Max Branning’s past is about to come back and haunt him in spectacular fashion this Christmas as the voicemails from Jane Beale resurface. But while Max thinks he has wriggled out of being exposed when he deletes the messages, he’s in for a shock!
Karen Taylor discovers that Riley and Chatham have a stash of mobile phones and she ensures that Stacey’s phone is returned to its rightful owner. Fans know that Jane has left voicemails warning Stacey that Max was behind both the fire and her disappearance and when Max discovers Stacey with her phone, he eradicates the messages.
But one way or another, the truth is going to come out and Max will be left picking up the pieces after his horrific actions involving Steven and Jane finally come to light. As the Branning Christmas Day descends into chaos, the ramifications of the truth being exposed are felt far and wide.
And when the family is then torn apart forever, Max has lost everything. And Christmas on Walford will leave the jaws of viewers on the floor.
So when Max hits that delete button, don’t despair – his ultimate downfall is just around the corner…
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‘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.”