Coronation Street is currently filming a top secret storyline that could see killer Pat Phelan finally caught and brought to justice. The cast and crew are currently working on location scenes at the mill where Andy Carver and Vinny Ashford were killed before they break up for their Christmas break – and it seems that there are massive twists ahead.
The filming is shrouded in secrecy and photographers could only get so close to the action, with some scenes and actors covered up at certain points to preserve the outcome and not to ruin it. However, actors including Connor McIntyre (Pat Phelan) and Mikey North (Gary Windass) were among them.
Fans will recall that Andy and Vinny were shot in cold blood, with conniving Phelan then disposing of the bodies. They were some of Coronation Street’s darkest scenes in some time and Phelan continues to try his best to hold things together.
But in the New Year, his actions will come back to haunt him when Andy’s friend Luke Britton starts to suspect that all is not what it seems with Andy’s disappearance and he realises that Phelan had a hand in it.
With Phelan realising that there is work going on at the mill, the two men end up in a violent conflict which leads to a dangerous car chase – is this the catalyst for Phelan finally getting his comeuppance?
In the scenes currently being filmed, there are a number of builders at the mill which suggests that the work is still ongoing – and it seems to be confirmed that Gary will be part of the workforce too.
With Phelan on edge and terrified that his dark secrets will be confirmed, is this the beginning of the end for him?
Or will the crooked villain take further horrific action in order to keep his crimes dead and buried?
Fans can expect to see these scenes play out next year.
‘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.”