Entertainment
‘Love Story’ Turns JFK Jr. and Carolyn Bessette’s Happiest Episode Into a 2-Scene Gut Punch
Editor’s Note: The following contains spoilers for Love Story: JFK Jr. & Carolyn Bessette Episode 6
Summary
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.
‘Love Story’ Rewrites JFK Jr.’s Most Painful Public Moment in 10 Devastating Minutes
Tragedy surrounded the couple from American royalty.
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.
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.
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.
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.
- Release Date
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February 12, 2026
- Directors
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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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The Rachel Weisz series omits a portion of the novel’s ending, leaving the characters’ fates more ambiguous.
Grey’s Anatomy just had Kevin McKidd and Kim Raver‘s characters sign their divorce papers — only to show Owen and Teddy’s shocking hookup.
During the Thursday, March 5, episode of the hit ABC series, Owen supported Teddy as she contemplated another risky heart surgery on a patient. It was ultimately successful, which the former couple discussed at the end of their shift when Teddy came to pick up the kids.
Owen and Teddy admitted they were both still adjusting to their new normal before they decided to sleep together again. Their relationship status remained unclear as the episode wrapped up without a conclusion.
Earlier this season, Owen dealt with the end of his marriage to Teddy as she moved on with Cass (Sophia Bush). Owen had his own romantic development when he went out to dinner with Nora (Floriana Lima) before they eventually broke up.
The night … was March 27, 2005. Television titan Shonda Rhimes knew what she had just created — but audiences still had no idea. Thank You! You have successfully subscribed. Subscribe to newsletters Enter your email Please enter a valid email. Subscribe By signing up, I agree to the Terms and Privacy Policy and to […]
“A couple of scripts came in [recently] and I was like, ‘Oh, my God.’ It gets messy and it is so Grey’s Anatomy. I just love it so much,” Raver, 56, exclusively told Us Weekly in January.
The actress learned what is to come with the rest of the cast.
“We’re all reading what’s happening [during a table read], and I love it,” she shared. “Some of us are in scrubs, some of us are in our street clothes. Then when we find out the information, it’s a shock and a surprise to all of us. We are like the audience, too, and then we look at each other like, ‘This is really happening.’”
Raver, who has played Teddy since season 6, promised “really great” Grey’s Anatomy story lines — and revealed whether she has any concerns about her character’s fate.
“That’s the life of an actor,” she noted. “It’s really just about trying to be present and doing the work and following the amazing story lines that the writers are given. Especially with how now we’re always having these incredible cliffhangers. No one ever knows.”
Raver promised that the audience would be “riveted” by what’s to come, adding, “There is a cliffhanger, so I think that that’s going to be really surprising. … I love being able to go every day and be able to tell these stories from a director’s point of view. Each story line leaves us with that quintessential Grey’s Anatomy vibes where you are crying, laughing and the residents are so good. There’s a lot of shenanigans going on with them. It’s a really exciting episode.”
Raver continued: “I feel like every time I direct a new episode of Grey’s, there are more things [I learn] because there’s a different format or a different way to shoot it. But I think maybe my confidence in how I want to tell this story and where I want to put the cameras [has gotten better]. TV moves so fast, so I feel like the more I do, the more comfortable I am with the speed that you need to go through it. I am just getting more and more comfortable with the craft of it, which allows me to then really enjoy the process.”
Grey’s Anatomy airs on ABC Thursdays at 10 p.m. ET before streaming the next day on Hulu.
When Steven Spielberg‘s Jurassic Park came out in 1993, it changed the way we looked at dinosaurs. No longer were they drawings in a book or stop-motion in a cheesy movie. Thanks in part to the genius of Industrial Light & Magic, dinosaurs felt alive like never before. Now, the iconic director and visual effects studio are back together again for another dino story. This time, instead of the world of fiction, with dinosaurs impossibly living amongst modern humans, Netflix‘s The Dinosaurs is a four-part docuseries that goes back millions of years to show the rise and fall of their era — and if the story’s jaw-dropping visuals aren’t enough of a selling point, it’s all narrated by Morgan Freeman.
What Is ‘The Dinosaurs’ About?
