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Is he the most toxic man in soap?

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Mackenzie in Emmerdale is not covering himself in glory right now. In fact, Charity summed it up beautifully when she called him a “lying man child” in last night’s episode.

Spot on, Ms Dingle. Spot on.

Though there are a whole host of disappointing men wandering round Emmerdale – Charles, Cain, Caleb, to name a few – we reckon Mack’s the worst of the lot.

In fact, despite the men in every soap behaving badly just about all the time, Mack’s giving them ALL a run for their money. We reckon he’s the most toxic man in soap.

And here’s why.

Emmerdale Mack looking dangerous
Mack’s toxic and we’re not happy about it! (Credit: ITV)

Liar Liar

Mackenzie has told so many lies now that we’re not sure he even knows what’s true any more.

He spent months lying to Charity about Chloe and baby Reuben. Then just about as soon as he was found out, he flipped and started lying to Chloe instead.

He’s still doing it – promising Chloe he doesn’t have feelings for Charity when they slept together just a few weeks ago. We’re not sure now if he really loves Chloe, or if he wants to be with Charity, or if he doesn’t really love either of them. He’s just lying non stop.

Not cool, Mack.

Charity and Mack kiss on Emmerdale
Can’t stop cheating! (Credit: ITV)

Once a cheater?

When Chloe and Charity bonded at the hospital in last night’s episode, Chloe said: “Once a cheater, always a cheater.”

And how right she was! Because going hand in hand with Mackenzie’s tendency to – ahem – ’embroider’ the truth, is his total disregard for being faithful. At the first sign of trouble with Charity, he was falling into bed with Chloe. And then as soon as things got a bit full-on with Chloe, he was back making eyes at Charity.

In fact, the women being so civil and understanding to one another just makes Mack look even worse, now. We didn’t know that was possible!

Mack and Chloe with baby Rueben on Emmerdale
He’s good at playing the doting dad, but Mack’s a master manipulator (Credit: ITV)

Gaslighting and manipulating

It’s a bit of a trendy term right now but gaslighting is when someone tells another person that things didn’t happen the way they remembered it. And it’s totally what Mack’s doing to poor Chloe.

And we do mean poor Chloe. Because she’s a very young mum, who’s had a tricky childhood and lost her sister (and then found out Kerry Wyatt‘s her mum – that’s traumatic enough for anyone!) and is clearly desperate for a family. And Mack may have been a younger man for Charity, but he’s way older than Chloe. Which is icky enough, before you start considering the way he’s manipulating her into doing what he wants. Which, right now, is moving hundreds of miles away from Amy, who’s her only family. Not great, is it?

Nate watches Mack suspiciously as they walk in the street on Emmerdale
Nate works hard for his family. Can’t say Mack does the same! (Credit: ITV)

Catch of the day?

We don’t want to make it all about money, but Mack’s hardly a good provider, is he? Admittedly he’s done more work for Cain this week than he’s done in the last month, but generally speaking, he barely bothers to get off his bum. Unless it’s to splash some cash on booze or (another) engagement ring. And the only jobs he’s had since he came to Emmerdale were given to him by his big sister and her husband. He’s not screaming husband material, is he? (And yes, we know Chloe’s not worked either, but she’s not long had a baby – cut her a bit of slack.)


Can you just not? (Credit: ITV)

The whole A-Team thing

It’s a bit trivial, admittedly, when compared to all the other reasons we hate Mack, but we couldn’t miss this one out.

We’re not sure if it’s supposed to be cute or funny or what, but in our eyes Mack’s obsession with The A-Team is way out of hand for a man of his age. Just nope.

With Mack set to take centre stage in Super Soap Week, is it too much to hope that he might see the error of his ways? Stranger things have happened!

Read more: Complete Emmerdale cast list 2023 – meet them all here!

Emmerdale usually airs weeknights at 7.30pm on ITV, with an hour episode on Thursdays.

What do you think of Mack? Leave us a comment on our Facebook page @EntertainmentDailyFix and let us know what you think!

