#MAGFAB: Doechii is the Cover Girl for COSMOPOLITAN’s ‘Romance Issue’
She is beauty, she is grace, she is the Swamp Princess. And she deserves it all.Doechii had been on the edge of mainstream success for years, but recently something shifted. From her historic Grammy win for ALLIGATOR BITES NEVER HEAL to cosigns from Lauryn Hill, Billie Eilish, Kendrick Lamar, and Lady Gaga, the past nine months have been a total whirlwind for the 26-year-old Tampa-born artist.
She continues to redefine live performance and personal style. But she’ll tell you herself: This was always meant to be. In her cover interview for COSMOPOLITAN’s Romance Issue, Doechii opens up about queerness, the path to finding her artistic voice, the importance of being a student of hip-hop, what she has planned for the future, and so much more.
Plus, in an episode of the COSMOPOLITAN video series THE BREAKDOWN, Doechii reflects on her journey to megastardom, including the lyrics to the first song she ever wrote, why she stands by her infamous “I got fired thank god” video, collaborating with Issa Rae, and embracing her inner theater kid with her iconic Grammys performance.
On why she hadn’t prepared a speech ahead of her Grammy win for Best Rap Album: “Something in my spirit told me, You’ll know what to say when you get up there. Just trust me. I think my speech was literally downloaded. It’s like my mouth was moving, but it wasn’t me speaking.”
On what Doechii would’ve done for her as a kid: “I was desperately seeking artists that looked like me and that thought like me. There weren’t many. I needed it so badly that I was like, ‘If I can’t find this, I’m going to become this.’”
On her mother: “She would always make me show up for myself even when I didn’t feel like it. Even when I lost interest in commitments, she still made me honor them. She also wouldn’t judge me when I wanted to try something else. She was very supportive of me pivoting, and now today, I can pivot. I owe that to her.”
On what experiences working in retail and restaurant jobs taught her about the type of boss she wanted to be: “The only thing I realized was that I didn’t like working for people. That’s it. I don’t like it. Because you’re the manager of Chipotle and I’m trying to lead a whole generation of people—I can’t take advice from you!”
On whether she would ever scrub her digital footprint: “No, I’m going to leave it. Like, some of the videos are super cringe, but I think it’s all important. I went through a period at 18 where, looking back now, I was running from doing music, but I was just trying to be creative in every other way that I possibly could. All along I knew it was music—I was just really scared. Some kid out there can watch those videos now to know, ‘When she was this age, she went through that, and it’s normal to feel that way.’ That vulnerability can be super validating.”
On how soon after a traumatizing romantic situation she can put pen to paper for song like “DENIAL IS A RIVER”: “Sometimes I have to process things before I can talk about them, because if I try to do it immediately, I’m gonna say the wrong thing. But that song took me a year to process. I didn’t want to give my ex any promo in my music. And I talked about three different exes in that song. People think it’s just one! I decided I had to talk about it for me.”
BOn being involved with a partner who’s creatively limited her and the album that inspired her to part ways: “I was 18, and I was dating a guy who just wasn’t very supportive of my music, and it really stifled me. I stopped writing because he was just like, ‘That’s not cool.’ I took his opinion way too seriously when really he just didn’t get it. I remember listening to SZA’s Ctrl for the first time and it literally gave me the courage to break up with him. I only bring that up because she inspired me to be vulnerable through my music in a way that I didn’t think I could be.”
On whether any people she’s written about ever reach out: “If I’m writing about you in the negative, you can’t reach out—you’re blocked.”
On how her relationships inspire her creatively: “All of my relationships inspire my music because they make up my life experience. This is such a Leo thing to say, but my literal existence as a queer Black woman is a major contribution to the hip-hop genre. I’m speaking truthfully from a queer Black woman’s perspective, and being honest about my life through my lens is amazing. That perspective is being highlighted, and we need queer perspectives.”
On being a student of hip-hop: “I still feel like a student, but I think people can learn from how I honor the genre’s traditions. If people are nerdy enough, they’ll observe a lot of double entendres, punch lines, clever wordplay, and poetic pictures on Alligator Bites Never Heal, especially on songs like ‘BOILED PEANUTS.’ We have to honor that as rappers—without that part of the genre, we literally would not have anything that we have now.”
On how she feels about being positioned as the “intellectual” alternative to other female rappers: “I wouldn’t agree with that perspective. I’ve seen people describe me as ‘the female that,’ ‘she’s intellectual,’ ‘she’s hard,’ and ‘she’s scarin’ hos.’ I think what’s happening is people are trying to understand who I am as an artist, but they’re doing it in comparison to other artists, which I don’t think is necessary to interpret art at all…Critiquing art and interpreting art is an art form as well. It’s a skill. People have jobs interpreting art, so it’s not something that is commonly practiced the right way. So I understand why people are doing it, but I don’t like to get too caught up in all of that, you know?”
On shifting people out of their comfort zones with some of the ways she presents herself—like by wearing visible face tape on red carpets: “With everything that I do in my life, I don’t have nobody in mind but me. I like to f*ck things up because to me, it looks cooler that way. I gravitated toward the face tape because it’s supposed to be hidden and it’s not. I’m that type of person. I like to turn my shirts inside out. I like to wear my pants backward. My love for imperfection shows up in my beauty and fashion a lot.”
On how her fashion has evolved over the years: “In my early 20s, I said the goal was to be a fashion icon. I just didn’t really have an idea of what I wanted to wear or who I was fashionably. We also couldn’t get pulls from big labels and designers. The style and the fashion have evolved as who I am as a woman has evolved. I just have a lot more clarity about what makes me feel comfortable and what represents me. I like to do a lot of research on these brands and their collections and see if the stories they’re telling align with mine. I can’t say what people are perceiving, but I can say the story that I’m telling through fashion is that ‘I’m everything.’ I’ve said that in my music, but now I want to say it through fashion.”
On how she’s grown from the 2022 version of herself who’d just been signed to a label: “I have learned to trust myself a lot more….I’m leading every step that I take, from the content to the marketing strategies to the way I show up in real life with my fans. These things are coming from my brain and my heart, and with my label, I delegate what I want them to do and they do what I tell them to do. That’s the difference—leadership and clarity and maturity.”
On how she relates to Beyoncé as an artist: “I relate to her efforts as a businesswoman and her leadership. She is the embodiment of an eloquent leader. I look up to the way that she handles her job, her fame, and her fans. She is the ultimate showgirl and professional artist.”
On being a role model: “It’s a position that I do not take lightly. I say this to myself often in my journal entries, but I truly am becoming who I needed. I can only imagine all the little Black girls and boys out there that I represent something for. So it excites me, it inspires me, and it makes me very aware of what it is that I’m saying and how I’m presenting myself while also being mindful of who I am right now and what grown Jaylah needs.”
On where she sees herself 20 years from now and what she hopes to maintain: “I hope I’m resting. I hope to be writing books or to have other creative facets that don’t generate money—doing things just to do them, not as a job. Hopefully, I’m wealthy enough to never have to work again. And I hope I maintain how I express myself. I never want to tense up or think, Because I’m this old, I can’t do this. No matter how old I get, I’m still twerking on the floor. I want to maintain that everybody else’s perceptions of what Jaylah can do or should do never affect what Jaylah wants to do.”
On what Doechii would’ve done for her as a kid: “I was desperately seeking artists that looked like me and that thought like me. There weren’t many. I needed it so badly that I was like, ‘If I can’t find this, I’m going to become this.’”
On her mother: “She would always make me show up for myself even when I didn’t feel like it. Even when I lost interest in commitments, she still made me honor them. She also wouldn’t judge me when I wanted to try something else. She was very supportive of me pivoting, and now today, I can pivot. I owe that to her.”
On what experiences working in retail and restaurant jobs taught her about the type of boss she wanted to be: “The only thing I realized was that I didn’t like working for people. That’s it. I don’t like it. Because you’re the manager of Chipotle and I’m trying to lead a whole generation of people—I can’t take advice from you!”
On whether she would ever scrub her digital footprint: “No, I’m going to leave it. Like, some of the videos are super cringe, but I think it’s all important. I went through a period at 18 where, looking back now, I was running from doing music, but I was just trying to be creative in every other way that I possibly could. All along I knew it was music—I was just really scared. Some kid out there can watch those videos now to know, ‘When she was this age, she went through that, and it’s normal to feel that way.’ That vulnerability can be super validating.”
