SPOILER ALERT: The following story contains plot details from the series finale of “Raising Kanan” now streaming on Starz.
The popular crime drama “Power Book III: Raising Kanan,” set in the 1990s, has reached its conclusion. The series explored the origins of Kanan Stark (Mekai Curtis), who, despite his mother Raquel Thomas’s (played by Patina Miller) attempts to shield him from the drug trade, embraces it and ultimately devastates his family. The final season depicted Kanan’s conflicts with his mother and his readiness to destroy his family ties.
While fans of Courtney Kemp’s original “Power” series were aware of Kanan’s fate, his backstory remained largely unexplored until now. His history is filled with fear, pain, and intense anger that consumes everything around him.
In “Power,” adult Kanan (Curtis “50 Cent” Jackson) brutally kills his cousin Laverne “Jukebox” Thomas (Anika Noni Rose). This was a puzzling conclusion for viewers given the cousins’ apparent closeness. However, series creator Sascha Penn had assured a comprehensive explanation to this outcome.
Speaking with Variety, Penn explained, “One of the interesting aspects of ‘Power’ is the idea of reliable narrators and how people’s memories can differ from reality. Throughout the series, we’ve explored who is truthful. For Ghost [Omari Hardwick] in the original ‘Power,’ the narrative shifts regarding who killed Breeze [Shameik Moore], who was involved, and who had knowledge.”
The final episode, “Unconditional Love,” finally addresses the lingering question. Jukebox (Hailey Kilgrove) kills Raq in response to Kanan killing her father Marvin (London Brown). Penn advises viewers to “watch until the end of the credits.”
With this chapter of the “Power” Universe concluded, Variety interviews Penn, Miller, and Curtis about the series finale, Raq’s dramatic death, and the continuation of the story in Penn’s upcoming Starz series, “Power: Origins.”
Sascha, did you know that this is how the chips would fall for the Thomas family?
Sascha Penn: I had an idea. While I wasn’t certain about the timing, I always believed Raq would likely die in the final episode. Over the years, I contemplated this decision extensively. People often forget that we are narrating the backstory of one of the most malevolent figures in the “Power” Universe. Hence, I’m often surprised by the outrage over Kanan killing Uncle Marvin, as they seem to overlook the monstrous character I saw in “Power.”
What was the alternative ending for Raq?
Penn: For a while, I considered that she might escape like Unique [Joey Bada$$]. However, I ultimately felt that she didn’t merit that conclusion, both for the story and her character. Patina Miller’s portrayal made people gravitate toward Raq, similar to how they did with Tony Soprano. Both characters are monstrous in their own ways.
Mekai, killing Lou (Malcolm Mays) was an accident for Kanan, but when he kills Marvin, that’s very deliberate. Do you think that’s a pivotal moment of change for him?
Mekai Curtis: Absolutely. Both incidents are crucial because they are interconnected. Kanan is maturing, and everything he has experienced has led him to this point. The pursuit of power and greatness in the world is what drives him to sacrifice Uncle Marv. At this stage, Kanan is focused on his business, understanding the consequences of his actions.
After Lou’s death and then again after Marvin is killed, we begin to see glimmers of Raq’s humanity for the first time in a long time. Patina, how did you navigate showcasing this as the walls are closing in on her?
Patina Miller: Her family, which she leads, was significant to her. As everything collapses around her, it’s devastating. She survived in this world due to the family unit she created and protected. The loss of her brothers, whom she deeply loved, leaves her with only her niece and son. Exploring this aspect of Raq was exciting for me. In her world, there was never time or space to be vulnerable, but now we see her dealing with her humanity and the people around her.
We have to talk about Shameik Moore’s performance as Breeze, because he’s a wild boy. What was it like working with Shameik? Does Kanan admire him, especially because Breeze is under the impression that they’re actual blood brothers?
Curtis: It’s Kanan doing what he does best. He applies what he learned from Raq: get what you can from others, hold your information until necessary, and let things unfold. Kanan is observant, which is often discussed given his emotional and impulsive nature. However, he is more calculated in his actions than he appears.
One of the quotes that sticks out this season is when Joaquin (Goya Robles) tells Raq that her issue is that she has no boundaries. Do you think that’s true of the character?
Miller: Absolutely. She is willing to do whatever it takes. Her intense focus causes her to lose sight of what’s in front of her. Initially, it seemed like Raquel was in a man’s world, doing everything for legacy. But her use of power and manipulation of loved ones becomes questionable. She believes she’s acting out of necessity, but Joaquin’s observation is spot on.
Speaking of manipulation, do you think that Raq ever anticipated telling Marvin the truth about who killed Lou? Or was it something she just did as a reaction?
Miller: I believe it was a reaction. Raq is good at keeping secrets and would have protected it. However, as the stakes rose and Kanan became an adversary, she needed her brother’s support. Raq always has a card to play, and in that moment, she saw an opportunity and took it.
Before he dies, Marvin accuses Raq of never really caring about him in Lou. How do you think that affects Raq in the final days of her life?
Miller: Raq is adept at suppressing trauma and pain, not because she wants to, but because she lacks the space to feel. Marvin’s accusation is hurtful because, in her view, she has shown her love many times. She fought for him twice. Despite her tough exterior, she loved her brothers deeply, and she raised Marvin’s daughter, which is an ultimate act of love. It’s devastating for her to face the reality of their feelings and then to lose Marvin. She senses her time is near and is prepared for it, making it even more tragic.
