T.I. and Sabrina Peterson are officially headed to court in Los Angeles after a judge locked in a trial date in the rapper’s defamation case stemming from a years-long legal feud.
The Hip-Hop artist filed a lawsuit against Peterson in December 2024, accusing her of spreading false and damaging claims online, including an allegation that he was under federal investigation for sex trafficking.
The case marks the latest chapter in a legal back-and-forth that began in 2021 when Peterson sued T.I. and his wife, Tameka “Tiny” Harris, for defamation, invasion of privacy and emotional distress.
Peterson’s original lawsuit alleged that T.I. pointed a gun at her and that the couple attempted to smear her publicly after she spoke out.
However, five of her seven claims were tossed by a judge in June 2023. Only the defamation and invasion of privacy claims remained.
After failing to pay nearly $100,000 in court-ordered legal fees to T.I. and Tiny, Peterson asked the court for a payment plan of $1,000 per month, citing financial hardship.
But by March 2025, her case was dismissed without prejudice due to inactivity and nonpayment. The contempt charge tied to her unpaid fees was also dropped once the case was closed.
With Peterson’s claims out of the way, T.I. launched his own legal action, alleging Peterson’s Instagram posts damaged his reputation and invaded his privacy.
Before the trial can begin, both parties must attend a settlement conference with a private mediator. The court has mandated that this meeting occur no later than Monday (November 24, 2025).
The case will not proceed to trial if either party fails to appear in person. The trial is scheduled to begin Tuesday (June 9, 2026) at 9 a.m.
Kim Kardashian transformed an arcade into a superhero playground Sunday (May 26) to celebrate her son Psalm’s sixth birthday with a party inspired by Deadpool & Wolverine.
The SKIMS founder shared snapshots from the event on Instagram, showing off balloon arrangements, themed signage and a towering cake modeled after the Marvel characters portrayed by Ryan Reynolds and Hugh Jackman.
The cake, shaped like the two antiheroes, served as the centerpiece of the celebration. Kardashian captioned the post, “Psalms 6th Birthday Party (sic),” followed by a heart emoji.
The party took place at a local arcade, where Psalm was seen darting around with a bubble gun and joining in on group games.
In one photo, Kim played a basketball arcade game, while another showed her posing with her mother, Kris Jenner, sister Khloé Kardashian, and nieces Dream Kardashian, 8, and True Thompson, 7.
Psalm is the youngest of four children Kim shares with her ex-husband Kanye West, including North, 11, Saint, 9, and Chicago, 7.
It remains unclear if the rapper attended the party.
The celebration comes just months ahead of the release of Deadpool & Wolverine, one of the most anticipated films of 2024.
Lil Wayne producer Darius “Deezle” Harrison is taking legal action against Universal Music Group (UMG) in Los Angeles over more than $3 million in unpaid royalties tied to his production work on Weezy’s Grammy-winning album Tha Carter III and Birdman’s Fast Money.
The Grammy-winning producer filed a lawsuit claiming UMG hasn’t paid him a dime in over ten years despite his credited work on hit records like “Lollipop,” “Mrs. Officer” and “Let the Beat Build.”
According to the complaint, Deezle is owed a 4% royalty rate for each track he produced on Tha Carter III and 3% for his contributions to Fast Money.
“Plaintiffs have not been paid any producer royalties associated with the YME producer agreement or CMR producer agreement for over a decade,” attorney Christopher L. Brown wrote in the filing, per Billboard.
Deezle previously sued Lil Wayne, Cash Money and Young Money in 2011 over the same royalty issues.
That case was settled in 2012, but the new complaint alleges UMG quietly stopped payments shortly after the agreement was reached.
The lawsuit also claims that UMG continues to benefit from the commercial success of the songs without honoring its contractual obligations. “The recordings in question are fully recouped, and over $3 million is owed to the plaintiffs,” the suit states.
Deezle’s case adds to a growing list of royalty disputes involving UMG. In recent months, artists like Salt-N-Pepa have also taken legal steps against the music giant over unpaid earnings.
Tha Carter III, released on June 10, 2008, was a commercial juggernaut. The album debuted at No. 1 on the Billboard 200, moved over a million units in its first week, and became the best-selling album of that year in the U.S. It has since been certified six times platinum by the RIAA.
Hip-hop artists often refer to gambling and use terms, metaphors, and allegories associated with it. Today we collaborated with Edward Howarth of DashTickets magazine to bring you some of the most prominent rap tracks that feature gambling activities.
Pokerface — Ghostface Killah
Pokerface opens with commentary from the World Series of Poker and is all about an exciting poker game. Its chorus, however, can be easily applied to everyday life as well, especially lines like “You gotta know how to play your cards, have a mean poker face” and “This is no limit hold ’em, you gotta know when to fold ’em”.
The song is full of poker jargon that can only really be properly understood by players and also heavily references Rounders, which is probably one of the most iconic poker movies in history.
Putting it simply, if you find poker fun and amusing, then this song is perfect for you.
Mo Money Mo Problems — The Notorious B.I.G
As you can guess from the title, Mo Money Mo Problems is all about the weight of responsibility and problems associated with owning huge sums of money, resulting in the key chorus line “It’s like the more money we come across the more problems we see”.