On how soon after a traumatizing romantic situation she can put pen to paper for song like “DENIAL IS A RIVER”: “Sometimes I have to process things before I can talk about them, because if I try to do it immediately, I’m gonna say the wrong thing. But that song took me a year to process. I didn’t want to give my ex any promo in my music. And I talked about three different exes in that song. People think it’s just one! I decided I had to talk about it for me.”
BOn whether any people she’s written about ever reach out: “If I’m writing about you in the negative, you can’t reach out—you’re blocked.”
On how her relationships inspire her creatively: “All of my relationships inspire my music because they make up my life experience. This is such a Leo thing to say, but my literal existence as a queer Black woman is a major contribution to the hip-hop genre. I’m speaking truthfully from a queer Black woman’s perspective, and being honest about my life through my lens is amazing. That perspective is being highlighted, and we need queer perspectives.”
On being a student of hip-hop: “I still feel like a student, but I think people can learn from how I honor the genre’s traditions. If people are nerdy enough, they’ll observe a lot of double entendres, punch lines, clever wordplay, and poetic pictures on Alligator Bites Never Heal, especially on songs like ‘BOILED PEANUTS.’ We have to honor that as rappers—without that part of the genre, we literally would not have anything that we have now.”
On how she feels about being positioned as the “intellectual” alternative to other female rappers: “I wouldn’t agree with that perspective. I’ve seen people describe me as ‘the female that,’ ‘she’s intellectual,’ ‘she’s hard,’ and ‘she’s scarin’ hos.’ I think what’s happening is people are trying to understand who I am as an artist, but they’re doing it in comparison to other artists, which I don’t think is necessary to interpret art at all…Critiquing art and interpreting art is an art form as well. It’s a skill. People have jobs interpreting art, so it’s not something that is commonly practiced the right way. So I understand why people are doing it, but I don’t like to get too caught up in all of that, you know?”
On shifting people out of their comfort zones with some of the ways she presents herself—like by wearing visible face tape on red carpets: “With everything that I do in my life, I don’t have nobody in mind but me. I like to f*ck things up because to me, it looks cooler that way. I gravitated toward the face tape because it’s supposed to be hidden and it’s not. I’m that type of person. I like to turn my shirts inside out. I like to wear my pants backward. My love for imperfection shows up in my beauty and fashion a lot.”
On how her fashion has evolved over the years: “In my early 20s, I said the goal was to be a fashion icon. I just didn’t really have an idea of what I wanted to wear or who I was fashionably. We also couldn’t get pulls from big labels and designers. The style and the fashion have evolved as who I am as a woman has evolved. I just have a lot more clarity about what makes me feel comfortable and what represents me. I like to do a lot of research on these brands and their collections and see if the stories they’re telling align with mine. I can’t say what people are perceiving, but I can say the story that I’m telling through fashion is that ‘I’m everything.’ I’ve said that in my music, but now I want to say it through fashion.”
On how she’s grown from the 2022 version of herself who’d just been signed to a label: “I have learned to trust myself a lot more….I’m leading every step that I take, from the content to the marketing strategies to the way I show up in real life with my fans. These things are coming from my brain and my heart, and with my label, I delegate what I want them to do and they do what I tell them to do. That’s the difference—leadership and clarity and maturity.”
On how she relates to Beyoncé as an artist: “I relate to her efforts as a businesswoman and her leadership. She is the embodiment of an eloquent leader. I look up to the way that she handles her job, her fame, and her fans. She is the ultimate showgirl and professional artist.”
On being a role model: “It’s a position that I do not take lightly. I say this to myself often in my journal entries, but I truly am becoming who I needed. I can only imagine all the little Black girls and boys out there that I represent something for. So it excites me, it inspires me, and it makes me very aware of what it is that I’m saying and how I’m presenting myself while also being mindful of who I am right now and what grown Jaylah needs.”
On where she sees herself 20 years from now and what she hopes to maintain: “I hope I’m resting. I hope to be writing books or to have other creative facets that don’t generate money—doing things just to do them, not as a job. Hopefully, I’m wealthy enough to never have to work again. And I hope I maintain how I express myself. I never want to tense up or think, Because I’m this old, I can’t do this. No matter how old I get, I’m still twerking on the floor. I want to maintain that everybody else’s perceptions of what Jaylah can do or should do never affect what Jaylah wants to do.”
#RHOA: Oh? TWIRL, Kenya Moore Has a New Confessional and she's spilling tons of TEA?
Filmed in a salon chair at her Atlanta-based hair spa, the video opens with Moore bashfully quoting Kendrick Lamar’s opening lines in his 2024 diss track “Not Like Us:” “They try to rig the game but you can’t fake influence.” A clear shot to a particular cast member, presumingly at Eady.
For context, fans finally saw the controversial incident that led to Moore parting ways with the show on Sunday, April 6. Moore had been beefing with Eady, and following a fiery argument, Eady made remarks threatening Moore.
Eady said during the episode how she stills has her “pistols, so. I don’t play them games. I got whips ... pistols, everything,” suggesting she’d shoot Moore. By the time Moore caught wind of the threats, Eady apologized, bringing Moore flowers to the grand opening of her salon as an olive branch. However, Moore decided to follow through with the retaliation she planned in response to Eady’s comments. She displayed large poster board images to party attendees showing sexually explicit images of Eady — who had left the event just before the damning presentation.
In the thirty-minute YouTube confessional, Moore wasted no time denouncing untrue narratives. Here’s what stood out.
The mother of one blasted Williams for saying that another housewife helped her expose Eady.
“I know for a fact that one of these housewives who is still on the show is the one who gave Kenya a big part of that nude information,” Williams alleged on her YouTube channel, Don’t Call Me Porsha, in a video of her own about the scandal.
Moore was not having it, immediately shutting down the false claim. “Absolutely no one gave me anything. Stop using my situation for clickbait,” Moore said, accusing Williams of using her to profit from her storyline
Addressing accusations of revenge porn, Moore declares, “That’s a lie,” even repeating it three times for emphasis. She clarifies that the photos were already publicly available across multiple adult sites. Moore even sought legal advice, confirming that under Georgia law, because the images were searchable and publicly accessible, it does not constitute as revenge porn.
She Confessed to Her Wrongdoings
She didn’t shy away from owning her vindictive actions. Moore admitted what she did was unacceptable and even shared an audible clip apologizing to Eady and the entire cast.
What She Really Thinks About Eady
In the first few weeks of the show, Moore claims that Eady was “boring” and their negative interactions were “calculated” to create a storyline for the show. “I think when she was interviewing for ‘The Real Housewives of Atlanta,’ she wanted the villain role,” Moore speculated, believing that Eady promised production to go after the reality veteran. She also accused Bravo of ignoring Eady’s threats during filming. “I keep a pistol for b***hes like you,” she recalls Eady saying.
She Had Smoke for Bravo, Too...
Moore also called out Bravo for what she deemed as a lack of fairness in the Housewives franchise. She said if Eady had said this to Teresa Giudice (RHONJ) or Kyle Richards (RHOBH), the response would have been more severe.
What’s Up With the Reunion?
Fans can’t help but wonder whether Moore will get the chance for vindication during the reunion. She admitted she was at first invited to the reunion, usually filmed in New York, but was later disinvited.
Social media timelines lit up chatting about the first confessional episode. One X commenter said, “Kenya Moore, who has been physically assaulted, didn’t get the protection white housewives get on other franchises.”
Another commenter posted: “It’s a network without a standard, but they always find a way to make sure to discipline Kenya.”
Another viewer expressed gratitude for Moore’s unfiltered confessional. “Now, y’all know I’ve had this love/hare relationship with Ms. Twirl, but she took back the narrative and exposed the entire RHOA production and Brit Eady for the liar she is. Good job, Kenya.”
#NewMusic from Trey Songz “Lost in Time”
Check out the brand new single from R&B superstar Trey Songz called “Lost in Time”.
The new song was produced by his longtime collaborator Troy Taylor.
Check out the brand new single from R&B superstar Trey Songz called “Lost in Time”.
