storyline

Emmerdale has had plenty of dark moments, but fans have now called the most latest storyline involving Charity and Dr Todd ‘abhorrent’ and have said the soap has gone too far

Emmerdale has aired some shocking storylines since it first began in 1972, but perhaps none so dark as its most recent, which fans have said went too far.

In Sunday night’s episode, airing on 7 June, longtime favourite Charity Dingle (Emma Atkins) became the victim of a “horrendous” sexual assault at the hands of Caitlin Todd (Caroline Harker). Dr Todd had been blackmailing Charity over the true parentage of the baby she gave her granddaughter but after Charity fought back, the villainous doctor tried to kiss her. Though she was rejected, when a drunk Charity fell asleep, Dr Todd assaulted her.

Fans were furious with the storyline. One called it “disturbing”: “The SA scene in #Emmerdale is horrendous, please take care of yourselves, very difficult watch. Charity [crying emoji].I can’t post the clip its so disturbing.”

Another added that they felt “physically sick” and hoped that the soap would be fined for the latest storyline: “I hope #Emmerdale gets a fine and or massive warning, there’s doing a storyline and there is a storyline that makes many women feel physically sick and shaking, disgusting behaviour from TV.”

Finally, another implied that the actors should be “ashamed” for agreeing to film the scenes and said they would not be watching. But this is not the first time Emmerdale has aired a deeply dark storyline. From serial killers to a modern slavery plot, here are the darkest storylines on Emmerdale.

Serial killer Meena

Nurse Meena Jutla (Paige Sandhu) arrived in Emmerdale in 2020. Meena did many villainous things whilst on Emmerdale, inclduing pretending to be Ethan Anderson’s (Emile John) estranged mum and taking Rishi Sharma’s (Bhasker Patel) medication so that she could later save him.

But things soon got worse for the Emmerdale residents, when Meena started killing. Offscreen, she murdered both her own father and her former best friend Nadine, while onscreen, she killed Leanna Cavanagh (Mimi Slinger), Andrea Tate (Anna Nightingale) and Ben Tucker (Simon Lennon). She seemed completely unaffected by her crimes, often singing and dancing to pop music before committing them and involving herself in the lives of those mourning her victims afterwards.

Several of Meena’s scenes were brutal and vicious. Some fans said they were left “traumatised” and “horrified” by the violent way she murdered Andrea and Ofcom received several complaints about Ben’s death.

Cameron killing Gennie

Cameron Murray (Dominic Power) was another Emmerdale killer. He killed three people – Carl King (Tom Lister), ALex Moss (Kurtis Stacey) and Gennie Walker (Sian Reese-Williams) – between 2012 and 2013.

Cameron was later sent to prison after his girlfriend Debbie Dingle (Charley Webb) turned on him. But, still believing that Debbie loved him, he escaped prison and took the patrons in The Woolpack hostage. Everyone managed to escape except Cameron, who was electrocuted in the cellar.

Though he killed several people, the way he killed Gennie was deeply disturbing. After seeing Gennie leave their house, Cameron and Debbie realised she must have overheard Cameron confess to killing Carl and chased her down in their car. Gennie’s car spun out of control and crashed – while Debbie called the police, hoping someone could save Gennie, Cameron got her out of the car and suffocated her without Debbie seeing.

Bear’s modern slavery story

At the end of last year, Bear Wolf (Joshua Richards) faced a modern slavery ordeal. The character had disappeared earlier that year and was believed to be in Ireland, but it was later revealed that he was living in a barn and being controlled by the barn’s owners, who forced him to work their farm.

Those captors were Ray and Celia (Joe Absolom and Jaye Griffiths), who also manipulated April and Dylan (Amelia Flanagan and Fred Kettle) into working for them too and transporting drugs across county lines.

Fans said the storyline was “too dark” but Joshua Richards said before the storyline aired: “It may surprise many people, but slavery is alive and well, indeed prospering in the modern world. Not only in obscure countries and cultures that we know little about, and not just the exploitation of migrants by criminal gangs of which some of us are aware. It is happening under our very own noses.”

He continued: “The disadvantaged, dispossessed, those with mental health issues or disabilities, the old, lonely and vulnerable people that our society neglect are the perfect prey for grooming by unscrupulous criminal agencies. I’m very excited and honoured to be taking part in this to hopefully educate and highlight this abominable trade of human bondage.”

