Coronation Street are set to bring back a face from the past as Sean Wilson is reportedly reprising his role as Martin Platt 13 years after his relationship with the show ended badly.
Over his years in the show, Martin found himself stalked by a nanny and he also had a long running affair with a nurse colleague which ended his marriage to Gail. He would later embark on a controversial affair with schoolgirl Katy Harris who later killed her disapproving dad Tommy before then taking her own life.
Sean’s tenure in the soap ended when he refused to do a storyline where Martin would begin dating an underage girl. Speaking about the departure, he said: ‘They were very rude to me when I left. I would rather walk down any other street even if I had a nail in my shoe.’
But now he has been persuaded to come back as part of a storyline which will see his on screen son David drugged by newcomer mechanic Josh and then raped.
A source for The Sun claimed that while the arrangement is not permanent, Martin will be back for a good few weeks as show bosses tackle the controversial storyline.
Metro.co.uk have reached out to Coronation Street spokespersons for further comment.
Since leaving the show, in which he spent 20 years, Sean forged a career out of making cheese and found a great deal of success with his company.
‘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.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.