The new song was produced by his longtime collaborator Troy Taylor.
Listen HERE:
Currently, Trey Songz is headlining the Millennium Tour 2025.
Currently, Trey Songz is headlining the Millennium Tour 2025.
#HipHopNews: Lupe Fiasco Releases New EP ‘GHOTIING’ Stream
Although Lupe fans might have been expecting to wait a little while for whatever’s next musically, today there’s a big surprise. Lupe has dropped a 7-track EP called GHOTIING, which if you’ve heard DRILL MUSIC IN ZION, you’ll know is pronounced “FISHING”. Each track is inspired by an art installation at MIT, where Lu was an artist in residence and then a professor.
The EP was composed and recorded on site by the sculptures, which meant that “ambient sounds, atmosphere, and social context” shaped “lyrical content, flow, and delivery.” It looks like a really interesting concept that is best consumed when appreciating the sculptures.
Right now, the only way to listen to the project is HERE where you can read about the process, check out images of the art and read along with the lyrics too.
#RIP: The First Ever Latin American leader of The Roman Catholic Church His Eminence Pope Francis Has Died At 88
Pope Francis, the first Latin American pontiff known for his humble demeanor and profound impact on the Catholic Church, has passed away at the age of 88. His leadership was marked by a compassionate outreach to the marginalized yet sparked significant debates among conservatives.
Pope Francis, whose real name was Jorge Mario Bergoglio, became the 266th pope in March 2013 after the resignation of Pope Benedict XVI. He passed away on Monday, April 21 following a prolonged battle with pneumonia that led to a respiratory crisis in February. His death was deeply mourned, with bells tolling across Rome and flags flying at half-staff in honor of his life and service.
From his initial greeting "Buonasera" ("Good evening") as pope, Francis set a new tone for the papacy. He was known for his humility and dedication to the poor, often focusing on the needs of society's fringe members.
He signaled this through his simple lifestyle, living in the Vatican hotel instead of the Apostolic Palace and prioritizing service over grandeur. He famously advocated for a "poor church for the poor."
Francis' tenure, however, wasn't without controversy. He alienated conservatives with his critiques of capitalism, outreach to LGBTQ+ Catholics, and progressive stances on climate change and socio-economic issues. "Who am I to judge?" he once said.
On the flip side, Francis maintained traditional Catholic doctrines such as the opposition to abortion and the all-male, celibate priesthood. He introduced reforms to address sexual abuse within the church, although his handling of the crisis had its critics.
Additionally, Francis defied norms by granting women significant decision-making roles within the church and allowing them to vote alongside bishops in Vatican meetings. His actions reflected his vision of a church built on cooperation rather than domination.
Despite contentious moments, Francis' papacy was characterized by his deep commitment to social justice. From criticizing wealth disparity to urging protection for refugees, his efforts often stirred both admirers and critics. As the world prepares for the conclave to elect a new pope, Francis' transformative influence on the Catholic Church is undeniably profound and likely to be remembered for generations.
Pope Francis, whose real name was Jorge Mario Bergoglio, became the 266th pope in March 2013 after the resignation of Pope Benedict XVI. He passed away on Monday, April 21 following a prolonged battle with pneumonia that led to a respiratory crisis in February. His death was deeply mourned, with bells tolling across Rome and flags flying at half-staff in honor of his life and service.
From his initial greeting "Buonasera" ("Good evening") as pope, Francis set a new tone for the papacy. He was known for his humility and dedication to the poor, often focusing on the needs of society's fringe members.
He signaled this through his simple lifestyle, living in the Vatican hotel instead of the Apostolic Palace and prioritizing service over grandeur. He famously advocated for a "poor church for the poor."
Francis' tenure, however, wasn't without controversy. He alienated conservatives with his critiques of capitalism, outreach to LGBTQ+ Catholics, and progressive stances on climate change and socio-economic issues. "Who am I to judge?" he once said.
On the flip side, Francis maintained traditional Catholic doctrines such as the opposition to abortion and the all-male, celibate priesthood. He introduced reforms to address sexual abuse within the church, although his handling of the crisis had its critics.
Additionally, Francis defied norms by granting women significant decision-making roles within the church and allowing them to vote alongside bishops in Vatican meetings. His actions reflected his vision of a church built on cooperation rather than domination.
Despite contentious moments, Francis' papacy was characterized by his deep commitment to social justice. From criticizing wealth disparity to urging protection for refugees, his efforts often stirred both admirers and critics. As the world prepares for the conclave to elect a new pope, Francis' transformative influence on the Catholic Church is undeniably profound and likely to be remembered for generations.
#BoxOfficeNews: Michael B. Jordan, Ryan Coogler’s ‘Sinners’ Has a Global Box Office Triumph With $61M Debut 45M US!
The fifth film collaboration between Michael B. Jordan and Ryan Coogler crushed the box office this weekend upon its April 18 release, raking in a whopping $61,000,000 globally and $45,000,000 domestically.
The 1930’s cinematic masterpiece — focused on two slick (but loving) twins, Smoke and Stack — is a beautiful whirlwind of passion, family differences, Black history and culture, and deep-southern folklore all wrapped up in the powerful, rich history of Delta Blues.
According to Box Office Mojo, Sinners raked in the impressive domestic numbers from 3,308 theaters across North America. Reportedly, it’s the biggest debut for an original film since Jordan Peele’s Us hit $71,000,000 in 2019. Audiences were clearly here for a new take on a supernatural horror flick, scoring it a grade “A” on the CinemaScore exit polls — a first for a horror film in over 35 years — and a rare 98 percent on Rotten Tomatoes.
Viewers have also been ranting and raving about the film, with many stuck on one scene in particular that tells the deep rooted journey of Black music through scenery. “The barn-burner sequence in #SinnersMovie / #Sinners is hypnotic and spellbinding. The overlapping music styles and dance choreography! The camerawork! The sound design mix! It’s a full body sensory experience. My soul levitated,” one person wrote. Another remarked, “The musical scene in Sinners is hands down one of the greatest scenes to ever be put into a film. Ryan Coogler you genius.”
“The fact that it has so many elements to it. It wasn’t just one thing, you know what I mean? People [are] calling it a horror, but it’s like, no, it’s so many different genres mixed up into one,” Jordan told VIBE ahead of the film’s national debut. “You find yourself laughing, you know what I’m saying? You find yourself crying, you’re jumping because you’re scared. And the music element to it is amazing, especially led by this guy right here,” he continued, tagging in his younger costar.”
The Creed phenom also reflected on working with incredible director Ryan Coogler for the fifth time now — 12 years after their first collaboration on the heart-wrenching true story of Oscar Grant in Fruitvale Station. “Ryan had these twin consultants,” Jordan continued. “I’m not even sure that’s a real thing, but he had some twins he grew up with who were always around, giving me advice and letting me pick their brains about their experiences growing up as twins.”
Coogler and Jordan have now worked together on the aforementioned films Fruitvale Station (2013) and Sinners, as well as Creed (2015), Marvel’s Black Panther (2018) and Black Panther: Wakanda Forever (2022).
The bloody-good film is now playing in IMAX theaters all over.
The 1930’s cinematic masterpiece — focused on two slick (but loving) twins, Smoke and Stack — is a beautiful whirlwind of passion, family differences, Black history and culture, and deep-southern folklore all wrapped up in the powerful, rich history of Delta Blues.
According to Box Office Mojo, Sinners raked in the impressive domestic numbers from 3,308 theaters across North America. Reportedly, it’s the biggest debut for an original film since Jordan Peele’s Us hit $71,000,000 in 2019. Audiences were clearly here for a new take on a supernatural horror flick, scoring it a grade “A” on the CinemaScore exit polls — a first for a horror film in over 35 years — and a rare 98 percent on Rotten Tomatoes.
Viewers have also been ranting and raving about the film, with many stuck on one scene in particular that tells the deep rooted journey of Black music through scenery. “The barn-burner sequence in #SinnersMovie / #Sinners is hypnotic and spellbinding. The overlapping music styles and dance choreography! The camerawork! The sound design mix! It’s a full body sensory experience. My soul levitated,” one person wrote. Another remarked, “The musical scene in Sinners is hands down one of the greatest scenes to ever be put into a film. Ryan Coogler you genius.”
