EastEnders fans could be in for a treat in 2018 as Kat Moon looks set for a return – after viewers had feared that she was dead during the final episode of spin-off Redwater. Reports have emerged that Jessie Wallace has been signed up once more by John Yorke, the Walford boss who initially created the Slater family.
As well as bringing in the now infamous clan, John was also behind one of the soap’s most talked about storylines which saw Kat come clean to Zoe that she was her ‘muvva’. Since Kat and Alfie left the show, they headed to Ireland to track down Kat’s long lost son Dermott – who turned out to be a killer vicar.
A cliffhanger for the series saw Alfie heading into dangerous surgery and Kat lying motionless after an altercation at sea with Dermott – and when the plug was pulled on Redwater, their fates were left up in the air.
A source told The Sun: ‘John loves the Slaters. A lot of people thought he might bring some of them back. He believes they’re long-standing favourites who should be at the heart of the show and thinks Kat’s return will be a hit.’
John is also bringing back Tamzin Outhwaite as Mel Owen, Nitin Ganatra as Masood Ahmed and Maisie Smith as Tiffany Butcher.
There is no indication on whether Shane Richie is expected to join Jessie for her rumoured return.
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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.”