Jimmy McGovern's acclaimed prison drama Time has returned to the BBC for its third – and possibly final – season, and is once again on brutal, gut-wrenching form.
Certain details about both cases are withheld entirely, or teased out across the three episodes.
What we do know is Ushindi's birth mother Amara, who is Kenyan, sent him to the UK for a better life when he was a young child – a decision that takes on a painful irony given what happens to him.
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Time season 3 review: The most urgent series yet of Jimmy McGovern’s BBC prison dramaAfter auditioning alongside approximately 1,000 other actors and several months of casting, he secured the role.
Then, the real work could begin.
It took about a month or so to get it right. Alongside their sessions, Molokwu watched hours of YouTube videos and even put his own stammer to the test in a couple of shops.
For one, a full body workout: "I thought it was a facial thing, but I realised that's almost the last thing. There's so much physicality involved. It goes all the way down to your feet and your legs because it's like you're trying to– I don't know if this is the best way to word it, but it's like you want to vomit, you want to get something out from deep inside."
"There are multiple types of stammers: silent, explosive, repetitive," he explained.
You see that when he's reunited with Amara and he learns his birth name: "It's a surreal moment. Christopher is a thoughtful character, so I can just imagine him spending all of these years curating this image of his mother in his head – what does she look like? What does she sound like? Is she as kind as I remember? So it's a shock.
"So it’s a lot for him to take. He experiences emotions he can't even understand himself. And he wants to speak, but his body prevents him from doing so."
"I remember when I went back to Nigeria when I was six years old [his one and only visit to date, although he hopes to go back] and not being able to communicate with them in Igbo," he said.
"I wasn't taught that when I was a kid but making this did make me think, how great would it be to actually speak to them, in my mother tongue; to be able to communicate with my grandmother."
Before Molokwu received his script, he didn’t know Ushindi was going to die.
He stabs him in the neck during a reconciliation meeting that Ushindi himself had requested, no less, hoping to speak to his mother face to face rather than through a screen.
"It's just, it's heartbreaking. It is."
He also praised his scene partner Louis Shelton for what he was able to tease out of him.
"And then it was just thinking about the mechanics of what it would feel like to get attacked like that. There's going to be blood rushing, and failing to get to the brain. So that was an experience, to say the least," – as is watching it play out.
But what about the quieter moments, when he wasn't focused on learning to stammer or on how his body would react after a fatal attack? How did he feel about Ushindi? And did playing Molokwu teach him anything?
"And in a world where perhaps I didn't get the opportunity to be raised the way I was, could I have lived a life like Ushindi? How many kids are in there because of who they are versus they were just unfortunate to be raised in the circumstances they were raised in, and they had no other way out to survive.
"So my perception on young offenders has definitely changed. The lesson should be to empathise instead of judge on first impression."
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