Critics, film historians, and film scholars have never quite come to a definitive conclusion on whether film noir is a genre, a style, or a film movement. Regardless, these movies about morally grey characters dealing with complex, crime-filled plots can be deliriously entertaining—and, when at their best, can even be among the greatest films of their respective era.

With time, however, even the best of noir films can fall into oblivion. Indeed, several near-perfect noir masterpieces are barely remembered nowadays, whatever the reason for that may be. Directed by some of the best filmmakers of their generation, from Fritz Lang to Carol Reed, these exceptional films are proof that film noir can make for some of the most unforgettable movies ever made.

‘The Fallen Idol’ (1948)

Image via British Lion Films

In The Fallen Idol, a butler working in a foreign embassy in London falls under suspicion when his wife accidentally falls to her death, the only witness being an impressionable boy. All in all, it is one of the most underrated film noir masterpieces of all time, a Carol Reed gem that earned its director the first of only three Best Directing Academy Awards he was ever nominated for.

Also known as The Lost Illusion, this British mystery thriller proves that, though noir was mostly an American phenomenon, the production of excellent noir movies wasn’t limited to Hollywood exclusively. It’s a suspenseful, nerve-racking film that builds suspense slowly throughout its runtime, until it all erupts in one of the most brilliant third acts of any film from the ’40s.

‘Pickup on South Street’ (1953)

Image via 20th Century Studios

Combining traditional film noir and Cold War espionage drama elements, Pickup on South Street tells the tale of a pickpocket who unwittingly lifts a message destined for enemy agents and becomes a target for a Communist spy ring. One of the most underrated noirs of the ’50s, Pickup on South Street is a hidden gem with some excellent performances (including Thelma Ritter‘s, which earned her an Oscar nomination) and great direction by Samuel Fuller.

It’s a dark, complex story of urban existential dread that proves Cold War films and film noir were a match made in Heaven. Though critics were split on the movie back in 1953, cinephiles nowadays look back on Pickup on South Street with far more admiration and fondness. It’s a gloriously pulpy movie that all fans of film noir should check out at least once in their lives.

‘Odd Man Out’ (1947)

Image via General Film Distributors

Another Carol Reed gem, the British film Odd Man Out is a psychological thriller about a wounded Irish nationalist leader who tries to evade the cops after a failed robbery in Belfast. It’s probably the movie most similar to Reed’s magnum opus and most iconic film noir outing, The Third Man, yet it’s entirely its own thing—and very much worthy of being rediscovered today.

Odd Man Out was a hit both with critics and at the box office, particularly in a European landscape where Reed seemed to have perfectly understood the general postwar mood and mentality. With a well-deserved score of 100% on Rotten Tomatoes, the film is grim and absolutely enrapturing, full of hard-hitting visuals and deeply compelling drama.

‘Scarlet Street’ (1945)

Image via Universal Pictures

Austrian filmmaker Fritz Lang jumped over the pond to Hollywood in 1936. By the time he made Scarlet Street, he was already a properly established and highly prolific director of American classics, and that shines through in this adaptation of the French novel La Chienne by Georges de La Fouchardière. In it, a man going through a mid-life crisis befriends a young woman whose fiancé has persuaded him to con him out of the fortune they mistakenly assume he has.

It’s another masterpiece with a well-deserved score of 100% on Rotten Tomatoes, benefiting from Lang’s sharp eye for unforgettable images and the excellent cast led by Edward G. Robinson, Joan Bennett, and Dan Duryea. It’s one of the greatest films currently in the public domain, a Dostoevskian melodrama so powerful and dark that it was originally banned in Atlanta, Milwaukee, and the entirety of New York State.

‘Leave Her to Heaven’ (1945)

Image via 20th Century Studios

A Golden Age Hollywood noir in Technicolor? In this economy? John M. Stahl‘s Leave Her to Heaven certainly isn’t your usual classic noir, but it’s nevertheless one of the most defining films of the ’40s—at least in its genre. Russian-born Stahl was a master of classic melodrama and what were then known as “women’s films,” and those unique sensibilities lend themselves to one of the most fascinatingly unique film noir efforts of all time.

The characters aren’t particularly likable, but Jo Swerling‘s phenomenal script and the cast’s extraordinary performances (particularly Gene Tierney‘s) make the narrative engrossing nonetheless. It’s a delightful bit of pure pulp enhanced by Stahl’s distinctive artistic voice, which makes it rather unsurprising that the film has gained a small cult following that should definitely be far bigger.

‘Angels with Dirty Faces’ (1938)

Image via Warner Bros.

