Gemma Winter is set to be heartbroken in Coronation Street tonight when she discovers the devastating truth about Henry Newton – he has only been dating her as part of a cruel bet with his mate Hugo.
Both of the malicious men have been with a girlfriend who they have led on – with the person who sticks to the relationship for the most time getting £5000 from the other. Fans have known that Gemma has been on the road to heartbreak after seeing Henry mock her over the phone not long after she declared her love.
Tonight, Chesney overhears Hugo laughing about Gemma and then talking about the bet with Henry and he immediately warns his friend that she is being made a fool of. Believing Chesney, Gemma is gutted – and the fact that Henry feels remorse and has even fallen for her means nothing to her.
As she is left gutted by the turn of events, Chesney worries for her and later in the week, when Henry tries to make amends, Gemma wastes no time in punching him across the face.
Grateful that Chesney has stood up for her, will Gemma realise that her ideal man has been in front of her very eyes for all of this time? Or will she decide that she needs to be single after the way that Henry treated her?
Coronation Street continues on Monday 5th February at 7:30pm and 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.