SPOILER ALERT: The following reveals major plot points from the series finale of the Starz crime drama Power Book III: Raising Kanan.

Following the shocking death of Marvin (London Brown) in the penultimate episode of the Starz crime drama Power Book III: Raising Kanan, there was no other way to open the series finale than with both Juke (Hailey Kilgore) and Raq (Patina Miller) in mourning.

As one life is over, another begins. Kanan (Mekai Curtis) meets up with Jarita (Asjha Cooper), who tells her ex that she’s pregnant with his baby. Always a cynic, Kanan inquires as to the possibility that one of her Johns could be the father of the child she carries. She shuts him up by revealing she always used protection with them. Anyways, like the baddie she is, Jarita tells Kanan she is not trying to get him back, and he can do with the information about her pregnancy whatever he chooses.

Later, Juke meets up with Flossie (Leslie Grossman) on the advice of her late father. Marvin left behind a letter with the suitcase full of cash, saying Flossie is the only person she can trust. In conversation, it becomes apparent that it was Kanan who took down Marvin, the second uncle he killed in one season.

Elsewhere, Raq learns from Pino (Joe Pantoliano) the truth about who murdered Marvin. She met with Pino hoping they could work together so she would be protected. However, he had other things on his mind. Pino proposes to Raq a “different type of relationship,” but she firmly passes. With no protection, Raq meets again with detectives to exchange information on Pino and Stefano (Tony Danza) for full immunity and witness protection for her AND Kanan. A mother’s love runs deep, but knowing Kanan killed both her brothers, Lou (Malcolm Mays) and Marvin, she needs to come to terms with the fact that she can’t save him. In her desperation, Raq visits Flossie about getting an audience with Stefano, but Flossie coldly turns her down. She’s running out of options.

While momma bear is running around, Kanan is with Breeze (Shameik Moore) discussing Raq’s future. Before Snaps (Wendell Pierce) and Pop (Erika Woods) were gunned down by Juke in Episode 7, they put the wheels in motion for Raq to be slain. Kanan, who earlier met with a detective who told him about Raq’s request for full immunity for both of them, seems to have cooled off a bit. He proposes to Breeze that she be allowed to leave New York and disappear forever. Breeze is listening, but he repeats that it’s Stefano who wants her dead and it has to happen.

Later, the long-awaited moment of the series goes down: Kanan meets two young boys: one is named Tommy, and the other is James, the latter of whom will later be known as Ghost. To be clear, the boys are around 13 years old. Too young for Kanan to corrupt—even he has his limits, for now. He tells them they should come back when they’re not eating Happy Meals anymore, setting up the reconnection in the upcoming Power: Origins.

For anyone who thought we had seen the last of Brown, he is back yet still dead. Juke visits him while he is resting peacefully in his casket, and sweetly stashes a Dum Dum lollipop in his shirt.

Kanan goes to visit Stefano and pleads his case to let his mother live. He seems open to it, but he has a condition. To find out what it is, Raq has to meet with Stefano in person. The whole thing reeks of a trap, but there’s no other way. Kanan admits he doesn’t want her to die, and encourages his mom to meet with Stefano. In these moments, Kanan shows he isn’t fully lost just yet. Raq apologizes to Kanan for all that’s gone down and lets him know that she knows he took both her brothers from her. With tears in their eyes, Raq wonders if her son still loves her. He tells her that she is his mother, but he’s been waiting for her to be who he needs her to be.

Further, the hurt little boy inside Kanan tells Raq she keeps letting him down. Remembering all the bad that has gone down between them, Kanan tells Raq that they can’t undo the past. Raq apologizes profusely, though, centering herself throughout the whole convo, but Kanan seems to be receptive. They embrace on the street in a powerful scene where Kanan drops his guard and asks Raq to go and speak to Stefano. While this reunion was happening, Juke was watching from a safe distance, plotting.