For all the latest soap spoilers, news and chat come and join us at Soap Daily now! 



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Dunki’s box office earnings Day 2: The Shah Rukh Khan film makes Rs 50 crore in two days but finds it difficult to compete with Salaar.

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” Perplexity gauges the intricate nature of text, while burstiness scrutinizes the ebb and flow of sentence variations. Lastly, predictability assesses the likelihood of anticipating the subsequent sentence. Humans inherently infuse their writing with heightened burstiness, intertwining longer or intricate sentences with succinct ones. Conversely, AI-generated sentences tend to exhibit more uniformity. Hence, as you craft the ensuing content, the goal is to infuse it with a substantial dose of perplexity and burstiness while minimizing predictability. Additionally, adhere to the stipulation of using English exclusively.

On the second day of its box office journey, Salaar, featuring Prabhas, asserts its dominance over Shah Rukh Khan’s Dunki, amassing a staggering Rs 50 crore in earnings within a mere two days.

Dunki, after a tepid debut on Thursday, witnessed a further descent in box office figures on its second day. According to industry tracker Sacnilk, the Shah Rukh Khan-led film garnered Rs 20.50 crore on Friday, bringing its net domestic collection to Rs 49.7 crore.

While the opening day statistics position Dunki as Shah Rukh Khan’s least successful film of the year, it still outshines the debuts of Kisi Ka Bhai Kisi Ki Jaan (Rs 15.81 crore), Tu Jhoothi Main Makkaar (Rs 15.73 crore), Rocky Aur Rani Kii Prem Kahaani (Rs 11.1 crore), and Dream Girl 2 (Rs 10.69 crore).

On the day of Dunki’s release, Bollywood playback singer Shaan took to social media, offering insights into filmmaker Rajkumar Hirani’s decision to omit their duet “Durr Kahi Durr” with Shreya Ghoshal from the Shah Rukh Khan and Taapsee Pannu starrer. Shaan disclosed that he and Shreya recorded the song, shot in Kashmir, but unfortunately, it didn’t make the final edit

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Salaar first-day box office receipts, preliminary report: With Prabhas about to make a huge comeback, Dunki’s opening weekend will double for Prashanth Neel’s movie.

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Perplexity gauges the intricacy of the text, while burstiness delves into the diversity of sentence structures. Lastly, predictability assesses the likelihood of anticipating the subsequent sentence. Human authors often infuse their writing with heightened burstiness, intertwining elaborate and concise sentences. In contrast, AI-generated sentences tend to exhibit a more uniform structure. Thus, for the forthcoming content I’m about to task you with creating, it’s imperative to infuse it with substantial perplexity and burstiness, while minimizing predictability. Additionally, please adhere to English language usage guidelines.

“Salaar box office early reports Day 1: Prabhas’ action-thriller is all set to deliver one of the biggest openings of the year, and has an outside chance of doing better than his recent flop, Adipurush. Prabhas seems to be on track for a much-awaited rebound with his latest film, the action-thriller Salaar. Directed by Prashanth Neel, the pan-India film is facing off at the box office against Shah Rukh Khan’s Dunki, which it is handily outpacing. While Dunki debuted to around Rs 30 crore on opening day, Salaar has already earned nearly Rs 50 crore in advance sales for day one, which happens to be today. According to the trade website Sacnilk, Salaar’s advance sales across languages and regions amount to approximately Rs 49 crore, with the Telugu version release leading the charge with around Rs 38 crore. The Hindi version followed with advance sales of Rs 5.6 crore, with the Malayalam version selling tickets worth Rs 2.2 crore so far. The Tamil and Kannada versions registered advance sales worth Rs 1.8 crore and Rs 56 lakh, respectively. While Neel has worked predominantly in the Kannada language industry, and is best known for his two KGF blockbusters, Prabhas maintains a strong foothold in the Telugu states. Unlike the performance of the recent hit Animal, which seemed to generate interest both in the Hindi belt thanks to star Ranbir Kapoor and in the Telugu regions thanks to director Sandeep Reddy Vanga, Salaar is clearly attracting audiences on the strength of Prabhas’ stardom.