Admittedly, it’s not the most relatable issue, but there is a reason why The Notorious B.I.G. is a rap legend — the track is simply great. The rap video shows a fun night in the casino, while lines like “We don’t play around, it’s a bet, lay it down” establish a gambling mood.
I’m So Paid — Akon feat. Lil Wayne and Young Jeezy
I’m So Paid is all about being amazingly rich and living on the edge, which is the main selling point of the track. It is very 2008, which is good, and it works perfectly as an actual soundtrack to your casino night. An absolute banger for everyone who wants to relax and simply have fun while gambling.
It Was a Good Day — Ice Cube
Photo by Pixabay / Pexels
It Was a Good Day is a deeper track that tells the story of Ice Cube’s perfect day, which consists of getting a call from the girl he had been anticipating for a long time, getting ignored by the police patrol, and no need to use his AK. Not only that, but he also manages to win in craps several times in a row.
While this track is much more nuanced and deep than the previous one on the list and might not be the perfect fit for your gambling session, it still absolutely deserves to be included in the list because of how influential and recognizable it is. Also, Ice Cube’s flow will get stuck in your head for days.
Life Is a Gamble — Big K.R.I.T.
Big K.R.I.T. places a huge emphasis on the risks and dangers of treating life as a gamble. He is rather direct in his lyrics, with lines like “Russian roulette table, I gotta bet safer” and “You gotta know when to fold your cards”. The message is clear and may feel a bit preachy, but the track is still amazing and definitely worth your attention.
A$AP Rocky leaned on Jeffrey Wright for acting guidance while filming Highest 2 Lowest, the Spike Lee-directed thriller that also stars Denzel Washington, revealing the veteran actor gave him on-the-spot coaching between takes.
The rapper told Variety that Wright became an informal mentor during production, often offering real-time feedback from inside their trailer.
“During Highest 2 Lowest, he was coaching me. I would do something, and he’d be like, ‘Nah, man, you got to do it like this,’ and ‘Say your line like that,’” A$AP Rocky said. “We would just kick it in the trailer. He would tell me what books to read and show me the old-school s**t he used to be in. He’s just an OG like that.”
The film, a modern English-language take on Akira Kurosawa’s High and Low, premiered at the Cannes Film Festival earlier this week and marks Rocky’s fourth acting credit.
While he’s no stranger to the camera, A$AP Rocky admitted Wright encouraged him to take his craft further — specifically to the stage.
“If I’m being totally honest, to be a better actor overall, theatre is the only way to do that. One of the best, wisest men told me that — Mr. Jeffrey Wright,” he said. “I don’t think I’m ready. I gotta be in one place, and that’s a lot to commit to.”
Rocky also opened up about working alongside Washington, saying he had to keep his cool around the Oscar-winning icon.
“Trust me, it was difficult to not fan the f###out every millisecond of the f###### duration. It was crazy — it’s f###### Denzel, man,” he said. “I’m never going to be too big to be able to say that I had to hold my composure from not fanning out.”
Charleston’s Forgotten Memorial Day Roots Were Planted by Black Hands Honoring the Union Dead
Memorial Day might look like backyard barbecues and flag-draped parades now, but its earliest roots trace back to the ruins of the Civil War. And it all started with newly freed Black people who insisted the Union’s fallen be appropriately honored.
On May 1, 1865, just weeks after the Civil War ended, about 10,000 Black residents of Charleston, South Carolina, gathered at a former Confederate racetrack.
At this location, hundreds of Union soldiers had died and been buried in unmarked graves. The site had been a prison camp during the war. Over 257 Union troops, most succumbing to disease, were dumped into shallow pits behind the track.
Instead of letting those soldiers tumble into obscurity, a group of roughly two dozen Black people stepped in to ensure they were remembered. Believe it or not, they exhumed the bodies, laid them in organized rows and built a 10-foot-high white fence. The arch read “Martyrs of the Race Course” in black paint.
The tribute was no quiet affair.
It began with 3,000 Black schoolchildren marching around the graves with flowers, singing “John Brown’s Body.” Behind them came Black women and men representing various societies, pastors preaching sermons and about 30 speakers. It was organized by James Redpath, the Scottish immigrant, journalist and anti-slavery activist. Union regiments, both white and African Americans, drilled and paraded around the freshly laid graves. The entire day was filled with song, prayer and remembrance.
The Charleston Daily Courier and the New York Tribune reported on the event. The graves looked like “one mass of flowers,” per the Courier. The Tribune called it “a procession of friends and mourners as South Carolina and the United States never saw before.”
After finding a Tribune article in a Harvard archive, Pulitzer Prize-winning historian David Blight uncovered this largely forgotten story in 1996. His book, Race and Reunion: The Civil War in American Memory, argues that this Memorial Day predecessor was buried—pun intended—because it didn’t fit the narrative white historians wanted to tell.
In the decades after, Southern organizations like the United Daughters of the Confederacy and other racist groups denied knowledge of the event or shifted credit to white figures like Redpath. A 1937 book falsely claimed the ceremony occurred on May 30, the day General John A. Logan later designated as the official date for what would become Memorial Day in 1868.
