Films
Coronation Street spoilers: Michelle Connor’s son Alex returns after 10 years with a secret
(Picture: ITV)
Michelle Connor is set to get a blast from the past in Coronation Street when her son..
Michelle Connor is set to get a blast from the past in Coronation Street when her son Alex Neeson returns to the area – but his motives are shrouded in secrecy as he isn’t going to initially tell his mum that he has come back.
Fans will recall that Alex’s last appearance (and mention) came 10 years ago in 2008 when Kym Marsh’s character learned that the lad she thought was her son, Ryan, had actually been swapped at birth in a hospital mix up.
Michelle came face to face with Alex but their reunion didn’t last long and they parted ways, with the storyline effectively having been forgotten about – until now. According to a report in The Sunday People, Alex will suddenly return after being hired for a job in the medical centre.
But what has brought him back to Weatherfield – and how will Michelle react to seeing him back once again?
Michelle has had a troubled year. After a tragic miscarriage, she split from Steve McDonald after learning he had fathered Leanne Tilsley’s baby. After entering a relationship with Robert Preston, she was then stalked by her unhinged ex Will Chatterton before Robert was then jailed for assault.
Upon his release he was diagnosed with testicular cancer and then lost a lot of money gambling, which prompted Michelle to fake a robbery at the bistro for an insurance pay out.
And it seems like 2018 isn’t going to be much quieter for the character.
MORE: Coronation Street 2018 spoilers: Pat Phelan kills Luke Britton as he claims his next victim?
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Films
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