Directed by Michael Curtiz of Casablanca fame, Angels with Dirty Faces is about a priest trying to stop a gangster from corrupting a group of street kids. The movie has one of the most star-studded casts of any ’30s noir, including James Cagney (who earned an Oscar nod for his performance) and Humphrey Bogart. All in all, it’s one of the best gangster movie masterpieces of the last 100 years.

Powerfully melodramatic and occasionally utterly harrowing, Angels with Dirty Faces tells a story built on the foundations of a somewhat commonplace premise, but the directions in which it takes that premise are stunning. It’s explosive, gritty, exciting, and absolutely riveting. It’s just as much of a masterclass in noir filmmaking as it is in gangster filmmaking, a fantastic classic film all around.

‘The Set-Up’ (1949)

Image via RKO Radio Pictures

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There aren’t many noir movies that are also boxing movies, which only makes Robert Wise‘s The Set-Up more special. Based on a 1928 narrative poem by Joseph Moncure March, it was named by Wise as one of his favorite films of his career. It tells the story of Bill “Stoker” Thompson, a 35-year-old has-been boxer whose manager, sure he will continue to lose fights, takes a bribe from a betting gangster without telling Stoker.

Working with a relatively low budget, Wise made a brutal and exciting melodrama that stands out among most other noir films from the era, since this one’s also one of the best sports movies of the last 100 years. Wise’s gritty style here is so different from his voice in later works like West Side Story and The Sound of Music that one could even think they’re made by different filmmakers, which only speaks to the director’s versatility.

‘Fury’ (1936)

Image via MGM

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The first film Fritz Lang directed in Hollywood was Fury, which also happens to be one of the director’s best works. Loosely based on the events surrounding the Brooke Hart murder, the movie follows a wrongly accused prisoner who barely survives a lynch-mob attack and is presumed dead, after which he decides to get revenge.

The movie, whose screenplay was Oscar-nominated, is an engrossing revenge film that portrays the dangers of mob justice in ways that still hit hard 90 years later. Led by Spencer Tracy at the top of his game, this incredible psychological thriller has all the traditional noir elements down to a T, including its pessimistic—yet all-too timeless—view of humanity.

‘Night and the City’ (1950)

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Directed by Jules Dassin, one of the most notorious names of the Hollywood blacklist, Night and the City is a British noir based on Gerald Kersh‘s novel. It follows Harry Fabian, a small-time grifter who takes advantage of some fortuitous circumstances to try to become a big-time player as a wrestling promoter. Though its revolutionarily bleak tone and complete lack of sympathetic characters made many critics dislike it when it originally came out, cinephiles today look back at it as one of the best noir films of the ’50s.

It’s one of those noir masterpieces with great acting, infused with a moody and pessimistic atmosphere that was clearly influenced by Dassin’s exile from the U.S. It’s a nuanced, pulpy gem that shows noir elements in their purest form. As one of the genre’s biggest masterpieces from the era, it’s a tragedy that it’s not considered a far more mainstream classic nowadays.

‘I Am a Fugitive from a Chain Gang’ (1932)

Image via Warner Bros. Pictures

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Far and away one of the best movies of the 1930s, Mervyn LeRoy‘s I Am a Fugitive from a Chain Gang is a pre-Code tragedy based on a true story. It tells the story of a World War I veteran who tries to re-enter civilian life, but after being unwittingly caught up in a robbery, he falls victim to the horrible conditions of a Southern chain gang.

Bold, realistic, and so dark that one has to wonder if LeRoy would have been able to get it made in its current form after the Hays Code began being strictly enforced, it’s a gut-wrenching critique of the penal system whose biggest tragedy is perhaps the fact that it still feels timely in 2026. Led by a top-form Paul Muni, it’s just as important a social document as it is a marvelous Golden Age Hollywood work of art.

Claressa Shields is showing her man, Papoose, major love as he turns 48. Early Thursday (March 5), she shared a sweet social media post celebrating him and their moments together. The champion boxer also revealed that they have plans for a joint birthday party later this month.

RELATED: Claressa Shields Responds After Viral Skit Recreates Her Luxury Shopping Trip With Papoose (VIDEOS)

Claressa Shields Thanks God For Another Year With Papoose 

As mentioned, Claressa Shields slid on social media, namely Instagram, to shower Papoose with love and praise on his 48th. She addressed him as her “man” and her “best friend,” and revealed their plans to celebrate “the rest of the month.” According to her caption, the couple also has a joint birthday party planned for the 28th. She will celebrate her 31st birthday on March 15.