“The fact that it has so many elements to it. It wasn’t just one thing, you know what I mean? People [are] calling it a horror, but it’s like, no, it’s so many different genres mixed up into one,” Jordan told VIBE ahead of the film’s national debut. “You find yourself laughing, you know what I’m saying? You find yourself crying, you’re jumping because you’re scared. And the music element to it is amazing, especially led by this guy right here,” he continued, tagging in his younger costar.”
The Creed phenom also reflected on working with incredible director Ryan Coogler for the fifth time now — 12 years after their first collaboration on the heart-wrenching true story of Oscar Grant in Fruitvale Station. “Ryan had these twin consultants,” Jordan continued. “I’m not even sure that’s a real thing, but he had some twins he grew up with who were always around, giving me advice and letting me pick their brains about their experiences growing up as twins.”
Coogler and Jordan have now worked together on the aforementioned films Fruitvale Station (2013) and Sinners, as well as Creed (2015), Marvel’s Black Panther (2018) and Black Panther: Wakanda Forever (2022).
The bloody-good film is now playing in IMAX theaters all over.
Shannon Sharpe Sued For $50 Million Over Alleged Sexual Assault And Battery
Shannon Sharpe is facing an eight figure lawsuit after a woman has accused him of sexually violating her during their two-year “rocky consensual relationship.”
The 13-page civil complaint was filed in a Nevada state court on Sunday (April 20), NBC Sports reports. The Hall of Fame tight end is being accused of committing assault, sexual assault, battery, and sexual battery, and that he engaged in the intentional infliction of emotional distress. The complaint also alleges Sharpe recorded their sexual activities and shared the videos with others against the Jane Doe’s knowledge.
The plaintiff is seeking a minimum of $50 million from Sharpe.
According to the suit, Doe met Sharpe in 2023 at a gym in Los Angeles and she is “a woman more than thirty years younger than he is.” She claims the Club Shay Shay host started calling, texting and “demanding she come to his Beverly Glen mansion.” Although she described their interactions were controlling and verbally abusive, Doe says they ultimately entered a consensual relationship.
“He demanded complete control over her time and body, expecting her to be at his house on his schedule, at his command, whenever he called,” attorney Tony Buzbee wrote in Doe’s suit.
In September 2024, Sharpe made headlines after he accidentally went Live on Instagram while he was having sex with a woman. The suit contends that it was another woman, not the plaintiff, in the Live, and this is when Doe “began to pull away from Sharpe.”
“Plaintiff tried sharing her location with friends from her iPhone — just in case,” the docs state. “But Sharpe saw her doing this. The moment he realized what she was doing, he grabbed her by the neck and told her, ‘If you ever do that again, I will f***ing kill you.'”
The complaint alleges that the plaintiff’s attempts to distance herself from Sharpe led him responding with sexual abuse. She alleges he “forced himself on her while she was crying and sobbing” during an interaction in October 2024. In January 2025, Doe claims Sharpe came over to her house and violently sexually assaulted her again after using the excuse of bringing a birthday gift to her.
The first page of the complaint expresses the weight of saying “no” to a sexual encounter, and how Sharpe allegedly did not comply with the plaintiff’s boundaries. “A woman can say ‘yes’ to consensual sexual relations with a man ninety-nine times, but when she says ‘no’ even once, that ‘no’ means no. Defendant Shannon Sharpe, a man who is accustomed to getting what he wants, completely fails to understand this basic concept. After many months of manipulating and controlling Plaintiff — a woman more than thirty years younger than he — and repeatedly threatening to brutally choke and violently slap her, Sharpe refused to accept the answer no and raped Plaintiff, despite her sobbing and repeated screams of ‘no.’”
Shannon Sharpe is facing an eight figure lawsuit after a woman has accused him of sexually violating her during their two-year “rocky consensual relationship.”
The 13-page civil complaint was filed in a Nevada state court on Sunday (April 20), NBC Sports reports. The Hall of Fame tight end is being accused of committing assault, sexual assault, battery, and sexual battery, and that he engaged in the intentional infliction of emotional distress. The complaint also alleges Sharpe recorded their sexual activities and shared the videos with others against the Jane Doe’s knowledge.
The plaintiff is seeking a minimum of $50 million from Sharpe.
According to the suit, Doe met Sharpe in 2023 at a gym in Los Angeles and she is “a woman more than thirty years younger than he is.” She claims the Club Shay Shay host started calling, texting and “demanding she come to his Beverly Glen mansion.” Although she described their interactions were controlling and verbally abusive, Doe says they ultimately entered a consensual relationship.
“He demanded complete control over her time and body, expecting her to be at his house on his schedule, at his command, whenever he called,” attorney Tony Buzbee wrote in Doe’s suit.
In September 2024, Sharpe made headlines after he accidentally went Live on Instagram while he was having sex with a woman. The suit contends that it was another woman, not the plaintiff, in the Live, and this is when Doe “began to pull away from Sharpe.”
“Plaintiff tried sharing her location with friends from her iPhone — just in case,” the docs state. “But Sharpe saw her doing this. The moment he realized what she was doing, he grabbed her by the neck and told her, ‘If you ever do that again, I will f***ing kill you.'”
The complaint alleges that the plaintiff’s attempts to distance herself from Sharpe led him responding with sexual abuse. She alleges he “forced himself on her while she was crying and sobbing” during an interaction in October 2024. In January 2025, Doe claims Sharpe came over to her house and violently sexually assaulted her again after using the excuse of bringing a birthday gift to her.
The first page of the complaint expresses the weight of saying “no” to a sexual encounter, and how Sharpe allegedly did not comply with the plaintiff’s boundaries. “A woman can say ‘yes’ to consensual sexual relations with a man ninety-nine times, but when she says ‘no’ even once, that ‘no’ means no. Defendant Shannon Sharpe, a man who is accustomed to getting what he wants, completely fails to understand this basic concept. After many months of manipulating and controlling Plaintiff — a woman more than thirty years younger than he — and repeatedly threatening to brutally choke and violently slap her, Sharpe refused to accept the answer no and raped Plaintiff, despite her sobbing and repeated screams of ‘no.’”
Mia Thorton Announces Departure From ‘The Real Housewives Of Potomac’
Mia Thorton of The Real Housewives of Potomac is trading the DMV for ATL, announcing her departure from the hit Bravo series Monday (April 21).
The reality star, 40, took to Instagram to reveal the news, posting a lengthy caption beside a snap of her holding up a newspaper that reads, “Mia Thorton Moves To Atlanta.”
“With every new season comes a new beginning and I have some news to share. My family and I have made the decision to relocate to Atlanta, and with that, I will not be returning to The Real Housewives of Potomac next season.”
She goes on, “The past four seasons have been an unforgettable journey one filled with growth, lessons, and so many incredible memories. I want to thank Truly Original, Bravo, NBCUniversal, and Andy Cohen for believing in me and giving me the space to share my story. To my castmates: thank you for the laughs, the lessons, and the unforgettable moments. And to the amazing fans, your love and support has meant everything to me. I’ll always carry that with me.”
Thorton joined the show during RHOP’s sixth season in 2021, and has appeared on four seasons total. Her final appearance on the show found Mia storming out of the Season 9 reunion and refusing to return when called a “terrible mother” by castmate Gizelle Bryant.
Mia continued of her departure, “This next chapter is already full of exciting opportunities, and I can’t wait to take you all along for the ride. Big things are coming…I don’t just make headlines — I make History. Atlanta, brace yourself. The empire has expanded. #LegacyInTheMaking.”
The news comes just one month after Real Housewives of Beverly Hills star Garcelle Beauvais announced her own departure from the West Coast franchise.
The reality star, 40, took to Instagram to reveal the news, posting a lengthy caption beside a snap of her holding up a newspaper that reads, “Mia Thorton Moves To Atlanta.”
“With every new season comes a new beginning and I have some news to share. My family and I have made the decision to relocate to Atlanta, and with that, I will not be returning to The Real Housewives of Potomac next season.”
She goes on, “The past four seasons have been an unforgettable journey one filled with growth, lessons, and so many incredible memories. I want to thank Truly Original, Bravo, NBCUniversal, and Andy Cohen for believing in me and giving me the space to share my story. To my castmates: thank you for the laughs, the lessons, and the unforgettable moments. And to the amazing fans, your love and support has meant everything to me. I’ll always carry that with me.”