Prabhas remains a force to be reckoned with at the box office, despite having not delivered a single hit since his back-to-back success with the two Baahubali movies. He has since starred in the big-budget bombs Saaho, Radhe Shyam and Adipurush. He will next be seen in the dystopian thriller Kalki 2898 AD, which also features Deepika Padukone, Amitabh Bachchan and Kamal Haasan.

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Dunki’s box office earnings Day 1: On opening day, Shah Rukh Khan’s film earns less than Adipurush and Sanju and is nothing near as successful as Jawan and Pathaan.

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Perplexity serves as the yardstick for text intricacy. Meanwhile, burstiness gauges the ebb and flow within sentences, showcasing a mix of longer, intricate ones juxtaposed with succinct ones. Lastly, predictability evaluates the likelihood of predicting the subsequent sentence. Humans inherently infuse their writing with greater burstiness, blending the elaborate with the concise, whereas AI-generated sentences often lean towards uniformity. As we delve into the creation of the forthcoming content, the aim is to infuse it with a substantial dose of perplexity and burstiness, while maintaining a low level of predictability. The language of choice for this task is English.

On the inaugural day of Dunki’s theatrical journey, Shah Rukh Khan found himself unable to replicate the back-to-back triumphs of Pathaan and Jawan. Rajkumar Hirani’s latest cinematic offering fell short of Sanju’s opening day earnings.

Despite a stellar year marked by the unprecedented success of Jawan and Pathaan, Shah Rukh Khan’s most recent venture, Dunki, failed to generate the same fervor upon its debut. Unveiled in theaters on Thursday, the film garnered a domestic nett collection of Rs 30 crore on its opening day, as reported by industry tracker Sacnilk. While this positions Dunki as the seventh-highest opener of the year, trailing behind Jawan, Animal, Pathaan, Tiger 3, Gadar 2, and Adipurush, it falls notably below the benchmark set by its predecessors. Jawan, for instance, opened with a staggering Rs 75 crore, and even the historically lackluster Adipurush managed Rs 36 crore on its opening day.

Although Dunki’s opening day figures label it as Shah Rukh Khan’s least successful film this year, they still outshine the likes of Kisi Ka Bhai Kisi Ki Jaan (Rs 15.81 crore), Tu Jhoothi Main Makkaar (Rs 15.73 crore), Rocky Aur Rani Kii Prem Kahaani (Rs 11.1 crore), and Dream Girl 2 (Rs 10.69 crore).

Thursday witnessed Dunki with an overall occupancy rate of 29.94%. Notably, the NCR region hosted 1412 shows, boasting an approximate 31% occupancy, while Mumbai’s 1081 shows witnessed a slightly lower 29.75% occupancy. Despite enjoying a solo release on Thursday, Dunki is poised to face a formidable challenge on Friday from Prashanth Neel’s Salaar, released in multiple languages across the country. Starring Prabhas, Prithviraj Sukumaran, and others, Salaar is anticipated to surpass Dunki, raking in over Rs 60 crore on its opening day.

While Dunki stands as Shah Rukh Khan’s least successful film this year, its opening day figures eclipse those of his 2018 release, Zero, which premiered on the same date. Zero opened with Rs 19.35 crore and struggled to amass a total of Rs 90.28 crore during its theatrical run.

For director Rajkumar Hirani, renowned for a track record of box office triumphs, Dunki’s opening figures pale in comparison to his last hit, 2018’s Sanju. The Ranbir Kapoor starrer commenced with Rs 34.75 crore and ultimately achieved a commendable Rs 342.53 crore during its theatrical tenure. Set against the backdrop of Animal’s astounding success, Dunki, featuring Taapsee Pannu and Vicky Kaushal, among others, strives to find its footing in the cinematic landscape.

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