Eventually, the Charleston racecourse was renamed Hampton Park after Confederate General Wade Hampton and the graves were moved to Beaufort National Cemetery. The memory of the Black organizers was all but erased.
But the truth still stands and will continue to be repeated. Before the government declared a national holiday and before white veterans made it official, Black Americans in Charleston created the first large-scale tribute to dead soldiers. They understood that freedom wasn’t free and simply wanted to thank them.
That Memorial Day story didn’t just honor the dead. It foreshadowed the centuries-long battle for recognition in the midst of racist erasure. This continues today.
Former Day26 member Que said he blacked out after taking a red pill allegedly handed to him by Dawn Richard and claimed he feared Sean “Diddy” Combs was trying to “sacrifice” him during a disturbing night at the music mogul’s Hamptons estate.
Que detailed the harrowing experience during an appearance on “Amy Robach and TJ Holmes Presents: Aubrey O’Day, Covering the Diddy Trial,” where he described waking up disoriented and screaming in a basement bedroom after accepting a pill he believed was ecstasy.
“Within 20 minutes, I had knocked out. I blacked out,” Que said, explaining that Richard told him the pill came from Diddy and that he trusted her because they had taken ecstasy together in the past.
Que said he regained consciousness in the bedroom of Diddy’s twin daughters, wearing only basketball shorts and surrounded by people filming him.
“I woke up out of my sleep screaming, very, very loud,” he said. “They were laughing as I woke up out of my sleep screaming.”
He remembered jumping into the pool at some point and described the entire episode as deeply unsettling.
“It felt very sacrificial. That’s what I meant when I said I felt like they were trying to hurt me, or Diddy was trying to maybe sacrifice me that night,” he said. “I thought they were trying to hurt me. It felt like someone was trying to hurt me or take me out.”
Que Claims He Suffered Long-Term Psychological Effects Following Experience At Diddy’s Mansion
After the podcast aired, Que released a more detailed statement, saying the pill was not ecstasy but a horse tranquilizer. He claimed Richard gave it to him and said it was from her boss, Diddy.
“I take full accountability for what I allowed into my life—because in the end, I had a choice. But let me be candid: I genuinely believed I was taking something I’d tried before. It wasn’t ecstasy. It turned out to be a horse tranquilizer—given to me by my ex girlfriend, who claimed it was from her boss to give me,” Que wrote.
He said he collapsed within 20 minutes of taking the pill. According to Que, he woke up in a different part of the house with no memory of how he got there.
“I emerged from a deep, paralyzing sleep, screaming and sobbing, he added. “My body in shock, my mind spinning in confusion. The horror of realizing I’d been drugged with something far more potent than I was led to believe shattered me.”
Que said the experience left him with long-term psychological effects, including paranoia, memory loss and anxiety. “The pill had broken me—mentally, emotionally, and spiritually,” he said.
He also pointed out that Richard never took the second pill, which he said made the situation feel more like an experiment than a shared experience.
Richard has denied all allegations. “I want to be unequivocally clear: I have never drugged anyone,” she said in a public statement. Nor have I ever given anyone pills to take.”
She added that Que’s claims are inconsistent with his actions during and after their relationship.
“The suggestion that I did so is categorically false,” she added. “If such a belief were genuine, it would be inconsistent with the actions that followed—such as inviting me into your home, introducing me to your younger sisters and family, and continuing a relationship with me.”
Richard said she chose not to speak publicly about their relationship out of respect for Que and his family but felt compelled to respond now.
The hazy recording spaces where hip-hop icons created their most memorable songs reveal just a portion of the narrative. Rap music and cannabis culture have been connected from the genre’s beginnings, forming an alliance that revolutionized both sectors. What started as genuine urban stories has grown into a lifestyle phenomenon worth billions that shapes everything from clothing to cuisine, demonstrating that this bond reaches well past the studio walls.
The Roots Run Deep
Performers started candidly sharing their marijuana experiences through their songs. This represented more than simple defiance; it constituted a genuine narrative that mirrored the circumstances of city neighborhoods where hip-hop and marijuana culture both flourished. Musicians discovered that marijuana boosted their artistic inspiration. It assisted them in working through complicated feelings, and offered comfort from urban life pressures.
Dr. Dre’s 1992 “The Chronic” release did more than launch Snoop Dogg’s career. It made marijuana mentions acceptable in popular hip-hop. The record’s name directly indicated premium cannabis, while songs such as “Nuthin’ But a ‘G’ Thang” incorporated marijuana symbolism into the storytelling. This represented a pivotal moment when marijuana shifted from a forbidden topic to an essential cultural communication.
Pioneers of the Movement
Cypress Hill represents arguably hip-hop’s most significant cannabis-promoting collective. Their first 1991 release included songs such as “How I Could Just Kill a Man” and “Stoned Is the Way of the Walk,”. This positioned them as bold advocates of marijuana culture. B-Real’s unique nasal vocal style became linked with stoner rap, while their advocacy contributed to making marijuana policy discussions acceptable within hip-hop communities.
Snoop Dogg evolved from a new rapper into a cannabis cultural figure, creating a brand far beyond musical boundaries. His identity merged completely with marijuana culture, affecting the style, vocabulary, and lifestyle preferences of followers globally. Snoop’s method showed how performers could genuinely incorporate cannabis themes into their image while maintaining creative authenticity.
