations. more recently she has played real—life characters, the former british prime minister margaret thatcher in the crown and the journalist emily maitlis in scoop, the dramatisation of that interview with prince andrew. this dramatisation of that interview with prince andrew.— with prince andrew. this is about honesty. _ with prince andrew. this is about honesty. do - with prince andrew. this is about honesty. do you - with prince andrew. this is| about honesty. do you want with prince andrew. this is - about honesty. do you want to have a seat?— have a seat? but it is her role as a sex _ have a seat? but it is her role as a sex therapist _ have a seat? but it is her role as a sex therapist and - have a seat? but it is her role as a sex therapist and the - as a sex therapist and the netflix series sex education that has led her to her latest project. she has been curating a book all about women's sexual

fantasies. did a book all about women's sexual fantasies. , , ., ., fantasies. did you bother to read it? i — fantasies. did you bother to read it? i did, _ fantasies. did you bother to read it? | did, |_ fantasies. did you bother to read it? i did, i liked- fantasies. did you bother to read it? i did, i liked it. - fantasies. did you bother to read it? i did, i liked it. | i read it? i did, i liked it. i ruess read it? i did, i liked it. i guess my _ read it? i did, i liked it. i guess my number - read it? i did, i liked it. i guess my number one i read it? i did, i liked it. i- guess my number one fennessy is to feel i am utterly desired. you seem fairly comfortable talking about sex. i you seem fairly comfortable talking about sex.— talking about sex. i am very comfortable _ talking about sex. i am very comfortable with _ talking about sex. i am very comfortable with it. - talking about sex. i am very comfortable with it. i - talking about sex. i am very comfortable with it. i did . comfortable with it. i did include my own fantasy in the book. any clues which one? it book. any clues which one? it isjust over 50 years book. any clues which one? it is just over 50 years since nancy friday published her groundbreaking book my secret garden, full of women's sexual fantasies. this, want, is your selection, equally groundbreaking, from women who have written to you from all over the world. we have such a wide range of letters and all different kinds of fantasies. from different women and cultures and sexual preferences and diverse backgrounds. why

don't you start by telling me how you feel when you think about having sex?— how you feel when you think about having sex? your role in sex education _ about having sex? your role in sex education was _ about having sex? your role in sex education was very - about having sex? your role in sex education was very much i sex education was very much that, a role. you are not a psychologist, but you are, of course, an advocate for women, a supporter of lgbt plus rights. i wonder how you tread the line between duration of the line between duration of the book and analysing the fantasies. i the book and analysing the fantasies.— fantasies. i find it hard to read them _ fantasies. i find it hard to read them and _ fantasies. i find it hard to read them and not - fantasies. i find it hard to read them and not think, | fantasies. i find it hard to - read them and not think, who are they, what's going on in their lives? because they haven't revealed very much, what's the psychology behind these particular fantasies, proclivities. as you say, i'm not an expert, and i have left that to other people and, in the process of communicating around the book and the events that we will be holding in the discourse that will end up happening, i have no doubt

there will be conversations about psychology and motivation and trauma. but i think what i was most interested in was the m was most interested in was the joy and the enjoyment that the women had, clearly, in writing. how much it opened them up to understanding themselves more, it seemed. i mean, ultimately, this is not my book. this is the book of every woman who contributed. and, yes, i curated, and yes, i wrote the introduction to each chapter, but it very much feels like the voices of women who dared to write and be heard. bud voices of women who dared to write and be heard.— write and be heard. and there is still, for — write and be heard. and there is still, for many _ write and be heard. and there is still, for many people, - is still, for many people, ashamed or to about talking about sex and talking about your sexual fantasies. you seem fairly comfortable about sexuality and sex. is that right? sexuality and sex. is that riuht? , . ,