Thorton joined the show during RHOP’s sixth season in 2021, and has appeared on four seasons total. Her final appearance on the show found Mia storming out of the Season 9 reunion and refusing to return when called a “terrible mother” by castmate Gizelle Bryant.
Mia continued of her departure, “This next chapter is already full of exciting opportunities, and I can’t wait to take you all along for the ride. Big things are coming…I don’t just make headlines — I make History. Atlanta, brace yourself. The empire has expanded. #LegacyInTheMaking.”
The news comes just one month after Real Housewives of Beverly Hills star Garcelle Beauvais announced her own departure from the West Coast franchise.
Mariah Carey Reveals 1 Time She Was 'Annoyed' With Her Fans — But Admits They Were Right
Mariah Carey didn’t have a vision of love when it came to how fans perceived her 10th studio album, “The Emancipation of Mimi.”
The 2005 album, which marked its 20th anniversary on April 12, represented what Carey has called “an incredible part” of her life — but the way fans labeled it wasn’t something she was particularly obsessed with.
“At the time, it annoyed me when they called it a comeback album,” Carey told People in interview published April 18. “But now I’m just like, ‘Oh yeah, my comeback album.’”
Carey, who first hit the airwaves in 1990, continued to say, “It’s like, how many comebacks do I have to have?”
But she confessed that the description was, in reality, “somewhat accurate.”
Mariah Carey said it "annoyed" her when fans called “The Emancipation of Mimi" a "comeback album."JEFF KRAVITZ VIA
The “We Belong Together” singer acknowledged that “not everybody knows the album,” but delights in the idea that listeners can still discover its deeper cuts and experience something that resonates anew.
To celebrate the milestone, the icon sat down with Spotify to reflect on the album — artistically and spiritually.
“‘Fly Like a Bird’ is probably the vocal take that I’m most proud of,” she said. “It was such a strong message that I was kind of writing to God, to myself, to my fans. It still feels that way to me.”
In a video for Vevo Footnotes, Carey also revealed the story behind the wedding dress she wore in the “We Belong Together” video. Rather than splurging on a new gown, she opted for the one already in her closet — the very dress she wore when she married record executive Tommy Mottola in 1993 and divorced in 1998.
Big money interests are running the government — and influencing the news you read. While other outlets are retreating behind paywalls and bending the knee to political pressure, HuffPost is proud to be unbought and unfiltered. Will you help us keep it that way? You can even access our stories ad-free.
“Since I was going to do a scene with a wedding dress, rather than spend tons of money on a new dress, we just used the one I had lying around!” she wrote.
Mariah Carey didn’t have a vision of love when it came to how fans perceived her 10th studio album, “The Emancipation of Mimi.”
The 2005 album, which marked its 20th anniversary on April 12, represented what Carey has called “an incredible part” of her life — but the way fans labeled it wasn’t something she was particularly obsessed with.
“At the time, it annoyed me when they called it a comeback album,” Carey told People in interview published April 18. “But now I’m just like, ‘Oh yeah, my comeback album.’”
Carey, who first hit the airwaves in 1990, continued to say, “It’s like, how many comebacks do I have to have?”
But she confessed that the description was, in reality, “somewhat accurate.”
Mariah Carey said it "annoyed" her when fans called “The Emancipation of Mimi" a "comeback album."JEFF KRAVITZ VIA
The “We Belong Together” singer acknowledged that “not everybody knows the album,” but delights in the idea that listeners can still discover its deeper cuts and experience something that resonates anew.
To celebrate the milestone, the icon sat down with Spotify to reflect on the album — artistically and spiritually.
“‘Fly Like a Bird’ is probably the vocal take that I’m most proud of,” she said. “It was such a strong message that I was kind of writing to God, to myself, to my fans. It still feels that way to me.”
In a video for Vevo Footnotes, Carey also revealed the story behind the wedding dress she wore in the “We Belong Together” video. Rather than splurging on a new gown, she opted for the one already in her closet — the very dress she wore when she married record executive Tommy Mottola in 1993 and divorced in 1998.
Big money interests are running the government — and influencing the news you read. While other outlets are retreating behind paywalls and bending the knee to political pressure, HuffPost is proud to be unbought and unfiltered. Will you help us keep it that way? You can even access our stories ad-free.
“Since I was going to do a scene with a wedding dress, rather than spend tons of money on a new dress, we just used the one I had lying around!” she wrote.
Katt Williams honored with street naming In Cincinnati
Katt Williams triumphantly returned to his Cincinnati roots last week as local officials unveiled “Katt Williams Way” during an emotional ceremony that brought together entertainment industry luminaries and community members. The April 19 event marked a significant milestone for the veteran comedian, whose provocative humor and distinctive voice have made him a standout figure in American comedy.
The meaningful intersection
The ceremony took place at the newly renamed intersection of Reading Road and Maple Avenue, where Williams was surrounded by fellow comedians and performers who traveled to Cincinnati specifically for the occasion. Notable attendees included comedians Mo’Nique, Red Grant, Mark Curry, Tommy Davidson, and performer Lady of Rage, all gathering to witness this recognition of Williams’ cultural contributions.
Standing before the newly installed street sign, Williams appeared visibly moved as he addressed the assembled crowd. During his address, Williams expressed feeling a profound spiritual connection with his hometown supporters, many of whom he had never personally met but who had followed his career through its many evolutions since his comedy debut in 1995.
Cincinnati’s formative influence
Williams reflected thoughtfully on how his childhood experiences in Cincinnati shaped his worldview and eventual career path. During the ceremony, Williams emphasized how place names carry significant meaning, noting that even as a young person he understood Cincinnati’s lengthy name suggested importance and greatness. This early impression influenced his understanding of the city as a special place that produces exceptional people.
For Williams, maintaining connections to one’s origins remains essential despite career success or geographic distance. This perspective resonates particularly strongly with young African Americans navigating complex identities while seeking to honor their roots. The street dedication serves as a tangible reminder of Williams’ enduring relationship with the community that witnessed his earliest days.
Comedy community shows support
The ceremony highlighted the strong bonds within the comedy community, as several performers traveled considerable distances to celebrate Williams’ achievement. Their presence underscored Williams’ significant influence within the entertainment industry and his role as both colleague and mentor to many performers.
During the event, Mo’Nique offered warm comments about Williams’ positive influence, highlighting his approach to both professional work and personal relationships. Mark Curry, showcasing the humor that characterizes their friendship, expressed that Williams deserved even greater recognition – suggesting perhaps a freeway naming – while reflecting on their years of professional camaraderie and mutual respect.
The unveiling moment itself became a celebration of collective accomplishment, with enthusiastic cheers erupting as Williams revealed the new street sign. Attendees mingled throughout the event, sharing personal stories about Williams’ impact on their lives, careers, and understanding of comedy as an art form.
Beyond the ceremony
Williams’ return to Cincinnati extended beyond the street dedication, as he performed later that evening at a sold-out comedy show. This performance demonstrated his continued relevance in an industry known for rapid changes in audience preferences and career trajectories. Nearly three decades after beginning his comedy journey, Williams continues to connect with diverse audiences through observational humor that often addresses challenging social realities.
The street naming recognition comes at a significant moment in Williams’ career, following his widely discussed interview on the Club Shay Shay podcast earlier this year, which generated considerable attention and reinvigorated interest in his perspective on the comedy industry. The timing highlights Williams’ remarkable ability to remain culturally relevant while maintaining his distinctive voice.
Legacy and representation
For many in the Cincinnati community, Williams‘ achievement represents more than individual success – it symbolizes the importance of recognizing diverse voices in American cultural spaces. By honoring Williams, the city acknowledges both his personal accomplishments and the broader contributions of African American artists to American comedy and entertainment.
The dedication of “Katt Williams Way” creates a permanent marker of his legacy within the urban landscape of Cincinnati. For young people growing up in the neighborhood, the street name serves as a visible reminder that success is possible regardless of starting circumstances, potentially inspiring future generations of performers and artists.
