In “Boots,” a new miniseries set in 1990, Miles Heizer plays Cameron Cope, a scrawny, bullied gay teenager who is out only to his best (and only) friend, Ray (Liam Oh). Ray, who is joining the Marines to make his disciplinarian but not unkind father proud, convinces Cam to join alongside him. (The recruiters sell a buddy system, which is a bit of a come-on.) Cam told his messy but not unkind mother, Barbara (Vera Farmiga), where he was going, but she wasn’t listening.
Though the series, which premieres Thursday on Netflix and is based on Greg Cope White’s 2016 memoir, “The Pink Marine,” is novel as regards the sexuality of its main character, it’s also essentially conventional — not a pejorative — and largely predictable. It’s a classic Boot Camp Film, like “An Officer and a Gentleman,” or Abbott and Costello’s “Buck Privates,” in which imperfect human material is molded through exercise, ego death and yelling into a better person, and it replays many tropes of the genre. And like most every military drama, it gathers diverse types into a not necessarily close-knit group.
Cam’s confusion is represented by externalizing his inner voice into a double, “the angel on my shoulder and, honestly, sometimes the devil,” with whom he argues, like a difficult imaginary friend. (It’s the voice of his hidden gayness.) Where basic training stories like this usually involve a cocky or spoiled character learning a lesson about humbleness and teamwork, Cam is coming from a place of insecurity and fear. At first he wants to leave — he had expected nothing worse than “mud and some bug bites and wearing the same underwear two days in a row” — and plots to wash out; but he blows the chance when he helps a struggling comrade pass a test. He’s a good guy. (Heizer is very fine in the part.)
Cameron (Miles Heizer), left, is convinced by his best friend (and only friend), Ray (Liam Oh), to join the Marines with him.
(Alfonso “Pompo” Bresciani / Netflix)
Press materials describe “Boots,” created by Andy Parker, as a comedic drama, although, after the opening scenes, there’s not much comedy in it — even a food fight is more stressful than funny. Using “Also Sprach Zarathustra” as the soundtrack to a long-in-coming bowel movement — I just report the news — was already dated and exhausted in 1990, and is bizarrely out of joint with the rest of the production. “Boots” isn’t anywhere near as disturbing as, say, “Full Metal Jacket” — which Ray told Cam to watch to prepare, though he opted for a “Golden Girls” marathon instead. But it makes no bones about the fact that these kids are being trained to kill. “Kill, kill, blood makes the grass grow,” they chant, and “God, country, Corps, kill.” And sometimes just, “Kill, kill, kill.” And things do turn violent, sometimes for purposes of training and sometimes because someone just goes off his head.
Still, that Cam survives, and, after a period of adjustment, thrives (that’s not a spoiler, Cope White lived to write the book) makes this, strictly speaking, a comedy. (And, by implication, an endorsement of the program.) “We’re killing our old selves so we can be our best selves,” he’ll say to Ray. The Marines may make a man of him, but it won’t be a straight man.
Rhythmically, “Boots” follows scenes in which someone will break a little or big rule — I suppose in the Marines, all rules are big, even the little ones — with some sort of punishment, for an individual or the platoon. Laid across this ostinato are various storylines involving recruits working out the issues that have brought them to this Parris Island of Misfit Boys. Cody (Brandon Tyler Moore) was taught by his father to look down on his twin brother, John (Blake Burt), who is in the same outfit, because he’s fat. Slovacek (Kieron Moore), a bully, has been given a choice between prison and the military. Mason (Logan Gould) can barely read. Santos (Rico Paris) is slowed down by a bum knee. Ochoa (Johnathan Nieves) is a little too much in love with his wife. And Hicks (Angus O’Brien) is a chaos-relishing loon, having the time of his life. Obviously, not everyone who joins the Marines is compensating for something; Nash (Dominic Goodman), a more or less balanced character who seems to be sending Cameron signals, is there to pad his resume in case he runs for president one day; but he’ll have his moment of shame.
