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All the victims NOT featured in ITV’s The Long Shadow, and why?



The Long Shadow is currently unsettling ITV audiences with its chilling depiction of Peter Sutcliffe’s crimes – but not all of his victims feature in the crime drama.

Episode one of the seven-part series focused on the first known woman the serial killer murdered. Gemma Laurie portrayed the first victim Wilma McCann, who was just 28 when she died.

Episodes five and six of the series feature Daisy Waterstone as the last victim Jacqueline Hill. Peter Sutcliffe killed the 20-year-old Leeds University student on the night of November 17, 1980.

Viewers also saw Katherine Kelly portray second victim Emily Jackson, while Molly Vevers starred as Irene Richardson. But there are several of Sutcliffe’s victims missing in the true crime drama The Long Shadow…

Katherine Kelly stars as Emily Jackson in The Long Shadow on ITV1
Katherine Kelly starred as Peter Sutcliffe’s second murder victim Emily Jackson in The Long Shadow (Credit: ITV1)

Which victims are depicted in The Long Shadow on ITV1?

Rather than focus on serial killer Peter Sutcliffe, the seven-part series The Long Shadow on ITV1 attempts to humanise the women he murdered. He is known to have killed 13 women, and attacked at least seven more.

This is the first time their stories have been dramatised. In fact, Peter Sutcliffe – played by actor Mark Stobbart – doesn’t even appear in the drama series until the final two episodes. A spokesperson for the channel made it clear that the focus of the series is not on the killer, but instead his victims, and their families.

In the series, Peter Sutcliffe’s first four known victims are brought to life by actors. These are Wilma McCann, Emily Jackson, Irene Richardson, and Patricia Atkinson.

Last, Peter Sutcliffe killed his final victim, 20-year-old Jacqueline Hill, who is also featured in the drama. But there are more than half of his victims who are not depicted in the series.

Which victims are missing from the ITV series?

The victims not depicted in The Long Shadow include 16-year-old Jayne McDonald, who was killed in June 26, 1977. Peter hit her on the head three times with a hammer and stabbed her in the chest and back. A broken bottle was found embedded in her chest.

Jayne had been to meet friends in Leeds, but was forced to walk home after missing the last bus home. Peter Sutcliffe went on to murder sex worker Jean Jordan, 20. She had been killed by hammer blows to the head after which she had been stabbed in the body. No actress plays Jean in the drama. On October 9, 1977, local dairy worker and future Coronation Street actor Bruce Jones found her body.

Then came Sutcliffe’s next victim Yvonne Pearson, a 21-year-old prostitute from Bradford who was murdered on January 21, 1978. He repeatedly bludgeoned her across the head with a ball-peen hammer. Her body was not found until March 26, 1978.

Next, Peter Sutcliffe killed Helen Rytka, 18. He struck Rytka on the head five times as she exited his vehicle, before stripping most of the clothes from her body, then repeatedly stabbing her in the chest.

Peter Sutcliffe's 13 known victims
Peter Sutcliffe’s 13 known victims (Credit: Shutterstock)

Sutcliffe attacked Marguerite Walls with a ball-peen hammer

Vera Millward, 40, was killed on May 16, 1978. Sutcliffe attacked her with a hammer, and stabbed her repeatedly. Josephine Whitaker, 19, was killed on April 4, 1979. The killer hit her several times with his ball-peen hammer. Josephine does not feature in the ITV series.

Peter Sutcliffe murdered Barbara Leach, 20, on September 1, 1979. He hit her on the head with a hammer, dragged her body into a rubbish-strewn yard, then used a sharpened screwdriver to stab her in the neck, chest and abdomen. He stamped on her thigh, leaving behind an impression of his boot.

Tragically, Marguerite Walls, 47, was next. Sutcliffe attacked her with a ball-peen hammer. He then jumped on her chest before stuffing horsehair into her mouth from a discarded sofa. Finally, he buried her beneath it. She is the last of this victims who does not appear in the series.

Why are 8 victims missing from The Long Shadow?

An ITV spokesperson confirmed that the series The Long Shadow would only feature five of the known victims. Writer George Kay says: “Wilma is the first victim but, as the series progresses, we focus on the ever-widening ripple. […] Across seven episodes we follow a trail that takes us from Wilma McCann to Sonia McCann. A trail that left so many devastated in its wake.”

He adds: “It was no small thing to research and accurately present the full impact and legacy of this case – a five year investigation that touched the lives of thousands in ways both monumental and negligible.”

Of course, it would be difficult to portray every victim in such detail over the course of one series. Talking about Katherine Kelly’s portrayal of Emily Jackson, he said: “Emily Jackson presented us with a huge challenge, in terms of having a very limited screen time to represent her story and the circumstances she and her husband had found themselves.”

The producers of the show also explained how they were not keen to show the murders themselves, instead saying they wanted to focus on the lives of those who were killed and the impact on their families.

Read more: The Long Shadow review: ITV series deserves all the awards for its focus on the victims

The Long Shadow continues on Mondays at 9pm on ITV1 and ITVX.

What do you think of The Long Shadow so far? Leave us a comment on our Facebook page @EntertainmentDailyFix.

Helen Fear has been writing about all things entertainment for more than two decades, starting as a TV reviewer at Time Out in the (whisper it…) 90s. She has also worked for the Daily Express, Closer, OK! and Reveal, to name but a few! When Helen’s not writing about TV, she’s usually watching it – current favourites include Line Of Duty, Killing Eve, The Handmaid’s Tale and Big Little Lies. 

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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.



” 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.



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.



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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