Looking forward
As Williams continues his creative journey through stand-up performances, acting roles, and public commentary, the street dedication ensures his connection to Cincinnati remains visibly acknowledged. This recognition speaks to the powerful relationship between artists and the communities that nurture their earliest creative expressions.
The ceremony ultimately celebrated not just Williams’ professional achievements but also the authentic connection he maintains with his hometown. In an entertainment landscape that often emphasizes constant reinvention, Williams’ commitment to acknowledging his roots provides a meaningful counternarrative about the value of community and place in shaping artistic voices.
The meaningful intersection
The ceremony took place at the newly renamed intersection of Reading Road and Maple Avenue, where Williams was surrounded by fellow comedians and performers who traveled to Cincinnati specifically for the occasion. Notable attendees included comedians Mo’Nique, Red Grant, Mark Curry, Tommy Davidson, and performer Lady of Rage, all gathering to witness this recognition of Williams’ cultural contributions.
Standing before the newly installed street sign, Williams appeared visibly moved as he addressed the assembled crowd. During his address, Williams expressed feeling a profound spiritual connection with his hometown supporters, many of whom he had never personally met but who had followed his career through its many evolutions since his comedy debut in 1995.
Cincinnati’s formative influence
Williams reflected thoughtfully on how his childhood experiences in Cincinnati shaped his worldview and eventual career path. During the ceremony, Williams emphasized how place names carry significant meaning, noting that even as a young person he understood Cincinnati’s lengthy name suggested importance and greatness. This early impression influenced his understanding of the city as a special place that produces exceptional people.
For Williams, maintaining connections to one’s origins remains essential despite career success or geographic distance. This perspective resonates particularly strongly with young African Americans navigating complex identities while seeking to honor their roots. The street dedication serves as a tangible reminder of Williams’ enduring relationship with the community that witnessed his earliest days.
Comedy community shows support
The ceremony highlighted the strong bonds within the comedy community, as several performers traveled considerable distances to celebrate Williams’ achievement. Their presence underscored Williams’ significant influence within the entertainment industry and his role as both colleague and mentor to many performers.
During the event, Mo’Nique offered warm comments about Williams’ positive influence, highlighting his approach to both professional work and personal relationships. Mark Curry, showcasing the humor that characterizes their friendship, expressed that Williams deserved even greater recognition – suggesting perhaps a freeway naming – while reflecting on their years of professional camaraderie and mutual respect.
The unveiling moment itself became a celebration of collective accomplishment, with enthusiastic cheers erupting as Williams revealed the new street sign. Attendees mingled throughout the event, sharing personal stories about Williams’ impact on their lives, careers, and understanding of comedy as an art form.
Beyond the ceremony
Williams’ return to Cincinnati extended beyond the street dedication, as he performed later that evening at a sold-out comedy show. This performance demonstrated his continued relevance in an industry known for rapid changes in audience preferences and career trajectories. Nearly three decades after beginning his comedy journey, Williams continues to connect with diverse audiences through observational humor that often addresses challenging social realities.
The street naming recognition comes at a significant moment in Williams’ career, following his widely discussed interview on the Club Shay Shay podcast earlier this year, which generated considerable attention and reinvigorated interest in his perspective on the comedy industry. The timing highlights Williams’ remarkable ability to remain culturally relevant while maintaining his distinctive voice.
Legacy and representation
For many in the Cincinnati community, Williams‘ achievement represents more than individual success – it symbolizes the importance of recognizing diverse voices in American cultural spaces. By honoring Williams, the city acknowledges both his personal accomplishments and the broader contributions of African American artists to American comedy and entertainment.
The dedication of “Katt Williams Way” creates a permanent marker of his legacy within the urban landscape of Cincinnati. For young people growing up in the neighborhood, the street name serves as a visible reminder that success is possible regardless of starting circumstances, potentially inspiring future generations of performers and artists.
Looking forward
As Williams continues his creative journey through stand-up performances, acting roles, and public commentary, the street dedication ensures his connection to Cincinnati remains visibly acknowledged. This recognition speaks to the powerful relationship between artists and the communities that nurture their earliest creative expressions.
The ceremony ultimately celebrated not just Williams’ professional achievements but also the authentic connection he maintains with his hometown. In an entertainment landscape that often emphasizes constant reinvention, Williams’ commitment to acknowledging his roots provides a meaningful counternarrative about the value of community and place in shaping artistic voices.
Diddy Granted Access To Draft Copies Of Cassie’s Memoir
Diddy scored a limited courtroom win when a federal judge ruled that he could obtain prior drafts of an unpublished memoir believed to have been written by Cassie Ventura, a key witness expected to testify against him in his upcoming criminal trial.
U.S. District Judge Arun Subramanian denied a motion to block the release of earlier versions of the manuscript that had already been turned over to the government, ordering that they be produced to Diddy’s legal team by April 25.
Diddy, who faces a sweeping federal indictment that includes sex trafficking and racketeering charges, has maintained his relationship with Ventura was consensual and disputes her claims of abuse.
His legal team argues the memoir contains inconsistencies that could help discredit her testimony.
Attorney Anna Estevao, representing Diddy, said the draft manuscript contradicts Ventura’s current statements and is crucial to the defense.
Ventura’s attorneys, backed by federal prosecutors, attempted to block the subpoena, arguing it was invasive and irrelevant. But the court sided partially with Diddy, allowing access only to the versions already in the government’s possession.
The judge denied Diddy’s attempt to get related materials, including diaries, notes, emails and financial records.
The case gained national attention after surveillance footage surfaced showing him physically assaulting Ventura in a Los Angeles hotel hallway.
The video, released earlier this year, prompted widespread backlash and a public apology from Combs, who said, “I take full responsibility for my actions in that video. I was disgusted then when I did it. I’m disgusted now.”
A separate battle over the admissibility of the video is raging, with Diddy’s freedom in the hands of Judge Subramanian, who has yet to rule on the particularly damning piece of evidence.
Diddy’s criminal trial is set to begin May 5 in federal court.
Diddy scored a limited courtroom win when a federal judge ruled that he could obtain prior drafts of an unpublished memoir believed to have been written by Cassie Ventura, a key witness expected to testify against him in his upcoming criminal trial.
U.S. District Judge Arun Subramanian denied a motion to block the release of earlier versions of the manuscript that had already been turned over to the government, ordering that they be produced to Diddy’s legal team by April 25.
Diddy, who faces a sweeping federal indictment that includes sex trafficking and racketeering charges, has maintained his relationship with Ventura was consensual and disputes her claims of abuse.
His legal team argues the memoir contains inconsistencies that could help discredit her testimony.
Attorney Anna Estevao, representing Diddy, said the draft manuscript contradicts Ventura’s current statements and is crucial to the defense.
Ventura’s attorneys, backed by federal prosecutors, attempted to block the subpoena, arguing it was invasive and irrelevant. But the court sided partially with Diddy, allowing access only to the versions already in the government’s possession.
The judge denied Diddy’s attempt to get related materials, including diaries, notes, emails and financial records.
The case gained national attention after surveillance footage surfaced showing him physically assaulting Ventura in a Los Angeles hotel hallway.
The video, released earlier this year, prompted widespread backlash and a public apology from Combs, who said, “I take full responsibility for my actions in that video. I was disgusted then when I did it. I’m disgusted now.”
A separate battle over the admissibility of the video is raging, with Diddy’s freedom in the hands of Judge Subramanian, who has yet to rule on the particularly damning piece of evidence.
Diddy’s criminal trial is set to begin May 5 in federal court.
OOOPS! Megan Thee Stallion Responds To Slim Thug’s Crush Claims
Megan Thee Stallion responds to Slim Thug’s claims that she may have a crush on him.
As previously reported, during an Instagram live session, Thug reflected on Meg’s performance at Coachella this past weekend. “Did y’all see Thee Stallion dancing to ‘Thug From Around The Way’ and ‘Still Tippin’?” he said, referring to her Coachella performance.
“If that ain’t a ‘I want you daddy’ call, I don’t know what is. So I’m just waiting on my day, kid. I’m just waiting on her to come to Houston and hit my line like, ‘Hey I’m in the town! Pick me up!’ It’s only a matter of time at this point. She brought me out in Houston. I know she got a crush on me by this point. She danced to two of my songs!”
