Moira Dingle is set to react badly when Cain repeats to her that he loves her in Emmerdale – and when she explodes with rage, will he take this as sign that there’s no way back? Or is Moira’s response hiding her true feelings for her ex husband?
Things remain extremely strained for Moira in the wake of the shocking reveal that she was the one who killed Emma Barton and after an arrest shakes the family to the core, she is struggling to pick up the pieces.
Over Christmas, she knows that her focus has to be on both of her sons but she continues to struggle and Cain’s determination to be a rock to her is causing a strain between him and Harriet Finch.
As the police arrive in the village with some important questions, Moira’s dismay is clear and Cain tells Moira that he loves her still.
He doesn’t get the reaction that he had hoped for however, as she becomes defensive and lashes out in anger. As Cain is taken aback, will he step away from Moira or pledge to stand by and support her?
And will Harriet get wind of the major conflict between Cain and Moira and discover the root of it?
One to watch: Wednesday 3rd January at 7pm on ITV.
The post Emmerdale 2018 spoilers: Moira Dingle attacks Cain after love reveal but will they reunite? appeared first on News Wire Now.
‘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.”