‘Power Book III: Rasing Kanan' Recap: Kanan Finally Presses Raq, Unique Gets The Green Light To Start His War & We Finally Meet Breeze
In the season four finale of Power Book III: Raising Kanan, the tension between Raq (Patina Miller) and Unique (Joey Bada$$) reaches its tipping point, and war is finally here. Kanan (MeKai Curtis) finally learns the fate of his missing girlfriend, Krystal, and is further manipulated into breaking bread with his mother's enemies . Kanan Learns About Krystal's Fate, Raq & Unique Don't See Eye-To-Eye
Source: Starz / Power Book III: Raising Kanan
After getting the information from Detective Garcia on last week's episode, Jukebok (Hailey Kilgore) breaks the sad news to her cousin that Krystal is dead, and of course, Kanan doesn't take it very well.
Jukebox tries to console him as he tears his apartment up, but it's useless. Kanan then tells Jukebox that he believes Snaps (Wendell Pierce) and Pop's (Erika Woods) story about his mother being behind the deaths of both Famous (Antonio Ortiz) and his girlfriend.
Source: Starz / Power Book III: Raising Kanan
Jukebox tries her best to convince Kanan that it couldn't have been Raq, but Kanan is not trying to hear it, telling his cousin he knows his mother better than anyone, and she always takes away people he cares about.
Speaking of Raq, we pick up where she and Lou Lou (Malcolm Mays) left off, at Unique's headquarters. This turns out to be a complete waste of time because Unique uses the moment to taunt his rivals.
Source: Starz / Power Book III: Raising Kanan
Unique tries to get Lou Lou riled up by talking about his sexual encounters with his sister and tries to get underneath Raq's skin by calling her a bad mother and revealing that Kanan wants to work with him. Raq tells him to chill because if he continues to mess with her son, she will have no choice but to get at those close to him because family is fair game at that point.
Lou Lou wastes no time in tracking down Unique's baby mother, Pernessa. Stefano Cuts Ties With Raq; She Loses Her Restaurant Businesses
Raq has no idea her business will take a serious hit because Stefano (Tony Danza) decides he no longer wants to work with her or Marvin because he feels working with them has made him look soft to his New Jersey rivals. Marvin (London Brown) tries to smooth things over with the mob boss, but he only manages to make things worse.
She also takes another L when the owner of the Chinese restaurants where she sells drugs tells her he no longer wants to do business with her. Despite her threatening him, he tells her he's no longer scared of her because he is old anyway, and he sent his remaining family back to China so she can't hold that over his head anymore.
He drops some deep knowledge on Raq, telling her she's a monster, but she can't see it.
Detective Garcia pops up on Jukebox with more information, telling her that a Black woman was seen leaving the stairwell where Krystal's body was found.
Source: Starz / Power Book III: Raising Kanan
Kanan runs to speak with Snaps and Pop to see if they know who killed Krystal. Instead, the bank-robbing duo tries to convince Kanan to work with Unique. Kanan tells them he never had any intention of working with Unique.
They then try to convince him to work with their nephew, Branford, revealing to Kanan that Raq never gave them a cut of her business. Unique Makes A Power Move, Stefano Is Blindsided By Russo
Source: Starz / Power Book III: Raising Kanan
Unique is itching to go to war, but he knows he can't make a move on Stefano without Russo's blessing. So he visits Sal's widow, Teresa, and takes advantage of her grief by convincing her to protect his baby's mother and son while instigating a feud between her and Russo.
Teresa still wants Raq and Stefano to pay for Sal's death.
Marvin is still trying to make things right with Stefano, so he finds Early (Chris Redd) hiding out in a motel room and kills him and his associate.
Jukebox is the first to confront Raq about Krystal. Raq tells her niece she had nothing to do with Krystal or Famous's death, and she tells Jukebox she's just like her father, Marvin, always rushing into a situation without full knowledge of what's going on. Jukebox replies by telling her she would rather be like her father than Raq.
Source: Starz / Power Book III: Raising Kanan
Stefano and Russo meet alone at the park, and we learn they both conspired to take out Sal so Russo can take his spot. Russo stabs Stefano after he says it's time for the truth to come out. Lou Lou Speaks With Kanan, Breezes Makes His Appearance
Source: Starz / Power Book III: Raising Kanan
A still very upset Kanan links up with his uncle to discuss what's happening. Lou Lou tries to explain to his nephew that his mother deserves more respect than what he gives her by revealing that it was she who ended their mother's suffering because she had the guts to do it and was willing to carry that stress on her back.