“I’d say I’m in there. I think I’m in there. What y’all think? I probably can’t keep her; I ain’t gon’ lie. She a lot of energy. You could tell from the twerking. You could tell from the twerking! I ain’t gon’ let her kill me. I can’t pop a Viagra every day! Got damn! But we could have a good time. I’ll catch you in the city.”
During Meg’s set for the second weekend of #Coachella, the rapper cleared up any speculation. While dancing to Thug’s ‘Still Tippin’, Meg says to the crowd “and no Slim Thug this don’t mean I want you.. I just like your music babe.”
As previously reported, during an Instagram live session, Thug reflected on Meg’s performance at Coachella this past weekend. “Did y’all see Thee Stallion dancing to ‘Thug From Around The Way’ and ‘Still Tippin’?” he said, referring to her Coachella performance.
“If that ain’t a ‘I want you daddy’ call, I don’t know what is. So I’m just waiting on my day, kid. I’m just waiting on her to come to Houston and hit my line like, ‘Hey I’m in the town! Pick me up!’ It’s only a matter of time at this point. She brought me out in Houston. I know she got a crush on me by this point. She danced to two of my songs!”
“I’d say I’m in there. I think I’m in there. What y’all think? I probably can’t keep her; I ain’t gon’ lie. She a lot of energy. You could tell from the twerking. You could tell from the twerking! I ain’t gon’ let her kill me. I can’t pop a Viagra every day! Got damn! But we could have a good time. I’ll catch you in the city.”
During Meg’s set for the second weekend of #Coachella, the rapper cleared up any speculation. While dancing to Thug’s ‘Still Tippin’, Meg says to the crowd “and no Slim Thug this don’t mean I want you.. I just like your music babe.”
‘America’s Next Top Model’ Alum, Tiffany Richardson’s Son Shot Dead
According to an exclusive police report obtained by The Sun, Chadrick Coats, the 21-year-old who died during an alleged failed robbery, was the son of America’s Next Top Model alum, Tiffany Richardson.
On Tuesday, Oct. 17, 2023, at GameStop Pembroke Pines, Florida, Coats was shot and killed by then-33-year old GameStop manager and former Marine Derrick Guerrero.
The report states that Guerrero spotted Coats grabbing $600 in Pokemon trading cards and booster packs from behind the counter then running out of the store.
Guerrero told cops he fired a “warning shot,” but mistakenly hit Coats in the back and chest.
Coats allegedly screamed and ran to his truck, where his girlfriend was waiting for him. She called 911.
“At no time did the victim threaten Guerrero or display any type of weapon,” police said in a release on Facebook, adding, “The victim was transported to a nearby hospital where he died as a result of his injuries.”
The manager posted a $25,000 bond on Thursday, Oct. 19, telling NBC Miami, “I’m really sorry for the family. I didn’t mean for any of this to happen to the family. It wasn’t my intention.”
According to county court records obtained by the outlet, Guerrero pleaded not guilty and the case is ongoing. He recently filed documents to be granted more freedom while on house arrest, including allowance to attend school and family events for his two young children, but the request was denied.
Guerrero will return to court in July 2025 to give a deposition.
According to an exclusive police report obtained by The Sun, Chadrick Coats, the 21-year-old who died during an alleged failed robbery, was the son of America’s Next Top Model alum, Tiffany Richardson.
On Tuesday, Oct. 17, 2023, at GameStop Pembroke Pines, Florida, Coats was shot and killed by then-33-year old GameStop manager and former Marine Derrick Guerrero.
The report states that Guerrero spotted Coats grabbing $600 in Pokemon trading cards and booster packs from behind the counter then running out of the store.
Guerrero told cops he fired a “warning shot,” but mistakenly hit Coats in the back and chest.
Coats allegedly screamed and ran to his truck, where his girlfriend was waiting for him. She called 911.
“At no time did the victim threaten Guerrero or display any type of weapon,” police said in a release on Facebook, adding, “The victim was transported to a nearby hospital where he died as a result of his injuries.”
The manager posted a $25,000 bond on Thursday, Oct. 19, telling NBC Miami, “I’m really sorry for the family. I didn’t mean for any of this to happen to the family. It wasn’t my intention.”
According to county court records obtained by the outlet, Guerrero pleaded not guilty and the case is ongoing. He recently filed documents to be granted more freedom while on house arrest, including allowance to attend school and family events for his two young children, but the request was denied.
Guerrero will return to court in July 2025 to give a deposition.
Kendrick Lamar Is The New Chanel Brand Ambassador
Kendrick Lamar has officially joined Chanel as its newest ambassador, the French fashion house confirmed Monday, April 21.
The Compton-born rapper will lead its upcoming eyewear campaign, slated to launch Tuesday, April 22, marking a rare collaboration between the brand and a male figure. Lamar joins a short list of men to represent Chanel, standing alongside G-Dragon and Timothée Chalamet in that exclusive circle.
“Chanel has a timeless legacy, and that’s something I can stand behind,” Lamar told The Business of Fashion. “Since they don’t design menswear, I knew eyewear would be the lane.” That understated practicality speaks to his quiet confidence—he enters luxury not by force but by fit
The campaign, reportedly shot by photographer Karim Sadli, expands Chanel’s push to spotlight eyewear as a statement, not an accessory. “We believe in the power of eyewear. It defines the Chanel silhouette. It’s an extension of our codes,” said Bruno Pavlovsky, Chanel’s president of fashion.
Lamar’s relationship with Chanel didn’t begin with this campaign. At the 2023 Met Gala, he skipped the red carpet but made an impression inside the museum, appearing in a Chanel leather bomber and an MLB cap for the “Karl Lagerfeld: A Line of Beauty” exhibition. That same year, he sat front row at Chanel’s Fall-Winter 2023 Haute Couture show during Paris Fashion Week, flanked by Charlotte Casiraghi, Vanessa Paradis, and Lupita Nyong’o. His outfit that day—a white tweed jacket, logo-covered jeans, and a plain tee—balanced minimalism with intention.
Earlier this year, Lamar’s creative company pgLang, co-founded with longtime collaborator Dave Free, partnered with Chanel to produce a short black-and-white film, The Button. Featuring Naomi Campbell, Margaret Qualley, and Anna Mouglalis, the story explored themes of memory and legacy. Just days after the short premiered, Lamar attended Chanel’s Spring-Summer 2024 Haute Couture show wearing a tweed jacket, baggy jeans, and a jeweled cap—still unmistakably Chanel, but stripped of branding excess.
“Chanel is timeless,” Kendrick Lamar said during the event. “That’s something we value too—integrity, lasting impact, and creating with purpose for the next generation.”
A recent editorial shoot with Senegalese photographer Malick Bodian echoed those sentiments. Lamar wore a variation of his fashion week look, trading the jeweled hat for a beanie and swapping sneakers for loafers. The understated styling allowed his presence to speak louder than any logo.
Top Dawg Entertainment president Punch even chimed in with some light teasing after the photos dropped, poking fun at Lamar’s softened expression. “I think I’m cute on there, man. Couldn’t resist,” Lamar joked.
As Chanel steps into a new era of creative partnerships, Kendrick Lamar’s addition signals a fresh chapter—where art, identity, and legacy intersect without compromise.
The Compton-born rapper will lead its upcoming eyewear campaign, slated to launch Tuesday, April 22, marking a rare collaboration between the brand and a male figure. Lamar joins a short list of men to represent Chanel, standing alongside G-Dragon and Timothée Chalamet in that exclusive circle.
“Chanel has a timeless legacy, and that’s something I can stand behind,” Lamar told The Business of Fashion. “Since they don’t design menswear, I knew eyewear would be the lane.” That understated practicality speaks to his quiet confidence—he enters luxury not by force but by fit
The campaign, reportedly shot by photographer Karim Sadli, expands Chanel’s push to spotlight eyewear as a statement, not an accessory. “We believe in the power of eyewear. It defines the Chanel silhouette. It’s an extension of our codes,” said Bruno Pavlovsky, Chanel’s president of fashion.
