Films
EastEnders spoilers: A new Slater is cast to join Kat, Mo, Jean and Stacey in Walford
(Picture: BBC)
The Slater family are back in force – and there’s a new face set to join their ranks ..
The Slater family are back in force – and there’s a new face set to join their ranks as they come back with a bang to EastEnders. Following the announcement that Jessie Wallace, Laila Morse and Gillian Wright are reprising their roles in the show, boss John Yorke has confirmed that a fresh character will be following them – though he was giving away no details on who they are and which Slater they are most connected to.
Speaking about the rejuvination of the family, which doesn’t appear to feature Shane Richie’s Alfie for the time being, John explained: ‘Kat took swimming lessons as a child so she survived the dramatic storm of Redwater! She comes with Jean, Big Mo and another yet to be revealed Slater reuniting to sort Stacey out once and for all.
‘As you can see, strong women are back at the heart of the show exactly where they belong!’
As well as the Slater women, EastEnders storylines will also focus on a fierce return for Mel Owen, played by Tamzin Outhwaite. Meanwhile, there are storylines in the pipeline for Whitney Dean as her half sister Tiffany Butcher returns and also for Karen Taylor and queen of the Mitchells (and the Square, let’s be honest) Sharon.
But lads, fear not – you’re getting some of the action too as the heist involving Phil Mitchell, Aidan Maguire, Vincent Hubbard, Keanu Taylor and Mick Carter goes spectacularly wrong.
MORE: Double exit, death and gun shocker: 20 Christmas and New Year spoilers for EastEnders
MORE: EastEnders spoilers: Kat Moon returns with Mo and Jean Slater but is Alfie dead?
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Films
‘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.”