“HAPPY BIRTHDAY TO MY MAN & MY MAN ONLY @papoose 🎉🎊🎈🥳🍾🎁🤪🤣❤️❤️🥰🥰! God blessed me with another Year with my Bestfriend! CAN’T WAIT TO CELEBRATE YOU TODAY & THE REST OF THE MONTH PAPI!!! Let’s party like the 70s!!!! FYI March 28th is Our Joint Bday Party 🥳🤩 #papoose #birthday #happybdaypapoose #claressashields #pisces”

Claressa Shields’ post includes several photos of them cozy and cheesin’ in selfies, on dates and more. Pap popped into the comment section, dropping nine heart-eyed emojis and an equally sweet reply, “Thank you baby I love you!!!” See all the photos she posted HERE. Claressa also shared some birthday love for Papoose on her Instagram Stories. 

Pap Posts Birthday Shoutout For Himself 

Over on his Instagram, Pap showed himself some birthday love! On IGS, he reposted messages from family, friends and fans and, of course, his babe! Meanwhile, on his feed, he shared a photo of himself in a stooped position with a black fur coat lying near his feet.

“Another lap around the sun. Can honestly say I’ve accomplished everything I dreamed of as a child. Never forget to love yourself. God is the greatest!! Pisces ♓️,” he wrote in his caption.

At least one of more than 500 comments was from Papoose’s lady, Claressa. She wrote in all-caps, “HAPPY BIRTHDAY BABY!!!!” 

RELATED: Whew! Internet User Tells Claressa Shields Her “Attitude Is Not Nice” And Her Response Has Social Media Saying She “Proved Them Right”

An adult daughter in Kentucky has been accused of fatally shooting her mother after she wouldn’t let her leave the house, police confirmed.

The Laurel County Sheriff’s Office announced that Brianna Rich has been charged with murder in connection with the fatal shooting of her 50-year-old mother, Carol Rich, according to Law & Crime.

Deputies responded to the home where the mother and daughter lived in London, Kentucky, on March 14, 2025, after they received reports of a shooting that same night.

Following the shooting, Brianna, 27, called police and told dispatchers, “I just shot at my mother.”

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Brianna allegedly told 911 dispatchers that she shot her mother approximately five times after they got into a physical altercation, according to WDKY. “I’m holding blankets on her wounds, and she don’t have a pulse. There’s a lot of blood,” she reportedly said.

The dispatcher asked Briana what happened before the shooting, and she claimed her mother “came at me” and was “trying to hurt me and choke me.” She continued, “It’s been going on for a while now. I haven’t been able to go out of the house.”

First responders then reported to the home and found Carol, whom they pronounced dead at the scene.

Family members told WKYT that Brianna was staying at Carol’s house as she dealt with a drug problem. While she was previously two years sober, the family members said it was possible that she relapsed.

“That’s what you do for your kids. Try to do the best that you can. That’s what my mom did,” relative Brittney Rich told the outlet about Carol’s intentions to help Brianna.

Brittney also said that she does “want her to be in jail forever,” adding that she believes Brianna “is dangerous.”

Brianna’s older sister, Bridgett Rich, also told WDKY that the fatal shooting was not the first time her sister tried to kill Carol. Bridgett recalled an incident in which Brianna “tried to stab” Carol several years ago. However, she was stopped at the time by her mother’s boyfriend.

She has been charged with murder and is currently in custody at the Laurel County Correctional Center.

WDKY reported that attorneys for the Commonwealth of Kentucky filed a request that Brianna undergo an inpatient competency examination, which was approved on Tuesday, March 3. Court records obtained by the outlet said she will be taken to the newly ordered evaluation by the Laurel County Sheriff’s Office.

Related: Teen Girl in Critical Condition After Murder-Suicide Days Before Christmas

A family experienced an unfathomable tragedy this week when a domestic dispute over a football game turned deadly just three days before Christmas — leaving a mother dead and a 13-year-old girl critically injured. On Tuesday, December 23, Polk County Sheriff Grady Judd held a press conference about a murder-suicide attempt that took place on […]

The sheriff’s office and the KCPS will coordinate the date and time for the upcoming exam, according to the station.

Brianna is next scheduled to appear in court regarding the charges on June 1.

It is not currently clear if Brianna has entered a plea or retained legal representation following her arrest.

The Laurel County Sheriff’s Office did not immediately respond to Us Weekly’s request for comment.

Carol’s family set up a GoFundMe page to help with funeral expenses following her death. In the post, Carol was remembered for loving “all her friends and family so so much.”