Source: Starz / Power Book III: Raising Kanan
Kanan is stunned at what he learns, but his uncle's words go in one ear and out the other as his nephew is still blinded by his rage. Raq Berates Marvin, Jukebox Realizes She Loves Her Dad
We catch up with Marvin and Raq, and he tells his sister the bad news about Stefano no longer working with them.
Source: Starz / Power Book III: Raising Kanan
Raq berates Marvin, reminding him that he always manages to screw things up. Marvin doesn't take his sister's words kindly and reminds her she isn't perfect before he leaves.
Source: Starz / Power Book III: Raising Kanan
While Marvin has issues with Raq, his daughter, Jukebox, is hanging out with Iesha again. Iesha tries to convince Jukebox to go to Spelman with her, but Jukebox says nah, explaining that she would rather stay with her father and that he's the only one who would never leave her.
Kanan links up with Snaps and Pop again, and they introduce him to their nephew Branford, who turns out to be the Breeze (Shameik Moore) guy we have been hearing about.
Source: Starz / Power Book III: Raising Kanan
Unique meets with Russo, who is clearly worried about his life after stabbing Stefano. He tells Unique he no longer care what he does cause either way he's screwed saying he 'took a big swing and missed.' He gives Unique the green light to go after Raq because he knows if Stefano survives the knife attack, he is in big trouble. Lou Lou Makes A Move On Pernessia, Kanan Confronts Raq
Raq gives Lou Lou permission to attack Unique's crew. He and B-Rilla snatch up Pernessa and her son.
After saving her from a crazy foster family situation, Gerald's daughter Amber has a new home, and Marvin is there to make sure everything goes smoothly.
Detective Garcia catches up with Kanan, who shares the same information that was shared with Jukebox, telling him that a Black woman was seen at the scene of Krystal's murder.
Kanan instantly believes this is the information or is a smoking gun. After having a conversation with her dad, Jukebox still doesn't think it was Raq behind Krystal's death.
Kanan is trying to hear it, telling his cousin that if she tries to stop him, it instantly means she is against him. Kanan leaves in rage, and Jukebox quickly picks up the phone to make a call.
Now that he has the green light, Unique is firebombing Raq's businesses. His crew even shoots at Marvin, but thankfully, they miss, and Marvin lives to fight another day.
Kanan finally meets with Raq and draws a gun on his mother. He accuses his mother of killing the people he loves, and she tells him that she has nothing to do with Famous and Krystal's deaths.
Raq does her best to convince Kanan to put down the gun. The episode reaches its conclusion, leaving us with a mega cliffhanger as the screen fades to black, and you hear a single gunshot, leaving us to ponder if Kano shot his mother or not.
Social media had many thoughts about the finale. You can see those reactions in the gallery below.
'Power Book III: Rasing Kanan' Recap: Kanan Finally Presses Raq, Unique Gets The Green Light To Start His War & We Finally Meet Breeze was originally published on cassiuslife.com
Black America Web Featured Video
CLOSE
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Buzz Feed
4 hours ago
- Buzz Feed
Here Are The Most Hilarious Black Twitter Tweets From The Week
Hey, friends! We're back with another week of Black laughs from Black Twitter. So, let's get into it: That's all for this week! Let us know which tweet was your favorite, and check out last week's roundup below if you missed it.
