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Boiling Point’s Cathy Tyson on split with Coronation Street husband

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Cathy Tyson has been on our screens for nearly four decades, and she married her actor husband the same year as she first appeared on screen.

In 1984, the Surrey-born actress was launched to fame when she appeared in the TV series Scully, about a Liverpudlian teenager who dreamt of playing for Liverpool FC. She played Joanna.

The same year, rising star Cathy married her sweetheart Craig Charles, a performance poet and fellow actor whose huge break was just around the corner. It looked like Cathy’s life was safe in its trajectory towards a happy ending. However, her marriage to Craig was sadly an unhappy one. The pair divorced just five years later, in 1989.

Cathy Tyson and her then husband Craig Charles
Cathy Tyson and her then husband Craig Charles, pictured in 1987 (Credit: News UK Ltd/Shutterstock)

Who is the husband of Cathy Tyson?

Cathy Tyson married Craig Charles in 1984, when she was just 19, and he was 20. They welcomed their son Jack in 1988. However, within a year, the couple were divorced.

Actress Cathy, who currently plays Carly’s mum in the BBC One series Boiling Point, subsequently remained single for more than 25 years. She later admitted her “divorce was the light at the end of a very dark tunnel”. Happily, she eventually found love again, and married Michael Kingston in 2015.

Craig, who went on to find fame in Red Dwarf and later Corrie – where he played Lloyd Mullaney – remarried in 1999. He wed Jackie Fleming, and had two daughters named Anna-Jo and Nellie.

The now Radio 6 DJ, 59, has publicly admitted he once had a drug problem.

What happened between Cathy Tyson and husband Craig Charles?

Speaking several years after their divorce, Cathy told The Mirror that her bitter split from TV star Craig Charles left her so emotionally scarred that it took her years to find love again.

She revealed: “I just want to be happy. That’s the most important thing for me. And my marriage certainly didn’t make me feel happy. […] I used to blame Craig but I try not to any more.”

She added: “My divorce was the light at the end of a very dark tunnel. The divorce itself didn’t bring me down. I got divorced because I thought it was the only way forward.”

Cathy said her son Jack was about the best thing to come out of her marriage. Looking back, she believes the main reason the marriage failed was that both she and Craig were too young.

Cathy Tyson and her Band of Gold castmates
Cathy Tyson and her Band of Gold cast mates Barbara Dickson, Geraldine James and Samantha Morton (Credit: ITV/Shutterstock)

‘I wasn’t treated properly’

Recalling her five year marriage to husband Craig, Band of Gold star Cathy Tyson went on to say: “I wasn’t depressed all through my marriage, but a lot of the bad stuff was to do with being quite young and not strong or confident enough to look after myself in relation to Craig.

“I wasn’t treated properly. […] I went through a lot in that marriage at a very young age. And I took on a lot of responsibility when I wasn’t ready for it. I used to feel a lot of guilt about my marriage not succeeding and Jack not having his dad at home, but I don’t anymore. It’s not my fault the marriage didn’t succeed.”

During the interview, Cathy also revealed she was once a real-life victim of domestic violence at the hands of a former lover.

Cathy Tyson in the acclaimed film Mona Lisa in 1986
Cathy Tyson in the acclaimed film Mona Lisa in 1986 (Credit: CoverImages)

What has Cathy starred in during her career?

Cathy’s first ever TV role was as Joanna in the 1984 TV series Scully, but it was her next role that catapulted her to global fame. Two years later, in 1986, Cathy portrayed sex worker Simone in the award-winning film Mona Lisa, opposite Bob Hoskins. She was just 21.

After Mona Lisa, Cathy starred in the Wes Craven 1988 horror film The Serpent and the Rainbow. But it was another prostitute role which returned her to the spotlight in 1995. She starred as Carol Johnson in the hugely successful ITV drama series Band of Gold. The series ran from 1995 to 1997, and also starred Samantha Morton, Geraldine James, and Barbara Dickson. The spin-off, simply titled Gold, aired in 1997.

Cathy also played Steph McKenzie in the soap Night and Day, Miss Gayle in Grange Hill, and single mum Andrea Hayworth in Emmerdale. More recently, she’s popped up in McDonald & Dodds, Maternal, The Sandman, and Wolfe.