UPDATE 03/05/26 at 6:00 p.m. ET — TikTok star Riziki Ilenre’s cause of death has been revealed.

The Alabama Department of Forensic Sciences confirmed to People on Thursday, March 5, that Ilenre died by suicide. The department told the outlet that the content creator had a “reported history of depression and previous suicide attempts.”

If you or someone you know is struggling or in crisis, help is available. Call or text 988 or chat at 988lifeline.org.

Original story:

TikTok star Riziki Ilenre has died at age 27.

The creator, who rose to fame online for her comedic videos, died on Friday, December 12. Her account appeared to be deactivated after her death.

A spokesperson for the Montgomery Police Department in Alabama tells Us Weekly that an investigation into Ilenre’s death is “ongoing” and there is no further information available at this time.

In the wake of Ilenre’s death, a church in Carrollton, Georgia, paid tribute to the social media star in a statement.

Related: The Most Shocking TikTok Star and Influencer Deaths Through the Years

Courtesy of Chris O’Donnell/Instagram; Courtesy of Kyle Marisa Roth/Instagram The deaths of several online stars have shaken the TikTok and influencer community — and broken the hearts of countless fans — over the years. Taylor Rousseau Grigg died in October 2024 at the age of 25 after battling undisclosed medical issues. Her husband, Cameron Grigg, […]

“Our church family is grieving the heartbreaking loss of someone deeply loved and deeply valued, Riziki Ilenre,” Church Without Walls wrote via Facebook on Saturday, December 13. “She was part of our ministry family, a bright and brilliant young woman, full of purpose, faith, and promise. She served faithfully, graduated college, and was pursuing her dream of law school. Her future was meaningful, and her life mattered.”

The statement continued, “This is not a moment for speculation or easy answers. This is a moment for grieving, compassion, and love. Scripture reminds us that even Jesus paused to weep in the face of loss and today, our community weeps. Today, we mourn.”

The church asked for “prayers for her family, for all who loved her, and for anyone silently battling deep pain.”

The statement concluded, “May we honor her memory by loving harder, listening better, and protecting one another more fiercely.”

Several users took to the comments section to send their condolences.

Related: 5 Things to Know About TikTok Star Joshua Blackledge, Dead at Age 16

The death of social media personality Joshua Blackledge has left the TikTok community heartbroken. The rising star died at the age of 16 on Tuesday, March 18, according to his online obituary, which detailed that Blackledge passed away at his home in Newport, North Carolina. A cause of death has not been confirmed. Attracting 1.1 […]

“Even though I did not talk to this young lady like that it took me by surprise when I found out she passed away but when I did talk to this young lady she brought joy to my heart because she was full of life and she had a great spirit and she had a great personality and I remember I tried to talk to her and she turned me down nice and sweet, but we always been friends and she was full of happiness and joy and she always had a smile on her face and for all of these things I will truly miss so until we meet again my friend rest easy RIP,” one user wrote, while another added, “Praying for all family.”

In a separate tribute, Walter D’Andre Green — an apostle at Church Without Walls — honored Ilenre as his “daughter — not biologically, but absolutely spiritually.”

“Her smile was infectious,” the statement read via Facebook on Saturday. “Her grit and determination were unmatched. Her loyalty and honor were unwavering.”

The statement continued, “I had the privilege of watching her grow from an awkward sophomore in college into a young woman preparing to take on the world as a law student. She was brilliant, driven, and fearless in thought. One thing about Rizi — she loved to debate. She thrived in apologetics and theological discourse, and I think that’s part of why we were so close. She loved truth, and she wasn’t afraid to wrestle with it.”

He concluded his message by noting it had been a “long day” and he had “very little sleep.”

“And I’ll be honest — this hurts deeply. I’m still processing. But even in the pain, I rest in this: Riziki is eternally safe now,” he wrote. “No more worrying. No more fighting. No more carrying what was never hers to bear. Just peace.”

For years now, Apple TV has built its brand on prestige sci-fi. From the corporate dystopia of Severance to the alt-history ambition of For All Mankind and the record-breaking breakout Pluribus, the streamer has become a haven for speculative storytelling. When you consider the scale of Foundation and the enormity of the Monarch: Legacy of Monsters footprint, it becomes apparent that Apple has become synonymous with high-concept genre television.

Yet one of its most poignant dramas does not take place in outer space, alternate timelines, or dystopian bunkers; instead, it takes place in therapy offices, messy kitchens, and friends drinking beer in their backyards and crossing boundaries. With Season 4 already confirmed, Shrinking is proof that some of the best television isn’t escapist at all — it’s deeply, messily human.