Sgt. Sullivan (Max Parker), left, is one of the drill instructors who takes an interest in Cameron (Miles Heizer).
(Alfonso “Pompo” Bresciani / Netflix)
Though they all raise their voices and get in people’s faces, the drill instructors do come in various flavors. Staff Sgt. McKinnon (Cedrick Cooper), the senior instructor, is imposing but obviously sane and sometimes kind; Sgt. Howitt (Nicholas Logan) is an unsettling sort who will prove to have some depth, while Sgt. Knox (Zach Roerig) is a twitchy racist, soon to be replaced by Sgt. Sullivan (Max Parker), tall, steely and tightly wound. He doesn’t yell as loud as the others, but even his posture is intimidating. He focuses immediately on Cameron; make of that what you will. He’s the series second lead, basically.
There are some respites from the training, the running and marching, the room full of tear gas, the dead man’s float test, the hand-to-hand combat, the flower planting. (That part was nice, actually.) The yelling.
Ray winds up in sick bay, where he flirts with a female Marine. We get a few perfunctory glimpses of what the brass is like when they’re out of uniform and quiet; it comes as a relief. McKinnon’s wife is having a baby; he makes Cookie Monster noises on the phone for his son. Capt. Fajardo (Ana Ayora), “the first woman to lead a male company on Parris Island,” is heard talking to her mother, presumably about her daughter’s wedding: “I would rather not spend the time or the money because she can’t live without love.” Of her position, she observes that it “only took 215 years and a congressional mandate.” McKinnon, who is Black, offers a brief history of Black people in the Marine Corps as lived by his forebears.
The social themes become more prominent in the second half, and we learn or are reminded just how toxic the military was to gay people, and how backward was its attitude. “Don’t Ask, Don’t Tell” wasn’t in effect until 1994, and it wasn’t until 2011 that openly gay soldiers could serve. Now, as civil rights are being beaten back to … backwardness by small-minded politicians, there’s a timely element to this perfectly decent, good-hearted, unsurprisingly sentimental miniseries.
When we first encounter Daniel Day-Lewis in “Anemone,” we only see him from the back, but there’s no mistaking him. Chopping wood outside his character’s rustic cabin in the middle of nowhere, he drives the ax down again and again, ferociously focused on the task at hand. At his best, which was often, Day-Lewis pursued acting with a primal clarity. Fittingly, his return to the big screen after announcing a retirement in 2017 is in a movie that exudes the same stark, elemental quality. He didn’t just co-write this tale of two estranged brothers excavating their complicated history — he imbues it with his essence, its reason for being.
“Anemone” isn’t just a film about family but one made by a father and his son. It’s the feature directorial debut of Ronan Day-Lewis, who collaborated with his Oscar-winning dad on the screenplay. Ronan, better known as a painter in New York’s contemporary art world, chronicles a collection of still lives who jostle themselves out of an emotional stupor.
Set in England some time during the mid-1990s, the movie opens as Jem (Sean Bean) says goodbye to his melancholy partner Nessa (Samantha Morton) and troubled son Brian (Samuel Bottomley) to venture out into the forest to reconnect with his younger brother Ray (Daniel Day-Lewis), whom he hasn’t spoken to in 20 years. A deeply religious man — he has “Only God Can Judge Me” sternly tattooed across his back — Jem is on a mission whose purpose will only slowly be revealed. When he arrives at Ray’s cabin, Ray knows it’s him before he even sets eyes on his brother. For several agonizing minutes, they sit together saying nothing, as Black Sabbath’s mystical ballad “Solitude” plays softly on the stereo. The tense silence will be the first of several battles of will between the two men, neither willing to yield.
