Billy Mayhew has an uncertain future ahead of him. Following the departure of Todd Grimshaw, who speeds off with young Summer, he then faces a fight for his life over Christmas after a brutal run in with vengeful Peter Barlow leaves him in a coma.
And actor Daniel Brocklebank is thoughtful about how he will cope after his life ends up in turmoil. Can he still bring stability to Summer’s life if she returns – and can he ever move past his tortured secret that he was involved in the death of Peter’s sister Susan and be a successful single parent to Summer?
The actor told us: ‘Because of his job, he does have a very strict moral code. And of course, his job is all about forgiveness, whereas he can’t forgive himself for the things that he’s done in the past, which is an interesting conflict to have. If you then throw Summer into the mix, primarily he’s now a parent, so of course his angle of parenting is to do it from a truthful place and he feels he’s a better parent if he tells the truth.
‘He believes things will be as they will be, and if there are consequences of telling the truth, then that’s the big man going: “Well there you go, there’s your comeuppance for what you did after thus far getting away with it.'”
Daniel is hopeful that after the dust settles on Billy’s war with the Barlows that he can then successfully adopt Summer.
He explained: ‘I think it’s incredibly important. When I first found out we were going down the LGBT adoption and fostering route, I was thrilled because I think it’s not something a lot of people in the UK know is even possible. I was thrilled and honoured to be part of the first LGBT family that they’ve had on the Street and I do hope we continue with that.’
Asked how he will cope as a single parent without Todd, Dan replied: ‘On vicar’s wages? I think it’s going to be quite tough! Kids require as much family around them as possible.
‘Also, within the LGBT community, from my own personal experience, your friends become your family as well, so it’s not just necessarily about parents or blood relatives, it’s about the extended circle that you’ve got. Billy’s best mate is Eva, which is great because she’s hilarious and then you’ve got Eileen so there are extended branches there to help out.’
However, first Billy has to come round in hospital – and get through the anger of the entire Barlow clan! And another person who will prove to be a continued thorn in Billy’s side is Summer’s bigoted grandma, Geraldine.
Dan revealed: ‘She’s much softer in real life, she’s lovely. Again I think it’s an interesting dynamic to throw into the mix, this old-school religious person that absolutely adheres to the fact that their interpretation of the Bible is inherently homophobic, of which there are many people that still do hold those beliefs.’
It sounds like 2018 is going to start off with nothing but misery and angst for Billy.
The post Coronation Street spoilers: Dan Brocklebank reveals Billy’s future as a single parent after Todd exit 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.”