‘Shrinking’ Turns a High-Concept Hook Into a Story About Connection

Image via Apple TV

Shrinking was created by Bill Lawrence alongside Jason Segel and Brett Goldstein and starts out with a premise based on a seemingly simple sitcom: A therapist grieving over the death of his wife, who was killed by a drunk driver, tells his patients everything he thinks and feels no longer holds back like he used to — instead he tells them what he really thinks with radical honesty. He pushes them to get out of toxic relationships, face long-buried truths, and take chances that they had avoided.

In the early episodes of the series, the unethical nature of the therapy practice advances the storyline. But now, after having three seasons under its belt and with Season 4 already greenlit by Apple, the therapy aspect of Shrinking has taken a backseat to a deeper exploration into who we are as people through the eyes of the people closest to us, as well as the parts of us we are still afraid to show.

Season 1 dealt with the raw shock of grief — particularly for Jimmy, his teenage daughter Alice (Lukita Maxwell), and their tight-knit support system while Season 2 shifted toward anger and forgiveness, even introducing Louis (Goldstein), the man responsible for the crash that killed Jimmy’s wife. Season 3 moves into new territory: what it actually means to move forward.

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Harrison Ford Delivers One of the Best Performances of His Career

Image via Apple TV

Paul Rhoades (Harrison Ford) serves as the emotional anchor of the series, as Jimmy’s boss and mentor at their Cognitive Behavioral Therapy Center. Aside from the humor and sternness Ford gives Paul, he has allowed the character to develop a sense of tenderness and vulnerability over time, which grows throughout the show as each season progresses.

One of the more emotional and impactful storylines about the character is that Paul has Parkinson’s disease. As Paul develops into later seasons, the symptoms of his disease have gradually progressed, and he is dealing with the fear of what he will lose due to eventually being unable to care for himself.

While his illness could have easily provided the show with cheap emotional moments, the character is already wrestling with significant issues that have a lot to do with how he views himself in relation to the world. His most important moment dealing with this is his emotionally charged request to Jimmy to let him know when he is “sinking,” which serves as a very accurate representation of his vulnerability and the first time he has made a request of Jimmy that sends a signal regarding the need for other people in his life.

The highlights of Season 3 include an unforgettable guest appearance by Michael J. Fox as Gerry, another person living with Parkinson’s, who brings humor and honesty to Paul’s character development. Their scenes together have a depth that comes from lived experience, combining dark humor with real-life experiences of perseverance.

An Ensemble Comedy That Earns Its Tears

Image via Apple TV

Though Segel remains the show’s beating heart, Shrinking thrives as an ensemble. Jessica Williams’ Gaby has grown into one of the series’ most dynamic forces, balancing razor-sharp comedic timing with arcs that explore professional burnout and personal grief. Michael Urie’s Brian and Devin Kawaoka’s Charlie navigate impending fatherhood. Christa Miller and Ted McGinley’s Liz and Derek offer chaotic but steadfast neighborly support. Luke Tennie’s Sean continues to evolve beyond his initial patient role.

The show isn’t without flaws. Its characters often exist in an unusually porous bubble — friends lying on each other’s beds, therapists bending rules, personal and professional lives colliding in ways that stretch realism. At times, conflict can feel heightened or conveniently orchestrated. But what keeps Shrinking from tipping into pure schmaltz is the cast’s commitment. Segel, especially in scenes opposite guest star Jeff Daniels as Jimmy’s emotionally distant father, taps into something raw and grounded.

The series has earned awards recognition — including Primetime Emmy nominations for Segel and Williams — and was named one of the year’s top television programs by the American Film Institute for its second season. That acclaim reflects that Shrinking may look like a breezy dramedy, but it’s doing serious emotional work.

Apple TV may dominate the sci-fi conversation, but with Shrinking, it’s proving that prestige doesn’t require a spaceship. Sometimes, it just requires a couch, a circle of friends, and the willingness to admit you don’t have it all figured out.

On more than one occasion, we’ve looked at Jennifer Garner‘s outfit and thought, ‘Wait, I would totally wear that!’ The Last Thing He Told Me star has a relatable, cozy-cool sense of style, often wearing slip-on shoes and forever-chic staples that instantly make our ‘mom must-haves’ list.

Her clothing budget, however, definitely belongs to a famous person — something we learned the hard way after admiring the dark-colored cardigan that the 53-year-old wore while appearing on Not Gonna Lie with Kylie Kelce. While the versatile layer looked like an everyday basic we needed in our wardrobes, it was secretly Celine. . . and costs a whopping $2,700.