Day-Lewis, now 68 and whose last film was Paul Thomas Anderson’s “Phantom Thread,” seems carved out of stone as Ray, his close-cropped hair and imposing gray goatee suggesting a man who doesn’t just live off the grid but thrives there. Lean and athletic, with a wildness in his eyes, Ray displays the same antagonism as Day-Lewis’ Bill the Butcher from “Gangs of New York” or Daniel Plainview in “There Will Be Blood.” Ray’s mysterious and fraught history as a member of the British military during the Troubles is a festering boil this film will eventually lance. His brother, who also served in the military, has come to speak to Ray about something more personal, but the hells they experienced in that conflict are the larger issue they must confront.
Shot by cinematographer Ben Fordesman in the Welsh countryside, “Anemone” takes place largely in a sprawling woods, Ronan Day-Lewis lending the flinty drama a mythic grandeur. Bobby Krlic’s mournful score is alternately dreamy and eerie, the instrumental music abruptly cutting out in the middle of a hypnotic passage. Wordless interludes find Jem and Ray dancing to music or sparring as boxers, their simmering feud reduced to its core elements of rugged masculinity and sibling rivalry. The artist-turned-filmmaker even incorporates a striking image from one of his oils — that of a translucent horselike creature — as an enigmatic visual motif that proves more ponderous than poetic.
This is not the first time Daniel Day-Lewis has worked closely with family. Twenty years ago, he starred in his wife Rebecca Miller’s father-daughter fable “The Ballad of Jack and Rose.” Both that film and “Anemone” concern solitary men who opted out of society, only to discover that such a plan is difficult to sustain. But they also both suffer from what might be described as an excess of dramatic seriousness, which is especially true of “Anemone.” Whether it’s Morton’s perpetually scowling expression in the infrequent cutaways to Brian’s life back home or the on-the-nose emphasis on looming gray clouds, there’s no question a storm is coming. Even “Anemone’s” rare moments of levity feel drained of color, the weight of this family’s Dark Past so severe that not an ounce of light (or lightness) can be permitted to escape.
Not surprisingly, the star almost makes the movie’s suffocating gloom resonate. “Anemone” allows Day-Lewis to be volcanic when Ray launches into a disturbing, ultimately revolting monologue about a recent run-in with a pedophiliac priest from childhood. Later, when the film finally explains why Ray abandoned the world, Day-Lewis delivers a teary confession that doesn’t have much fresh to say about the insanity of war but is nonetheless ennobled by how he unburdens his stoic character through cascading waves of anger and shame.
Even when he’s been fiery, nearly frothing at the mouth, Day-Lewis has always been a master of stillness, relying on his tall, taut frame to hint at the formidable power or menace underneath. (When his characters explode, it’s shocking, and yet we somehow knew the blast was imminent.) For Ray, a man full of rage who has no patience for religion, sentimentality or forgiveness, his brother’s arrival is an unwelcome event, and even when a slight thawing occurs between them, Day-Lewis remains coiled, ready to strike, their fragile truce constantly in danger of being upended.
But because Jem, like so many of these characters, is underwritten, Bean has to fall back on generalized manly intensity, which turns their showdowns into actorly exercises. The interactions are bracing but also a bit studied — the performers’ technique is more impressive than the story, which too often is merely a delivery device for misery disguised as searing truth.
There’s reason to celebrate that Daniel Day-Lewis has chosen, at least temporarily, to cancel his retirement, but “Anemone” as a whole strains for a greatness that its star effortlessly conveys. Amid the film’s self-conscious depiction of a brewing tempest, he remains a true force of nature.
Emmerdale revealed this week that newcomer Celia was the mastermind behind the County Lines dealing currently targeting the teens on the ITV soap, and she’s linked to dealer Ray
19:55, 03 Oct 2025Updated 20:00, 03 Oct 2025
Emmerdale revealed this week that newcomer Celia was the mastermind behind the County Lines dealing(Image: PA)
The latest episode of Emmerdale may have teased who could bring down villain Celia, following a war of words with her secret ‘son’ Ray.
