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  • ‘Heavyweight,’ Brit Boxing Drama Starring Jordan Bolger, Nicholas Pinnock and Jason Isaacs, Sets U.S. Release (EXCLUSIVE)

    ‘Heavyweight,’ Brit Boxing Drama Starring Jordan Bolger, Nicholas Pinnock and Jason Isaacs, Sets U.S. Release (EXCLUSIVE)

    “Heavyweight,” Christopher M. Anthony’s debut feature starring Jordan Bolger, Nicholas Pinnock and Jason Isaacs, has set its U.S. release.

    The British boxing drama is getting a limited theatrical release as well as a VOD release starting July 21 in the U.S. Meanwhile, it’s landing on VOD platforms in the U.K. on March 30.

    Distributed in the U.K. by High Fliers Films and in the U.S. by Tri-Coast, the film is produced by Blackwater Pictures and Silver Milk Productions, with producers Kevin Harvey, Tiernan Hanby, Antoine Dixon-Bellot, Simon Lewis Marriott, Oliver Slinger and Pinnock. It premiered as the opening film at the 2025 Raindance Film Festival, gaining BAFTA and BIFA qualifications.

    Directed by Nigerian-Lebanese filmmaker Anthony, “Heavyweight” navigates the turbulent world of professional boxing with a focus on the mental battles that accompany physical prowess. Producers describe the film as “more than a sports drama,” one that offers an “insightful examination of self-doubt, determination, and the psychological warfare that shapes elite athletes’ careers.”

    The story follows ‘Diamond’ Derek Douglas, a wildcard boxing contender unexpectedly thrust into the spotlight just days before a high-stakes title fight. As he grapples with his own insecurities and the fraught dynamics within his support team, “Heavyweight” digs deep into the undercurrents of elite competition and the psychological grit it takes to survive at the top.

    Anthony’s feature directorial debut builds on his experience across major productions such as “Harry Potter,” “Guardians of the Galaxy” and “The Jungle Book.” Alongside Bolger (“Peaky Blinders,” “The Woman King”), Pinnock (“For Life,” “Hedda”) and Isaacs (“Harry Potter,” “The White Lotus”), it also stars Osy Ikhile (“Black Mirror,” “In the Heart of the Sea”), and Sienna Guillory (“Resident Evil,” “The Meg 2”).

    Behind the camera, British talent includes BAFTA-winning director of photography Chas Appeti (“Jungle”), production designer Aimee Meek (“Boiling Point”) and costume designer Lauren Miller (“Supacell,” “Top Boy”).

  • Robyn Gets Erotic With the Ecstatically Pop-tastic ‘Sexistential’: Album Review

    Robyn Gets Erotic With the Ecstatically Pop-tastic ‘Sexistential’: Album Review

    It’s no overstatement to say that a lot of today’s pop music would not sound the way it does without Robyn. Her self-titled 2005 album and its follow-up “Body Talk” paved the way for and contextualized a genre once called “intellipop” — a cringe and condescending term that has aged very badly, but also points up the low regard in which pop music was held two decades ago, and the degree to which it has come to be accepted as an innovative art form rather than high-calorie junk food. There’s no question that songs by artists from Taylor Swift to Charli xcx to Ariana Grande, not to mention entire genres like hyper-pop, would not sound the same without her.

    While the music on those two albums wasn’t galaxies away from the world-beating hits being made by fellow Swedes like Denniz Pop and Max Martin (who co-produced Robyn’s first hits, “Show Me Love” and “Do You Know What It Takes” in the early, more conventional pop-star era of her career), Robyn’s songs had a low-key vibe and inspiration from electronic and dance music, giving them a sophisticated sheen that appealed to an audience older and snootier than the target demo of most pop. The fact that she’d left the hit factories and major labels, taken control of the recording of her albums and launched her own label only made the alternative set love her more.

