Robert Sugden hasnt had an easy couple of months in Emmerdale — what with him having been charged for GBH with intent for brutally assaulting Victoria Bartons (Isabel Hodgins) rapist Lee — but things are set to get much worse for the beloved character before his on-screen exit arrives, and actor Ryan Hawley has all the gossip on Roberts exit.
Robert was livid when he first learned about what had happened to Victoria, and thus he set out to seek revenge on her behalf — in spite of her consistently asking him not to. After multiple failed attempts to get justice for what Lee did, Robert lost control and picked up a shovel, before hitting the rapist on the back of the head — and he was charged for the crime as a result.
He ended up pleading guilty so that he could save Victoria having to lie on his behalf in court, and since then hes been enjoying the free time hes got left with husband Aaron (Danny Miller). On Roberts current state of mind, Ryan said: Hes waiting for the inevitable.He is however, optimistic that it is going to only be a short amount of time that hes going to be away for.
I believe, worst case scenario – only a couple of years. He is quite confident in the fact that he has pled guilty so sentencing will be a bit more lenient.
Roberts circumstances are set to worsen in the coming episodes, as he learns that Lee has passed away in hospital. The ramifications that the rapists death will have on his prison sentence is the main cause of concern, as its now incredibly likely that hell be charged with murder for what he did to the young man.
Robert understandably struggles to process this information, but Liv (Isobel Steele) offers up a solution, when she suggests that he and Aaron go on the run together.
Ryan said: The news has just been broken to them so they havent really got a plan, they are going to have to take it as it comes. It means some very emotional goodbyes to some people in the village, but they have to be quick and there are some people they dont even get the chance to because Read More – Source
‘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.