Viewers were left stunned this week when they found out farmer Celia was actually the mastermind behind the drugs operation, led by Ray, going on in and out of the village. With teens Dylan and April dragged into it and facing huge debts, it was thought that sinister Ray was in charge, while he did refer to a ‘boss’ who we had not met.
Thursday saw Celia turn dark though, after weeks of her claiming to be one of the good ones… sort of. She befriended Moira Dingle and targeted the Tates, but this whole time she has been running a corrupt scheme in a shocking County Lines storyline.
With it set to continue, Thursday’s episode saw Celia reveal she was in charge and calling all the shots, as she lectured Ray and reduced him to a terrified wreck. He referred to her as being his mum this week, with it confirmed that she raised him from a young age and dragged him into this world.
With Dylan groomed and manipulated into Ray and Celia’s criminal ways, more recently it was April who was targeted while it seems Ray has experienced the same. A scene on Friday saw the pair clash as Ray and Celia came to blows over “Ray’s mess”.
April had accidentally dropped some pills at her home before heading out to do a drop at Ray’s request. Her younger brother Leo was rushed to hospital after taking one, while April was forced to lie to the police about Celia.
This mess with the police and their drugs left Celia acting fast and scolding Ray, blaming him. On Friday, Ray called his ‘mum’ out for the “nasty” things she said before implying she had been violent towards him in the past.
Talking about her “lashing out” he said: “I’ve got the scars to prove it.” He then made a death admission about her, making it clear he wanted rid of her.
He said: “I wish I could leave home. Actually, I wish I could stay and you’d be dead.” Celia wasn’t even unnerved, telling Ray: “Finally, growing a pair.”
Ray went to storm off but Celia grabbed him, telling him: “You wouldn’t last five minutes.” She then kissed him on the cheek and he stormed out. But will Ray act on his threat?
Could we see Ray trigger the downfall of Celia after years of being forced to do her dirty work, and hints of abuse too? Maybe he will take a deadly revenge. We’ll just have to wait and see!
Kim Kardashian and Kris Jenner are taking legal action to snuff out accusations that they are the subjects of a federal criminal racketeering investigation — claims publicized by the former’s ex-boyfriend Ray J.
Attorneys for the “Kardashians” reality stars and businesswomen sued the “One Wish” singer Wednesday for defamation and false light publicity. The 13-page complaint, filed in Los Angeles County Superior Court, stems from numerous comments Ray J made this year about his old flame and her family in a TMZ documentary and on a Twitch livestream.
“Ray J’s public statements are blatantly false,” the lawsuit says. “No such federal investigation exists; no law enforcement agency has initiated any criminal proceedings or investigations related to racketeering charges against Ms. Kardashian or Ms. Jenner; and no credible evidence whatsoever supports these inflammatory allegations.”
Neither representatives for the “Keeping Up With the Kardashians” alumnae nor Ray J (born Ray Norwood Jr.) immediately responded to requests for comment.
The complaint alleges that Ray J — younger brother to singer-actor Brandy — first publicly suggested the mother-daughter duo’s involvement in a RICO investigation in May 2025, when he appeared in the TMZ documentary “United States vs. Sean Combs: Inside the Diddy Trial.” The TMZ special chronicled the developments in the rap and alcohol-branding mogul’s high-profile federal sex-trafficking case. The 44-year-old singer linked Combs’ case to his ex-girlfriend and her famous family, stating in the special, “If you told me that the Kardashians was being charged for racketeering, I might believe it,” the lawsuit says.
Attorneys for Jenner, 69, and Kardashian, 44, allege Ray J’s comment “was designed to plant the seed in the public mind” that the reality stars are comparable to Combs, who was accused of drugging women, violence against ex-girlfriend Casandra “Cassie” Ventura and orchestrating orgies known as “freakoffs.” “To date, Ray J has not retracted his knowingly false and disparaging statement,” the lawsuit says.
