First the good news on tonights Holby City – Ric Griffin (Hugh Quarshie)s brain tumour is benign. Unfortunately the bad news is very bad indeed. The tumour is huge, which makes surgery to remove it extremely difficult, according to Ric. The risks are very high that he could have a stroke or not survive the surgery at all. Leaving the tumour where it is could be an option, but it will probably keep on growing and compress his brain, leading to more mood swings, more forgetfulness and worse. His days as a surgeon would definitely be over very soon.
Because he had Darla (Naomi Katiyo) to worry about, he decided that he wouldnt risk the surgery and would try to manage the symptoms of the tumour with drugs. He also decided not to worry Darla by telling her about his diagnosis.
Everything changed when Darla was visited by Peter (Jordan Adene), the father of her baby, who proved to be a very mature, supportive and sensible 15 year old. Donna (Jaye Jacobs) had already detected in Darla signs of doubt that she wanted to go through with having her baby adopted and Peters arrival cemented her decision – she wanted to keep her daughter. Peter said hed get a job and theyd manage.
Ric was on board with this plan because hes always wanted whatever makes Darla happy. Then Peters father (Daniel Adegboyega), an elder of the church, arrived and kicked off a bit. He accused Darla of trying to trap his son and said the baby might not even be Peters. There was a bit of a tussle as he tried to take Peter away and Ric ended up being thrown to the ground and knocked unconscious.
Ric wasnt seriously hurt, but as everyone clustered around his bedside Cameron (Nic Jackman) said something about his serious condition in front of Darla, so Ric had no option but to tell her the truth. Peter proved that hes a keeper by smoothing things out with Darlas dad, so Darla is going to move back in with Kofi and bring up the baby, after making Ric promise that he has to do whats best for him and not delay the surgery just for her sake. And theyre naming the baby Erica, after her great-granddad – which made him fill up. She wouldnt be here now if it werent for you, Darla said. And Cameron, he reminded her, But Ericas a better name.
Ric apologised to Zav (Marcus Griffiths) and Donna for his recent behaviour and told them hes going to go for the surgery, because he wants to carry on being a surgeon himself if theres even a slim chance.
Meanwhile a small bunch of supporting artists had assembled to give Essie (Kaye Wragg) a party to welcome her new adopted baby. This was mainly a plot device so one of the cards would be found later on by Connor (Calum Lill) – Islas father. Hed come to the hospital to get Frankies phone number from Essie but he soon worked out that Essie is pretending that Isla is her legally adopted daughter. Sacha (Bob Barrett) tried to help Essie out by warning Connor off but only succeeded in making the situation worse. Essie finally resorted to good old faRead 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.