Trusting Kanan, Raq visits Stefano in one part of New York while Kanan visits his late Uncle Marvin’s last resting place in another. What does Stefano want Raq to do? Take out Pino and leave the city and never come back. An easy task for Raq, which she completes. She goes home to pack a bag with the essentials: money, clothes, etc. As she was rushing, she was met by Juke, who was furious and packing heat.

To get even with Kanan, Juke murders Raq, her surrogate mother. Afterward, Juke meets her cousin at the diner to tell him what she did. She explains that he was her target first, but after seeing him on the street reconciling with his mother, Juke decided it would be best that Kanan survives and wanders around in life with no one left to care about him. Before leaving, Juke tells Kanan that before Raq died, she pleaded with Juke to kill Kanan instead of her. This is a lie, but Kanan appears to believe it.

Kanan then heads over to his mom’s house to confirm what Juke said was true, and it was. Looking at his mother dead before him, a voiceover from Curtis “50 Cent” Jackson, series executive producer and star who played Kanan in the original Power series, speaks to the viewer.

“My story didn’t end here. Shit, in a lot of ways, this was the beginning of me: what I turned into, who I ended up being. See, this isn’t just my story; this is our story, and now it’s your story. But like I said all along, more than anything, this is a Southside Jamaica, Queens story,” Kanan Stark, Power Book III: Raising Kanan series finale.

EXCLUSIVE: Here Comes The Sun (again) to London’s Abbey Road, where Sam Mendes’ anticipated Beatles production will be filming a scene this summer that “involves approximately 80 extras and some vintage vehicles.”

The Beatles – A Four Film Cinematic Event is four separate theatrical biopic films about the iconic British quartet from Oscar-winning director Sam Mendes and his Neal Street Productions.

Paul Mescal (Gladiator II) will play Paul McCartney, Joseph Quinn (The Fantastic Four: First Steps) will play George Harrison, Barry Keoghan (Saltburn) will be drummer Ringo Starr, and Harris Dickinson (Babygirl) is playing John Lennon.

Last week, residents and business owners in the areas around Abbey Road received a letter from Sony Pictures updating them about plans to shoot for an upcoming feature film set in “1960s London.”

“The scene we are planning to film on Abbey Road involves approximately 80 extras and some vintage vehicles. We will also be filming in the front courtyard of Abbey Road Studios,” read the letter.

Sources close to the production have confirmed to Deadline that filming in these areas will take place in cooperation with Westminster City Council. The letter also outlines road closures and bus diversions “to ensure the safety of public, cast and crew.” It’s not clear whether filming will take place inside the venue.

Established in 1931, Abbey Road Studios is the world’s first recording studio and has housed some of the biggest musicians in the world from The Beatles to Amy Winehouse, Fela Kuti, Ella Fitzgerald, Lady Gaga and Pink Floyd. The Beatles recorded 190 of their 210 songs at the venue between 1962 and 1970, and even named their last recorded album after the famous street.

Abbey Road Studios has also become a leading destination for film scoring with soundtracks for major franchises like Star Wars, Harry Potter, and The Lord Of The Rings being recorded there, as well as Oscar-winners including The Shape Of Water, Black Panther, and Barbie.

Although the Studios are involved in the music-making for a majority of high profile films, not many productions actually shoot at the venue. Recent Brian Epstein biopic Midas Man was granted permission to film in Studio Two to recreate scenes from one of The Beatles’ recording sessions.

The Mendes movie’s release window is currently April 2028, and as Deadline exclusively reported, Jez Butterworth, Peter Straughan and Jack Thorne are writing the screenplays for the biopics.

In addition to the Fab Four castings, several big names have been tapped to portray other important characters in The Beatles’ lives. Deadline broke the news that James Norton (Happy Valley) has been cast as Brian Epstein, The Beatles’ longtime manager, in the films. Additionally, Saoirse Ronan (Ladybird) plays McCartney’s first wife Linda McCartney, Mia McKenna Bruce (How To Have Sex) will play Starr’s first wife Maureen Starkey, Anna Sawai (Shōgun) will be Lennon’s wife Yoko Ono, and Aimee Lou Wood (The White Lotus) will play Harrison’s first wife Patty Boyd.

