Cain and Tracy's world turned upside down by fresh Nate news in Emmerdale
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'
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Daily Mirror
24 minutes ago
- Daily Mirror
Emmerdale fans 'solve' who Ray was on the phone to - and who he's working with
Emmerdale fans think they know who new villain Ray was speaking with on the phone on Tuesday, and who on the ITV soap he might be working with amid him targeting Dylan Ray in Emmerdale was shown making a cryptic phone call with an accomplice during Tuesday's episode of the ITV soap. Now, some fans are convinced he's working with a familiar face. Just weeks on from Joe Tate being tipped to be in cahoots with Ray, a mystery scene in the latest episode has sparked more theories. Ray was shown targeting both Dylan Penders and April Windsor, before speaking to someone about their dodgy dealings. It comes as spoilers revealed April would be the villain's next target, with him already dragging Dylan into his drug dealing. Next week April will be left torn as she's manipulated into a drug drop by Ray, with it not revealed if she goes through with it or not. On Tuesday night we saw Dylan turning down a job from Ray, who feigned acceptance of this. It was clear he was manipulating the teenager, giving him loads of money and claiming to be his friend. With Dylan not keen to help Ray, he told him he couldn't help him on the latest job and Ray said it was okay. But at the end of the episode we saw him spying on both Dylan and April, before making a worrying comment. He was speaking to someone on the phone but their identity was not revealed. Ray told the mystery person that April was "sweet and innocent" and would be perfect for whatever they had planned. He claimed she would be "of use to them", no doubt with their dodgy dealings and jobs like the ones Dylan has been doing. But who was Ray speaking with, and who is he working with? Viewers had a theory or two about this, believing we already know the person on the other end of the phone. Some fans have gone back to the Joe theory, believing they are working together. Another theory speculated that fellow newcomer Celia might be linked to Ray. One theory said: "Anyone else curious as to who Ray was on the phone with? I reckon it's someone we know like Joe." Another post echoed this theory saying: "Is Ray working with Joe?" Meanwhile another fan commented: "Imagine if Ray was working with Celia." It comes amid Celia teaming up with Moira Dingle after both of them had drama with the Tates. Celia had a farm related business offer amid Moira's financial woes, while Celia revealed Kim Tate had raised her rent. Fans wondered if Celia was really helping Moira or if she was secretly against her. Get the latest drama from the Dales by joining our Emmerdale WhatsApp group As drama continues to unfold in the Yorkshire Dales, the Mirror has launched its very own Emmerdale WhatsApp community where you'll get all the latest breaking news, secrets, and spoilers delivered straight to your phone. Users must download or already have WhatsApp on their phones to join in. All you have to do to join is click on this link, select 'Join Chat' and you're in! We may also send you stories from other titles across the Reach group. We will also treat our community members to special offers, promotions, and adverts from us and our partners. If you don't like our community, you can check out any time you like. To leave our community click on the name at the top of your screen and choose Exit group. If you're curious, you can read our Privacy Notice.
Daily Mirror
an hour ago
- Daily Mirror
Emmerdale advanced spoilers tease 'unexpected' Robert twist and murder shock
Emmerdale fans have been sharing some advanced spoilers obtained from soap magazines that hint at scenes beyond next week's episodes, with twists ahead on the ITV soap There's some new spoilers for Emmerdale that have certainly got viewers talking. Off the back of the latest batch of spoilers dropping as usual on Tuesday, some teasers for future weeks revealed in some soap magazines have been shared online. Soap fans will know the mags tend to hint at what's happening beyond the current week of spoilers, with a glimpse at what will be in the next issue. With that there's vague spoilers about that week, likely to be in a couple of weeks time. It comes as spoilers for next week teased John Sugden would target his brother Robert Sugden once more in a twisted plan to turn his family against him. Now, the advanced spoilers for the next issues have teased more turmoil for Robert, as well as an "unexpected" twist. Said to be for episodes airing the week of August 18, the snippets taken from soap magazines, while it's not noted which ones, tease this plot will continue. It's thought the lines are from Inside Soap magazine and What's On TV magazine, in their latest issues. It's not the only storyline to carry on though, as further spoilers tease a potentially huge update in the Nate Robinson murder plot. There's also "upset" for one couple, and a "stressful announcement". The spoilers are all a bit vague, intentionally, with more information to be revealed in the new spoilers next Tuesday. For now though, fans have been trying to decipher what certain teasers mean. With the Robert plot, one spoiler states he's left "struggling to cope" as his turmoil over his feud with John, rejection in the village and his six years in prison begins to take its toll. But there's set to be an "unexpected encounter" that lifts some of that turmoil it seems. Cain Dingle features a lot in this week too according to the teasers. There's said to be some news from the police about the investigation into his son Nate's death. Currently, his killer John has successfully managed to frame now-dead Owen for the crime, with a fake confession. But it's said Cain and Nate's wife Tracy Robinson are forced to relive events as the police have some questions about Nate's death. So why are the cops snooping around once more, and should John be worried? There's set to be emotional scenes as Nate's loved ones are forced to face their grief once more. Cain also shares an announcement that is set to stress one village resident out, according to another spoiler. But what does he have to say? Teen Dylan Penders also features in this week amid his trouble with villain Ray, with April Windsor now dragged into it. A spoiler hints Dylan will be left feeling "guilty" about something he has done. What could this be about? Finally, there's more trouble for Charity Dingle and Mackenzie Boyd judging by another teaser. The spoiler suggests Mack is left upset with his wife when she forgets an important date. So what has she forgotten, and could the pair be headed for a split? Get the latest drama from the Dales by joining our Emmerdale WhatsApp group As drama continues to unfold in the Yorkshire Dales, the Mirror has launched its very own Emmerdale WhatsApp community where you'll get all the latest breaking news, secrets, and spoilers delivered straight to your phone. Users must download or already have WhatsApp on their phones to join in. All you have to do to join is click on this link, select 'Join Chat' and you're in! We may also send you stories from other titles across the Reach group. We will also treat our community members to special offers, promotions, and adverts from us and our partners. If you don't like our community, you can check out any time you like. To leave our community click on the name at the top of your screen and choose Exit group. If you're curious, you can read our Privacy Notice.
