Coronation Street is buiding up to some dramatic and heart wrenching storylines as our brand new spoilers reveal. As the devastating death of Sinead Tinker (Katie McGlynn) draws nearer, a confession from Bethany Platt (Lucy Fallon) could have huge ramifications for her dying days.
Elsewhere, a brand new crisis kicks off for David (Jack P Shepherd) as he is forced to come face to face with his rapist Josh Tucker (Ryan Clayton) in prison while Gemma Winter (Dolly-Rose Campbell) finds herself in a drastic situation ahead of the birth of her quads.
Here, we reveal whats coming up in Weatherfield.
10 Coronation Street spoilers
- Shona blames Max when Harry is injured.
- Gemma is trapped in a turnstile during a day at the match with Chesney.
- Sinead finds herself too ill to undertake everyday tasks.
- Geoff suggests that he and Yasmeen invest in Speed Daal.
- Marion decides that she wants to fighr David and Shona for custody of Max.
- Kirk plans an early Christmas for Sinead.
- Gemma tries to turn the press over her disaster to her advantage.
- David is horrified to come face to face with Josh in prison.
- Geoff contacts Zeedan and arranges to buy his half of Speed Daal.
- James realises that Bethany is in love with Daniel.
Monday 14th October
Wednesday 16th October Part One
Gemma nets two VIP tickets to the Weatherfield County match and excitedly heads there with Chesney but disaster strikes when she tries to get through the turn stile and ends up trapped due to her pregnant stomach.
Max returns home in a foul mood and ends up in a row with Lily over the TV. When Harry is then hurt and has to be taken to hospital, Shona accuses Max who defiantly claims that it was Lily who pushed him.
Sinead is disheartened when she has to use a wheelchair to attend a family picnic and when she becomes too unwell, she has to be taken home. Geoff suggests to Yasmeen that they invest in Speed Daal while Bethany accidentally causes James to be injured.
Wednesday 16th October Part Two
Marion arrives and tells Shona that Max has been visiting her and when she spots that Shona has been drinking, she accuses her of being an unfit mother and seeks legal advice over custody. Later, Shona realises that it was Lily who pushed Harry and she feels terrible.
Gemma is mortified when the fire service have to cut her out of the turnstile while Daniel and Sinead are given a painful reminder that time is running out. Alya agrees to let Alya invest – but not Geoff while Bethany picks James brains over an article.
Friday 18th October Part One
Shona tries to contact Max and is horrified when Marion makes it clear that she plans to fight her and David for custody of Max. David is rocked by the news and his day gets worse when he spots Josh in the medical wing of the prison.
‘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.