Steven Spielberg, Morgan Freeman, Industrial Light & Magic, and Netflix have actually worked together before on the 2023 Netflix docuseries Life on Our Planet. The eight episodes covered the history of life on Earth from the very beginning to the animals of today. This was done through a combination of live-action footage, when possible, and CGI when needed, with the technology coming in handy for episodes that covered the reign of the dinosaurs.
The Dinosaurs covers the days of Tyrannosaurus Rex and company in four detailed episodes, but rather than only depicting big names like the T-rex or a Triceratops, Netflix’s docuseries succeeds by digging deep and covering four distinct eras and what came from them better than most history lessons ever could. “Rise” focuses on the beginning, where small dinosaurs from 235 million years ago fight for survival in a new world. In “Conquest,” dinosaurs grow, only for many to be wiped out by the Ice Age. “Empire” is aptly titled because dinosaurs are now giants and the rules of an ever-changing Earth. Lastly, “Fall,” as the name implies, takes us all the way to the end, with an asteroid like a ticking time bomb to the end credits.
‘The Dinosaurs’ Is Treated Like a Brutal Nature Documentary
The Dinosaurs is not only built on the passion of Spielberg and Amblin Entertainment, but also on the know-how of Silverback Films, the creators of wildlife documentaries such as Secrets of the Bees, Ocean with David Attenborough, and Secret Lives of Orangutans. Their influence shows heavily in the best of ways, taking The Dinosaurs out of the realm of stuffy history lessons and narrowed scope. In a large world with fantastical figures from before our time, The Dinosaurs takes an emotional approach, with its subjects fighting to live in a world where only finding food and making it to the next day matters. Each episode plants the audience in the daily life of a little Marasuchus, a mammoth saurpod, or a terrifying carnivore in a world that’s eat or be eaten.
The 10 Most Entertaining Steven Spielberg Movies, Ranked
The viewers are moved in herds. They really are moved in herds.
Dinosaurs might be one of the first things kids are fascinated by, but The Dinosaurs is probably not for the little ones. The docuseries is brutal and unforgiving. It sucks you in with the warm blanket of Morgan Freeman’s voice, but he’s narrating a vision of hell and even tells us so. Each episode is one scene after another of getting to know a dinosaur, one usually all alone, before its life is either snuffed out by a predator, a sudden fire, or the inability to adapt to a world that keeps evolving. A few scenes are hard to watch because The Dinosaurs does such a phenomenal job of taking these prehistoric creatures and turning them into three-dimensional beings with personalities and fears who only want to make it through another day.
Industrial Light & Magic Brings ‘The Dinosaurs’ to Life
Industrial Light & Magic, which was co-founded by George Lucas in the mid-1970s, has made the impossible possible in movies such as E.T. the Extra-Terrestrial, Poltergeist, and Who Framed Roger Rabbit, before reinventing itself in the early ’90s thanks to CGI. Jurassic Park changed the game, putting the possibilities of our imagination on the screen in a way that felt lifelike. In The Dinosaurs, ILM isn’t there to supplement an existing film; they are the movie. The detail is there in every speck of sand, crack of dirt, and lush vegetation needed to thrive. Some of it resembles the world humanity knows right outside our door, while other scenes might as well be an alien planet. It’s the attention to detail of the dinosaurs themselves that puts the docuseries above anything else like it. CGI is good at making living things seem more alive in the dark. However, The Dinosaurs depicts its subjects right out in the open, blending them seamlessly with the world around them.
The only flaw of The Dinosaurs is the repetitive nature of its episodes. A dinosaur is introduced, it’s shown struggling to survive and eat, then it’s wiped out, and it’s on to the next. What begins as a heavy emotional impact in early episodes starts to become not only predictable but numbing by the end. The series doesn’t overstay its welcome, though. At four episodes of nearly 45 minutes each, The Dinosaurs gets it right. It’s dark and at times all too much, but the mastery of ILM and Morgan Freeman guiding the audience through hellscapes of another era helps the series rise above its limitations. The Dinosaurs will rip your heart out, but it wisely ends on a note of hope and respect. These dinosaurs don’t talk or devour people; they only live and die as they were, their ends brought to life millions of years later through the evolution of humanity, and thanks to Netflix, you’ve never seen them like this before.
