Age: 60
female
Shirley Henderson (born 24 November 1965) is a Scottish actress. Her accolades include two Scottish BAFTAs, a VFCC Award and an Olivier Award, and BAFTA, BIFA, London Critics' Circle, Chlotrudis, Gotham, and Canadian Screen Award nominations. Henderson's film roles include Gail in Trainspotting (1996) and its 2017 sequel, Jude in the Bridget Jones films (2001–2025), and Moaning Myrtle in Harry Potter and the Chamber of Secrets (2002) and Harry Potter and the Goblet of Fire (2005). Her other notable credits include Rob Roy (1995), Wonderland (1999), Topsy-Turvy (1999), 24 Hour Party People (2002), Wilbur Wants to Kill Himself (2002), Intermission (2003), American Cousins (2003), Frozen (2005), Marie Antoinette (2006), Miss Pettigrew Lives for a Day (2008), Life During Wartime (2009), Meek's Cutoff (2010), Anna Karenina (2012), Filth (2013), Okja (2017), Never Steady, Never Still (2017), and Stan & Ollie (2018). Henderson starred as Isobel Sutherland in the BBC series Hamish Macbeth (1995–97) and played Frances Drummond in the BBC drama Happy Valley (2016). She was nominated for RTS Awards for the BBC miniseries The Way We Live Now (2001) and the ITV television film Dirty Filthy Love (2004), and received a BAFTA nomination for her portrayal of Claire Salter in the Channel 4 miniseries Southcliffe (2013). She won the 2018 Olivier Award for Best Actress in a Musical for her role as Elizabeth in the original Old Vic production of Girl from the North Country. Description above from the Wikipedia article Shirley Henderson, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Shirley Henderson
Jenny Warren
for Jenny Warren in The Museum Mysteries
Suggested by devahutiraichaliha
Jim Eldridge’s Museum (Murder) Mysteries is an historical crime-fiction series set in late-Victorian London, featuring Daniel Wilson, a former detective from the Metropolitan Police, and his partner, archaeologist Abigail Fenton. Each novel centres on a murder tied to a famous British museum or institution—such as the British Museum, the Natural History Museum, or the National Gallery—where the pair are called in as private inquiry agents to solve crimes that baffle the authorities. The series blends classic whodunnit structure with richly researched historical settings, highlighting scientific rivalries, class tensions, and the early professionalisation of museum culture. Across the series, the cases often expose the hidden politics of Victorian scholarship, including disputes over archaeological finds, forgeries, colonial acquisitions, and the ambitions of curators eager to protect their reputations. Wilson brings methodical investigative skills and quiet moral conviction, while Fenton offers academic expertise, courage, and a knack for noticing overlooked details—making them equal partners in unpicking the murders. Their developing relationship threads through the books, adding warmth and emotional continuity amid the atmosphere of intrigue.