There’s no way our bank accounts (or the sensible part of our brain) would allow us to spend so much on such a simple sweater, which is why we headed to Amazon and found the look for a whole lot less. The Imtraso V-Neck Button-Down Loose Cardigan has a ton of the same details, and thanks to a discount, it won’t cost you a dime over $30.

Get the Imtraso V-Neck Button-Down Loose Cardigan for $30 (originally $35) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Perhaps part of the reason Garner’s cardigan is so pricey is its material: the high-end pick is made from 75% cashmere and 25% silk, which definitely qualifies it as quiet luxury. However, the Amazon alternative isn’t too shabby! The loose, knit design is similar in appearance, complete with front buttons and a flattering V-neck.

It’s also super soft, rather than itchy, and since it’s midweight, you can get away with wearing it year-round. Plus, if you really are looking for the no-fuss, throw-on-and-go layer that Garner’s cardigan pretended to be, this really is it. The pick is machine-washable and perfect for pairing with just about anything in your wardrobe, whether you style it over a breezy dress, rock it with jeans or drape it over your office chair in case of air-conditioning emergencies.

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While the black version will get you a Garner-inspired look, the same button-up knit comes in five other shades, so always-cold fashionistas can scoop up the same style in gray, khaki or a trendy green. Whichever color you go with, the reviews promise you’ll love your purchase, with many Amazon shoppers shouting out the “great quality” and confessing they wear the cardigan often.

“Great cardigan. Very soft!” one person wrote. “Better quality than I expected. It’s not too thick, but kept me warm on a mildly brisk day. Love the buttons! True to size with a great slouch. Looks great with a dress as well as some jeans, very versatile! Seems to wash well. No pilling yet, only worn 4 times.”

“Very comfortable, I seem to always grab this cardigan when I need to throw something on over a T-shirt,” another customer confessed. “It’s soft, fits well and has held up nicely over the weeks, especially since I tend to wear it several times a week.”

Of course, one minor difference is that tiny Celine triomphe and pin combo seen on Garner’s sweater. The same look can be nailed with a brooch of your choosing, giving your outfit an extra trendy — and personalized! — spin. However, we think the Imtraso cardigan is cute as-is, so scoop it up now and watch how often you reach for it!

Get the Imtraso V-Neck Button-Down Loose Cardigan for $30 (originally $35) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Looking for something else? Explore more V-neck cardigans here and don’t forget to check out all of Amazon’s Daily Deals for more great finds!

Michael Bay Sues
You Damaged My Home In Hit-and-Run

Published
March 5, 2026
6:36 PM PST
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Updated
March 5, 2026
8:01 PM PST

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Editor’s Note: The following contains spoilers for Love Story: JFK Jr. & Carolyn Bessette Episode 6

If Love Story’s episode last week exposed the cracks in John F. Kennedy Jr. (Paul Anthony Kelly) and Carolyn Bessette’s (Sarah Pidgeon) public image, it’s Thursday’s chapter, “The Wedding,” that forces them to walk straight through the noise. As Episode 6 opens with the Battery Park incident sparking news and tabloid headlines, Uncle Teddy (Donal Logue) and Caroline (Grace Gummer) are furious that John let his guard down. Meanwhile, his aunt Ethel (Jessica Harper) offers Carolyn a warning that feels both affectionate and ominous as she notes “these men will break your heart” and “make you want to scream.”

But all of it leaves the two unshaken as they decide to move forward with their wedding, even with the pressure of legacy and recent optics weighing down on their privacy. Yet, the hour is never staged as some glossy reenactment of a fairytale wedding. Instead, the episode directed by Gillian Robespierre and written by Juli Weiner narrows its focus to mood and intimacy — from the easy, lived-in chemistry between Pigeon and Kelly to the fracture in Carolyn’s professional life as she steps away from Calvin Klein (Alessandro Nivola).

And yet, in an episode that enchants from the moment they head to Cumberland Island for their wedding to the recreation of that photo on the steps of the little, candle-lit chapel, the most striking moment arrives at dawn. After having fallen asleep on the beach and running into the ocean to skinny-dip, the aerial shot of them floating, small against the open water, plays romantic at first glance but also quietly devastating if you know what’s coming.

In an interview with Collider about the golden hour, Robespierre jokingly admits she felt “trepidation and fear” when she was asked to helm the wedding episode, but leaned into what she loves most. “I love love,” she says, explaining that she wanted to capture the ceremony “with as little dialogue as possible” and let it feel like “visual poetry.” In addition to breaking down the wedding everyone wanted an invitation to, she gets into that haunting Atlantic Ocean moment of them floating together, and what it means to end the happiest chapter of their story with a plane waiting on the runway.

