Gemma Winter’s world is about to fall apart spectacularly in Coronation Street when she discovers that her boyfriend Henry Newton is only with her for a bet. And while he has genuinely fallen for her now that he has gotten to know her, it’s too little too late.
Fans were aghast to find that Henry had been challenged to be with Gemma in exchange for winning money in a bet and Gemma has been oblivious, thinking that their romance is the real deal.
When she then left Henry feeling genuinely touched with her love, care and personality, he started to fall for her for real but when he is caught out by Chesney Brown, Gemma learns the sad and cruel truth.
Henry and Gemma go on a date with his mate Hugo and when Chesney overhears Hugo slagging off Gemma, he is appalled when Henry doesn’t defend her. Talk then turns to the bet and the truth dawns on Chesney, who decides that Gemma needs to know the truth.
Gemma is crushed by this devastating turn of events and good pal Chesney is there for her. When Henry comes to try and win her back, Chesney lashes out and punches him – leaving Gemma chuffed at him defending her.
Could this lead the pair to see each other in a whole new light? With Sinead and Henry out of the picture, is the stage set for Gemma and Chesney to finally get it together?
One to watch: Monday 5th February at 8:30pm on ITV.
‘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.