Modern Cannabis Entrepreneurs
Modern hip-hop musicians have transcended merely mentioning marijuana in their songs, they’ve transformed into savvy business leaders within the legal marijuana sector. Jay-Z’s cannabis industry investments via his venture capital company exemplify a wider pattern of hip-hop entrepreneurs viewing marijuana as a valid commercial venture. His partnership with Monogram, an upscale marijuana label, demonstrates how musicians can utilize their cultural impact to establish enduring enterprises.
The Khalifa Kush variety by Wiz Khalifa illustrates another progression in musician-marijuana collaborations. Through creating his unique marijuana genetics, Khalifa established a tangible link between his music identity and marijuana offerings, enabling supporters to genuinely participate in aspects of his way of life. This strategy has motivated numerous additional musicians to create their personal varieties and offerings.
The Lifestyle Revolution
Hip-hop’s cannabis culture has evolved beyond music into a complete lifestyle. Musicians frequently display cannabis-oriented apparel lines, smoking paraphernalia, and usage customs via social platforms, music videos, and concert appearances. This exposure has contributed to making cannabis consumption acceptable across varied demographics who may not have formerly identified with cannabis culture.
The emergence of cannabis-infused items has created fresh opportunities for audience interaction. Numerous fans now have an interest in crafting their personal cannabis experiences domestically, discovering how to make edibles: easy steps for cannabis-infused treats that replicate the items promoted by their preferred musicians. This do-it-yourself method enables supporters to engage directly in cannabis culture instead of staying inactive buyers.
Cultural Impact and Future Directions
As influential musicians publicly talk about cannabis advantages for artistic expression, pain relief, and stress reduction, they assist in dismantling years of harmful misconceptions and false information. This cultural transformation has bolstered wider legalization movements throughout America and globally.
The connection between cannabis and hip-hop keeps developing alongside expanding legalization. Musicians are adopting increasingly refined strategies, emphasizing premium products, social justice, and mindful usage communication. This growth mirrors hip-hop’s transformation from subculture to dominant cultural force.
Endnote
With both sectors expanding, their convergence guarantees ongoing advancement in offerings, experiences, and artistic manifestations, securing cannabis’s position as a genuine component of hip-hop culture for future generations.
Football today isn’t just about raw talent or a coach’s gut feeling. It’s a sport shaped by data, where GPS, AI, and advanced analytics influence almost every aspect of training and match performance. As digital experiences around football continue to grow, some fans are also showing interest in platforms like AviaMasters that offer additional ways to engage with the game. From optimising player workload to tactical decision-making, clubs are now using tech to stay ahead. Let’s explore how this digital revolution is redefining the modern game.
Smarter Training with Real-Time GPS and Wearables
Gone are the days when training was just about laps and drills. Today, most elite clubs outfit their players with GPS trackers and biometric wearables. These small, lightweight devices collect detailed data in real time — from distance covered to sprint speed and even heart rate variability. Coaches and sports scientists use this data to tailor sessions to each player. It’s no longer about one-size-fits-all. If a defender is showing signs of fatigue, their load can be reduced. If a forward needs to build explosiveness, drills can be adjusted.
Key metrics tracked with GPS and wearables:
Total distance – Helps measure endurance and game involvement.
High-intensity sprints – Critical for monitoring explosive movements.
Acceleration/deceleration – Indicates responsiveness and recovery.
Heart rate zones – Used to control aerobic and anaerobic workload.
Positional heat maps – Reveal movement patterns on the pitch.
With this insight, clubs reduce injury risk, track rehab progress, and plan recovery. Real-time feedback allows immediate tweaks during training — a massive edge in modern player development.
AI in Tactical Analysis and Decision-Making
Artificial Intelligence isn’t just a buzzword — it’s embedded in how clubs approach tactics. AI-powered video analysis tools now break down thousands of match events in minutes. Coaches use them to understand patterns, identify weaknesses, and prep smarter for opponents.
What does AI do better? It spots things human analysts might miss. For example, machine learning models can detect how often a team gets exposed during transitions or how their press fails under certain formations.
Common ways AI supports match preparation:
Predictive modelling – Anticipates how opponents will react to different tactical setups.
Video tagging automation – Cuts down on time spent manually reviewing footage.
Custom dashboards – Visualise key stats per player, position, or phase of play.
Scenario simulations – Tests what-if tactics before they hit the pitch.
AI helps backroom staff make evidence-based choices. Whether adjusting pressing triggers or altering build-up shapes, decisions are no longer driven purely by instinct.
Data Science in Match Day Performance and Scouting
Match day is where everything comes together. Data science now provides a 360-degree view — not just of what happened, but why it happened. Clubs overlay physical, tactical, and technical metrics to understand performance on a deeper level.
On match day, analysts track both live and post-match data. They feed this into models that evaluate efficiency, such as expected goals (xG), pass networks, or pressure regains. Coaches can react in real time — for example, swapping a player who’s dropped intensity or tweaking formation based on heat maps.
