Sharon Mitchell has found herself in a dangerous situation in EastEnders as trusting Mel Owen has backfired in a big way – as Ciara Maguire now knows where the money is. Mel and Sharon planned to head together to Ciara to persuade her that the money was gone – and, in exchange, Mel would accept a cut and hopefully also get her son Hunter back home with her.
As they arrived, Ciara was soon onto them and told them that there would be no bargaining but Sharon tried to up the ante by threatening to have Ciara dealt with. This didn’t stir Ciara one bit and she responded by ringing up Dennis’ number, reiterating that she could get someone to hurt him at any time.
Sharon was left unsettled and, fearing for both Hunter and Dennis, Mel blurted out that Sharon had the money and an amused Ciara told Sharon she was impressed by how long it took her to crack.
However, she then informed her that Mel had told her immediately of her suspicions, like she tells her everything and Sharon discovered that she had been double crossed. Branding Mel a bitch, Sharon was now faced with a decision – does she hand over the money or can she find another way out of this.
And will Ciara take revenge on her?
Many fans may also be left wondering whether this is all part of Mel and Sharon’s act – but there’s only one way to find out…
EastEnders continues on Tuesday 6th February at 7:30pm 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.