    So with her status as a pop icon — if not goddess — long since assured, what’s left for Robyn to prove or say as she enters the fourth decade of her career? Well, unexpectedly, at the age of 46 and two years after becoming a single mother, her image and lyrics are much more sexually oriented than ever before — she’s naked or topless on the album cover and promotional photos; and the album’s title track, which is described in the press materials as “possibly the world’s first rap about having one-night stands while 10 weeks pregnant after IVF” (we can’t improve on that) and includes the priceless lyrics “I’m about to have a kid on my own/ My doctor said, ‘Robyn, who would be your dream donor?’/ ‘Well Adam Driver always did kinda give me a boner,” and later “My body’s a spaceship with the ovaries in hyperdrive/ Got a whole universe that exists between my thighs.”

    Yet musically as well, that song, with its rapped lyrics and hard beats, is unlike anything else on the album, which overall is similar in vibe to its predecessor, 2018’s “Honey.” That’s not to say she’s repeating herself: Dig deeper into the sound, and the progressions become clearer. Again paired with longtime collaborator Klas Åhlund (joined by Max Martin and Oscar Holter for two songs and Addison Rae collaborator Elvira Anderfjärd for one), the beats are paradoxically harder and more restrained, and the arrangements are meticulously constructed, with arpeggiated electronics and her gorgeously multitracked vocals soaring over them.

    But there’s a sense of restraint and suspense on the album that, on some songs, has little release, like glorious drum roll leading into the final choruses of Robyn’s biggest hit, “Dancing on My Own.” The lead single “Dopamine” is a prime example, riding the electronic kick drum for its first three minutes before bursting open with a snare roll — but the song lasts only another 30 seconds before it fades out, conveying desire and anticipation but little fulfillment. That sense of restraint is present on much of “Sexistential” — maybe she’s tired of the confetti-bomb finales of so many of her greatest songs, but for an album so thoroughly about sex and sensuality, some songs don’t really climax.

    Yet that’s a minor complaint — apart from the title track, “Sexistential” is an album that reveals itself gradually, with elements like the freeform melody of “It Don’t Mean a Thing” and the way it dances over the pulsating electronics suddenly becoming clear on the second or fifth or tenth listen. And considering how long Robyn takes to make records — this is her first album in nearly eight years — music that keeps giving is a welcome thing.

  • CoinDesk 20 performance update: AAVE drops 3.2% as nearly all constituents decline

    CoinDesk 20 performance update: AAVE drops 3.2% as nearly all constituents decline

    CoinDesk Indices presents its daily market update, highlighting the performance of leaders and laggards in the CoinDesk 20 Index.

    The CoinDesk 20 is currently trading at 1912.59, down 2.4% (-47.98) since 4 p.m. ET on Thursday.

    One of 20 assets is trading higher.

    Leaders: BCH (+0.8%) and CRO (-0.7%).

    Laggards: APT (-4.6%) and AAVE (-3.2%).

    The CoinDesk 20 is a broad-based index traded on multiple platforms in several regions globally.

  • Investor Who Bought Bitcoin at a Low Price 13 Years Ago Transfers 500 BTC to Binance! Here Are the Details

    Investor Who Bought Bitcoin at a Low Price 13 Years Ago Transfers 500 BTC to Binance! Here Are the Details

    Another notable “whale” activity has emerged in the cryptocurrency market. According to onchain analysis, a former investor who bought Bitcoin at a low price approximately 13 years ago is continuing to divest some of their assets. It has been reported that this investor has transferred a portion of their Bitcoin holdings back to the Binance exchange.

    This “early whale” first purchased 5,000 $BTC approximately 13 years ago at an average price of $332 per $BTC. In his latest transaction, the investor transferred 500 $BTC to Binance. At current prices, this amount is estimated to be worth approximately $33.28 million.

    It is stated that the same whale has been selling gradually since November 2024, sending a total of 4,000 $BTC to the exchange. The total value of these transfers is estimated to be approximately $365 million, with an average selling price of $91,258. Thus, it is calculated that the investor has made a total profit of approximately $363 million.

    According to the data, the address in question still holds 1,000 $BTC. The current market value of this amount is approximately $66.62 million.

    Experts note that such large-scale transfers can create selling pressure on the market, but also reflect the tendency of long-term investors to take profits. Whale movements continue to be closely monitored by investors, especially in terms of market direction.

    *This is not investment advice.