- Release Date
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March 6, 2026
- Network
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Netflix
- Directors
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Nick Shoolingin-Jordan
Pros & Cons
- ILM’s technology makes the dinosaurs look more real than ever.
- A lot of time is spent with dinosaurs you’ve never heard of, not just big names like the T-rex.
- It’s a wise choice to tell stories with the dinosaurs so that we care about them.
- The episode structure is the same throughout, leading to less emotional impact later on.
Congressman Tony Gonzales
Calls It Quits After Staffer’s Suicide
Published
One day after admitting he had an affair with a staffer who died by suicide, Congressman Tony Gonzales pulled the plug on his re-election campaign.
Gonzales (R-Texas) made the announcement Thursday night to drop out of the GOP primary race against Brandon Herrera before their May 26 runoff election.
Hours later, Herrera declared victory and will now move on to the general election for Gonzales’ seat in Texas’ 23rd District.
In a statement, Gonzales said after deep reflection with the support of his family, he decided to bail on his campaign, although he vowed to serve out the rest of his term.
As you know, Gonzales came under heavy scrutiny after his staffer, Regina Santos-Aviles, died by suicide in September 2025 after setting herself on fire.
Rumors surfaced that Gonzales — a married father of 6 children — was having an affair with Santos-Aviles — but the congressman publicly denied it.
The San Antonio Express-News then published text messages from Santos-Aviles acknowledging she had an affair with Gonzales. More text exchanges came to light showing Gonzales asked Santos-Aviles to send him a “sexy pic.”
Gonzales finally fessed up to the affair this week on “The Joe Pags Show,” calling it a “mistake” and a “lapse in judgment.”
Meanwhile, the House Ethics Committee launched an investigation into the matter to see if Gonzales violated codes of conduct based on allegations of sexual misconduct and favoritism.
Britney Spears
Fired Sober Coaches Before DUI Bust
Published
Britney Spears showed her sober coaches the door weeks before getting arrested on suspicion of DUI.
Sources with knowledge tell TMZ … Britney fired the sobriety coaches after she signed a deal selling her rights to her music and after she returned home to California following a trip to Los Cabos, Mexico.
Instagram/@britneyspears
We’re told Britney’s team also fired other people who were looking out for her … including security guards who kept an eye on the pop superstar.
TMZ broke the story … Britney was arrested Wednesday night in Ventura County, California for DUI. She was pulled over near her home and then taken to a hospital to have her blood drawn and tested.
During processing at the jail, Britney was emotional and crying.
Instagram / @britneyspears
Our sources say Britney’s team is now restructuring things and trying to figure out a game plan for her.
We’re told Britney mostly just dances around naked all day wherever she is — which lines up with what we see from her on Instagram — and our sources say she talks to herself and is in her own world.
Aaron Rodgers put FBI director Kash Patel on blast after he was seen partying with Team USA’s hockey team at the 2026 Winter Olympics.
Speaking about the controversial moment during a Wednesday, March 4, appearance on ESPN’s The Pat McAfee Show, Rodgers, 42, slammed Patel, 46.
“Can we get that one guy out of the locker room and get him working on something else?” Rodgers said, adding, “That’s a bad look. Come on, have some awareness.”
Last month, Patel raised eyebrows during the 2026 Milan Cortina Winter Olympics when he chose to celebrate with the men’s team after their win over Canada.
Dave Portnoy is weighing in on the controversy surrounding President Donald Trump’s alleged “joke” about the USA women’s hockey team after both the men and women took home 2026 Winter Olympics gold against the Canadians. “People are mad, they’re going nuts. ‘How could the [USA men’s] hockey team laugh, why are they talking to the […]
In footage that circulated via social media, the FBI director could be seen drinking beer and cheering with the athletes inside a locker room as part of the team’s lively post-victory celebrations.
Patel, a longtime hockey fan, also joined the athletes in singing a rendition of Toby Keith’s “Courtesy of the Red, White and Blue.”
