Emmerdale’s series producer Kate Oates has spoken about the nature of the shock scenes in tonight’s episodes that saw long-standing character Gennie Sharma (Sian Reese-Williams) crash her car before being murdered by villainous Cameron Murray (Dominic Power).
“We’re very careful. From story stage through all the scripts, we’re very aware of what we can and can’t show,” said Oates. “Everything goes through the compliance system and it’s all discussed very thoroughly. We’re happy to stand by what we’ve put out there and hope that it does hit the right balance. You can’t show a murder and play it properly dramatically without showing some things that are perhaps quite close to the edge.”
The murder scene, which aired just before 8.30pm this evening on ITV, saw Cameron kill Gennie by covering her mouth and nose following a car smash that had left her badly injured. The crime is Cameron’s third murder so far: last October, he was responsible for the death of Carl King, while over Christmas 2012, he saw off Alex Moss and buried him in woodland.
On the topic of the climax to tonight’s episodes, Oates added: “I think it’s brilliant that you have that moment when Cameron looks away and that single tear falls down his face and then you cut away to that long shot. Of course, you do see that moment when Gennie’s life goes, which is very strong. But we did think very carefully about how we cut the episodes. A lot of it focuses on reaction rather than the gory moments because it would be irresponsible to show too much of that at that time of night. Often what you don’t see is more powerful.”
Back in May, actor Dominic Power expressed surprise to RadioTimes.com about the content of scenes that saw Cameron attempting to move Alex’s corpse:
“I did find myself slumped on a shallow grave on a night shoot looking up at the crew and saying, “has it always been as dark as this?” And they all just nodded their heads.
“So there I was digging, cutting into a foot and pulling out a boot. And then there’s all the stuff with me going back to the body. They’d filled this tarpaulin with cement and I’m dragging it and gagging and coughing up sick because of the smell of putrefaction. And again, I said to the director, “There’s no other way to play this but truthfully. Otherwise it’s not going to look believable.” You know, I’m moving a four-month-old corpse! I’m surprised it can go out at seven o’clock, to be honest. But the kids seem to be desensitised nowadays, don’t they?”