right? yes, i am very comfortable - right? yes, i am very comfortable with - right? yes, i am very comfortable with it. i right? yes, i am very - comfortable with it. and... i mean, it's not something that i talk about outside of this book, i don't talk about it all the time. book, i don't talk about it all the time-— book, i don't talk about it all the time. ., �* ., ., ., the time. you're not going out to dinner _ the time. you're not going out to dinner and _ the time. you're not going out to dinner and telling _ the time. you're not going out to dinner and telling people i to dinner and telling people about your sexual fantasies. i about your sexual fantasies. i don't, and as you say, did include my own fantasy in the book. that was requested by the publishers. book. that was requested by the publishers-— publishers. how did you feel about that? _ publishers. how did you feel about that? i _ publishers. how did you feel about that? i was _ publishers. how did you feel about that? i was fine. it i publishers. how did you feel i about that? i was fine. it made sense to me- _ about that? i was fine. it made sense to me. it _ about that? i was fine. it made sense to me. it made - about that? i was fine. it made sense to me. it made perfect l sense to me. it made perfect sense to me. it made perfect sense that i would do that. what i was surprised by was how long i put it off and how much i struggled to actually get it down on the page. it wasn't so much about making it perfect or interesting to read, it was certain words, the intimacy of it, suddenly describing the imagery that's been in my head for awhile the action of doing that was so... added a level of

intimacy that i wouldn't have expected. and i wouldn't have expected. and i wouldn't have expected myself to be so shy around it and so nervous around it, but you touched on to boo and that is one of the reasons why i was curious about launching this book and continuing the conversation that nancy friday started, and that nancy friday started, and thatis that nancy friday started, and that is sex and sexual fantasy is still very much to boot, even though we have shows like sex education and euphoria and fifty shades of grey, and there are many erotic films that are actually at the venice film festival right now. and i must talk about the multibillion—dollar porn industry. it is in our faces, on our screens, on our phones, all the time, and yet talking about what goes on inside our

minds makes people really uncomfortable. i minds makes people really uncomfortable. i wondered whether you _ uncomfortable. i wondered whether you came - uncomfortable. i wondered whether you came to i uncomfortable. i wondered whether you came to any l whether you came to any conclusions about how our attitudes to sex and women and sex have changed in the 50 odd years since nancy friday. yes. years since nancy friday. yes, i mean, years since nancy friday. yes, i mean. i _ years since nancy friday. yes, i mean, ithink_ years since nancy friday. yes, i mean, i think one _ years since nancy friday. yes, i mean, i think one of - years since nancy friday. yes, i mean, i think one of the i i mean, i think one of the things that surprised me was that there is still so much shame. that women still struggle to talk about it, struggle to talk about it, struggle to talk about it, struggle to share. even in the western world, where we have access to it all the time, obviously still there are many countries and cultures where illegality around same—sex partnership is real and punishable by death and there are cultures where anything outside of the header and normative sexual relationship is just to boo beyond what we

experience. but the fact that in the west, women still struggle and share in this book about how much they struggle to think about it, to talk about it, was quite an eye—opener. because it was evident to me in nancy friday's book, and i would have thought there would be less of it today. won't make any sense of why, any understanding of why there isn't? i think it's because it isn't? i think it's because it is still to boo, because we don't talk about it. it's not pleasure, which is part of what we are talking about — is not necessarily taught in schools. it's not part of sex education. so much of sex education is about what you shouldn't do. it's quite rudimentary and technical. i it's quite rudimentary and technical-— it's quite rudimentary and technical. , ., , technical. i should say, 'ust for people i technical. i should say, 'ust for people watching i technical. i should say, just for people watching and i for people watching and listening, i should say that some of what i want to refer to

now is quite detailed and might offend people. but in nancy friday's book, there are specific chapters about fantasies and nonconsensual or illegal sex, for example a chapter about rape fantasies. i think you received some of those kinds of submissions as well, and although your book is not that's explicit, it does tend in that direction. you have a chapter called the captive. what was your thought process when deciding what to include in that area? we definitely _ include in that area? we definitely talk _ include in that area? - definitely talk about it, and we made it very clear that we weren't going to accept letters that bordered on illegality or beast reality or incest, and i think that was absolutely the right call. however, there are some in the captive section and a few other letters that border on dangerous topics. it almost