In response to the backlash, Patel defended his actions via a social media post shared on February 22.
“Yes, I love America and was extremely humbled when my friends, the newly minted Gold Medal winners on Team USA, invited me into the locker room to celebrate this historic moment with the boys,” he wrote via X. “Greatest country on earth and greatest sport on earth.”
Kash Patel. (Photo by Chip Somodevilla/Getty Images)
NHL star Jack Hughes scored the winning goal in Team USA’s hockey game against Canada, which went into overtime on February 22. The United States won against their rivals with a final score of 2-1. The victory was the first time in 46 years that Team USA has won gold in men’s hockey since the famous “Miracle on Ice” win in 1980.
Rodgers is not the only person to publicly criticize Patel’s decision to party with the hockey team following the gold medal win.
Dani Bensky, who said she suffered abuse from Jeffrey Epstein between 2004 and 2005, also slammed Patel for celebrating when he could have been doing his job.
Stephen A. Smith is not afraid to go up against anyone, and that apparently includes FBI Director Kash Patel. On the Thursday, October 23, episode of ESPN’s First Take, Smith talked about the recent NBA gambling scandal that saw Portland Trailblazers head coach Chauncey Billups and Miami Heat star Terry Rozier arrested as part of […]
“Why is the FBI director out there partying like a college kid when he should be investigating the vast criminal enterprise?” she asked in a news conference hosted by the Democratic Women’s Caucus on February 24. “This administration needs to do better. How can anybody feel safe in this country when our president’s sympathies are going to the former Prince Andrew and not to survivors?”
She continued, “There are a few things that really need to be done immediately versus the release of all of the files, which we know. Next is to hold accountable those who continuously exploit. And the third is to pass Virginia’s bill. We need to pass Virginia’s bill because justice should never ever expire. Release the damn files.”
Virginia’s Law is named after Epstein accuser Virginia Giuffre, who died by suicide in 2025. It was introduced by senate Democrats last month and aims to end the statute of limitations for civil sexual abuse cases.
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“Nothing was working. And finally, finally, after a half hour, 45 minutes of trying to save him, Captain came down and said, ‘Guys, it’s not gonna work,'” Trey John Green III said.
New details about late Grey’s Anatomy star Eric Dane’s posthumous memoir have been revealed by his publisher, Maria Shriver.
“I was honored Eric Dane chose my publishing imprint, @openfieldbooks, to publish his memoir, My Book of Days,” Shriver, 70, wrote via Instagram on Thursday, March 5. “He told me he wanted his family to know how much he loved them, and he wanted to leave them a story they could be proud of.”
Shriver confirmed that Dane was writing My Book of Days “right up to the end.” Dane died at age 53 on February 19, 2026, from respiratory failure with amyotrophic lateral sclerosis (ALS) as an underlying cause. (Per the Mayo Clinic, ALS is a progressive “nervous system disease that affects nerve cells in the brain and spinal cord” and causes a loss of muscle control.)
“In keeping with Eric’s wishes, [My Book of Days] will be published on November 3, 2026,” Shriver confirmed.
In December 2025, Dane announced he was working on a memoir to explore his iconic TV roles in Grey’s Anatomy, Charmed and Euphoria, in addition to addressing his diagnosis with ALS.
“I wake up every morning, and I’m immediately reminded that this is real — this illness, this challenge and that’s exactly why I’m writing this book,” Dane said at the time. “I want to capture the moments that shaped me — the beautiful days, the hard ones, the ones I never took for granted — so that if nothing else, people who read it will remember what it means to live with heart. If sharing this helps someone find meaning in their own days, then my story is worth telling.”
Shriver added, “Eric wants to give his daughters and family something to be proud of, and this book will not only make them proud, but it will also help people understand what ALS is and isn’t, what happens to someone when they get it and how we can all be compassionate partners to people suffering with neurological conditions such as this.”
Shriver revealed via her Sunday Paper newsletter in February that she was supposed to meet with Dane days before his death.
