Nate's killer named as unexpected Emmerdale character
Well, it is John, as well we know, but he's not the one who gets named by the police.
John had previously made the allegation that Owen – the man who drugged Robert Sugden (Ryan Hawley) – had confessed to killing the farm hand. But while outwardly John is an upstanding member of the community, this still wasn't enough to get Owen to take the blame.
When Liam (Jonny McPherson) makes a house call to Owen, he's worried when he doesn't get a response.
He calls the police, who make the shocking discovery that Owen is dead, and there's a confession to murder on his laptop. Now that's enough to assign blame.
DS Walsh relays this to Cain (Jeff Hordley) and Tracy (Amy Walsh) – for all intents and purposes, they have their killer. More Trending
They both struggle with this development, and John's performance is Oscar-worthy when he is also told. When Robert gets wind of it, he's at first shaken by his close brush with a murderer but then becomes concerned when he sees DC Cole at the surgery trying to get information on Owen's medical history.
Claudette lets slip to Robert that John was at Owen's house right before he died and the puzzle pieces are starting to fit together.
Robert makes a huge step in his war against John – he arranges to meet with Owen's brother who divulges that Owen had an iron-cast alibi for the day Nate died.
View More »
Robert knows he has struck gold and legs it straight to the police station. Is justice about to catch up with John?
MORE: Emmerdale character dies in early ITVX release – and John is to blame
MORE: Unexpected Emmerdale exit story for Kim Tate as Robert's suspicions are piqued
MORE: Emmerdale's Cain vows to kill Nate's killer as John reels
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Telegraph
an hour ago
- Telegraph
Why luvvies are obsessed with Palestine
Vanessa Redgrave's Oscar acceptance speech remains a startling watch. It was 1978 and the star had just scooped the best supporting actress award for playing an anti-Nazi hero in Julia, opposite Jane Fonda. After taking the stage in her billowing black velvet dress, she was presented with her golden statuette by John Travolta. The run-up to the ceremony was marred by controversy and threats against Redgrave because she had narrated and produced The Palestinian, a documentary that was seen by some as supporting Yasser Arafat's Palestine Liberation Organisation, the previous year. An effigy of Redgrave, then 41, was burned by Jewish activists outside the Dorothy Chandler Pavilion in Los Angeles; counterprotestors waved the Palestinian flag. So fraught was the atmosphere that police sharpshooters were placed on the roof of the theatre to guard against a potential assassin. 'You should be very proud that in the last few weeks you have stood firm and you have refused to be intimidated by the threats of a small bunch of Zionist hoodlums whose behaviour is an insult to the stature of Jews all over the world,' she told Hollywood's elite. Some booed. The actress would later claim that she was specifically referring to activists from the Jewish Defense League, but many interpreted her speech as being hostile to Israel generally. It certainly damaged her career. Redgrave's outburst was novel at the time but now, almost two years since the Hamas attacks of October 7 2023 that sparked the ongoing Israeli offensive in Gaza, such overt pro-Palestinian activism is par for the course in the performing arts. In the last few weeks alone we have seen the controversial Glastonbury sets by punk rappers Bob Vylan – one of whose members led chants of 'Death, death to the IDF' and ranted about 'Zionist' recording industry bosses – and Kneecap, a group whose career has been supercharged after making controversial statements about Israel and Palestine. Both groups have had their performances investigated by the police; the investigation into Kneecap's Glastonbury appearance was subsequently dropped. Even the Royal Opera House, the august Covent Garden institution, has proven susceptible to the creep of this on-stage activism. The end of Verdi's Il trovatore was disrupted by a freelance performer, Daniel Perry, unfurling the Palestinian flag and wrestling it away from a backstage figure who tried to remove it. A spokeswoman for the venue said: 'The display of the flag was a spontaneous and unauthorised action by the artist. It was not approved by the Royal Ballet and Opera and is not in line with our commitment to political impartiality.' The plight of Palestinians has, for the past few decades, been an obsession among the largely Left-wing figures who make up the leading figures in the performing arts. While Redgrave in the late 1970s was a relatively fringe figure for her outspoken support for Palestine – the Cold War and apartheid South Africa were the primary sources of geopolitical angst for most of the late 20th century – since the fall of the Berlin Wall and election of Nelson Mandela much more attention has been paid to the Middle East. Think of Seven Jewish Children, the 2009 Caryl Churchill play that covered decades of Israeli history in 10 minutes that was subtitled A Play for Gaza. It was written hastily in response to Operation Cast Lead, the Israeli military's incursion into the Palestinian territory after Hamas came to power; as many as 1,400 Gazans died, as did 13 Israelis, during the three-week conflict. Publicising Seven Jewish Children at the time, Churchill said: 'Israel has done lots of terrible things in the past, but what happened in Gaza seemed particularly extreme.' The play was widely condemned as being anti-Semitic, a claim she has always denied, and the BBC declined to adapt it for radio because of its need to be impartial. Churchill, now 86, remains just as committed to the Palestinian cause. Earlier this year, she abandoned plans to mount a new play at the Donmar Warehouse because the central London theatre is sponsored by Barclays bank, which has been accused of having links to Israel. More than 300 arts figures, including performers Juliet Stevenson, Samuel West and Harriet Walter, signed an open letter supporting Churchill's decision. Disruption and boycotts are nothing new, of course. Sustained audience disturbances derailed a 2011 performance by the Israel Philharmonic Orchestra at the BBC Proms so much that its broadcast on Radio 3 was interrupted twice; the following year, Mark Rylance was one of 37 people to sign a letter to The Guardian that called for a performance by the Israeli theatre company Habima at Shakespeare's Globe to be cancelled. 