Beyond the pitch, recruitment has also gone digital. Scouts still watch games, but their shortlists start with algorithms.
How clubs use data in scouting:
Performance profiling – Builds player templates based on role-specific KPIs.
Injury prediction models – Assesses fitness history and potential future risk.
Market value tracking – Uses trend data to estimate real transfer value.
Contextual stats – Rates players in similar tactical systems or leagues.
This layered approach means signings are less risky. Clubs avoid relying on hype or highlight reels and instead focus on fit, form, and future potential.
Practical Benefits for Clubs and Players
It’s easy to think all this tech is only for big-name clubs. But the tools are scaling fast. Second-tier sides, youth academies, and even semi-professional setups now use basic GPS and video breakdowns.
Why it’s worth it:
Players get more tailored development.
Coaches work with hard evidence.
Medical staff catch red flags early.
Clubs make smarter investments.
Some practical takeaways:
Train smart, not just hard – Use GPS to avoid overtraining and optimise effort.
Use video and AI to fine-tune tactics – Don’t just react to opponents, predict them.
Make data part of scouting – Combine live watching with performance metrics.
Even small improvements can create long-term advantages. Marginal gains, tracked and repeated, become winning habits.
Conclusion: The Game Will Never Be the Same
Real-time tracking and data analytics are changing how football is played, coached, and managed. Clubs that embrace this shift are already seeing results — better performances, fewer injuries, and smarter decisions across the board. It’s not just the future of football. It’s already here, and it’s moving fast.
Jessie and D’Lila Combs, known as The Combs Twins, have graduated from high school. The duo took center stage Friday (May 23) in Los Angeles and dropped an epic IG post to commemorate the occasion.
The 18-year-old twins, daughters of Diddy and the late Kim Porter, walked across the stage at Sierra Canyon School in Chatsworth. The pair matched in navy blue caps and gowns down to their teddy bears.
Their family and friends gathered for the epic moment.
The milestone occured as their father, Sean “Diddy” Combs, remains on trial for alleged sex trafficking.
Despite the storm surrounding their father, the young women presented a unified and joyful front.
Holding hands and waving their diplomas in the air, Jessie and D’Lila posed for snapshots with friends. They also smiled for videos, showing off class rings and flowers.
Their older brother, Justin Combs, gifted them both diamond necklaces and Van Cleef & Arpels bracelets to mark the occasion.
“Thankkkk u Justin we love uuuu,” the twins captioned their post. Meanwhile, Christian “King” Combs, 27, captured video from the ceremony and shouted, “It’s lit! Jessie and D’Lila we see you!”
The family’s youngest sibling, 2-year-old Love Sean Combs, was seen perched on adopted brother Quincy Brown’s shoulders.
Kim Porter passed away in 2018 from lobar pneumonia. The former model left behind a blended family of seven children—Christian, Jessie, D’Lila, Quincy, Justin, Chance, and Love.
The kids are the products of multiple households but often seen together in public moments of unity.
While Diddy’s legal troubles continue to make headlines with an ongoing federal probe into serious allegations, Jessie and D’Lila’s graduation offered a positive moment for the embattled mogul’s family.
Bhad Bhabie got emotional while discussing her relationship with Le Vaughn and admitted she still hits him despite past abuse allegations.
Bhad Bhabie broke down during a raw interview while reflecting on her turbulent relationship with Le Vaughn, admitting she’s the one who gets physical and defending her decision to stay despite past cheating and public abuse claims.
The 21-year-old rapper and influencer got visibly emotional on the Camila Araujo podcast while discussing her relationship with the father of her daughter, Kali.
“I am so happy that I didn’t leave him,” she said through tears. “Because I would never find what I have with him in anybody else. And it’s gotten so much better; it’s like a whole different ball game. I always think about it like damn if I would have left, I’d be missing out on this…”
Bhad Bhabie, born Danielle Bregoli, also admitted she would be “distraught” if Le Vaughn ever walked away.
Despite previously posting a video in July 2024 that appeared to show Le Vaughn physically assaulting her, she now says she released the footage out of fear he would take their daughter after she learned he was cheating on her with Alabama Barker.
“He told me he was gonna take Kali, she explained. “I was going through a drug problem at the time, and I felt like he did have that over me, and he could use that against me. So I posted the video to put it out there that, like, oh, maybe hopefully he can’t take her with this being public. My point was to even it out to keep my daughter, not for the world to attack.”
The now-deleted clip reportedly showed Le Vaughn pushing her to the ground and using his knee to pin her down.
She also posted photos of a swollen eye and bruises. At the time, she captioned the video, “This man think he gonna take my daughter from me!! Say whatever you want but tryna take my baby is crazy.”
Bhad Bhabie Responds To Calls To Leave Le Vaughn
When asked why she stayed with him despite the violence and infidelity, she responded, “Just cuz I had a black eye once and he cheated on me means I should leave him forever and break up a family?”
She also revealed that she knew about his involvement with Alabama Barker before it became public. “I had just learned how deep it was over the phone,” she explained. “While I’m in Florida and he’s in LA at her house in her bed.”
The conversation took another turn when the host urged them to stop putting their hands on each other.