Eric Dane; Maria Shriver Getty Images (2): FREDERIC J. BROWN/AFP; Ethan Miller
“[Eric] wrote [this book] so that his family had something to be proud of,” she explained at the time. “Eric and I were scheduled to have lunch two weeks ago, but he wasn’t feeling well that morning, so we rescheduled for next week. His passing is another powerful reminder that today is all any of us have. Next week isn’t guaranteed.”
The journalist credited Dane with changing many lives for the better when he “bravely shared his ALS diagnosis” in April 2025.
“He advocated for increased research and showed up in every way he could to focus our attention on this devastating neurological disease,” Shriver wrote on February 22, 2026. “My team at The Open Field was honored when Eric chose our imprint to publish his memoir. He told me he wanted to write his book to share his story with the world.”
Dane was mourned by many of his Hollywood colleagues when his family announced his death in February. (Dane shared two daughters, Billie Beatrice Dane and Georgia Geraldine Dane, with his wife, Rebecca Gayheart.)
Actor Eric Dane died on February 19, 2026, following a battle with ALS, his family confirmed in a statement. Dane, who revealed his diagnosis in April 2025, spent his final months advocating for ALS awareness while continuing to act. FULL STORY: [HERE] Here are key takeaways about Dane’s life and legacy after his death: • […]
“With heavy hearts, we share that Eric Dane passed on Thursday afternoon following a courageous battle with ALS,” a family statement to Us Weekly read. “He spent his final days surrounded by dear friends, his devoted wife, and his two beautiful daughters, Billie and Georgia, who were the center of his world.”
The statement continued, “Throughout his journey with ALS, Eric became a passionate advocate for awareness and research, determined to make a difference for others facing the same fight. He will be deeply missed, and lovingly remembered always. Eric adored his fans and is forever grateful for the outpouring of love and support he’s received. The family has asked for privacy as they navigate this impossible time.”
FX’s scripted series about John F. Kennedy Jr. and Carolyn Bessette features many star-studded mentions and familiar faces, so why is Real Housewives of New York City‘s Carole Radziwill not brought up in Love Story?
For context, Carole, 62, was previously married to Anthony Radziwill, who was the late JFK Jr.’s cousin and Jacqueline Kennedy‘s nephew. Anthony, who exchanged vows with Carole in 1994, died in 1999 and has been featured on the Ryan Murphy project.
Carole, however, was not brought up on the show so far — despite her late husband serving as the best man at JFK Jr. and Bessette’s 1996 nuptials. Carole’s mother-in-law, Lee Radziwill, however, got her own shout-out in a scene when JFK Jr. (Paul Anthony Kelly) and Bessette (Sarah Pidgeon) were making a list for their wedding and discussing possible guests — with Lee not making the cut.
While no one involved in Love Story has directly addressed Carole’s absence, she is probably not mentioned on screen because she didn’t play a large part in JFK Jr. and Bessette’s romance. After meeting in 1992, Bessette and JFK Jr. were on and off for years before getting married. Their relationship was thrust into the spotlight and they faced many public highs and lows before they both died in a plane crash in 1999.
STARTRAKSPHOTO.COM John F. Kennedy Jr. and wife Carolyn Bessette-Kennedy had a high-profile romance right up until their tragic deaths. When the couple began dating in 1994, the world was fascinated by their relationship. Considered to be one of the most eligible bachelors at the time, Kennedy Jr. decided to settle down with Bessette-Kennedy. As he […]
“We had Elizabeth Beller’s book for reference, but we did face challenges [capturing certain moments]. They died so young, but we had enough information from people around them to know what the problems were in their marriage, what the tensions were, what the highs were, what the lows were,” executive producer Brad Simpson exclusively told Us Weekly during a joint interview with Nina Jacobson last month. “People don’t have an idea of what her voice was like because we only have a tiny clip of her voice, but they have a very distinct idea of what her image was like. So we had to get the walk down and the look and the allure. But Sarah could really interpret and go with it. John, we have a lot of recordings of him, and we have a lot more on him.”
Paul Anthony Kelly as John F. Kennedy Jr., Sarah Pidgeon as Carolyn Bessette. FX
Simpson and Jacobson expressed hope that viewers saw the care that went into telling Bessette and JFK Jr.’s story.
