
Fiona Walker
An early leading role was as Sue Bridehead in a BBC television production of Jude the Obscure (1971). She may be best remembered for playing Agrippina in the BBC adaptation of I, Claudius (1976), directed by Herbert Wise. She was Miss Meteyard, an intelligent, wise-cracking copy-writer modelled on the author, in Dorothy L. Sayers's Murder Must Advertise, a BBC TV dramatisation of 1973, and an acidic Mrs Elton in BBC2's 1972 adaptation of Jane Austen's Emma. She played the ill-fated Stella Mawson in Anglia's first P. D. James adaptation, Death of an Expert Witness (1983), also directed by Wise. Other television appearances have included All Creatures Great and Small (1978), Pope John Paul II (1984), Bleak House (1985), The Woman in Black (1989), (directed by her husband), Agatha Christie's Poirot (1993), and two Doctor Who serials, 24 years apart, playing villainesses Kala in The Keys of Marinus in 1964, and Lady Peinforte in Silver Nemesis in 1988, as well as a definitive Ruth in Alan Ayckbourn's trilogy The Norman Conquests – Thames Television (1977).
Her film roles included Liddy in Far from the Madding Crowd (1967), the cult horror film The Asphyx (1972), and Century (1993), starring Charles Dance and Clive Owen.
Walker married Herbert Wise in 1988, after they had lived together for 17 years. Her children, Charlie Walker-Wise and Susannah Wise, are also actors.
Biography from the Wikipedia article Fiona Walker. Licensed under CC-BY-SA. Full list of contributors on Wikipedia.
Known For
Recently Updated Shows

MobLand
With the most powerful clients in Europe, MobLand will see family fortunes and reputations at risk, odd alliances unfold, and betrayal around every corner; and while the family might be London's most elite fixers today, the nature of their business means there is no guarantee what's in store tomorrow.
MobLand follows two generations of gangsters, the businesses they run, the complex relationships they weave and the man they call upon to fix their problem.

Daredevil: Born Again
Matt Murdock finds himself on a collision course with Wilson Fisk when their past identities begin to emerge.

The Studio
As movies struggle to stay alive and relevant, Matt and his core team of infighting executives battle their own insecurities as they wrangle narcissistic artists and craven corporate overlords in the ever-elusive pursuit of making great films. With their power suits masking their never-ending sense of panic, every party, set visit, casting decision, marketing meeting, and award show presents them with an opportunity for glittering success or career-ending catastrophe. As someone who eats, sleeps, and breathes movies, it's the job Matt's been pursuing his whole life, and it may very well destroy him.