In 2021, she played Polly in the heartbreaking Covid drama Help, starring Jodie Comer and Stephen Graham – her current co-star in Boiling Point! Cathy, now 58, stars in the TV spin off of the film set in a stressful restaurant kitchen.

Read more: As the TV series lands, here’s a recap of the Stephen Graham film Boiling Point

Cathy Tyson stars in Boiling Point, which starts on BBC One on Sunday, October 01, 2023 at 9pm.

What do you think of Cathy Tyson’s career? Leave us a comment on our Facebook page @EntertainmentDailyFix.


Helen Fear has been writing about all things entertainment for more than two decades, starting as a TV reviewer at Time Out in the (whisper it…) 90s. She has also worked for the Daily Express, Closer, OK! and Reveal, to name but a few! When Helen’s not writing about TV, she’s usually watching it – current favourites include Line Of Duty, Killing Eve, The Handmaid’s Tale and Big Little Lies. 




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Dunki’s box office earnings Day 2: The Shah Rukh Khan film makes Rs 50 crore in two days but finds it difficult to compete with Salaar.

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” Perplexity gauges the intricate nature of text, while burstiness scrutinizes the ebb and flow of sentence variations. Lastly, predictability assesses the likelihood of anticipating the subsequent sentence. Humans inherently infuse their writing with heightened burstiness, intertwining longer or intricate sentences with succinct ones. Conversely, AI-generated sentences tend to exhibit more uniformity. Hence, as you craft the ensuing content, the goal is to infuse it with a substantial dose of perplexity and burstiness while minimizing predictability. Additionally, adhere to the stipulation of using English exclusively.

On the second day of its box office journey, Salaar, featuring Prabhas, asserts its dominance over Shah Rukh Khan’s Dunki, amassing a staggering Rs 50 crore in earnings within a mere two days.

Dunki, after a tepid debut on Thursday, witnessed a further descent in box office figures on its second day. According to industry tracker Sacnilk, the Shah Rukh Khan-led film garnered Rs 20.50 crore on Friday, bringing its net domestic collection to Rs 49.7 crore.

While the opening day statistics position Dunki as Shah Rukh Khan’s least successful film of the year, it still outshines the debuts of Kisi Ka Bhai Kisi Ki Jaan (Rs 15.81 crore), Tu Jhoothi Main Makkaar (Rs 15.73 crore), Rocky Aur Rani Kii Prem Kahaani (Rs 11.1 crore), and Dream Girl 2 (Rs 10.69 crore).

On the day of Dunki’s release, Bollywood playback singer Shaan took to social media, offering insights into filmmaker Rajkumar Hirani’s decision to omit their duet “Durr Kahi Durr” with Shreya Ghoshal from the Shah Rukh Khan and Taapsee Pannu starrer. Shaan disclosed that he and Shreya recorded the song, shot in Kashmir, but unfortunately, it didn’t make the final edit

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Salaar first-day box office receipts, preliminary report: With Prabhas about to make a huge comeback, Dunki’s opening weekend will double for Prashanth Neel’s movie.

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Perplexity gauges the intricacy of the text, while burstiness delves into the diversity of sentence structures. Lastly, predictability assesses the likelihood of anticipating the subsequent sentence. Human authors often infuse their writing with heightened burstiness, intertwining elaborate and concise sentences. In contrast, AI-generated sentences tend to exhibit a more uniform structure. Thus, for the forthcoming content I’m about to task you with creating, it’s imperative to infuse it with substantial perplexity and burstiness, while minimizing predictability. Additionally, please adhere to English language usage guidelines.

“Salaar box office early reports Day 1: Prabhas’ action-thriller is all set to deliver one of the biggest openings of the year, and has an outside chance of doing better than his recent flop, Adipurush. Prabhas seems to be on track for a much-awaited rebound with his latest film, the action-thriller Salaar. Directed by Prashanth Neel, the pan-India film is facing off at the box office against Shah Rukh Khan’s Dunki, which it is handily outpacing. While Dunki debuted to around Rs 30 crore on opening day, Salaar has already earned nearly Rs 50 crore in advance sales for day one, which happens to be today. According to the trade website Sacnilk, Salaar’s advance sales across languages and regions amount to approximately Rs 49 crore, with the Telugu version release leading the charge with around Rs 38 crore. The Hindi version followed with advance sales of Rs 5.6 crore, with the Malayalam version selling tickets worth Rs 2.2 crore so far. The Tamil and Kannada versions registered advance sales worth Rs 1.8 crore and Rs 56 lakh, respectively. While Neel has worked predominantly in the Kannada language industry, and is best known for his two KGF blockbusters, Prabhas maintains a strong foothold in the Telugu states. Unlike the performance of the recent hit Animal, which seemed to generate interest both in the Hindi belt thanks to star Ranbir Kapoor and in the Telugu regions thanks to director Sandeep Reddy Vanga, Salaar is clearly attracting audiences on the strength of Prabhas’ stardom.