“We loved these characters. We fell in love with them, and it is essential that the audience loved them too. So we knew that we came to it from a very honest and earnest place — and that the show was never meant to dunk on either one of them in any way,” Jacobson explained. “We knew from the beginning that we were coming in with love and respect for these characters and that we wanted the audience to share that with us.”
FX’s Love Story brings John F. Kennedy Jr. and Carolyn Bessette‘s tragic romance to life — but how does the cast compare to their real-life counterparts? Love Story: John F. Kennedy Jr. & Carolyn Bessette, which premiered Thursday, February 12, is a limited series that explores the “undeniable chemistry, whirlwind courtship and high-profile marriage of […]
Since the show is centered around public figures, Simpson and Jacobson revealed who — if anyone — reached out after seeing their portrayal, adding, “We haven’t [heard from anyone] yet, and we hope that people appreciate their portrayals. Every actor approached [their role] with love.”
The writing team chose not to consult with the subjects portrayed on the show.
“You reach out to one person, and then it becomes, ‘Why are you not reaching out to every person?’ We love these characters. We did deep, deep research. It’s based on not just the Elizabeth Beller book but many other artifacts from that time and many other histories,” Simpson explained to Us. “We came from a place of love, but if you foreground one person’s personal story and their version of the truth, then you have to foreground everybody’s, and often they’re in conflict. On all our shows we tried to be true to what we think the characters were and show you what it was like to walk in their footsteps.”
New episodes of Love Story air Thursdays at 9 p.m. ET on FX and stream on Hulu the next day.
Rachel Zoe’s youngest son has some thoughts about life without Rodger Berman.
“I guess my questions, how does it feel in general? Like, over the last year,” Rachel, 54, asked her sons, Skyler, 14, and Kaius, 12, during the Thursday, March 5, episode of The Real Housewives of Beverly Hills. “Do you feel like this is better than before? Worse than before? Different than before?”
Skyler responded that it was the “same but different.” Kaius expanded on that answer.
“He wasn’t really here a lot anyway,” Kaius told his mom. “But now, he’s just completely gone. There’s not really a trace of him.”
Rachel asked if the “energy” in the house is “different” with Rodger gone.
“Yeah,” Kaius responded. “It feels a bit more peaceful.”
In her confessional, Rachel explained that she and Kaius have previously discussed her relationship with Rodger.”
“Sadly, Kaius has said that he was mad at me for letting me be treated the way that I was,” Rachel said. “Because that means I’m not modeling well for what they think love and marriage and relationships should look like or feel like.”
She added, “More importantly, how they should talk to someone they love.”
Rachel and Rodger were married for 26 years before announcing their decision to separate in September 2024. Rachel filed for divorce in July 2025. The day she filed was showcased on a January episode of RHOBH.
The discussion between Rachel and her sons came after her filing because they were at camp when news of the divorce broke.
“I just want to let you know that we are — you may have already assumed this — but we are moving forward in getting divorced,” Rachel said, noting that she wanted to have an “open forum” with her sons.
Rachel Zoe made her The Real Housewives of Beverly Hills debut during the season 15 premiere and proved she can still hold her own on Bravo. The episode, which aired on Thursday, December 4, featured Rachel, 54, being introduced into the group at Kyle Richards’ Summer Solstice party. While she already knew some of the […]
She also brought up Rodger introducing his girlfriend to the boys right before they left for camp, which was revealed earlier on this season.
“I did not know about that because I, obviously, would not have allowed that,” she said. “So I want to understand what actually happened.”
Kaius said that Rodger introduced the woman as his “friend,” understanding that she was “the person.” Skyler noted he “didn’t really care enough.”
In her confessional, Rachel said that the boys “don’t want to know her,” nor do they “want to be around her.” Rachel also told Skyler and Kaius that if Rodger’s girlfriend is present while he’s taking care of the boys, they “have every right” to leave.
“I really have always believed that kids are better off having two parents that love them separately than two that fight all day and live miserably,” Rachel said during her confessional. “That’s just bad all around.”
The Real Housewives of Beverly Hills airs on Bravo Thursdays at 8 p.m. ET and streams the next day on Peacock.
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