  • Maryland man stops for lunch, wins $50,000 lottery prize

    Maryland man stops for lunch, wins $50,000 lottery prize

    Odd News // 3 weeks ago

    Maryland man stops for lunch, wins $50,000 lottery prize

    Feb. 27 (UPI) — A Maryland man made a stop for lunch during his break for lunch and ended up winning a $50,000 prize from a scratch-off lottery ticket.

  • What to Know About the New ‘Stranger Things’ Show

    Stranger Things is over, but the minds behind the mega-hit Netflix series are going back in time with their forthcoming animated offering, Stranger Things: Tales From ’85.

    This new tale is set in Hawkins during the winter of 1985, which means it takes place between the second and third seasons of the flagship series. Stranger Things proper covered the years 1983-1987, with each season taking place in a new year.

    This series features animated versions of the show’s original characters — Eleven, Mike, Will, Dustin, Lucas and Max — with one new edition: Nikki, who is described as “a tough, mohawk-wearing gal.” The gang sets out to “fight new monsters and unravel a paranormal mystery terrorizing their town.”

    Odessa A’zion voices Nikki (left) in Stranger Things: Tales From ’85.

    Netflix

    Stranger Things creators Ross and Matt Duffer executive produce Stranger Things: Tales From ’85, which releases all 10 episodes on April 23. However, the Duffers are not showrunning this one; Eric Robles (Glitch Techs, The Grim Adventures of Billy and Mandy) steps into that role. The Duffers are executive producing the Flying Bark series along with Hilary Leavitt via Upside Down Pictures, Shawn Levy via 21 Laps and Dan Cohen.

    The trailer released this week (below) shows the gang during happier times in 1985 — before the latter seasons would introduce villain Vecna (played by Jamie Campbell Bower in the original series) and an even more insidious era of the Upside Down. The best addition to see back in the group is, of course, Elle (played by Millie Bobby Brown in the original series), given how her story ended in the series finale.

    “It’s like Hawkins Lab science meets Upside Down matter. When you put them together, those are the kinds of creatures we have in our world,” Robles, also writer and executive producer, told Tudum about a new shark-like monster inspired by Jaws. “Underneath all that snow, there’s something lurking, and you just never know where that thing’s going to come out and grab you.”

    A new monster in Tales From ’85.

    Netflix

    Here’s the official logline: “In the winter of 1985, snow blankets the town and the horrors of the Upside Down are finally fading. Our heroes Eleven, Mike, Will, Dustin, Lucas, and Max have settled back into a normal life of D&D, snowball fights, and quiet days. But beneath the ice, something terrifying has awakened. Could it be from the Upside Down? From the depths of Hawkins Lab? Or from somewhere else entirely? Our heroes must race to solve this mystery and save Hawkins in this new story set in the Stranger Things universe.”

    The cast includes Brooklyn Davey Norstedt as Eleven aka “Elle,” Jolie Hoang-Rappaport as Max, Luca Diaz as Mike, Elisha “EJ” Williams as Lucas, Braxton Quinney as Dustin, Ben Plessala as Will, Brett Gipson as Hopper, Odessa A’zion as Nikki Baxer, Jeremy Jordan as Steve, Janeane Garofalo as Anna Baxter and Lou Diamond Phillips as Daniel Fischer. Additional voice cast includes Robert Englund as Cosmo, Alysia Reiner as Karen Wheeler, Alessandra Antonelli as Nancy Wheeler, Valeria Rodriguez as Rosario and Jack Griffo as Jeff.

    After giving Stranger Things a sendoff that included a short theatrical run for the series finale, Netflix will head back to cinemas with Tales From ’85. The show’s first two episodes (which have a total run time of about 55 minutes) will play in select AMC cinemas on April 18, five days before the show’s Netflix release date. (Details here.)

  • “Ballsy and Bold”: Series Mania Signals TV’s Quality Reset

    “Ballsy and Bold”: Series Mania Signals TV’s Quality Reset

    For an industry still recalibrating after the boom and bust of Peak TV, this year’s Series Mania offered that rarest of commodities: Hope.

    The executive side may have lacked some of its usual star power — there were no U.S. network chiefs or global streaming bosses among this year’s keynote speakers — but the festival’s official lineup ranked among its strongest in years.