felt — it almost felt disingenuous for us not to include them.— disingenuous for us not to include them. �* .. , , ., include them. because they are fantasies that _ include them. because they are fantasies that women _ include them. because they are fantasies that women have. i fantasies that women have. because they are fantasies that women have, and that doesn't necessarily mean that those fantasies are something that a woman actually wants to happen. part of the point of them and processing them in the confines of a woman's mind is working that stuff out. and also, we have to remember that all fantasy — we are the director. even though it may describe actions that appear to be nonconsensual, they are consensual by the fact that they are being made up in the mind of the woman who is fantasising about them. she is

in charge- _ fantasising about them. she is in charge. she's _ fantasising about them. she is in charge. she's in _ fantasising about them. she is in charge. she's in charge, i fantasising about them. she is| in charge. she's in charge, she is the director, _ in charge. she's in charge, she is the director, and _ in charge. she's in charge, she is the director, and can - in charge. she's in charge, she is the director, and can decide | is the director, and can decide with whom, when, where, how much, how often, when to stop, went to continue. so it feels like an empowering admission and revelation, rather than something that is under somebody else's control. i somebody else's control. i found it fascinating that... and i guess quite sad as well, that there is quite a lot about body image, and it plays quite a big part in people's fantasies. some people are unable to include themselves and their fantasies. unable to include themselves and theirfantasies. one unable to include themselves and their fantasies. one woman has a fear of being touched, because nobody wants to touch her. ~ . . her. what i am finding in eo - le her. what i am finding in peeple who _ her. what i am finding in people who are - her. what i am finding in people who are reading i her. what i am finding in i people who are reading the her. what i am finding in - people who are reading the book is that by reading other women talk about the degree of shame that they feel, and also the details of the kinds of sexual fantasies that they have, that

they feel less alone.- fantasies that they have, that they feel less alone. one entry sa s m they feel less alone. one entry says my fantasy _ they feel less alone. one entry says my fantasy is _ they feel less alone. one entry says my fantasy is to _ they feel less alone. one entry says my fantasy is to have i they feel less alone. one entry says my fantasy is to have a i says my fantasy is to have a man love me for who i am, not to see me as a living sex toy. and i wonder whether you would read an extract, i think it is page 15 for us.— read an extract, i think it is page 15 for us. yes. i found it so difficult — page 15 for us. yes. i found it so difficult to _ page 15 for us. yes. i found it so difficult to understand i so difficult to understand what, truly, my own fantasies are. so much of what is played out in porn is geared towards men, and so many expectations set on us as women that i have a very difficult time navigating what really turns me on this is howl navigating what really turns me on this is how i feel i should perform. i guess my number one fantasy is to be made to feel like i am utterly desired. i want to be completely ravished, for my partner to explore my body like it's a drug for them, to make me feel as ifjust my naked presence ignites them, not because it's just another naked body but because it's me

and my body. feeling so unique and my body. feeling so unique and hearing it from another person makes me feel desirable for exactly who i am, all insecurities aside. and more desirable i feel i am to my bed partner, the more i am.- partner, the more i am. there something _ partner, the more i am. there something about _ partner, the more i am. there something about being - something about being desirable.— something about being desirable. , , , desirable. desirable, being seen, desirable. desirable, being seen. being _ desirable. desirable, being seen, being wanted - desirable. desirable, being i seen, being wanted desperately. there is a chapter called worshipped and there's a lot of letters from women talking about the desire, the fantasy, of having someone — man, woman, other — just worshipping at theirfeet, thinking other — just worshipping at their feet, thinking that they are how they are, exactly as they are, is the most beautiful, the most beautiful,