NBC News
8 hours ago
- NBC News
The Atlanta club where pleasure and hip-hop dealmaking collide
In the early 1980s, Michael Barney and his wife left his hometown of Camden, N.J., and relocated in Atlanta, where he started working in telecommunications and earned the nickname 'Mr. Magic' from colleagues. One night out with friends at a popular strip club, he got the inspiration for what would become a cultural hotspot in the heart of the city. Soon enough, Barney signed the lease for a defunct print shop, repurposed the building and named it 'Magic City.' The club opened in 1985 with just one dancer. After 40 years of deals, networking and hip-hop history at the club, Magic City is the subject of a five-part docuseries executive-produced by producer and rap mogul Jermaine Dupri. 'Magic City: An American Fantasy' premiered Friday on STARZ, showcasing the outsized national impact of the Atlanta strip club and others like it on hip-hop culture and the industry. 'We would fly back home to go to Magic City from out of town,' Dupri told NBC News. 'It's like going to Orlando and not going to Disney World — you have to go.' To the So So Def producer, there's more to Mr. Magic's establishment than the women. 'You could be standing by the biggest thief in Atlanta, the biggest drug dealer in Atlanta, the biggest rapper in Atlanta, the biggest basketball player in the world, a movie star, a politician, and they're all in the same area — treated the same, having the same conversations and you wouldn't know the difference, because the club doesn't cater to just one person,' Dupri said. Strip, as the club is known among regulars, has provided a gauge for hip-hop and R&B hitmaking. 'The connection is very authentic,' Dupri said. 'Hearing your song play in a club is like hearing your song on the radio. You feel like you actually made it.' In some cases, the aspiration for hip-hop fame comes from the people onstage. Bronx-native Nya Lee used the money she made dancing to fund her rap career. 'In the earlier years, I invested in myself,' she said to NBC News. 'A lot of people didn't think that being a stripper and a rapper could work.' But it did, and her story was compelling enough to land her a spot on VH1's popular show, 'Love and Hip-Hop: New York.' Not long after, another dancer was introduced to the world through the series: Cardi B, who has since become a global force in entertainment. Stripping can have a dark side. Outside of Magic City, some dancers have unionized to fight for better work standards, fairer pay and protection from sexual harassment or abuse. Clubs are, after all, an environment in which men are paying for access to women's bodies, whether it's making full contact or at a distance. And while some perform with the goal of escaping the club and improving their lives, others escape to the club. That was the case for a Memphis, Tennessee, native with two years of undergraduate college credits and a boyfriend who was facing federal charges. Rapper and TV personality Jessica Dime, who is featured in the docuseries, went to the sprawling King of Diamonds in Miami after two friends advised her to leave Memphis. 'It was so much going on in the streets at the time,' Dime said to NBC News. 'When I left, it was the best decision I could have made. Dancing was something that saved me. I would have been in jail or probably dead if I wouldn't have went to Miami.' Within a few years of performing, she got the attention of Flo Rida and signed to his IMG record label as a rapper. 'What they were giving me to sign, I would have made more in one night at King of Diamonds,' Dime said. She said she knew that if she signed the contract, 'God is going to make sure I stay out of here.' But the people who work in the clubs don't need to be aspiring rappers to still make an impact on music. Last year, Muni Long's track 'Made for Me' became a hit at Magic City, which Dupri said helped him gauge how well the song would do more broadly, especially since traditional R&B is hard to place in clubs. 'The dancers were singing the song,' Dupri recalled, and so were the patrons. Rapper Rick Ross' debut single, 'Hustlin,' about the everyday grind in any capacity, was a major success in strip clubs across the country. 'They was playing my record without my requesting it, and I said, 'This is different.' I believe the record was speaking for everybody that was in the club,' Ross said to NBC News. 'You talking to the parking man, you talking to the dancers, you talking to the DJs.' In 2005, dancers at Magic City introduced South Carolina rapper Young Jeezy's music to DJ Nando, who was the club's resident DJ at the time. With the backing of BMF (Black Mafia Family) and Big Meech, author Joe Cosscarelli says in the docuseries that Jeezy became 'this larger than life, King Pin figure.' Jeezy's album 'Let's Get It: Thug Motivation 101' was the go-to record throughout Magic City dancer Gigi Maguire's career. During her time at Magic City as a headlining dancer, Maguire became friends with some of the rappers that would frequent the club. She had been testing different stage names when rapper Lil' Wayne gave her a hand as she sat in on a writing session on his tour bus in Atlanta. 'Wayne was a close friend of mine,' she said. The Young Money emcee was testing lyrics and happened to say, 'Weezy Maguire, show me the money.' Maguire fired back, ''Gigi Maguire, show me the money,' and he said, 'Yoo! That's fire. You should keep that.' Literally, it stuck.' Maguire also took her roommate Trey Songz's music to Magic City during her featured spots on Mondays. 'We still are, to this day, like family,' she said. 'He's literally like my little brother.' This docuseries will be part of STARZ's roster of projects on hip-hop culture. The network's hit drama series, 'P-Valley,' is set at a fictional Southern club and includes two cast members from Magic City's Snack Pack trio of pole dancers, which includes Maguire. When the retired dancer got a call for a guest appearance for a 'P-Valley' episode on featuring icons of strip, there was controversy over who those legends would be. 'They wanted Cardi B, Blac Chyna and Amber Rose. I used to work with Amber and Chyna and am friends with them. I love Cardi B down. But those are not women that the dance community goes to, to say, 'Hey, I aspire for my dance career to be this,'' Maguire said. To the women who admire Maguire and the stars she mentioned, their accomplishments and influence in the culture and hip-hop extends beyond strip and has allowed them to leverage their popularity into business ventures that wouldn't have necessarily been available a decade or so ago. Nya Lee, 32, was 17 when she won a stripping contest two times, using a fake ID at Sin City in the Bronx. The now-DJ has collaborated with Fabolous, Jadakiss and Ultimate Rap League battle rap legend T-Rex on her projects. Her mixtapes include features with Kash Doll who also started as a Detroit-based stripper. 'Girls seeing me knock down doors made them feel like they could do it too,' Nya Lee said.