    Series Mania got off to stellar start with The TestamentsHulu‘s The Handmaiden’s Tale sequel starring One Battle After Another breakout Chase Infiniti — and never looked back, with edgy, boundary-pushing shows from around the world and across all genres. Highlights included The Audacity, AMC‘s Silicon Valley satire from Succession producer Jonathan Glatzer; The Flaws, a German office sitcom that takes its inspiration from Buster Keaton-style silent film comedy; and My Brother, a Swedish family drama that’s as dark and bleak as a Nordic winter.

    It felt like a return to the quality, if not the quantity, of shows from the Peak TV era. Networks and streamers, which have spent the past few years retrenching, may be regaining their appetite for risk.

    “There was this sense [post Peak-TV] that now everything’s conservative. It’s got to be a big IP, it’s got to be a big book. It’s got to be boring old genre,” said Steve Matthews Head of Scripted, Creative, at Banijay Entertainment. “But I’m starting to hear: ‘Can you bring us something a bit more bold?’ Buyers are saying: ‘Come on guys, lift your game.”

    “Great storytelling, great distinctive voices, are still cutting through,” agreeded Johannes Jensen, Head of Scripted, Business at Banijay. “But it’s become tougher to finance shows, it takes longer and we have to be creative in how we put the financing together. [The days] when the global streamers would come in and fund everything are gone.”

    The initial post-Peak years saw “a trend where everything started to become safe, in movies and in TV shows,” said Belgian director Adil El Arbi (Rebel, Bad Boys for Life), attending Series Mania with The Best Immigrant, a Flemish dystopian drama about the rise of the far-right in Europe, which he executive produced. “[But] nowadays, if you want to stand out, you got to be ballsy and bold. Not necessarily shock just to shock, but try to address things that makes people think, that get people talking about your TV show.”

    That risky TV can translate into real ratings seems to be born out by some of the buzzier Series Mania shows. The Spanish premiere of Anatomy of a Moment, a period drama about the failed 1981 coup d’etat that nearly toppled Spain’s neophyte democracy, was the best-ever launch for a original series on pay-TV platform Moviestar Plus+. More than a million Swedish viewers turned into the first episode of Swedish legal drama Burden of Justice on public broadcaster SVT, 163 percent above initial forecasts.

    “Our show, My Brother, had a retention rate of 98 percent in Sweden over Christmas,” said Matthews. “And it’s one of the darkest series you’ll ever see.”

    The streaming giants used Series Mania to announce there were spending money again, and willing to take big swings on original stories.

    Sarah Aubrey, Head of Original Content at HBO Max, announced an overall first-look deal with Domingo Corral, the Spanish producer and former Moviestar Plus+ executive whose credits include Anatomy of a Moment and the Oscar-nominated feature Sirât. Angela Jain, head of content for Disney+ across Europe, the Middle East and Africa, said she was “ramping up production” and unveiled an eclectic slate of new projects including including a feature doc on Welsh soul singer Duffy, an Italian murder mystery and a Turkish comedy about a 350-year-old virgin vampire who falls in love with a human.

    “Our message today is more series, more series, more series,” Thomas Dubois, Head of French Originals at Amazon Prime Video said at a Series Mania session on Tuesday, highlighting Prime Video’s non-English-language slate, including upcoming French YA drama Campus Drivers, adapted from the C.S. Quill book series.

    Not to be outdone, on Wednesday, New8, the co-production alliance between eight northwestern European public broadcasters, unveiled their upcoming slate. It included the eco-thriller Phoenix, which featured at last month’s Berlinale Market Selects; Red Light District, an ambitious Dutch drama chronicling the rise and fall of the Jewish WWII orphan who built a sex club empire in Amsterdam; and Belgian action series Hunters, about special ops anti-terrorist teams, which Bad Boys For Life directors Adil El Arbi and Bilall Fallah are executive producing.

    European co-producers got more good news on Wednesday when Council of Europe Secretary General Alain Berset unveiled a historic co-production treaty designed to help boost funding for ambitious cross-border European series.

    All of which set up a more pragmatic, but quietly bullish mood among those on the ground. There is a sense that industry contraction, rather than killing creativity, may be forcing the business to sharpen its focus.