the most radiant, the most sexy, the most ravishing. that's interesting.- sexy, the most ravishing. that's interesting. and you mentioned _ that's interesting. and you mentioned porn _ that's interesting. and you mentioned porn earlier, i that's interesting. and you i mentioned porn earlier, and you pick it up through the book, the kind of influence of that. i wonder how you view it. has porn changed our sex lives and perception of sex, particular amongst younger people? well, i think the book _ amongst younger people? well, i think the book reflects _ amongst younger people? well, i think the book reflects on - think the book reflects on that. i think the book would probably be quite a good read for youth of today, because there are so many different versions of how sex can be that is outside what one might see handed to them by the porn industry. there's a lot of tenderness and women really wanting to be seen for themselves and who they are and themselves and who they are and the cared for. i'm finding that

as we are having these conversations and women are feeling more empowered to talk out loud about — if they choose to— talk out loud about what it is that they want under the covers, it kind of spreads into their real lives. just starting to think about what it is that they actually want, what do you want, what do you want from your partner, what do you want from your relationship, what do you want from yourjob, what do you want from yourjob, what do you want from yourjob, what do you want from your life — and feeling courageous enough through engaging in those types of conversations to start asking for it. and yes, that is, ifeel, one of the reasons that i was interested in doing this. as i said, i am that i was interested in doing this. as i said, iam not that i was interested in doing this. as i said, i am not a sex therapist. this is a moment in time where i am having this conversation around this book. as much as anything, it's about

getting to a point where we feel comfortable living our lives on our own terms. find feel comfortable living our lives on our own terms. and i suopose _ lives on our own terms. and i suopose one _ lives on our own terms. and i suopose one of _ lives on our own terms. and i suppose one of the _ lives on our own terms. and i suppose one of the things i l suppose one of the things i have and i would like to talk to you, obviously, about your career as well. in the book, many of the fantasies of older women. they have inside, they have, appreciate, emotional maturity. so the ageing process, i am glad to hear, does have its benefits. but it is also quite brutal. from my limited experience in seeing myself on screen over the years, it is horrendous. as an actor in the public eye, i wonder how you deal with it and how you approach ageing, while looking almost more beautiful than you did in the x—files, many years ago. than you did in the x-files, many years ago-— many years ago. how do i approach _ many years ago. how do i approach ageing? - many years ago. how do i approach ageing? i- many years ago. how do i | approach ageing? i mean, many years ago. how do i i approach ageing? i mean, i certainly gone through periods where it struck me quite harshly that i too am ageing, and almost feel like one needs to go through a process of mourning youth at various

stages. ls mourning youth at various stares. , . mourning youth at various staes. , ., ., ., mourning youth at various stares. , ., ., ., ., , stages. is that tears? how does the mourning — stages. is that tears? how does the mourning go? _ stages. is that tears? how does the mourning go? you - stages. is that tears? how does the mourning go? you limit i stages. is that tears? how does the mourning go? you limitjust really deep feelings. especially as offspring are starting relationships, starting relationships, starting that stage of the journey, remembering what it was like to first of in love, all of that brings up a lot of feelings and emotions. you know, it's very moving and slightly melancholic. and so, i mean, more than anything, that feels like how i am dealing with it is just processing the feelings around it. but with it isjust processing the feelings around it. but being on camera. _ feelings around it. but being on camera, there _ feelings around it. but being on camera, there are - feelings around it. but being i on camera, there are certainly times where i see... i most of the time which dailies or see the time which dailies or see the process of it, but seeing the process of it, but seeing the final product and thinking oh, my god, is that really what i look like? and going through some feelings around that. but then also realising that that's going to be the youngest that i