How ‘Love Story’s Latest Episode Balances Public Myth With Private Romance

Robespierre leans into “magical, intimate” visual poetry to cut through the myth and find the private romance.

COLLIDER: This episode lives inside one of the most photographed, romanticized weddings of the 20th century. How did you approach directing something that audiences already “think” they know?

ROBESPIERRE: With trepidation and fear! [Laughs] No, just excitement! I was really excited when Brad Simpson, the exec on Love Story, called me and said, ‘We want you to direct the wedding episode.’ And I was like, ‘Let’s do this!’ I love love, [and] romance and trying to capture it with the camera, trying to capture it with as little dialogue as possible. But a director is only as good as the story in the script, and this script was handed to me, and it was brilliant. It was a really great television script. I really felt the emotion leap off the page, and I just had to do that justice.

I also grew up in the ‘90s. I was in high school in the ‘90s, [and] I remember being in New York because that’s where I was born and raised, so I remember a lot of these pictures being on the cover of People magazine that my mom was reading or The Post, as you were walking to high school, passing newsstands — much like the character on the show. I don’t believe that there are a ton of photos of the wedding. I feel like you see this church, and you see it’s illuminated by candles, and it was small. I think there’s only one or two pictures that I can recall of the reception where she’s wearing his blazer and laughing, and not much else.

A lot of people have wedding videos, royalty. I just remember really seeing more imagery of Lady Di and Prince Charles, and this was really trying to take those images that we didn’t have many of, and capture the essence. I didn’t realize how ragtag “low key” was, but it’s intimate; there were only a small amount of people there. The church was the size of a New York City apartment. It was on an island that was hard to get to. And then the Kennedy family had to get onto these flatbed trucks and be driven from their inn to this remote location where the church was because of the paparazzi and the Carolyn character, wanting the intimacy. So it was really trying to piece together some of these snapshots that we’ve seen. We had an amazing production designer who did so much research and had a thick binder.

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I think, also, there are so many things where you guys have so many fragmented pieces leading up to the moment, trying to figure out and fill in the gaps of what it would have looked like in the dynamic that they were in, especially after the whole Battery Park incident, too. There’s so much emphasis on guardrails — what the Kennedys show the public versus what’s happening internally. Were you directing this episode with the idea that image management is the third person in the relationship?

ROBESPIERRE: I think what we wanted to capture was something that felt magical, intimate; that felt like a wedding, but without all of the “I do’s” and just be very poetic, and to make it feel more like poetry, visual poetry, rather than trying to be exact and to show the emotion and the celebration of love. The ceremony is one aspect of it, and the night before is always a big part too. And I think that’s one of the romantic, the most romantic scenes for me to shoot was when they were waking up on the beach, and they decided to go skinny dipping. It’s almost like they’re christening their marriage, and it’s just the two of them and their bodies and the water and a beautiful song playing — the Nina Simone song that we chose for that scene, it’s sexy and sad and romantic and haunting and a little ghostly. And I think that’s what we were trying to do, and the writer really just gave us such beautiful language on the page.

How “The Wedding” Turns Romance Into a Ghost Story for Just a Second

Robespierre says the skinny-dip shot is meant to feel “bittersweet” and haunting for a beat, but then it snaps back to the wedding’s joy with a subtle “levitate” moment.

Image via FX

I’m glad you brought it up because I had a question about that. That whole scene is beautifully done; they’re skinny-dipping, it’s cute. The aerial shot of them floating in the Atlantic, though — so haunting. I remember sitting with my sister watching that, and we knew what was coming. How deliberate was that visual parallel to their later fate? Because when we’re kind of pulling out, they’re so small in the center of this massive body of water, almost consuming them.

ROBESPIERRE: [Pauses] It’s really sad. It’s bittersweet. I think ultimately we wanted to show their closeness and how they’ll, it’s sort of how they’ll eternally live in that moment as an image, as a haunting image. And then you snap out of it, and you’re at their wedding, and she’s on the back of a Jeep and trying to keep her veil on, and you’re just brought to this very beautiful, alive reality. And when he first sees her, you know, his jaw drops, and it’s another moment. When I watched the dailies, I saw Paul [Anthony Kelly] do that. When you’re shooting, you often miss a lot of the nuances of performances because there are so many cameras going, and then, you sit in the edit, and you’re like, “Oh my God, the way he looked at her. I didn’t notice that day!” And I just gasped. And then again, with the reception, it was really so fun to try to take the words that Juli [Werner] had written — it says, “The golden couple levitates to the dance floor.” It was just beautifully worded language.

