EastEnders fans are finally set to discover the truth about who has that missing money from the heist tonight as answers will come tonight. Yesterday, whopping clues were placed which implied that Phil and Sharon Mitchell have the cash but anyone in Walford could be hiding the big secret.
Aidan Maguire is a man on edge and he wants blood as he seeks out the culprit and another person determined to get to the truth tonight is Mel Owen. Mel needs to find the money in order for Ciara to hand back her son Hunter.
And after hearing a hushed exchange between Sharon and Phil around their hopes that the truth never comes to light, she will seek out Louise and then gain access to the Mitchell house. But what answers will she find inside?
Next week, Mel is finally reunited with Hunter which suggests that she makes a breakthrough of sorts – but do the Mitchells really have the money? And will Aidan finally discover who double crossed him and then take his revenge?
Fans have been guessing ever since the money went walkabouts on the day of the heist and the mystery deepened when original thief Ben found that the cash was missing from his luggage as he left for Calais and tonight they will finally discover the culprit.
But as blame has shifted between Mick Carter and Vincent Hubbard, it remains to be seen who will be vindicated and who will be bang to rights.
EastEnders continues on Friday 2nd February at 8pm on BBC One.
‘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.