Business Upturn
18 hours ago
- Business Upturn
Global Times: Sculptures of Nanjing Massacre remind viewers of Chinese people's suffering, hope for peace
Beijing, China, Aug. 15, 2025 (GLOBE NEWSWIRE) — Literary and artistic works themed on the Chinese People's War of Resistance against Japanese Aggression (1931-45), be they classic works created during the war or works looking back on history, all carry historical memories and the national spirit. Through artistic forms, they cross the long river of time, allowing us to deeply feel the fearlessness and perseverance of the Chinese people during the War of Resistance against Japanese Aggression, while inspiring people's patriotic feelings. The Global Times launched this special series of Indelible Memories about literary and artistic works themed on the war to draw wisdom and strength from the spirit of the people. On a scorching summer day, stepping into the resting hall at Beijing's Imperial Ancestral Temple, visitors were greeted not only by a refreshing coolness but also by a profound sense of history. This gravity stemmed not just from the imposing centuries-old architecture, but even more from the collection of artworks on display – each capturing pivotal moments from the Chinese People's War of Resistance against Japanese Aggression. In particular, a group of sculptures on the white central exhibition platform commanded special attention. Each figure in this group of sculptures intensifies the visual impact of fear and despair through contorted bodies, hollow gazes, and torn garments. Some look up to the sky, some scream in silence, some struggle for survival, while others have already fallen, their lives lost. This is the work of Wu Weishan, former director of the National Art Museum of China. Titled Tao Nan, or Fleeing from Calamity, it is the theme sculpture for the expansion of the Memorial Hall of the Victims in Nanjing Massacre by Japanese Invaders. On July 28, at the opening ceremony of this art exhibition, which highlights the perseverance and resistance of the Chinese people during the War of Resistance against Japanese Aggression, Wu told the Global Times that the purpose of creating these sculptures is to remember history, not hatred. 'Art can serve to commemorate history and call for peace, fully expressing the Chinese people's values and love for peace,' he said. These sculptures are bearers of history, embodying the longing for peace. Such expressions run through generations of Chinese artistic creation – every line, every chisel mark, every brushstroke aims to ensure that people never forget. Turning sorrow into power The sculptures displayed in the main hall of the Imperial Ancestral Temple are, on average, only a few dozen centimeters in height, while their enlarged versions stand solemnly at the Memorial Hall of the Victims in Nanjing Massacre by Japanese Invaders in Nanjing, East China's Jiangsu Province. Taken as a whole, this group of sculptures resembles a powerful musical movement: rising, falling, flowing, ascending, soaring. Spatially, the energy these sculptures project envelops viewers in an atmosphere of deep compassion and sorrow. Even before entering the memorial, visitors are already touched, so that once inside, each sight of a bone fragment or a blood-stained garment evokes boundless grief and reflection. In these sculptures created from 2005 to 2007, Wu avoided direct depiction of the Japanese army's atrocities, choosing instead to focus on the victims, capturing the devastation and suffering of Nanjing's residents during the massacre – their families shattered, their lives destroyed. He explained that these works are meant to 'bring the victims back to life,' allowing their last cries before death to express the shared voice of humanity. By giving form to the souls of all those who suffered, the sculptures become important vessels of the human spirit. Only in this way can artworks urge all humankind to reflect, so that the lessons of the past will never be forgotten. Outside the memorial, the sculptures were set within a pool symbolizing the path to escape terror, depicting 10 groups of 21 figures fleeing their homes in the wake of the bloody massacre. Nearly life-sized, these sculptures enhance the sense of realism. Among them are an elderly son supporting his octogenarian mother as they flee, a violated young woman standing by a well, and a monk closing the eyes of the wrongfully slain as he escapes. The sculptures are cast in a silvery-gray tone, distinct from the familiar bronze and copper hues, symbolizing the survivors' escape from overwhelming terror. The piece that moved the sculptor most was one of an infant clinging to his deceased mother, seeking milk from her lifeless body. This work is based on the harrowing experience of Nanjing Massacre survivor Chang Zhiqiang's family. Three of his younger brothers were bayoneted to death, his mother fatally stabbed in the lungs. Amidst tears, he placed his youngest brother beside their mother, and the infant crawled to her chest to