So the DP, Pepe [Avila del Pino], and I decided to actually make them levitate. It’s very subtle, and you can clearly see it because, obviously, we’re not making a sci-fi movie or Superman where, all of a sudden, Lois Lane gets [lifted]. But we dug a hole in the ground of this beautiful estate and put in a hydraulic levitation system, and it was rotating and spinning almost like a couple on a cake, and they were just so, ever so slightly higher than everyone above, like other friends and family, because that’s what a bride and a groom should feel like. That they’re flying, and it should feel like they’re on a different planet than everyone else.

Robespierre on Capturing the Little Moments That Make ‘Love Story’ Click

Robespierre says the romance clicks because the leads stay “grounded,” letting goofy, messy little moments (bagels, dorky dancing) make them feel real.

Image via FX

I have to go back now and watch that. I live for the little details in film and TV, so I need to see it. But that being said, Sarah and Paul are so natural and easy with each other, and that chemistry moves so beautifully onto the screen. You know, as a director coming in, how did you cultivate that sincerity so the relationship doesn’t really feel like a museum piece? I know the two of them are doing a lot of work, and they’re taking direction from you and the writing on the page, but it’s different because you’re also seeing them from the outside in, guiding them.

ROBESPIERRE: They are so grounded in their performance. Another scene that I think you can see their groundedness and their characters coming out is when they’re dancing to Common People. It’s the beginning of the episode, and showing a side of them where they’re not perfect. She’s eating a bagel and cream cheese, and gets it on her face a little bit, and puts on a CD and starts dancing, and she’s kind of doing goofy moves, you know? He’s staring at her, like fully in love with her, but also, when he gets up and dances, he’s a little dorky and I think it’s just so relatable and that was one of the most fun days on set we had, because we’re just making this up as we go, and we’re talking about it and coming up with ideas, and they had such chemistry, yes, but also they had a groundedness to their performance.

They locked in, especially by Episode 6. It was just a joy. Everyone, all the collaborators, everyone came together, and all I had to do was really make sure I pointed the camera to show everyone’s work because the hair was perfect, the wardrobe was perfect, the production design — everything was there, all the elements were there, and everyone was operating at the highest level of their game. I just couldn’t screw it up; I had to capture everything.

Robespierre on Ending the Happiest Chapter With a Warning Sign

Robespierre says she shot the wedding up close to keep it intimate, then ends on a “cruel reality” warning with that tiny plane.

Image via TLC

In terms of capturing everything, there’s this recurring question of whether John belongs to Carolyn or to America. Was that tension something you leaned into visually or tonally when directing? There’s a clear language in how you set up scenes of long versus medium shots in group settings, and then these tight close-ups, sometimes with the pair.

ROBESPIERRE: Yes, for sure. All of the shots of them together during the wedding, in the car heading to the tarmac [at the end], we shot very close up. We shot with a wider lens, and so we were able to really see more of the world, but also get closer to them. The scene in another episode, Episode 4 [“I Love You”], where they’re in bed together, and that natural sunlight is streaming on them. It’s their first night, their first sleepover that we see on screen, handheld, very close, very intimate. And when the camera is that close to you, you can’t help but sort of change your style of acting. And it felt a little looser than the traditional frames that happen before they fall in love.

I know we’ve got to wrap up in a minute, but I’m wondering about how this episode ends with the two of them boarding that plane, and he’s going to log some hours. Placing that image there in their happiest chapter, it does feel intentional, especially because we’re coming to an end. What were you trying to say by bracketing the wedding with that visual echo? Because I do feel like — it’s such a beautiful series, but we know that the ending is going to be absolutely tragic.

ROBESPIERRE: I think driving up to the plane, they’re just so in love, and they’re smitten, and they’re looking at each other, and they can’t keep their hands off each other. They did it — they pulled it off. No press, no paparazzi. It was the most magical night. And then I think the cruel reality of seeing that tiny little plane and ending on the character of Carolyn looking at it and feeling a little bit scared. Just a little bit, but wanting to also support her husband.

Love Story airs Thursday nights at 9 p.m. EST on FX and streams the next day on Hulu.

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Release Date

February 12, 2026

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Directors

Max Winkler, Anthony Hemingway, Crystle Roberson Dorsey, Gillian Robespierre, Jesse Peretz

Writers

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Connor Hines, D.V. DeVincentis, Juli Weiner, Kim Rosenstock

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