Bob Hope is set to make a staggering decision in Emmerdale as he decides to leave Brenda Walker in order to be with Laurel Thomas – but how will Laurel respond to his proposition and will Brenda finally discover the truth about who he slept with?
With Harriet Finch having spotted a moment between Laurel and Bob, she confronts Laurel about it and while Laurel admits it, she tells Harriet that she wants to pretend that it didn’t happen. However, it’s clear that she has feelings for Bob, which she is pushed into admitting.
When Laurel gets emotional and tells Bob that she has come clean to Harriet, he feels guilty about the position that he has put her in and he realises that it’s time that he decided what he wants once for all and that he needs to confess to Brenda.
When Bob then goes missing and is nowhere to be found, Brenda worries that he has left her while at home. Laurel watches a video of Ashley advising her on what to do regarding whoever she falls for next.
As Laurel is torn and upset by the memories of her late husband, Bob arrives and tells her that he doesn’t want Brenda – he wants her! As he tells her that he knows she feels the same, Laurel is stunned.
But what decision will she reach and will the pair make a go of things? Or will Laurel tell Bob that he needs to focus on Brenda?
One to watch: Tuesday 13th February at 7pm 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.