'By inviting Habima, the Globe is associating itself with policies of exclusion practised by the Israeli state and endorsed by its national theatre company,' the letter read. 'We ask the Globe to withdraw the invitation so that the festival is not complicit with human rights violations and the illegal colonisation of occupied land.' Globe bosses defended the programming decision, but the performance of a Hebrew-language Merchant of Venice was disrupted. About 15 people were carried or led out of the theatre for unfurling banners and flags, while one man was arrested. To supporters of the Palestinian cause, the reason for being vocal is self-evident. I ask Juliet Stevenson why events in Gaza have so animated her and her fellow performers. 'A simple answer to the question is that, with 100,000 people killed, and about 18,000 children among them, that's the reason people are feeling strongly about the issue,' she says. 'The killing of vast numbers of innocent people in horrific ways – burning, being shot, starving, exploding with bombs – that's probably why so many people feel strongly about it. Wouldn't you think?' For Perry at the Royal Opera House, unfurling the flag appears to have been worth the risk of committing what the Slippedisc journalist Norman Lebrecht describes as 'stage suicide'. He tells me it is unlikely that he will be booked again because 'somebody who disrupts the illusion of theatre' cannot be trusted 'to appear on stage without importing some issue of their own'. It is notable that, for all the noise about Palestine, there is no such protest on stages across the country about what is happening in Ukraine or Sudan, two other long-running conflicts where civilians are regularly being killed. 'Those people who speak out on Palestine, you never hear them speaking out on Russia, you never hear them speaking out on Sudan or any of the other atrocities happening in the world. They tend to be single-issue protesters, and they've been corralled almost into a sense of social obligation, that this is the right thing to do if you want to succeed in the acting profession,' Lebrecht adds. 'It's trendy. If all your friends are doing it and you want to keep them as your friends then you go along with it.' Maureen Lipman, the Jewish actress, tells me that she thinks that 'the Jews, the Israelis, have turned into the white South Africans' under apartheid: bogeymen that must be opposed. 'These people believe with all their hearts that the Palestinian cause is bigger than anything in the world; bigger than Sudan or Yemen, bigger than Burma, bigger than China,' Lipman says of the pro-Palestine activists. 'There's one cause, like there was one cause in South Africa, and it really appeals to these people.' It can feel like the issue of Palestine is everywhere you look in the arts. The entire Edinburgh Fringe last year was dominated by Gaza after ugly scenes at a set by the American comedian Reginald D Hunter, when he was heckled by an Israeli couple who took issue with one of his jokes and they were barracked by other audience members. Separately, Hunter appeared in court this month after being accused of making anti-Semitic social media posts. Meanwhile, musicians such as Brian Eno and Massive Attack have joined forces with Kneecap to create a syndicate for artists 'threatened into silence or career cancellation' by speaking out about Palestine. Gary Lineker left his lucrative job presenting on the BBC because of his own social media posts about the conflict. Paul W Fleming, general secretary of the performers' union Equity, says that the pro-Palestinian activism only gets noticed because of the ambiguous position of the British government on the question of what is going on in the Middle East, in contrast to its unequivocal stance on, for instance, Ukraine. In addition, many arts bosses appear worried about programming work that directly addresses the Israel-Palestine conflict, such as when Manchester's Royal Exchange cancelled a staging of A Midsummer Night's Dream last September over apparent references to the war, as well as transgender rights. 'The arts are supposed to be a space where these injustices are challenged and we understand the world a bit better,' he tells me. 'The reason why it feels so febrile, I guess, is because of a prevailing culture of implicit and explicit censorship of pro-Palestinian voices and a general anxiety in civil society about talking about it… The reason it is made in increasingly desperate tones and increasingly erratic and spontaneous expressions is because it's harder to express solidarity with Palestine than it is over other issues.' Fleming adds: 'Equally, the government isn't listening to artists or ordinary citizens that wish to say 'Genocide is wrong, British complicity in that genocide is wrong, the complicity of major international corporations in the systems of genocide and apartheid is wrong,' and nothing seems to change. And when people don't get their voices heard… it moves beyond the accepted mechanisms of change and debate and discourse into more direct action.' After Redgrave left the Oscars stage in 1978, the Jewish writer Paddy Chayefsky presented the screenplay awards but, before he did so, chose to address the actress's earlier remarks. 'I would like to say – personal opinion, of course – that I'm sick and tired of people exploiting the Academy Awards for the propagation of their own personal political propaganda,' he said. 'I would like to suggest to Ms. Redgrave that her winning an Academy Award is not a pivotal moment in history, does not require a proclamation, and a simple 'thank you' would have sufficed.' He received a standing ovation.