John Sugden’s hero syndrome

John Sugden (Oliver Farnworth) appeared to suffer from hero syndrome in 2024. The paramedic would put people in danger and then use his skills to save them.

He injected Nate Robinson (Jurell Carter) with an unknown substance and planned to save him but was too late and Nate died. He also swapped Jacob Gallagher’s (Joe Warren Plant) coffee with an almond milk latte, knowing Jacob was allergic, swapped Chas Dingle’s (Lucy Pargeter) pain killers with a stringer dose so that she would overdose, whacked Liam Cavanagh (Jonny McPherson)over the head and did much more to others, all so that he could later save them.

Jackson’s assisted suicide

In controversial scenes in 2011, Aaron Livesy (Danny Miller) helped his partner Jackson Walsh (Marc Silcock) die. Jackson was tetraplegic, which is where someone is unable to move the upper and lower parts of their body.

Viewers watched in shock as Aaron helped to end Jackson’s life by helping him drink a lethal cocktail of drugs. Emmerdale was criticised for the story line and an Ofcom investigation was launched after several complaints were made.

Pierce assaults Rhona

In 2017, viewers watched as Pierce Harris (Jonathan Wrather) assaulted and manipulated his partner Rhona Goskirk (Zoe Henry). Fans were terrified for Rhona when she agreed to marry Pierce, and rightly so, as he raped her on their wedding day.

Emmerdale again received complaints for the graphic nature of the scenes that were broadcast, but ultimately stood by its decision for airing the episode, claiming it complied with Ofcom’s vigorous guidelines.

If you’ve been the victim of sexual assault, you can access help and resources via www.rapecrisis.org.uk or calling the national telephone helpline on 0808 802 9999

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After a nearly seven-year absence from theaters, Star Wars proved it still has the Force, as the latest installment, “The Mandalorian and Grogu,” is on track to earn an estimated $102 million in the U.S. and Canada for the Memorial Day weekend.

The movie, which is a continuation of “The Mandalorian” streaming show that debuted on Disney+ in 2019, met studio expectations for its opening weekend results.

Globally, the film was on track to pull in $165 million for the four-day holiday weekend.

Director Jon Favreau’s “The Mandalorian and Grogu” now ranks as the year’s third-highest grossing domestic opening, based on its Friday-Sunday ticket sales of $82 million, according to ticket tracker Comscore.

The results are likely a relief to Walt Disney Co.-owned Lucasfilm, which had not released a theatrical Star Wars film since 2019’s “Star Wars: Episode IX — The Rise of Skywalker.”

Since then, the San Francisco-based studio has largely focused on its Star Wars streaming shows, which have included both live-action and animated series. Some of those shows received mixed reviews, though “The Mandalorian” and “Rogue One” spin-off “Andor” were breakout hits, praised by critics and largely revered by fans.

The movie — starring Pedro Pascal, Sigourney Weaver and Jeremy Allen White — benefited from positive reviews from moviegoers, but it stopped short of shattering expectations. Its initial financial performance was on par with the disappointing 2018 opening weekend for “Solo: A Star Wars Story.” That film notched $103 million in its opening weekend.

Still, as cinemas struggle to recover from pandemic-era shutdowns, a film that generates more than $100 million in its the opening weekend is typically seen as a success.

Box office revenue for “The Mandalorian and Grogu,” which played in 4,300 theaters, will be just one indicator of the movie’s success.

The Burbank entertainment giant is counting on the film to boost other parts of its business, including views of Star Wars shows on the Disney+ streaming service, its gaming collaboration with Fortnite and its all-important theme parks sector. The main characters are present in the Star Wars: Galaxy’s Edge-themed land, and the Millennium Falcon: Smugglers Run ride has been overlaid with a new “Mandalorian and Grogu” storyline at Disney parks in Anaheim and Orlando.

The weekend ticket sales underscore the enduring appeal of Star Wars, which remains among Disney’s top five franchises, producing more than $1 billion in annual retail sales.

Reception for the film was seen as critical to keeping the franchise fresh in moviegoers’ minds, particularly as Disney prepares for the upcoming 50th anniversary of Star Wars and a new movie starring Ryan Gosling set for next year.

Locally, “The Mandalorian and Grogu” is the first Star Wars movie to be made entirely in Los Angeles.

