Ian Beale is in for a world of pain in EastEnders as an unhinged Max Branning finally unleashes his furious revenge upon the man he feels wronged him. Max has been simmering with rage since being framed for the murder of Lucy and ever since he arrived back in Walford, he has been secretly targeting Ian.
With nothing left to lose, Max is a man on the edge and a confrontation with Ian turns extremely nasty – with Max bitterly telling his nemesis that he is going to kill him before then making his move.
And actor Jake Wood, who plays him, can see where Max’s anger is coming from – though warns that his alter ego goes way too far.
Speaking about the showdown, he told Metro.co.uk: ‘This whole episode is in my mind Max having a psychotic episode. That’s the only way I could look at it. They’re great, they’re amazing episodes, they’re really well written. But I could only ever see it as it comes from such pain about what has happened to him.
‘If you look at the reason why Max is doing that, he was sentenced for 20 years for something he didn’t do, in a community where a lot of people knew what was happening and that he was set up. I don’t think Max is inherently bad, I think he’s very troubled, he’s had a horrible time in prison and we’ll find out more about that in the next few weeks and over Christmas, so yeah, he’s a man who has been abandoned by a lot of people, and he has a lot of anger towards people and probably doesn’t know how best to go about dealing with it.’
As for whether Ian is saved from Max’s clutches, it remains to be seen. But things get even darker still for the Brannings as a Christmas Day episode sees a catastrophic series of events rip through the heart of the family, triggering exits for Lauren and Abi.
Can Max come out of this situation in one piece or is it all over?
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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.”