Months after appearing on the TMZ special, Ray J doubled down on his claims during a Twitch livestream with rapper Chrisean Rock in late September. The “Sexy Can I” musician declared last week, “The federal RICO I’m about to drop on Kris and Kim is about to be crazy,” according to court documents. During the livestream Ray J also allegedly said “the feds is coming, there’s nothing I can do about it” and claimed the stars’ supposed RICO case is “worse than Diddy[‘s].”
“I’m talking about, I’m on the news every day. I’m gonna say a lot of s—,” he said about the scale of the RICO case, the complaint says.
Elsewhere in the livestream, he urged his followers: “Anybody that is cool with Kim, they need to tell her now, the rain is coming, the feds is coming.”
Infamously, Kardashian and Ray J were an item in the early 2000s. Though they broke up in 2006, their sex tape was leaked in 2007, the same year “Keeping Up With the Kardashians” premiered on E!
Attorneys for Jenner and Kardashian cast Ray J’s accusations as his latest attempts to stay relevant. The lawsuit alleges he has a history of “making false, sensationalized claims about high-profile individuals” to gain attention, citing an online incident with rapper Sexxy Red. Earlier this year, Ray J hinted he got intimate with the “Sticky” rapper. He apologized for the claim and clarified that they just sat near each other on the same flight. “I went out of control and I said that I slept with Sexxy Red,” he said.
The lawsuit says Jenner and Kardashian — who recently completed her legal training — “suffered reputational harm” that has taken and will continue to take a professional toll. They are seeking a jury trial and an unspecified amount in damages exceeding $35,000.
As news of the lawsuit spread Wednesday, Ray J seemingly stood firm in his accusations. In a video shared to his Instagram story Wednesday, he asserted, “I’m not about to be silenced.” He also said he spoke with Jenner-Kardashian attorney Alex Spiro, who allegedly asked him “crazy questions,” including whether he spoke to “feds.”
“Honestly, like, y’all should be super scared because I’m not backing down. I’m tired of it,” Ray J continued. “The rain is coming, there’s nothing you can do about it.”
In another Instagram story shared Wednesday evening, he announced to followers that he would be going live on Twitch at 2 a.m., “that’s 5 o’clock New York Time, perfect time for ‘The Breakfast Club’ to be stalking my page and see what I’m gonna say.”
Ray Montgomery is just three weeks into his interim tenure as Angels manager. And as his responsibility grows, he’s well aware that so does the pressure.
“All blame, no credit,” he said Monday as the Angels began a seven-game homestand before the All-Star break. “And I get that. That’s just how it goes.”
Since taking over as manager on June 20 for Ron Washington — who will remain on medical leave until the end of the 2025 season — Montgomery has guided the Angels (44-46) to an 8-8 record entering Tuesday.
They’ve had the good: taking two of three from the Braves in Atlanta last week. And they’ve had the bad: getting swept by the Blue Jays at Rogers Centre over the weekend.
Montgomery said he understands the expectations aren’t what they were a few years ago — when the Angels lost 89 or more games from 2022 to 2024 — and that the Angels aren’t so far away from their first postseason berth since 2014 thanks to their young core having a few seasons under its belt.
“We’re not here to develop, although that’s a piece to what we do,” Montgomery said. “We’re here to win. And for the Angels, it’s important for us to have an opportunity where we are.”
If anything, there’s a case to be made that the Angels could be over .500 if a few plays had gone their way. Since Montgomery took over as manager, the Angels are 2-5 in one-run ball games, including all three games in the Toronto series.
When asked what the Angels need to do or adjust to end up on the other end of those one-run contests — of which they’d been 17-11 across the full season — Montgomery pointed to big swings and specific plays.
“You can point to the big hits, I get it, but you can also point to the execution on smaller plays, too, that prevent runs,” he said. “We made some mistakes in those games.”