Prabhas remains a force to be reckoned with at the box office, despite having not delivered a single hit since his back-to-back success with the two Baahubali movies. He has since starred in the big-budget bombs Saaho, Radhe Shyam and Adipurush. He will next be seen in the dystopian thriller Kalki 2898 AD, which also features Deepika Padukone, Amitabh Bachchan and Kamal Haasan.

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Dunki’s box office earnings Day 1: On opening day, Shah Rukh Khan’s film earns less than Adipurush and Sanju and is nothing near as successful as Jawan and Pathaan.

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Perplexity serves as the yardstick for text intricacy. Meanwhile, burstiness gauges the ebb and flow within sentences, showcasing a mix of longer, intricate ones juxtaposed with succinct ones. Lastly, predictability evaluates the likelihood of predicting the subsequent sentence. Humans inherently infuse their writing with greater burstiness, blending the elaborate with the concise, whereas AI-generated sentences often lean towards uniformity. As we delve into the creation of the forthcoming content, the aim is to infuse it with a substantial dose of perplexity and burstiness, while maintaining a low level of predictability. The language of choice for this task is English.

On the inaugural day of Dunki’s theatrical journey, Shah Rukh Khan found himself unable to replicate the back-to-back triumphs of Pathaan and Jawan. Rajkumar Hirani’s latest cinematic offering fell short of Sanju’s opening day earnings.

Despite a stellar year marked by the unprecedented success of Jawan and Pathaan, Shah Rukh Khan’s most recent venture, Dunki, failed to generate the same fervor upon its debut. Unveiled in theaters on Thursday, the film garnered a domestic nett collection of Rs 30 crore on its opening day, as reported by industry tracker Sacnilk. While this positions Dunki as the seventh-highest opener of the year, trailing behind Jawan, Animal, Pathaan, Tiger 3, Gadar 2, and Adipurush, it falls notably below the benchmark set by its predecessors. Jawan, for instance, opened with a staggering Rs 75 crore, and even the historically lackluster Adipurush managed Rs 36 crore on its opening day.

Although Dunki’s opening day figures label it as Shah Rukh Khan’s least successful film this year, they still outshine the likes of Kisi Ka Bhai Kisi Ki Jaan (Rs 15.81 crore), Tu Jhoothi Main Makkaar (Rs 15.73 crore), Rocky Aur Rani Kii Prem Kahaani (Rs 11.1 crore), and Dream Girl 2 (Rs 10.69 crore).

Thursday witnessed Dunki with an overall occupancy rate of 29.94%. Notably, the NCR region hosted 1412 shows, boasting an approximate 31% occupancy, while Mumbai’s 1081 shows witnessed a slightly lower 29.75% occupancy. Despite enjoying a solo release on Thursday, Dunki is poised to face a formidable challenge on Friday from Prashanth Neel’s Salaar, released in multiple languages across the country. Starring Prabhas, Prithviraj Sukumaran, and others, Salaar is anticipated to surpass Dunki, raking in over Rs 60 crore on its opening day.

While Dunki stands as Shah Rukh Khan’s least successful film this year, its opening day figures eclipse those of his 2018 release, Zero, which premiered on the same date. Zero opened with Rs 19.35 crore and struggled to amass a total of Rs 90.28 crore during its theatrical run.

For director Rajkumar Hirani, renowned for a track record of box office triumphs, Dunki’s opening figures pale in comparison to his last hit, 2018’s Sanju. The Ranbir Kapoor starrer commenced with Rs 34.75 crore and ultimately achieved a commendable Rs 342.53 crore during its theatrical tenure. Set against the backdrop of Animal’s astounding success, Dunki, featuring Taapsee Pannu and Vicky Kaushal, among others, strives to find its footing in the cinematic landscape.

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