Metro
an hour ago
- Metro
Cain and Tracy's world turned upside down by fresh Nate news in Emmerdale
Cain Dingle (Jeff Hordley) and Tracy Shankley's (Amy Walsh) attempt at trying to work out who killed Nate Robinson (Jurell Carter) was brought to a sudden halt in tonight's episode of Emmerdale, as DS Walsh arrived with some news. Last week, Cain and Tracy made progress when they both admitted they now believe neither of them killed Nate. They hugged, and then concluded they might be able to find the real culprit if they work together. At Tracy's, Cain was sitting at a table with a notepad beside him. The two characters were discussing residents who had clashed with Nate before his death. After ruling out Caleb Miligan (William Ash), Tracy then suggested it might be one of Nate's pals or work colleagues. This prompted Cain to circle a handful of names from Butlers Farm – including John Sugden (Oliver Farnworth). The opportunity to get even the tiniest bit closer to the truth was then interrupted thanks to DS Walsh knocking at the door. As she entered, she revealed the police had made a major development regarding Nate. Prior to her arrival, DS Walsh was at Owen's (Simon Haines) house. She had been called by Liam Cavanagh (Jonny McPherson), who discovered Owen and believed he had ended his life. Last Friday, John paid him a visit as part of his job at the surgery, but found him unconscious. Aware that Tracy and Cain were desperate for news on Nate's investigation, John let Owen die, and then wrote a confession on his laptop, saying that he killed Nate following a roadside altercation. Back at Tracy's, Walsh had updated her and Cain on Owen and they were stunned. They struggled to believe that a random guy they had never met was responsible for killing Nate – and for really no reason at all. But with the confession detailing Owen planting Nate's phone, and revealing where his car had been hidden, it was a massive sign for Walsh that she'd soon be able to declare case closed. More Trending As Tracy and Cain attempt to process this twist, attention will turn to Robert Sugden (Ryan Hawley) as the week continues. Suspicious of his sibling once more, Robert will make contact with Owen's brother, who confirms he has a solid alibi for the day Nate was killed. View More » How close is Robert going to get to the truth? MORE: Another Emmerdale Dingle death 'confirmed' as fans spot huge clue MORE: Emmerdale's John riddled with guilt over what he does next to Cain MORE: Emmerdale icon pays tribute to co-star after final exit: 'Can't believe this is the end'
Scottish Sun
3 hours ago
- Scottish Sun
Hollyoaks lines up two major arrests, cheating scandal and a rival soap star joining the show in shocking summer trailer
Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) HOLLYOAKS has teased two shock arrests, a major cheating scandal and given the first look at a rival soap star joining the show. The Channel 4 soap has released its big summer trailer ahead of its huge 30th anniversary celebrations in October. Sign up for the Entertainment newsletter Sign up 4 Clare and Grace are arrested for their litany of crimes Credit: Lime Pictures 4 WWill Dillon cheat on Lucas with his dad Ste? Credit: Lime Pictures 4 Is deranged Jez's secret out? Credit: Lime Pictures 4 Emmerdale's John Middleton has joined the soap Credit: Lime Pictures And there is so much to whet fans' appetites. Fans watching the trailer will see the bombshell moment Rex Gallagher turns on his dangerous sisters Grace Black and Clare Devine. The two villains end up being arrested and facing prison for their sexual exploitation and modern day slavery rackets. And there's the first look as Clare comes face to face with someone who could rival her in the evil stakes - her own grandfather, Fraser Black Sr - or Froggy as he prefers to be known. The gangster will be played by Emmerdale star John Middleton - and he's sticking around as a series regular to go head to head with Clare. Escaped killer Bobby Costello is also on the run with mum Mercedes McQueen desperate to protect him - but with Tony Hutchinson determined to take revenge, will Bobby escape with his life? A shock cheating scandal is in the offing as Dillon makes a move on boyfriend Lucas' DAD Ste Hay. And in a shocking twist Sienna Blake looks set to discover the deadly truth about her serial killer dad Jez - and his many, many victims. But will she survive to the 30th in October? And has John Paul McQueen discovered the truth about Jez as he can be seen smashing up the killer's beloved allotment where he keeps all the momentos of the people he's killed. Hollyoaks Star Sherrie Hewson Quits—Could Benidorm Revival Be Next? The soap has a lot to celebrate with Channel 4 boss Ian Katz has revealed the ratings have surged 11 per cent since the show went down to three episodes a week. He said: 'Channel4's much loved soap, Hollyoaks, is having quite a year. While most soaps are in decline, its viewership for the year to date is up 11% thank to the brilliant creative leadership Lime's Hannah Cheers and our own Louise Donald.'