Telegraph
4 hours ago
- Telegraph
When I worked on Emmerdale I expected jolly japes. Actually, it was a bloodbath
When I first entered television, I thought it would be a jolly affair. So did everybody I knew (who didn't work in television). That must be fun, people would say. And yes, it could be fun, and rewarding, and the money was very nice. But I soon discovered that there was another factor to the thing. On some shows, backstage was a bloodbath. Jockeyings for position; stabbings in the back, the front and the sides; plotting and whispering in dark corners, and sudden palace coups. I'm not exaggerating when I tell you that Emmerdale – on which I was script editor from 1998-99 – had something of the flavour of the Borgias to it. It was a commonly expressed observation in the office that the production process was much more captivatingly dramatic than what ended up on screen. There always seemed to be a panic, particularly on bread-and-butter long-runners such as soaps and serial dramas, a hysteria in the air that everything was falling apart. It was all taken incredibly seriously. I still have the occasional nightmare, decades later. An anthropology student would find much worthy material in television studios. I started to realise that any human institution – however trivial its raison d'être – can turn into a Tudor court. In fact, the lighter and frothier shows tended to be the worst culprits. On Brookside, for example, there was a long-standing tradition of a meeting where all the writers were gathered to tear each other's first-draft scripts to shreds in a display of macho gorilla-style breast-beating. Some of the long-established silverback writers on Coronation Street would stomp furiously out of meetings – but always left their bag behind, so they could return to collect it and be persuaded to stay. This camp spectacle was regarded as Just One Of Those Things. Victoria Wood perfectly captured the threadbare, frantic atmosphere of soaps in her celebrated 1987 sketch depicting The Making of Acorn Antiques; firings, flubs, overindulged actors, everyone's nerves on a knife edge ('don't talk to the press if you like having kneecaps'). I soon realised that the less serious the public reputation of a show, the more serious the people making it are. If anything, less-watched shows were even worse; the lower the ratings, the higher the angst, the more poring over irrelevant details. Folderols are often the most fraught productions. Backstage gossip abounds in television, and you'll hear hilarious titbits: 'It's like Robespierre's reign of terror on Hollyoaks', or 'There's been another night of the long knives on Peak Practice', or 'Cruising with Jane McDonald has descended into a frenzied orgy of bloodletting'. I mean, obviously, it's good that people care about the quality of their work. But it can be very funny when you hear something that is flagrantly ludicrous, and you get a dizzying moment of clarity. I remember pressing a writer for delivery of a late storyline on Emmerdale, and his totally straight reply, 'I'll do my best, but I've got some really heavy rewrites on Sooty.' Worse, your own mind starts to turn as you're absorbed into it. You get a TV brain and a TV-sized imagination. You find yourself thinking peculiar thoughts, speaking industry jargon like an Apprentice contestant. You hear yourself say something like 'we need to incentivise the brand to generate content'. Your mind starts to obsess over time, money and achievability. I was once reading a book and started thinking automatically how to make it cheaper; oh, we could use the same location for those two houses, let's combine those characters, etc. Over the years, these complications and their attendant traumas started spreading, affecting all kinds of TV. As the medium became more filmic, the edgy, overwrought nature of filmmaking – with its frenetic rewriting – swallowed television up, too. The irony is that a first-draft TV script takes a month to write, but that the final version is often rushed in 36 hours by somebody else entirely, often among tears and traumas. And why? Often there is no appreciable difference in quality, it's just a bit different. There is a strange compulsion to complicate an already complicated process; the difference between doing a good professional job, and obsessing. An understandable fear of lapsing into laziness and complacency can morph into paranoia. Execs often just get bored of the lines in a script they've read 50 drafts of, and mistake that for it not being good enough. American TV was always like this. But the old British method was very light-touch. A producer colleague who'd worked at the BBC in the 1960s and 1970s told me that in those days, the attitude to writers was, 'If they haven't got it after two drafts, pay them off and say thank you.' Occasionally, I felt an echo of these prelapsarian times, of long, liquid lunches and people keeping their perspective. But that was already on its way out in the 1990s when I was coming in. Now? Endless drafts. Endless angst, endless meetings. A friend worked on an Amazon Prime show and finally chucked it in when she reached – and I'm not kidding you – draft 110. Oodles of sturm and lashings of drang, and for what? The viewers don't appreciate it. Television should be fun to watch and to make. Cut the complications.