look like from here on out, so i'd better embrace it.- i'd better embrace it. very wise, i'd better embrace it. very wise. and _ i'd better embrace it. very wise, and it _ i'd better embrace it. very wise, and it doesn't i i'd better embrace it. very wise, and it doesn't look. i'd better embrace it. very i wise, and it doesn't look like you are going down the route of being endlessly plasticised, and i'm not complaining about that if it works for people, but... , . �* but... yes, i haven't needed that yet. _ but... yes, i haven't needed that yet. but _ but... yes, i haven't needed that yet, but at _ but... yes, i haven't needed that yet, but at some i but... yes, i haven't needed that yet, but at some point, | that yet, but at some point, who knows?— that yet, but at some point, who knows? ., who knows? you will never need it. you mentioned _ who knows? you will never need it. you mentioned your - it. you mentioned your offspring. i had to us, because my children get embarrassed by what i do, if your mum plays a sex therapist and has a book about sexual fantasies, are you the coolest mum in the world, or quite embarrassing? l the coolest mum in the world, or quite embarrassing?- or quite embarrassing? i don't know. i have _ or quite embarrassing? i don't know. i have had _ or quite embarrassing? i don't know. i have had that - know. i have had that conversation with my kids, i have teenagers and one is thirtysomething, and during sex education i did have a very frank conversation with them. they hadn't seen the show at the time, and i did want to talk to them about the degree to which it was impacting on their personal lives and both apologise but also to talk about how important it was that

that show was out there and that show was out there and that i felt very proud of it. and they got it, they got what i was saying. and they got it, they got what i was saying-— i was saying. and people will remember — i was saying. and people will remember you, _ i was saying. and people will remember you, of _ i was saying. and people will remember you, of course, i i was saying. and people will| remember you, of course, as margaret thatcher in the crown, amongst many other amazing roles. when you were thinking about inhabiting her character, or indeed any of the women you've played, how much are you thinking about if i was a woman, and i wonder if you're even thinking about what margaret thatcher's sexual fantasies might have been. i did not think about margaret thatcher's sexual fantasies. maybe that's best. she of his they had died many years before you took up that role, emily maitlis is a colleague of mine, i worked with her at newsnight. you played herfor scoop, and that must be very different to play a living character.- play a living character. yes, very different, _ play a living character. yes, very different, much - play a living character. yes, very different, much more i very different, much more daunting, and particularly somebody that i respect and admire and is out and about in my relative social circle. she

sa s my relative social circle. she says she _ my relative social circle. she says she met _ my relative social circle. she says she met you _ my relative social circle. she says she met you in - my relative social circle. she says she met you in 2001. she says— says she met you in 2001. she says she — says she met you in 2001. she says she dined with you, danced with you — says she dined with you, danced with you. you bought her drinks~ _ with you. you bought her drinks- - -_ with you. you bought her drinks... ., ., drinks... so more daunting even than margaret _ drinks... so more daunting even than margaret thatcher - drinks... so more daunting even than margaret thatcher was i than margaret thatcher was playing emily maitlis. she can be ruite playing emily maitlis. she can be quite daunting, _ playing emily maitlis. she can be quite daunting, while i playing emily maitlis. she can be quite daunting, while also | be quite daunting, while also being absolutely fabulous. and she in fact has her own drama coming up that she has produced about that same interview. there is room for two dramas so close together about the same interview with prince andrew. l interview with prince andrew. i don't know. it's interesting. because the one that we did was sam mcallister�*s take. ladulha because the one that we did was sam mcallister's take.— sam mcallister's take. who was the producer- — sam mcallister's take. who was the producer. he _ sam mcallister's take. who was the producer. he was _ sam mcallister's take. who was the producer. he was a - the producer. he was a producer. _ the producer. he was a producer, on _ the producer. he was a producer, on what i the producer. he was a i producer, on what happens. the producer. he was a - producer, on what happens. and i'm very interested to see it. hopefully there is room. there is obviously room for both versions. is obviously room for both versions-— is obviously room for both versions. �* . versions. often in britain we claim as _ versions. often in britain we claim as ours. _ versions. often in britain we claim as ours, but _ versions. often in britain we claim as ours, but you i versions. often in britain we claim as ours, but you are i versions. often in britain we i claim as ours, but you are not, because you are actually american, of course, because you have lived here for a long time, and you seem to be able to switch accents. where do you see yourself? where do you see

