Emmerdale could be lining up a Christmas split for Bob Hope and his wife Brenda as she seems set to discover that he slept with Laurel Thomas earlier this year on the day that Emma Barton was killed by Moira Dingle.
Fans know that Laurel’s alibi is her afternoon between the sheets with her good friend, the ever resourceful cafe owner/prankster/confidante/love rat. And soon Brenda could be in on the secret too when she comes across a very suspicious text on her husband’s phone.
Convinced that something is going on, Brenda corners Laurel and asks questions and she is unconvinced by the story that is spun to try and put her off the scent. With Brenda not satisfied by the explanation is Bob about to be caught out?
And will he and Brenda spend the festive season estranged?
It remains to be seen what happens or how Brenda reacts to Bob if and when she finds out the truth but Bob could be set to pay a heavy price for his and Laurel’s mistake that day.
In other Emmerdale developments tonight, things look bleak for Adam Barton when the police are convinced that he is their culprit and proceed to make an arrest – but will Moira speak up and save him?
Emmerdale airs on Monday 18th December at 7pm on ITV.
The post Emmerdale spoilers: Brenda Walker discovers Bob Hope and Laurel Thomas’ cheating secret? 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.”