The film received a state tax credit to film in the Golden State, Favreau said at the premiere last week.

“The Mandalorian and Grogu” faced little new competition at the box office this Memorial Day weekend. Rival studios largely stayed on the sidelines, with no other potential blockbuster debuting at the same time.

Focus Films’ horror hit “Obsession” came in second at the box office with $22.4 million for its three-day total, according to Comscore.

Lionsgate’s blockbuster Michael Jackson documentary, “Michael,” snared $20 million, bringing its total to $314 million. “The Devil Wears Prada 2” came in fourth with $12.6 million, bringing its purse to $196 million since it opened earlier this month.

Amazon’s MGM studio’s “The Sheep Detectives” rounded out the top five with nearly $9 million.

Lionsgate’s “Michael” is on track to unseat “Straight Outta Compton” as the king of musical biopics.

Early returns suggest the Antoine Fuqua-directed film will surpass the $60-million opening weekend box office record set by the N.W.A biopic in 2015, with the studio expecting an opening that could reach $70 million.

“Michael Jackson is one of the most influential artists in human history. His impact on music, fashion, dance, film and business has withstood the test of time,” said Adam Fogelson, the chair of the Lionsgate Motion Picture Group.

“All of those things together seem to have created a profound response from audiences of all ages,” he added.

“Michael,” starring the legendary pop star’s nephew Jaafar Jackson, hits 3,900 screens nationwide on Friday.

The film marks the first time the story of Michael Jackson’s life and career are back in movie theaters since 2009’s “This Is It.” That posthumous documentary followed the rehearsals for his London residency, which was canceled after he died, just 18 days before the first of 50 scheduled shows.

That film remains the highest-grossing documentary of all time with nearly $270 million in global ticket sales.

The stakes may be higher for “Michael,” not just because of its roughly $200-million cost, but also its circuitous journey to the big screen.

Early development on the motion picture began in 2019, but frequent changes — both in the storyline and production — forced delays. The original idea was to encapsulate Jackson’s life from childhood fame with the Jackson 5 to his solo commercial peak during the ’80s and end with the child sex abuse allegations he faced in 1993.

That version of the film was well underway when the production was forced to go back to the drawing board due to a legal issue. The Jackson estate, which is in support of the project, reportedly discovered the early draft of “Michael” violated a $15-million settlement with the accuser in that case. Part of the agreement stipulated that the alleged victim would never be pictured or mentioned in a dramatization of Jackson’s life.

Production reconvened for 22 additional days and the Jackson estate took on tens of millions of dollars in additional reshoot costs.

The current version of “Michael,” hitting theaters this weekend, is set between the 1960s and 1988. It closely follows the controlling relationship between Jackson and his father, Joe Jackson, played by Colman Domingo, and tracks the king of pop’s peak stardom. Janet Jackson is notably absent from the storyline.

Depending on how the movie performs, there are plans for a potential sequel. The follow-up would tell the second half of Jackson’s career, where much of the scrapped footage could be used. Lionsgate has done advanced work to ensure that a significant amount of the previously captured footage could be included.

So far, the movie is receiving mixed reviews. As of Friday morning, the critic’s consensus on Rotten Tomatoes was less than favorable, with a score of 40%. But Lionsgate remains confident the film will resonate positively with average moviegoers and Jackson fans, both domestically and globally.

“The audiences that are now starting to watch the movie in early previews have been euphoric,” Fogelson said. “Audiences are speaking loudly and clearly about how much they appreciate the final product.”

Even outside of theaters, Jackson’s story continues to find success. “MJ,” the jukebox musical based on his life, is in its fourth year on Broadway and has had both national and international showings. Michael Jackson’s estate has also collaborated with Cirque du Soleil for several acrobatic productions since 2011. The “Michael Jackson ONE” show, which first premiered in 2013, recently extended its run on the Las Vegas Strip until 2030.

Tiffany Naiman, the director of music industry programs at UCLA, said the sustained interest in the pop icon speaks to his loyal fan base and place in American cultural history.

“He represents not only extraordinary artistic achievement, but also the contradictions of fame at its most amplified,” Naiman said in a statement. “That tension — between brilliance and controversy, innovation and scrutiny — is precisely what continues to draw audiences back, and what will likely shape both the film’s reception and its broader cultural impact.”