Bhad Bhabie admitted the relationship is still physically aggressive. “I’ll be real. I still smack Le Vaughn up sometimes, because he be needing it,” she stated. “But I don’t hurt him.”
Created by Aaron McGruder and originally debuting on Adult Swim in 2005, The Boondocks wasn’t just a cartoon—it was a revolution.
Bold, satirical and unflinchingly honest, the show tackled race, class, politics and pop culture with razor-sharp wit. For many, it remains one of the most intelligent and daring animated series in television history.
But could it ever come back?
Rodney Barnes, one of the key writers behind the series, recently sat down with AllHipHop at Fan Expo in Philadelphia to discuss the show’s legacy and whether there’s any real chance of a revival. While he didn’t outright shut down the idea, his insights point to a more complicated reality.
“Never say never,” Barnes told us. “But it’s a different time. When we were writing The Boondocks back in the early 2000s, social media wasn’t what it is now. These days, as soon as you offend someone, it’s all over X [formerly Twitter]. Corporations don’t like that.”
Barnes acknowledged the cultural shift around satire. In a climate of hyper-polarization, a show like The Boondocks, which thrived on provocation, may face challenges. Getting green-lit could be close to impossible and would likely struggle to sustain itself.
Still, that hasn’t stopped fans from hoping. In fact, a reboot of The Boondocks was announced in 2019 for HBO Max, with McGruder returning and Sony Pictures Animation backing the project. Two seasons were ordered, and anticipation soared. But after numerous delays and behind-the-scenes issues, the project reportedly stalled—and was quietly shelved by 2022.
Barnes didn’t mention that version directly, but his words make it clear: even if The Boondocks returned, it would need to evolve.
“There’s not a lot of satire now. People don’t always see that the joke is saying something bigger than what it’s literally saying,” Barnes said. “It’s just a different time.”
While that might sound like a soft “no,” it’s not the end of the road. With creators like Barnes and McGruder still active in the industry—and a fanbase that refuses to let go—The Boondocks could rise again in a new form, one more suited to today’s media ecosystem.
Until then, we’ll keep rewatching, reflecting and hoping that Riley, Huey and Granddad make a return worthy of their legendary legacy.
Lizzo tackled weight loss rumors head-on during a new interview after lighting up Instagram with a remix of a viral song.
The Grammy-winning artist with Jason Lee of Hollywood Unlocked to discuss her recent transformation, but when Lee asked how much weight she had lost, Lizzo didn’t hold back.
“You’re crazy,” she said with a laugh before explaining why she’s kept the number private. “Because I don’t want people to clock my tea,” she added, laughing again.
Lizzo continued, “If I said the number, I don’t think people could do the math.”
The conversation came just days after she dropped a sizzling remix to PlutoNotDaBratt’s viral hit “Whim Whammie” on Saturday (May 24), where she rapped outside her home in a bikini, flaunting her Yitty brand and noticeably slimmer figure.
In the remix, Lizzo spits, “B#### it’s Lizzo/Call me Lizzy/I been fat and I been skinny/B###### still ain’t f###### with me.”
Meanwhile, speculation about Lizzo’s weight loss has swirled online, with some claiming she’s dropped “500 lb.”
Lizzo addressed the chatter directly. “Why are y’all putting a number on me,” she asked. “It kind of annoys me so part of me is like should I say the number to dead it? Or should I leave it a mystery?”
She also took a moment to call out society’s treatment of larger bodies.
“I think bullying fat people is the only socially acceptable form of bullying,” she said.
Back in January, Lizzo celebrated hitting her “weight release” goal, which she uses to describe her wellness journey focused on body neutrality and mental health.
“Today when I stepped on my scale, I reached my weight release goal. I haven’t seen this number since 2014!” she wrote on Instagram.
The post included a photo of her in a crop top and leggings, along with details of her progress: a 10.5-point drop in BMI and a 16% reduction in body fat since starting her routine in January 2024.
“Let this be a reminder you can do anything you put your mind to. Time for new goals!” she added.
Drake dropped a surprise video message during the closing ceremony of Kai Cenat’s Streamer University on Sunday (May 26) at the University of Akron, praising the Twitch star’s impact on digital media and calling streaming the “ideal profession.”
The superstar rapper appeared on the big screen during the final day of the weekend-long boot camp, catching attendees off guard with a heartfelt tribute to Cenat and the program’s participants.
“To be able to organize this incredible academia event and gather you all together in one place is something that has never been done before,” Drake said. “It’s an extraordinary feat, and I want you all to show the most love that you possibly can for your dean, the one and only Kai Cenat.”
Cenat, teasing a mystery guest, told the crowd that Drake had been watching “the entire time” before unveiling the pre-recorded message.
Drake continued his praise, calling streaming a legitimate career path.
“I feel that streaming is the IDEAL profession,” he added. “It’s my belief that the individuals that attended this program and that are sitting watching this video are the next shift in media.”
Drake made a surprise appearance on Kai Cenat’s Streamer University, and delivered a speech #StreamerUniversity👨🎓👏🏽
The surprise capped off Streamer University, a creator-focused boot camp founded by Cenat and held May 24–26. The event brought together aspiring streamers for hands-on workshops in content creation, monetization and audience building.