The Angels got one of those big plays on Monday night. Nolan Schanuel drew a walk-off walk for a 6-5 victory over the Rangers, wiping away miscues such as a dropped third strike that led to a score-tying RBI double.
Montgomery, in his fifth year with the Angels — fourth as a member of the coaching staff — turned to a decision he made in Atlanta last week as proof that one moment can change the game.
Against the Braves last week, Yusei Kikuchi had been brilliant. The Japanese left-hander was two-thirds into the sixth inning of his then-scoreless outing. Instead of keeping Kikuchi — at 100 pitches — in to try to finish off the side as he worked through the Braves lineup for the third time, Montgomery pulled the left-hander in favor of right-hander Ryan Zeferjahn with two runners on base.
It backfired. Sean Murphy, who struck out twice against Kikuchi earlier in the game, hit a three-run home run to give the Braves a 3-2 lead, an advantage that would turn into an 8-3 loss.
“If I leave Kikuchi in Atlanta, right, and he gets a guy he handled pretty good during the game, we may sweep that series too,” Montgomery said. “[Games are] magnified now — I get it.”
Decisions like those are where Washington and Montgomery’s managerial strategies may differ. Washington, a longtime MLB coach, comes from an era of giving starting pitchers a longer leash (it goes hand in hand with the Angels using just five starting pitchers so far in 2025).
Montgomery, who comes from a scouting background in his post-playing career, may value analytical strategy more — holding pitchers from facing a lineup a third time through the order and playing matchups more.
Angels catcher Travis d’Arnaud, who has played for new-school managers that emphasize analytics such as Kevin Cash, as well as old-school managers such as Terry Collins, says Montgomery toes the line in between both managerial styles.
“He’s got a good feel,” d’Arnaud said. “He trusts the staff, which is really good, and also trusts the bullpen, which is also really good. He has really good communication with every player, lets them know when they’re playing — which is more of a younger thing — and so it’s a mix of both [new- and-old school].”
Strategy could be the difference between Murphy facing Zeferjahn rather than Kikuchi. Strategy may be the difference between a win and a loss — or staying in contention for an American League wild-card spot.
“It’s tough to say,” right-hander Jack Kochanowicz said when asked about the difference between Washington and Montgomery. “You feel like each game is different. It’s hard to really put an identity to either one of them, especially since Ray’s so new to it, too. It’s a small sample size.”
For Montgomery, he said he’s not going to dwell on the could-have-beens. Squarely in the chase — and in the zone between the franchise deciding between buying and selling at the trade deadline — he’s just happy the Angels are in the conversation.
“If you told us coming up on the All-Star break, that we were in the mix a couple games above or below .500 — and I’m not ignorant of the fact that we’ve cost ourselves a few games, we should be a little better than we are — I would be happy with where we sit right now,” Montgomery said.
Singer Ray Stevens has shared his first update since being admitted to the hospital on July 4 for surgery.
According to his Instagram, the 86-year-old has been moved out of intensive care and is continuing to recover.
“Ray is out of ICU and beginning to walk the halls as therapy with a nurse’s assistance as he is working towards recovering from this surgery,” the post from Wednesday reads. “Ray is very grateful for all of the cards and get-well messages. Everything is Still Beautiful!!!!”
The last line is a reference to one of Stevens’ best-known songs, the Grammy Award-winning “Everything Is Beautiful.”
In a previous statement provided to People magazine, representatives of Stevens said he was recovering after a “minimally invasive heart surgery” on Monday. On July 4, he went to a Nashville hospital after experiencing chest pain.
Following a heart catheterization, Stevens was informed that he had suffered a minor heart attack. A subsequent surgery was carried out successfully.
Though the two-time Grammy winner’s upcoming performances at his CabaRay Showroom in Nashville have been canceled, fans are just happy to hear he is OK.
“This is the good news I was waiting for,” one Instagram user commented under the update. Another rejoiced, saying it was “great news in a world of such sadness and loss recently.”