    “If everything contracts, you can either play it safe and avoid risk — or you can double down on quality,” said Matthews. “A lot less television is being made now, but that’s not necessarily a bad thing, as long as what disappears is the weaker material. For the industry, for the art, and for audiences, it’s hard to argue that’s not a good thing.”

  • France calls IOC sex testing a ‘step backwards’ while Trump praises move

    France calls IOC sex testing a ‘step backwards’ while Trump praises move

    France’s sports minister has called the International Olympic Committee’s decision to introduce genetic testing for women’s ⁠events a “step backwards”, warning it raises major ethical, legal and scientific concerns, while US President Donald Trump praised the IOC’s new policy.

    France “takes note” of the decision to require athletes to undergo testing based on the SRY ⁠gene, but opposes any broad use of genetic screening, Marina Ferrari said in a statement on Friday.

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    “On behalf of the French government, I wish to express our deep concern regarding this decision,” she said. “We oppose a generalisation of genetic testing that raises numerous ethical, ‌legal and medical questions, particularly in light of French bioethics legislation.”

    The IOC said on Thursday that only biological female athletes would be eligible for women’s events from the Los Angeles 2028 Olympics onwards, following a one-time gene test designed to identify male sex development. The move essentially bars transgender athletes from competing in the female category.

    The rule is in line with an executive order by Trump from February 2025 that banned transgender athletes from competing in girls’ and women’s sports.

    “Congratulations to the International Olympic Committee on their decision to ban Men from Women’s Sports,” Trump said late on Thursday on the Truth Social platform.

    “This is only happening because of my powerful Executive Order, standing up for Women and Girls!”

    However, Ferrari said that: “These tests, introduced in 1967, were discontinued in 1999 ⁠due to strong reservations within the scientific community regarding ⁠their relevance. France regrets this step backwards.”

    She added that the policy risked undermining equality by specifically targeting women.

    “This decision raises major concerns, as it specifically targets women by introducing a distinction ⁠that undermines the principle of equality,” she said.

    Ferrari also warned that the approach failed to reflect biological diversity, particularly among intersex ⁠individuals.

    “It defines the female sex without taking into ⁠account the biological specificities of intersex individuals, whose sexual characteristics present natural variations, leading to a reductive and potentially stigmatising approach,” she said.

    New Zealand’s Olympic Committee said on Friday that the IOC policy would bring greater “clarity” and “fairness” to future Games.

    New Zealand weightlifter Laurel Hubbard became the first openly transgender woman to compete in the Olympics at Tokyo in 2021.

    NZOC chief executive Nicki Nicol said the organisation recognised the “extensive consultation and expert input that has informed this policy”, particularly from athletes.

    She said it would bring “greater clarity, consistency and fairness to eligibility for the female category at the Olympic level”.

    “This is a complex and sensitive area that directly affects people, not just policy,” she added.

    After competing in 2021, Hubbard, who failed in all of her lifting attempts in Tokyo, said she was aware of the controversy surrounding her participation.

    Friday’s NZOC comments did not refer to Hubbard, who has kept a very low profile since her games appearance.

    Also reacting to Thursday’s IOC announcement, Australian Olympic Committee president Ian Chesterman said the IOC had comprehensively investigated what he called a “complex issue”.

    “Without doubt, this is a challenging and complex subject, and at the AOC we approach it with empathy and understanding.”

    He added: “This decision provides clarity for elite female athletes who compete at the highest level and demonstrates a commitment to fairness, safety and integrity in Olympic competition, all of which are fundamental principles of the Olympic Movement.

    “As the IOC has stated, at the highest level of sport, the smallest margins can determine outcomes, and clarity around eligibility is critical for female athletes to continue to compete on a level playing field.”

  • Qatari PM and US officials discuss strategic ties amid Iran war

    Qatari PM and US officials discuss strategic ties amid Iran war

    The meeting held in Washington, DC reviewed the ‘close strategic cooperation’ between Doha and Washington, Qatar’s foreign ministry said.

    Qatar’s prime minister has held talks with senior US officials in Washington, DC, amid the ongoing US-Israeli war on Iran and fallout across the Gulf.