The weekend featured appearances from top internet personalities, including Duke Dennis, DDG, ImDontai, Cookingwithkya, and other Cenat’s AMP (Any Means Possible) crew members.
Kai Cenat Collaborating With Drake & PARTYNEXTDOOR
Earlier this month, Cenat also revealed he’s directing the music video for “SOMEBODY LOVES ME,” a track from Drake and PARTYNEXTDOOR’s joint project $ome $exy $ongs 4 U.
During a livestream on Saturday (May 17), Cenat announced a contest for up-and-coming directors to submit 30- to 60-second video treatments for the song.
“Y’all also get to play a part,” Cenat said. “We are choosing somebody who loves me. Everybody who loves directing, everybody who loves to come up with treatments and s###. 30 seconds to a minute of an idea of what y’all got.”
The top 20 submissions will each receive $15,000 to produce their clips.
Kai Cenat Says That Drake Is Letting Kai Direct A Music Video For Somebody Loves Me For His Album After Seeing Kai’s Reaction To Disliking His Nokia Video 👀🔥 pic.twitter.com/pZjOcndFSu
Angela Bassett stepped into the role of commander-in-chief twice on screen this year and says she’s hoping her portrayals help pave the way for a real woman to take the White House.
The two-time Oscar nominee plays President Erika Sloane in the upcoming summer blockbuster Mission: Impossible – The Final Reckoning and previously portrayed President Evelyn Mitchell in the Netflix political thriller Zero Day.
“Whenever I’m portraying them, I’m hoping and waiting for the day where life will imitate art. We’re not there yet, obviously,” Bassett told People.
Bassett has long been outspoken about the importance of representation and believes her presidential roles may help audiences imagine new possibilities.
“Maybe (it’s) for some people to see representation. We always talk about that idea of seeing yourself in film and theatre, seeing what’s possible, human interaction,” she said. “So I think … the film is aspirational in its way, so one day, one day. We’ll get there.”
The United States has come close to electing a woman president twice in recent years—first with Hillary Clinton in 2016 and then with Kamala Harris in 2024.
Both lost to Donald Trump, who secured 312 electoral votes to Harris’s 226 in the most recent election.
Excerpt: Angela Bassett used her presidential roles and her personal platform to push for Kamala Harris’s election and hopes to see a woman lead the U.S. soon.
Jaafar Jackson’s long-awaited portrayal of his uncle in the Michael biopic will now hit theaters in 2026, pushing past its original 2025 release window due to strategic scheduling shifts by Lionsgate.
The film, which marks Jaafar Jackson’s first major acting role, was initially slated for October 3, 2025.
But during a recent earnings call, Lionsgate CEO Jon Feltheimer confirmed the studio is reconsidering its timeline.
“In regard to our Michael Jackson biopic, we’re excited about the three and a half hours of amazing footage from producer Graham King and director Antoine Fuqua, and we will be announcing a definitive release strategy and timing in the next few weeks,” Feltheimer said.
He added, “I would note that it is likely we will move Michael out of the fiscal year.” That fiscal year ends March 31, 2026, which means the film is now expected to premiere sometime after April 1 of that year.
The biopic, titled Michael, is a sweeping musical drama centered on the life and legacy of Michael Jackson, the global pop icon whose influence on music, dance and pop culture remains unmatched.
The production carries a reported budget of $155 million and is being helmed by director Antoine Fuqua, known for Training Day and Emancipation, with Oscar-nominated producer Graham King behind the scenes.
As reported by Variety, the film may be split into two parts, though Lionsgate has yet to confirm that detail officially.
Spike Lee confirmed that his upcoming film Highest 2 Lowest will likely mark the end of his decades-long creative partnership with Denzel Washington.
The movie will cap a five-film run that helped shape modern American cinema.
Speaking at a press conference during the Cannes Film Festival, Lee said, “I think this is it – five. He’s been talking about retirement, so… Even though he just did another deal. I thought you said you were retired Denzel, what’s up?! But those five films together, those stand up.”
Their latest project, Highest 2 Lowest, is a stylish reimagining of Akira Kurosawa’s 1963 thriller High and Low. In the film, Washington plays a powerful music executive whose life is upended when his driver’s child is abducted in a case of mistaken identity.
Washington, who did not attend the press conference, was present at the film’s premiere and photocall. His appearance made headlines after a tense moment with a photographer on the red carpet.
Lee and Washington last worked together on 2006’s Inside Man and the director admitted the long gap between collaborations caught them both off guard.
“It’s an 18-year gap and we were surprised it was like yesterday, because we didn’t lose a step,” Lee said.
Reflecting on their 1992 film Malcolm X, Lee didn’t hold back when discussing what he believes was an Oscar snub for Washington. “Malcolm X, what he did with that film was amazing. And no disrespect to my brother Al Pacino, I love him. But Denzel, in my opinion, should have won,” Lee said, according to Variety.
“But we don’t do our work for awards, which are nice, but it’s the work that is going to stand above all awards.”
Highest 2 Lowest will be released in the United States in August.
Dr. Dre headlined the ribbon-cutting ceremony Tuesday (May 14) for the newly unveiled $200 million Compton High School campus, where his $10 million donation helped build a performing arts center that now bears his name.