To round off the starry cast, Harry Lawtey (Industry) will play Stuart Sutcliffe aka “The Fifth Beatle,” Farhan Akhtar (Bhaag Milkha Bhaag) is Ravi Shankar, the Indian sitarist and classical musician who had an influence on Harrison, Lucy Boynton (Bohemian Rhapsody) will be British actress Jane Asher, who was McCartney’s fiancée initially, and Morfydd Clark (Saint Maud) will play Cynthia Lennon, Lennon’s first wife.

Does filming on Abbey Road mean that we’ll get a recreation of the legendary Abbey Road crosswalk pic? We hope it Come(s) Together!

Check out: Everything we know about the Beatles biopics so far.

Starz CEO Jeff Hirsch said total subscribers rose in the second quarter despite a price increase taking effect during the period.

Speaking to Wall Street analysts Friday on the company’s quarterly earnings call, Hirsch declined to state a number of subscribers, in keeping with the company’s decision to stop breaking out that metric. The company ended 2025 with 17.6 million subscribers.

Hirsch said it is “very rare” for subscribers to increase at the same time prices rise. “So, there’s real strength of the business on both sides of the revenue equation,” he said.

The most recent increase, to $11.99 a month, took effect in June.

Prior to the call, Starz reported a mixed set of financial results for the second quarter. Revenue edged Wall Street expectations, coming in at $307.9 million, but slipped 4% from its year-ago level of $319.7 million. Net losses widened to $189.4 million, but the company also disclosed a charge of $147.2 million due to the end of its output deal with Universal.

Starz shares, which have more than doubled in 2026 to date, drifted down 2% in pre-market trading. The company completed its separation from Lionsgate, which owned it for nearly a decade, in 2025.

Alison Hoffman, president of domestic networks chief, was asked about the company’s recent deal with Netflix for the first four series in the Power franchise. She said the global deal “creates an opportunity for us. It’s a way for us to introduce the franchise to new audiences, new viewers. and really reinvigorate it.”

She noted that Starz retains exclusive rights to all sequels, prequels and spinoffs to the show. Its recent installments are really driving the business in terms of engagement and first title streaming and subscriber acquisition. So yes, we think it’s a good thing. It is part of our strategy as programming gets mature. We think that’s syndication model actually works for us.”

On a similar note, Hirsch said the exit from the Universal post-pay-1 arrangement is a positive step. He was asked how much of the company’s overall programming was represented by the Universal titles. “We haven’t aired those titles in almost a year and a half because we were working with Universal, who wanted to keep them fresh. There’s absolutely almost zero viewership or engagement tied to those titles.” When they did air, he added, “we were paying, pay-2 prices for library performance. And so we’ve been able to reinvest some of the savings into buying library to actually drive more engagement.”

Engagement in the second quarter, Hirsch added, was the second-highest in Starz history.

Activity in the current third quarter also received mentions during the call. Michael, a billion-dollar movie hit for Lionsgate, will debut next week on Starz. And Fightland, which was released last week, had the second-best debut of any Starz original. The boxing series launched as Power Book III: Raising Kanan was wrapping its fifth and final season with healthy viewership.

Hirsch said Fightland also offers an appealing financial profile. “It’s doing exactly what we designed it to do, which is to serve the audience that we have, lower churn, extend engagement, extend lifetime value at a cost that is much more reasonable than we’ve gotten from the prior parent,” he said, referring to former owner Lionsgate.

Fightland, he said, costs about $2.5 million per episode, making it “cheaper” than the kind of programming the company used to source from Lionsgate Television. “It’s the same amount of content, just much cheaper cost,” Hirsch said.