Stevens has had a successful music career, cutting his first top 10 pop hit, “Ahab the Arab,” in 1962. The singer has recorded 45 albums, according to his website, won two Grammy Awards, and was inducted into the Country Music Hall of Fame in 2019.
Following the induction, Stevens was asked whether he would be retiring anytime soon.
“I feel fine; I’ll probably keel over after I hang up the phone,” he joked.
In 2024, he announced he would be hanging up his boots — only to change his mind a year later with the release of a new album, “Say Whut?”
“Although I said earlier that last year was going to be my final year at the CabaRay … I’m kind of going back on that because I want to promote this album,” he told NewsChannel 5 Nashville.
Emmerdale fans will see the arrivals of two new characters next week, both causing trouble on the ITV soap, with danger, betrayals, discoveries and secrets under threat
00:01, 24 Jun 2025Updated 00:02, 24 Jun 2025
There’s plenty of carnage coming up on Emmerdale, with two new faces, secrets under wraps and a brutal attack(Image: ITV)
There’s plenty of carnage coming up on Emmerdale, with two new faces, secrets under wraps and a brutal attack.
One iconic character faces death after a violent attack, with him rushed to hospital in a life-threatening condition. Someone is double crossed, and it could have serious repercussions.
A character is nervous over their recent near-kiss with someone else as he fears it could be exposed, while a feud rumbles on too. Kicking things off, there’s a horrifying twist for Paddy Kirk next week.
Paddy, who has been on the soap for decades, is brutally attacked and left lifeless, as his dad Bear races to save him. Amid a time of conflict between the father and son, Bear battles to save his son’s life when the vet is injured badly by a dog.
Paddy is trying to rescue a sheep caught in the fence on the land of new farmer Celia, only to be caught and bitten by an aggressive dog. Bear manages to save him, but he’s left traumatised by the incident. As Paddy’s loved ones gather at the hospital, he emerges from surgery.
Emmerdale fans will see the arrivals of two new characters next week(Image: ITV)
But he and wife Mandy Dingle are reeling when Bear launches a verbal attack on his son’s character. Taking the words to heart, a heartbroken Paddy sobs silently before struggling in the fallout. Soon he heads for Celia’s farm to confront her about the attack but it doesn’t go well.
He blames Bear for this and the pair are further apart than ever before. Telling his dad to move out, he’s clear he wants nothing to do with him but will this be it for them amid Bear’s own mystery worrying storyline?
Celia isn’t the only new arrival to the show next week, as newcomer Ray, a new villain, also makes his mark. As Ross Barton and his brother Lewis Barton’s secret weed hustle continues, Mack Boyd makes a horrifying decision amid his own involvement in the plot.
With Moira Dingle still facing financial issues and struggling to keep the farm, with Mack still thinking he’s to blame, they consider whether to sell the weed to a dealer for a huge sum of money. When Lewis refuses, Mack goes behind their backs and agrees to sell up to Ray.
Ray, a new villain, also makes his mark(Image: ITV)
Lewis assumes his brother Ross has betrayed him and their relationship falls apart as Mack feels guilty over what he’s done. Mack is left desperate though without the brothers on board, as he struggles to meet the dealer’s demands.
So when all the plants go missing from the barn, Ross accuses Mack of stealing it and selling it all to Ray but he protests his innocence. So who has taken the weed and where is it now?
Vinny Dingle also faces turmoil next week after he recently tried to kiss his pal Kammy Hadiq. While Kammy has said he won’t tell anyone including Vinny’s fiancée Gabby Thomas, Vinny can’t help but fear it will be exposed.
He’s avoiding his pal so when Gabby invites Kammy to their engagement party, Vinny is in turmoil. Finally next week Sarah Sugden supports her grieving grandfather Cain Dingle who’s upset when the whole family is barred from his son Nate Robinson’s funeral by Tracy.