as home? i see yourself? where do you see as home?— as home? i definitely see the uk as home. _ as home? i definitely see the uk as home. i _ as home? i definitely see the uk as home. i think - as home? i definitely see the uk as home. i think i - as home? i definitely see the uk as home. i think i have i uk as home. i think i have alighted on something that makes sense to me, which is that... because if i'm asked if i want to give up my american passport, that doesn't feel right, and so it feels like perhaps my cells are american but that my soul is british. that seems to answer it quite well. that makes the most sense. and it's weird, because i can... depending on where i am, if there is an american sitting on my right hand side, before long, if i'm not paying attention, talking to the press on my left. two... and i don't pay too much attention to it unless it feels like it is just going to be weird, and then i'll probably try and decidedly choose one or the other, because... yes, so i don't know. it's an ongoing topic of

interviews. know. it's an ongoing topic of interviews-— know. it's an ongoing topic of interviews. and i think filming interviews. and i think filming in belfast. _ interviews. and i think filming in belfast, the _ interviews. and i think filming in belfast, the for _ interviews. and i think filming in belfast, the for the - interviews. and i think filming in belfast, the for the drama, | in belfast, the for the drama, how is your belfast accent? ls how is your belfast accent? is not bad, how is your belfast accent? is not had, actually. i filmed in not bad, actually. ifilmed in northern ireland many years ago, and i have a top up before we restart. hilt; ago, and i have a top up before we restart-— we restart. my husband i says he is from _ we restart. my husband i says he is from the _ we restart. my husband i says he is from the north-east, i we restart. my husband i says he is from the north-east, he | he is from the north—east, he says there are certain words that work. for wales it is aluminium saucepans. aluminium saucepans? _ aluminium saucepans. aluminium saucepans? no. _ aluminium saucepans. aluminium saucepans? no, in _ aluminium saucepans. aluminium saucepans? no, in welsh... i aluminium saucepans. i don't know if you have a special northern ireland word. i don't have a phrase _ northern ireland word. i don't have a phrase or _ northern ireland word. i don't have a phrase or word, i northern ireland word. i don't have a phrase or word, no. i have a phrase or word, no. there was one that i did use helped to get into it. i'm not going to... yes. there is time for that. going to... yes. there is time for that-— for that. you've also been filmin: for that. you've also been filming a _ for that. you've also been filming a western, - for that. you've also been filming a western, and i for that. you've also been| filming a western, and tell for that. you've also been i filming a western, and tell us about the summer in calgary. tell us about that, and how is

your horse riding?— your horse riding? that is a netflix western, _ your horse riding? that is a netflix western, takes i your horse riding? that is al netflix western, takes place your horse riding? that is a i netflix western, takes place in the 1800s, the middle of the 18005, the 1800s, the middle of the 1800s, called abandoned. and we're shooting in calgary, canada. my writing is all right. i rode a little bit when i was in my 30s. bid right. i rode a little bit when i was in my 30s.— right. i rode a little bit when i was in my 30s. did you buy a horse? i _ i was in my 30s. did you buy a horse? i did, _ i was in my 30s. did you buy a horse? i did, and— i was in my 30s. did you buy a horse? i did, and it— i was in my 30s. did you buy a horse? i did, and it was i i was in my 30s. did you buy a horse? i did, and it was a i i was in my 30s. did you buy a horse? i did, and it was a veryl horse? i did, and it was a very inexpensive — horse? i did, and it was a very inexpensive horse, _ horse? i did, and it was a very inexpensive horse, and i i horse? i did, and it was a very| inexpensive horse, and i found inexpensive horse, and ifound out why it was so inexpensive, because i thought it was seven years old and it was 20. bud years old and it was 20. and therefore — years old and it was 20. and therefore very _ years old and it was 20. and therefore very easy - years old and it was 20. and therefore very easy to i years old and it was 20. and therefore very easy to ride, maybe. or maybe not quite yes, although he did spook and throw me at one point. but although he did spook and throw me at one point.— me at one point. but that's another story. _ me at one point. but that's another story. but - me at one point. but that's i another story. but horseriding is all right. it's a lot of fun, actually. i'm enjoying it. and is this a female empowered, the women are part of the western? it the women are part of the western?— the women are part of the western? , , ., western? it is, it is me and lena headey, _ western? it is, it is me and lena headey, she - western? it is, it is me and lena headey, she was i western? it is, it is me and lena headey, she was in i western? it is, it is me and i lena headey, she was in game of thrones, ruling the town. haifa

