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‘DI Ray’: Parminder Nagra says Rachita got closure in reunion with Martyn

The actress plays the titular character, DI Rachita Ray, a homicide detective working on a murder investigation in Birmingham.

‘DI Ray’: Parminder Nagra says Rachita got closure in reunion with Martyn

Parminder Nagra once again takes centre stage in the popular police drama, DI Ray, which returns with Season 2 on ITV.

The actress plays the titular character, DI Rachita Ray, a homicide detective working on a murder investigation in Birmingham.


Discussing a scene from episode 2 of the latest season where her character goes to see her ex-fiancé, the corrupt cop Martyn Hunter (Jamie Bamber), now in prison for his crimes uncovered at the end of Season 1, she tells a publication,

“Honestly, I’m so happy he came back. I mean, I know he’s playing a horrible character, but just the loveliest man—of course, they always are. And it is a long scene, that scene, and I’m not saying that in a bad way. I was relishing wanting to go toe-to-toe with him and the amount of gaslighting that he is trying to put her through and has probably put her through in the past and she is not going to take it and she pushes back,” she said.

The actress continued, “It’s devastating actually, I think, for her because she probably still actually to some degree loves Martyn, and now she’s sat opposite this man who’s betrayed her. And there was a little bit in that scene where he touches her finger and I think she does feel something, but she knows that obviously this man’s a very terrible man and morally, she has to step away from him and she’s not going to let him pull one over her basically.”

She further shared, “But doing that scene that she compares to “a good meal … felt satisfying. And then I left the room and I was like, yeah, you can bugger off. But it was a real thrill to play. And actually, the crew as well, just in rehearsal, everyone was like, ‘Ooh.’ So I felt like hopefully it’s translated on screen and we were doing something right. And the place where we were filming actually, I think was a prison or an old part of a prison, and it was just all very weird and it was a little bit creepy, but it was good because it worked.”

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  • 2025 marks the start of long-form mythological world-building on OTT.

There’s a quiet shift happening on streaming platforms this year. Indian mythological stories, once treated as children’s animation or festival reruns, have started landing on global services with serious ambition. These titles are travelling further than they ever have, including into the UK’s busy OTT space.

It’s about scale, quality, and the strange comfort of old stories in a digital world that changes too fast. And in a UK market dealing with subscription fatigue, anything fresh, strong, and rooted in clear storytelling gets noticed.

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