In the penultimate episode, just before Kanan kills Marvin, Marvin tells him that he will eventually meet a lonely, tragic end. It’s something that Juke reiterates when she reveals that she’s killed Raq. Do you think that disturbs him at all?
Curtis: A little bit. But at the end of the day, this story is about a mother and son. By the time Juke and Marvin are telling him the things that they’re saying, he already knows it. It’s more of a catharsis for them because they’ve been holding on to it. They’ve been just cleaning up his mess this entire time.
London Brown’s performance as Marvin this season is phenomenal; the character development is astounding. Did you always know that Marvin would get this sort of redemption story?
Penn: London is an unbelievable talent. I’ve been screaming this for as long as I’ve been doing this: all these actors deserve Emmy nominations. What people don’t really remember at this point is that in Episode 8 of Season 1, Marvin put his hands on his daughter because she’s a lesbian. London and I had many conversations about it, because he really felt like Marvin was irredeemable. He’s like, “Anyone who puts their hands on their daughter for that, how can anyone ever like him again?” And I said to him, “We can do it. I’m telling you we can do it, because here’s the thing about people in general: they have an incredible capacity for forgiveness.” I think that’s what’s happened with the audience: They forgave Marvin. He’s flawed, but he acknowledges his flaws, which, by the way, there aren’t many characters in this show that do that.
Sascha, do you think Raq is a good mother?
Penn: I’m always sort of intrigued when people talk about Raq as a mother. She’s not a good mother in any way. She uses her son to justify so many awful things. “I’m doing this for you” is the ultimate form of manipulation. During their final conversation, she still needs [Kanan] to say, “I love you.” She still is trying to get that. You see Kanan’s maturation in that moment where he says to her, “No, we’re past all that. That doesn’t matter anymore.” And Raq can’t get past it. She’s a narcissist, and she needs that, and she can’t get it.
Patina, do you think Raq anticipated that Juke would take her out?
Miller: I don’t think she ever would’ve thought in a million years, just like Marvin would’ve never thought in a million years that Kanan would ever do that to family. That would’ve never crossed her mind, especially for someone she raised, accepted, was there for and loved. I know it’s devastating for her. But even in that split second where she realizes this is happening, there’s nothing she can do about it. And again, she never backs down. Those last few seconds of her going for her gun. I don’t even know if she would’ve ever used it had she gotten to it, but that’s just that thing in her that is never willing to back down.
Mekai, when Kanan goes to Raq’s house and sees her body on the floor, what was that like for you?
Curtis: It’s devastating, but it is poetic; Raq’s not super innocent. We all love to root for her. She’s the ultimate antihero, but she’s also done her own wrongs. I think as Mekai, I went into that last episode trying to play an overhanging grief, knowing that that was going to happen. Not necessarily having control of it, but understanding what Kanan did and how this was going to come back to him.
Raq is one of the most iconic characters I’ve ever seen on television, and her journey has been phenomenal to watch. What have you learned from her these last five seasons?
Miller: I think what I’ve learned from her is, honestly, her perseverance. I’ve learned to own my voice. I’ve learned how to walk in my power. I’ve learned to trust myself more, honestly. I gained so much confidence from the very first season through the last episode of season five. I’ve learned to trust my gut, trust my instincts. I’ve learned, even through the craziness and messiness of her relationship, what it truly means to be bonded to someone. Loving my child the way that I do. When I first started the show, I was a new mom, and I just desperately wanted to be a good mother. Raquel’s battling that same thing of just not really knowing how, but wanting to be in her version of being a good mom. I’ve learned to give myself grace, but I think the biggest thing is the confidence to walk into spaces, own them and be yourself.
As the narration says, as this series closes, this is in many ways just the beginning for Kanan. We’re going to see him again in “Power: Origins,” the Tommy and Ghost origin story. Can you share anything about what we can expect to see of the character and how this will continue for you?
Curtis: Just buckle up. I had a lot of fun putting those 18 episodes together. I said it about “Raising Kanan,” but literal blood, sweat and tears stretched me in ways that I didn’t know were possible. But I’m extremely proud. I feel accomplished and ready for the world to see it. Not just my performance, but the entire show. There’s something different to it. I think with every spinoff that we’ve gotten to do and every spinoff that Sascha’s been a part of, he continues to up the ante. “Origins” is very much up there. We’re constantly pushing the boundary. We’re just trying shit, but I think it all worked out. I’m excited for people to go on that ride with us.
Penn: It’s a true privilege to be able to continue the story. First and foremost, tonally the show is very different than “Kanan.” “Kanan,” I think we can agree, is pretty dark. “Origins” is a lot more fun. I sort of crafted it as much more of a two-hander like “48 Hours.” It has a real levity. Not to say there isn’t any darkness, and there is obviously violence and action. We do see Kanan more as the 50 Cent version than the “Raising Kanan” version. But the heart and soul of the show is the relationship between Ghost [Spence Moore] and Tommy [Charlie Mann]. I think this is what the “Power” fan base has really been clamoring for. This is their story. The access point to “Origins” is like, just flip it on. You’re along for the ride. You don’t have to have watched “Power” before. It’s just another incredible ensemble cast we’ve assembled. Again, it is not dark like “Raising Kanan,” and it’s not as glitzy and glamorous as “Power.” It’s somewhere in between. We’re still in South Jamaica.
This interview has been edited and condensed.