thrones, ruling the town. how does that _ thrones, ruling the town. how does that feel? _ thrones, ruling the town. how does that feel? it _ thrones, ruling the town. how does that feel? it is _ thrones, ruling the town. how does that feel? it is good. i i does that feel? it is good. i say that _ does that feel? it is good. i say that a _ does that feel? it is good. i say that a this _ does that feel? it is good. i say that a this is _ does that feel? it is good. i say that a this is my - does that feel? it is good. i say that a this is my town. i does that feel? it is good. i i say that a this is my town. do ou say that a this is my town. do you have _ say that a this is my town. do you have a — say that a this is my town. do you have a favourite character that you have played? i you have a favourite character that you have played?- that you have played? i can only speak _ that you have played? i can only speak for _ that you have played? i can only speak for myself, i that you have played? i can only speak for myself, but i that you have played? i can i only speak for myself, but i'm probably always going to say blanche dubois in streetcar named desire.— blanche dubois in streetcar named desire.- it i blanche dubois in streetcarj named desire.- it was blanche dubois in streetcar. named desire.- it was a named desire. why? it was a role i wanted _ named desire. why? it was a role i wanted to _ named desire. why? it was a role i wanted to play - named desire. why? it was a role i wanted to play since i l role i wanted to play since i was in high school, and finally did it 30 years later, and probably one of the most challenging to mount and also to play consistently, which we did here and in new york. streetcar named desire, then transfer— streetcar named desire, then transfer to one... streetcar named desire, then transfer to one. . ._ transfer to one... she slowly noes transfer to one... she slowly goes mad — transfer to one... she slowly goes mad and _ transfer to one... she slowly goes mad and is _ transfer to one... she slowly goes mad and is taken i transfer to one... she slowly goes mad and is taken off i transfer to one... she slowly goes mad and is taken off to| transfer to one... she slowly i goes mad and is taken off to an insane asylum, and one sees that as an audience, you see

that as an audience, you see that this integration happening. i that this integration happening-- that this integration haueninr. that this integration haurenin. , happening. i said i was sorry three times. _ happening. i said i was sorry three times. i— happening. i said i was sorry three times. i take - happening. i said i was sorry three times. i take meds i happening. i said i was sorry three times. i take meds forl happening. i said i was sorry i three times. i take meds for my nerves — three times. i take meds for my nerves. |t— three times. i take meds for my nerves. . , ., , three times. i take meds for my nerves. . , .,, ., nerves. it was the most taxing and emotionally _ nerves. it was the most taxing and emotionally wrecking. i nerves. it was the most taxing and emotionally wrecking. for| and emotionally wrecking. for viewers of _ and emotionally wrecking. for viewers of tv, _ and emotionally wrecking. for viewers of tv, there will be many who will say it is scully. the answers are there. you just have to know where to look. but for you personally, it is that role. yes. i for you personally, it is that role- yes-— role. yes. i 'ust want to get back to role. yes. i just want to get back to your— role. yes. i just want to get back to your book, - role. yes. i just want to get back to your book, want. i role. yes. i just want to get i back to your book, want. the fantasies are anonymous. the only identification for each one of things like nationality, actual orientation, relationship status, money, earnings, and as you said, one of the fantasies is yours. i have to ask i am so sorry, because i imagine many people reading the book will wonder. any clues which one?- reading the book will wonder. any clues which one? yes, well i thouuht any clues which one? yes, well i thought actually _ any clues which one? yes, well i thought actually today - any clues which one? yes, well i thought actually today i - i thought actually today i might let you know which one it was, because i thought it's bbc