    Sheikh Mohammed bin Abdulrahman bin Jassim Al Thani, who also serves as Qatar’s foreign minister, met US Vice President JD Vance and US Secretary Scott Bessent, Qatar’s Ministry of Foreign Affairs said on Friday.

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    They reviewed ways to strengthen the “close strategic cooperation” between Doha and Washington, “especially the defence partnership in light of the conditions the region is experiencing”, the ministry said.

    Both sides stressed “ensuring the sustainability of energy supplies and maintaining the continued flow of liquefied natural gas from the State of Qatar to global markets”, in a way that “supports global energy security”, it added.

    Vance hailed the “robust strategic partnership”, praising Qatar’s “active role in promoting regional stability and enhancing global energy security”.

    The Gulf has been in a state of heightened tension since February 28, when the US-Israeli war on Iran began, which has killed more than 3,000 people across the region, a vast majority of them in Iran and Lebanon.

    Tehran has since launched drone and missile attacks aimed at Israel, as well as Jordan, Iraq, and Gulf states. Iran insists it is targeting US assets in the Gulf, but the region’s leaders have urged Iran to cease attacks as they endanger civilians.

    Qatar, earlier this month, said Iranian missile attacks on the Ras Laffan Industrial City, the country’s main gas facility, caused “significant damage”.

    The war has created an unprecedented global energy crisis as Iran has effectively closed off the Strait of Hormuz, through which one-fifth of the world’s oil passes.

    Meeting with Hegseth

    On Thursday, Sheikh Mohammed also held a meeting in Washington with US Secretary of Defense Pete Hegseth, the Foreign Ministry said.

    “The meeting took place in Washington on Thursday and focused on ways to support and develop defence and security collaboration amid regional challenges,” it added.

    “Both sides stressed the importance of continued coordination and consultation on regional issues to promote security and stability locally and internationally.”

    On Wednesday, the Qatari Cabinet renewed its condemnation of Iranian attacks on Qatar and its neighbours, calling for an immediate halt.

  • How ‘Love Story: John F. Kennedy Jr. & Carolyn Bessette’ Ends: A Heartbreaking Finale Explained

    [This story contains MAJOR spoilers from the Love Story finale, “Search and Recovery”.]

    After seven weeks of ’90s nostalgia and an intimate look at America’s ultimate power couple — John F. Kennedy Jr. and Carolyn Bessette Kennedy — Love Story: John F. Kennedy Jr. and Carolyn Bessette concluded Thursday night. And it was an emotional watch, to say the least.

    Created by Connor Hines and executive produced by Ryan Murphy, the anthology series picks up shortly after last week’s episode, when John (Paul Anthony Kelly) left for the night. Set during the final weekend of their lives, the episode reveals that he didn’t return after leaving Carolyn (Sarah Pidgeon) during that explosive argument. Still, the two attempt to repair their relationship, visiting a marriage counselor who suggests they spend time apart.

    After leaving the session, they head to a dive bar and reminisce about the passion and excitement of their early relationship — before it was strained by relentless media attention, and before Carolyn, in particular, struggled to adjust to such a drastic change in lifestyle.

    “If only we knew then how good we had it,” Carolyn tells John.

    Though they try to stay apart, neither can follow through. Both turn to family for support — John confides in his sister Caroline (Grace Gummer), while Carolyn leans on her sister Lauren Bessette (Sydney Lemmon) — and each is encouraged to fight for the relationship.

    They do. Carolyn even makes a rare public appearance to support John at an event for George magazine. The two also recreate their first date at an Indian restaurant, where Carolyn finally explains what her “sign above her head” means, which she referenced in the pilot: “Please handle with care, not as tough as she looks.” In a rare moment of vulnerability, she opens up about why she kept her guard up early on — and John realizes she is his priority.

    About 20 minutes into the episode, it’s now July 16, 1999 — the day John, Carolyn, and Lauren died from a plane crash while en route to attend a Kennedy family wedding in Martha’s Vineyard. The series also opened with this day. Hines previously told The Hollywood Reporter why it was important to begin there, before shifting back seven years.