nurse. That final drop of milk marked both an end and a fragile hope. By the next day, mother and child had frozen together in the bitter cold, never to be parted. The process of creating these sculptures was far from tranquil for Wu. Immersed in historical research and interviews with survivors like Chang Zhiqiang and Xia Shuqin, he was deeply affected by the anguish and outcries captured in old photographs and personal stories. Many sleepless nights followed, and even as he walked through the old districts of Nanjing, he would sometimes imagine hearing the echoes of explosions and cries of slaughter. Wu employed a variety of sculpting techniques – chiseling, striking, pounding, and molding by hand. He recalled working outdoors in the sweltering 38 C heat, laboring through the night for hours. His deep sorrow and anguish over this chapter of history were transformed into the speed and power of his artistic creation. Looking further back, this passionate engagement with the history of the war – a fervor that transforms into powerful artistic energy – has also flowed from the hands of the elder generations of artists, many of whom witnessed these events firsthand. Their collective memory and creative expression have ensured that the tragedy and heroism of that era continue to live on, warning and inspiring future generations through the language of art. Never forget Xiao Feng, the 10th president of the China Academy of Art, passed away in Hangzhou on July 8 at the age of 93. He created a work depicting Canadian surgeon Norman Bethune treating Eighth Route Army soldiers during the War against Japanese Aggression, which was included in textbooks across the country. Xiao Ge, his youngest daughter, told the Global Times that her father had been proud all his life of being a literary and art soldier in the New Fourth Army. Depicted in the painting jointly created by Xiao and his wife Song Ren is a makeshift operating table that was set up in a dilapidated temple not far from the front lines. Outside, the sounds of war rage on, while inside, Bethune stands calm and focused, his brow slightly furrowed and lips pressed tightly together as he meticulously performs surgery on a wounded soldier. In the background, a vigilant guard stands watch at the temple door, ever alert to protect the scene within. Critics note that through artistic treatment, the image's sense of narrative, drama, and conflict is enhanced in the painting, effectively highlighting Bethune's contributions to resisting aggression and pursuing peace. Xiao's works are mostly tied to his experiences and memories from the war. In his creations, there have been images of guerrilla fighters maneuvering through the Luoxiao Mountains, New Fourth Army soldiers bidding farewell to Jiangnan, officers and soldiers watering their horses by the Yangtze River, and warriors hidden among reeds. His works go beyond mere narratives of suffering, focusing instead on capturing moments of warmth amidst the chaos of war. 'They (Xiao and Song) pursued truth, goodness and beauty, worked for their beliefs and the people all their lives, and finally donated all their works to the people,' the painter's daughter said. On the eastern side of the exhibition hall displaying Wu's sculptures, the painting Victory and Harmony by post-1990 artist Hong Fangzhou hangs on the red wall of the East Wing Hall of the Imperial Ancestral Temple, quietly awaiting an audience. This artwork is divided into two main sections of white and red, blending fragments of war – like the remnants of shells and the blood and tears of heroes – with the joyful laughter of people celebrating peace after victory. The stark contrast between the two sides further underscores the preciousness of peace. From Xiao, a witness and survivor of war, to young artist Hong, each generation of creators has used their own unique perspectives and artistic forms to capture that history of blood and fire, passing on the longing for peace. As Wu expressed in a poem he inscribed upon completing this group of sculptures: With unspeakable sorrow, I recall those blood-soaked storms; With trembling hands, I caress the souls of the 300,000 departed; With a child's pure heart, I engrave the pain of this suffering nation. I pray, I hope, for the awakening of this ancient people – the rise of the spirit! Source: Global Times:Company: Global TimesContact Person: Anna Li Email: [email protected] Website: Beijing Disclaimer: This press release may contain forward-looking statements. Forward-looking statements describe future expectations, plans, results, or strategies (including product offerings, regulatory plans and business plans) and may change without notice. You are cautioned that such statements are subject to a multitude of risks and uncertainties that could cause future circumstances, events, or results to differ materially from those projected in the forward-looking statements, including the risks that actual results may differ materially from those projected in the forward-looking statements.
