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The ‘Mare of Easttown’ Season Finale Exit Survey
Now that Mare’s sipped her last Rolling Rock and we know who really killed Erin McMenamin, let’s talk about it
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Mare of Easttown
, the tremendous HBO miniseries that thrust viewers into the world of outer Philadelphia, Pennsylvania, and the mystery of who killed Erin McMenamin, officially came to an end on Sunday night. It’s time to crack open a bottle of Rolling Rock (or Yuengling, if you prefer) and talk about the finale’s reveals and the season’s best moments.
1. What is your tweet-length review of
22 August 1485
The Tudor age began on a remote field in Leicestershire. The battle of Bosworth pitted the forces of the Yorkist king Richard III against those of his Lancastrian challenger, Henry Tudor. Richard’s reign had begun only two years before upon the death of his brother, Edward IV, who appointed him lord protector during the minority of his 12-year-old son and heir, Edward V. But Richard had soon declared Edward and his younger brother illegitimate and claimed the throne for himself – they later became known as the Princes in the Tower. The two boys had disappeared in the Tower of London in the summer of 1483, and had almost certainly been put to death – at whose orders is still hotly debated.
Did Richard III Really Murder His Nephews?
The accusation against Richard III first gained widespread attention in 1513, when the famed statesman and philosopher Sir Thomas More published his scathing biography
The History of King Richard III . Historians have long wondered whether More’s contention that Richard III ordered the execution of his nephews was credible, but Professor Thornton asserts that his research proves it was. Thornton has identified two associates of More as the sons of one of the hired assassins who actually committed the murders, concluding that More discovered the true story about the fate of the two princes through his contact with these individuals.
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In 2005, director Richard Kelly was in a unique position inside the Hollywood ecosystem. Four years earlier, he had watched his debut feature, a bizarre blend of ’80s needle drops, teen angst, and high-concept science fiction called
, first bomb at the box office, and then miraculously
un-bomb, gaining a second life through midnight screenings and DVDs. The film’s latent success had raised the profile of its lead, Jake Gyllenhaal, and turned its writer-director into something of a minor prophet. Hollywood had been wrong about
Donnie Darko, and Richard Kelly had been right. What else could he possibly be right about?