    “We wanted to contrast the Carolyn everybody knows from images with that very bleached blonde hair; very straight aesthetic. It’s very recognizable. We cut back in time to show who Carolyn was before everybody got to meet her. Somebody who had a different sense of style and more bohemian hair,” he said. “There was a whole person before the world got to know her who was living in a studio apartment in the East Village, throwing clothes on and running off to work. To see where she was towards the end of her life, and then cut back to the beginning of a woman just moving through New York like everybody else anonymously was really important and effective for telling the rest of the story.”

    Carolyn initially hesitates to attend the wedding in Martha’s Vineyard, but ultimately chooses to go to be with him. John also makes a call to check on the weather, which was reportedly hazy and he allegedly became disoriented.

    In their final moments, the three are shown on the plane as the weather worsens, and John’s expression says it all — a quiet, haunting suggestion that he understands what’s coming. Carolyn, seated beside him in the cockpit, senses it too, picking up on his unease. “I want to sit with you,” she says, and the two share a knowing look as he remains visibly shaken, realizing there’s nothing he can do to change the situation.

    Carolyn stays calm, as does Lauren in the back. “It’s OK, just breathe,” she tells him, trying to steady his panic. The camera then zooms in on a red light flashing across John’s face — the engine failure warning — before the screen cuts to black.

    What follows is the world’s reaction. Police officers show up to Caroline’s home to tell her and her husband, Edwin Schlossberg (Ben Shenkman), that John’s plane has been reported missing. A call in the middle of the night wakes up Carolyn and Lauren’s mother, Ann Messina Freeman (Constance Zimmer), with the news. Newsstands across New York City show a meticulously replicated New York Daily News cover that reads: “LOST.”

    As the Kennedys gather, former President Bill Clinton, called Senator Ted Kennedy (Donal Logue) and it’s clear what the conversation means, without it being said: they’ve been found, not not alive.

    Gummer then delivers a heartbreaking performance as Caroline, crying and screaming at Ed, unable to rationalize that John is gone. “Please don’t do this to me, I can’t do it again,” she says sobbing into his arms. She has already lost her mother, Jackie Kennedy Onassis (Naomi Watts) to cancer, as portrayed earlier in the season, along with her father, former President John F. Kennedy who was assassinated, and several other members of the Kennedy family.

    To access the aftermath of the deadly crash, Ann and Ed meet. He outlines burial plans for John and Carolyn, repeatedly only naming them, prompting her to respond: “You keep saying ‘Carolyn.’ May I remind you that I had not one, but two daughters on board that plane that he crashed.”

    Ahead of the series premiere, Hines and executive producer, Brad Simpson told THR that it was always important to honor Lauren as well: “We want to remind people that Carolyn’s mom lost two daughters that day.”

    Ann then goes to their Tribeca loft, where Caroline also appears. The two sit down and have a touching conversation, acknowledging their grief and regret. Caroline recalls a near-death experience from her teenage years.

    “The only thing I really gleaned from that experience was that there is no rhyme or reason as to why some of us get to stay here a little longer,” she says. “All we know, is that time doesn’t belong to us. Nothing is promised.”

    Ann expresses remorse that Carolyn was struggling so much with the exacerbated media attention toward the end of her life.

    “She said she didn’t recognize who she had become. And now that person will be immortalized forever,” Ann says crying. “I only wish she had lived long enough to be remembered for something else.”

    The two grieve together and begin to consider how to move forward — together.

    Caroline leaves John and Carolyn’s apartment — which was always hounded by paparazzi — in a moving scene, as those gathered to pay tribute, and photographers, allow her to pass without intrusion.

    The last moments of the finale show Ethel Kennedy (Jessica Harper) offering words of strength to Caroline, followed by a funeral for the three. There, includes returning cameos from John’s cousin Anthony Radzwill (Erich Bergen), Carolyn’s former boss and fashion designer Calvin Klein (Alessandro Nivola), John’s former business partner Michael Berman (Michael Nathanson). Ann delivers a reading at the service, intercut with scenes of her and Caroline scattering their ashes into the Ocean.

    The episode ends with Ann reading, “Do not stand by my grave and cry. I am not there. I did not die” alongside a final clip of John and Carolyn on the beach — a reminder that despite the couple’s most challenging moments, their story was indeed a love story.

    ***

    Check out all of The Hollywood Reporter‘s Love Story coverage here.