EastEnders has confirmed that Kat Moon is heading back to the soap in 2018 – with Jessie Wallace reprising the role of the much loved character. And she won’t be alone either as she will be joined by Mo and Jean Slater as show boss John Yorke kicks off a rejuvination of the popular clan.
Kat was last seen in the spin-off Redwater which followed her journey with husband Alfie to a small Irish settlement. There, she tracked down her long lost son Dermott who, somewhat unhelpfully, turned out to be an unhinged killer with a temper and grudge to bear.
A cliffhanger left viewers wondering if Kat and Alfie would survive – with Alfie going into an operation and Kat left lifeless after falling into the ocean during a clash with Dermott. But Kat can now be confirmed as alive and well – with big storylines planned for her as she arrives back to her old stomping ground.
However, Alfie’s fate remains unconfirmed with no mention of Shane Richie heading home at this stage.
Speaking of her Albert Square comeback, Jessie enthused: ‘I am thrilled to be returning to EastEnders next year and knowing what John Yorke has in store for the Slaters is incredibly exciting. I love Kat and Walford dearly and I cannot wait to get started – watch out Walford, Kat’s coming home.’
Show boss John Yorke added: ‘The Slaters are one of the all-time great families in EastEnders and Albert Square has never felt quite the same since they scattered to different ends of the country, and in some cases beyond.
‘It has been a real joy to find a way to bring them back together and we’re incredibly excited about where we are taking them next. It won’t just be familiar Slaters either as there are a couple of twists and characters to add fresh spice to an iconic creation.’
Meanwhile, actresses Laila Morse (Mo) and Gillian Wright (Jean) were equally enthusiastic to be heading back. Laila told us: ‘I’m really excited to be coming back. It’s the one question I’m constantly asked. I can’t wait to see everyone and get stuck back into life in Walford.’
Gillian added: ‘I am delighted the Slater women are to be reunited once more. I have always adored working alongside Lacey, Jessie and Laila and I am looking forward to being reacquainted with everyone at EastEnders again.’
The Slater women will land back in the Square in 2018.
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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.”