If there’s one thing that sinister Pat Phelan has a gift for, it’s framing innocent people for crimes that they didn’t commit in Coronation Street. Anna Windass knows this to her own cost as she is currently sitting in prison awaiting trial as Phelan engineered it to look like she had tried to kill Seb Franklin.
Phelan has blood on his hands, having orchestrated the deaths of Andy Carver and Vinny Ashford and the murder weapon is currently burning a hole in his safe at the builder’s yard – but he has a cunning plan.
Seb is at an all time low without Faye Windass, who refuses to have anything to do with him while he believes Phelan over Anna.
When Seb is then thrown out by Phelan, Faye offers him a bed to sleep in on the condition that he changes his statement about Anna and he is furious, refusing to be blackmailed.
As he tells Faye that Gary can stuff his job too, he goes crawling back to Phelan and apologises, vowing never to let him down again.
Crafty Phelan agrees to forgive and offers Seb a drink. After he gets the lad drunk on whisky, Phelan shows him the gun and Seb picks it up and admires it, not sparing a thought for the fact that his fingerprints are now all over it.
As Phelan is smug, he knows that he now has a fall guy for if the weapon ever gets into the hands of the police. And when he later attacks Luke Britton when he realises that Phelan is behind the disappearance of Andy Carver, he could end up with more blood on his hands.
As Luke escapes in his car, Phelan gives chase in his van but will he catch Luke and finish him off? Or will Luke expose the truth only for Seb to end up in the frame?
One to watch: Thursday 4th January at 8:30pm on ITV.
The post Coronation Street 2018 spoilers: Phelan frames Seb Franklin for murder? 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.”