and... there is no way! what's great is that they are anonymous. i we wouldn't have gotten the honesty and frankness and breath of what we got had it not been anonymous. yes, so mine will stay anonymous. yes, so mine will stay anon mous. . . . ru anonymous. fantastic. well, i'll enjoy _ anonymous. fantastic. well, i'll enjoy reading _ anonymous. fantastic. well, i'll enjoy reading it, - anonymous. fantastic. well, i'll enjoy reading it, as - anonymous. fantastic. well, i'll enjoy reading it, as were | i'll enjoy reading it, as were many people, i'm sure, thank you so much for talking to us, gillian anderson.— you so much for talking to us, gillian anderson. thank you for havin: gillian anderson. thank you for having me- _ hello there. saturday's sunny skies will gradually be eroded by cloud and then wind and rain for many, as we close out sunday. yes, it's going to gradually turn wet and windy, particularly from the south and west. now, we've already, in southern england, seen some record—breaking rainfall totals for the month, and we're just going to add

to those totals over the next few days. some areas could see another 50—60mm before we close out the month. so here's that area of low pressure gradually winding its way in from the south—west. ahead of it, though, clearer skies, so it will be a chilly start to our sunday morning. some early—morning sunshine, but gradually we'll see that cloud pushing its way steadily north and east. perhaps north—east england and eastern scotland clinging on to the best of the brightness throughout the day. so as we go through to the afternoon, we mightjust see some sunny skies continuing. cloudier skies out to the west. a few isolated showers. temperatures generally between 12 and 14 degrees. not too bad in the afternoon into northern ireland and north—east england as well, but you can see the cloud arriving. there'll be a few outbreaks of showers ahead of it moving through the midlands. gradually, the heaviest of the rain pushing into south and west wales, along with south—west england, and the winds will strengthen to gale—force gusts with it too.

top temperatures generally, then, 12—15 degrees as we go through sunday afternoon. so the gusty winds will strengthen further overnight as that rain continues to move its way steadily north and east, pushing into the midlands, south—east england and to the north of england by dawn on monday morning. we keep the clearer skies in scotland. here, still single figures, but not quite as cold to start monday morning, with the cloud, wind and rain. there is still a level of uncertainty exactly where this low pressure is going to sit. it's going to be pretty slow—moving. potentially, the heaviest of the rain will always be across england and wales, with a few scattered sharper showers into northern ireland and a drier story for much of scotla nd. but we'll keep a close eye on that. some of that rain really quite heavy across north—west england for a time, potentially brightening up by the end of the afternoon across central and southern england, 13 to 17 degrees. the low pressure slowly starts to ease away on tuesday, and then on wednesday a quieter story, with a greater

chance of seeing more sunshine for early october.

live from washington, this is bbc news. hezbollah leader, hassan nasrallah, has been killed in israeli strikes on beirut. israel's prime minister calls it an "historic turning point", but iran's supreme leader vows nasrallah�*s death "will not go unavenged". this is the scene live in beirut, where officials say 11 people are dead and more than 100 were injured in strikes on friday. elsewhere, at least 45 people

have died and millions are without power after hurricane helene hit the south—eastern united states. the southeastern united states. and in westminster, labour mp rosie duffield quits the party, accusing prime minister keir starmer of hypocrisy. hello, i'm helena humphrey. hezbollah has confirmed that an israeli strike on a beirut apartment block on friday killed its longtime leader. hassan nasrallah led the lebanese based group for 32 years. his assassination deals a huge blow to the organisation he has been in charge of since 1992. israel had already killed a number of other senior commanders in recent weeks. israel's prime minister called nasrallah�*s killing an �*historic turning point�* and said israel had settled the score. in a moment, we'll bring you more reaction from the region. but first, a look at the impact in lebanon where the health ministry said 33 people were killed and nearly 200 were injured in new israeli air strikes on saturday. our senior international correspondent orla guerin has the latest from beirut.