The 31-acre site in the heart of Compton features an Olympic-size pool, a sprawling gym and modern classrooms designed to support academic and creative growth.
The school’s Performing Arts Center, a sleek facility equipped with professional-grade technology, is a tribute to Dr. Dre’s commitment to education and the arts in his hometown.
“The new Compton High School and Performing Arts Center is a world-class educational facility that is poised to become the center for innovation and creativity, bringing this life, this thing that we dreamed about, to a reality for all the students in this city,” Dr. Dre told ABC News_.
The Hip-Hop icon, born Andre Young, spoke to students, educators and community leaders about the importance of resilience and opportunity.
“It’s a certain kind of grit that gets cultivated navigating the streets and the grit carried me further than I could ever imagine,” Dr. Dre said during his speech. “But I’m also excited to see the kind of talent that emerges when grit is paired with a first-rate education. So dream big because I did.”
The new campus replaces the original Compton High School, which opened in 1896.
The updated facility is part of a broader effort to revitalize education in the area and provide students with the tools to succeed in creative and academic fields.
Construction on the new school began in 2021 and was completed earlier this year.
Drake was a special guest at Central Cee’s headlining show on Saturday night (May 24) in his hometown of Toronto, where he proclaimed OVO Fest would return before the end of the year.
“OVO Fest is back this year,” he told the crowd, although he didn’t offer any further details.
Drake founded the music festival in 2010, but the last iteration of it took place in 2022, when he invited Nicki Minaj, Lil Wayne, Nelly Furtado and more to join him in his city. Past guests include The Weeknd, 50 Cent, J. Cole, Big Sean and Lauryn Hill.
Drake’s career has been marred by his now-infamous beef with Kendrick Lamar. It began last year with Lamar’s verse on Future & Metro Boomin’s track “Like That.” From there, it exploded into multiple diss tracks firing from both sides.
The final installment in the contentious battle, Lamar’s “Not Like Us,” resulted in a career high for the former Top Dawg Entertainment artist. Not only did it land him the coveted Super Bowl Halftime Show gig in February, it also earned Lamar five Grammy Awards at the 2025 ceremony, including Record and Song of the Year.
But perhaps most importantly, it enraged Drake to the point he filed a legal complaint against Universal Music Group, alleging the company enabled the release and widespread promotion of “Not Like Us,” which Drake claims falsely portrayed him as a criminal and incited public outrage.
In his lawsuit, Drake asserts that UMG “approved, published and launched a campaign to create a viral hit out of a rap track” that he argues was designed to convey the “unmistakable and factual allegation that Drake is a criminal pedophile,” prioritizing corporate interests over his safety and well-being.
He further expanded his complaint to include UMG’s alleged role in negotiating and promoting Lamar’s performance of the song at high-profile events such as the 2025 Super Bowl and Grammys, contending that these broadcasts introduced the allegedly defamatory material to millions of viewers and led to increased threats against him and his family.
UMG has strongly denied Drake’s allegations, calling the claims “utterly without merit” and arguing that the lyrics in question are protected artistic expression typical of competitive rap battles. The label also emphasized that Drake himself has engaged in similar lyrical rivalries and that the subjective opinions of online commenters don’t constitute defamation.
Despite UMG’s motion to dismiss, the court has allowed the discovery process to proceed, meaning both sides will have to provide documents and evidence related to the case.
Jussie Smollett closed a chapter in his years-long legal saga Tuesday (May 21) by settling a lawsuit with the city of Chicago and announcing a $10,000 donation to a nonprofit that supports survivors of police violence.
The former Empire actor, 41, agreed to pay $50,000 to Building Brighter Futures Center for the Arts, a Chicago-based group that mentors underserved youth through creative programs.
The payment resolves a civil case brought by city officials seeking reimbursement for the cost of investigating Smollett’s widely publicized 2019 assault claim, which police later alleged was staged.
Smollett also revealed he made a separate $10,000 contribution to the Chicago Torture Justice Center, an organization that provides mental health and legal support to victims of police misconduct.
The donation came with a pointed message.
“I’m grateful to have had the resources to defend myself. So many do not. They are backed into corners to take deals or confess to crimes they did not actually commit,” Smollett wrote in a statement posted to Instagram.
“Though I was exonerated by the Illinois Supreme Court in a unanimous decision and the civil case will now be dismissed, I’m aware that it will not change everyone’s mind about me or the attack I experienced,” he added.
Smollett’s legal troubles began in January 2019 when he told police he was the victim of a racist and homophobic assault in downtown Chicago.
Weeks later, authorities accused him of orchestrating the incident and charged him with multiple counts of felony disorderly conduct. He was convicted in 2021 but maintained his innocence throughout.
In a major reversal, the Illinois Supreme Court overturned his conviction in 2024, citing procedural errors during the prosecution.
The ruling cleared Smollett of criminal wrongdoing, though public opinion remains divided.
Declaring himself “innocent in the eyes of God” and the “criminal justice system,” Smollett said he hoped his donation would help communities “healing from the violence of the Chicago Police Department.”
“To anyone who has had to prove they have in fact been violated, you know how difficult this can be to navigate. I stand with and for you,” he wrote.