Lamar’s relationship with Chanel didn’t begin with this campaign. At the 2023 Met Gala, he skipped the red carpet but made an impression inside the museum, appearing in a Chanel leather bomber and an MLB cap for the “Karl Lagerfeld: A Line of Beauty” exhibition. That same year, he sat front row at Chanel’s Fall-Winter 2023 Haute Couture show during Paris Fashion Week, flanked by Charlotte Casiraghi, Vanessa Paradis, and Lupita Nyong’o. His outfit that day—a white tweed jacket, logo-covered jeans, and a plain tee—balanced minimalism with intention.
Earlier this year, Lamar’s creative company pgLang, co-founded with longtime collaborator Dave Free, partnered with Chanel to produce a short black-and-white film, The Button. Featuring Naomi Campbell, Margaret Qualley, and Anna Mouglalis, the story explored themes of memory and legacy. Just days after the short premiered, Lamar attended Chanel’s Spring-Summer 2024 Haute Couture show wearing a tweed jacket, baggy jeans, and a jeweled cap—still unmistakably Chanel, but stripped of branding excess.
“Chanel is timeless,” Kendrick Lamar said during the event. “That’s something we value too—integrity, lasting impact, and creating with purpose for the next generation.”
A recent editorial shoot with Senegalese photographer Malick Bodian echoed those sentiments. Lamar wore a variation of his fashion week look, trading the jeweled hat for a beanie and swapping sneakers for loafers. The understated styling allowed his presence to speak louder than any logo.
Top Dawg Entertainment president Punch even chimed in with some light teasing after the photos dropped, poking fun at Lamar’s softened expression. “I think I’m cute on there, man. Couldn’t resist,” Lamar joked.
As Chanel steps into a new era of creative partnerships, Kendrick Lamar’s addition signals a fresh chapter—where art, identity, and legacy intersect without compromise.
50 Cent Explodes On Co-Producer—Scraps His Own Movie As “Skillhouse” Future In Doubt
50 Cent torched his own horror film Skillhouse and blasted producer Ryan Kavanaugh in a blistering Instagram post, accusing him of sabotaging the project and pushing him to scrap it altogether
On Thursday (April 17), the G-Unit honcho dropped off a few posts on Instagram squarely aimed at Kavanaugh, his fellow producer on the movie.
“This guy Ryan Kavanaugh is doing everything in his power to make me kill this movie. This one is going in the trash CAN!” 50 Cent wrote, making it clear he’s pulling the plug on the film he both stars in and co-produced.
The Hip-Hop and entertainment mogul didn’t stop there. He posted a photo of Kavanaugh next to screenshots of the producer’s 2008 DUI arrest, adding, “Here he is guys, he must be drunk right now f###### wit me. Top Financier get the f### outta here.”
The fallout stems from a growing dispute over Skillhouse, a horror flick centered on 10 influencers trapped in a deadly content house where survival hinges on social media engagement. The film is slated to hit theaters on July 11 via Fathom Entertainment.
Tensions escalated earlier this week when 50 Cent warned that the movie couldn’t legally be released without his approval.
“They can’t release this MOVIE SKILL HOUSE without my signature, which they do not have. What kinda business are they doing? I’d hate to have to demonstrate,” he wrote on Wednesday.
Despite being listed as co-producers, 50 Cent’s posts suggest he believes Kavanaugh and others may be trying to bypass his contractual rights to push the film forward without his consent.
The public fallout now casts serious doubt over the future of Skillhouse, with 50 Cent making it clear he’s ready to bury the project unless the behind-the-scenes conflict is resolved.
50 Cent torched his own horror film Skillhouse and blasted producer Ryan Kavanaugh in a blistering Instagram post, accusing him of sabotaging the project and pushing him to scrap it altogether
On Thursday (April 17), the G-Unit honcho dropped off a few posts on Instagram squarely aimed at Kavanaugh, his fellow producer on the movie.
“This guy Ryan Kavanaugh is doing everything in his power to make me kill this movie. This one is going in the trash CAN!” 50 Cent wrote, making it clear he’s pulling the plug on the film he both stars in and co-produced.
The Hip-Hop and entertainment mogul didn’t stop there. He posted a photo of Kavanaugh next to screenshots of the producer’s 2008 DUI arrest, adding, “Here he is guys, he must be drunk right now f###### wit me. Top Financier get the f### outta here.”
The fallout stems from a growing dispute over Skillhouse, a horror flick centered on 10 influencers trapped in a deadly content house where survival hinges on social media engagement. The film is slated to hit theaters on July 11 via Fathom Entertainment.
Tensions escalated earlier this week when 50 Cent warned that the movie couldn’t legally be released without his approval.
“They can’t release this MOVIE SKILL HOUSE without my signature, which they do not have. What kinda business are they doing? I’d hate to have to demonstrate,” he wrote on Wednesday.
Despite being listed as co-producers, 50 Cent’s posts suggest he believes Kavanaugh and others may be trying to bypass his contractual rights to push the film forward without his consent.
The public fallout now casts serious doubt over the future of Skillhouse, with 50 Cent making it clear he’s ready to bury the project unless the behind-the-scenes conflict is resolved.
SZA Nearly Dropped By Shaky Dancer During Tour Kick-Off With Kendrick Lamar
The Grand National Tour, co-headlined by SZA and Kendrick Lamar, kicked off with high energy at U.S. Bank Stadium in Minneapolis. However, the opening night almost ended in disaster when SZA nearly took a fall during the performance of "Diamond Boy (DTM)" from her 2024 album "Lana".
In a viral video from the show, a backup dancer lost his balance while holding SZA who's leaning on him and putting her arm around his shoulders. She luckily managed to step forward and catch herself before hitting the floor while the dancer regained his balance, and ever the professional, she recovered immediately and continued the performance seamlessly.
Fans had mixed reactions to the incident. Some expressed outrage and even called for the dancer to be fired while others praised SZA for her quick recovery. "Y'all she bounced back, didn't get hurt and did her show. The internet is the most jealous a** nasty a** place," a dedicated fan commented, defending the star against trolls who tried to blame her weight for the mishap.
SZA has not publicly commented on the event, but she did share a clip from the concert on Instagram with the playful caption, "It feels illegal to be this close to SZA." Additionally, she gave a shoutout to her fitness coach Taylor Petty, humorously noting, "these cameras a lil close 😭."
The ambitious tour will cover various cities across North America, including Houston, Atlanta, Philadelphia, Seattle, Los Angeles, San Francisco, Las Vegas, Chicago, and Detroit, before heading to Europe. International stops include the UK, Germany, Spain, Portugal, Switzerland, and Italy.
During a March appearance on "Jimmy Kimmel Live!", SZA hinted at the unique nature of the tour, explaining, "We're doing a new thing. We're doing a fun thing. We're both just kind of throwing all the paint at the wall. This is our first stadium show for both of us, so we pretty much have to go insane."
The announcement came after her recent collaboration on Lamar's 2024 album, "GNX", and their live duet on Super Bowl halftime show.
In a viral video from the show, a backup dancer lost his balance while holding SZA who's leaning on him and putting her arm around his shoulders. She luckily managed to step forward and catch herself before hitting the floor while the dancer regained his balance, and ever the professional, she recovered immediately and continued the performance seamlessly.
Fans had mixed reactions to the incident. Some expressed outrage and even called for the dancer to be fired while others praised SZA for her quick recovery. "Y'all she bounced back, didn't get hurt and did her show. The internet is the most jealous a** nasty a** place," a dedicated fan commented, defending the star against trolls who tried to blame her weight for the mishap.
SZA has not publicly commented on the event, but she did share a clip from the concert on Instagram with the playful caption, "It feels illegal to be this close to SZA." Additionally, she gave a shoutout to her fitness coach Taylor Petty, humorously noting, "these cameras a lil close 😭."
The ambitious tour will cover various cities across North America, including Houston, Atlanta, Philadelphia, Seattle, Los Angeles, San Francisco, Las Vegas, Chicago, and Detroit, before heading to Europe. International stops include the UK, Germany, Spain, Portugal, Switzerland, and Italy.
During a March appearance on "Jimmy Kimmel Live!", SZA hinted at the unique nature of the tour, explaining, "We're doing a new thing. We're doing a fun thing. We're both just kind of throwing all the paint at the wall. This is our first stadium show for both of us, so we pretty much have to go insane."
The announcement came after her recent collaboration on Lamar's 2024 album, "GNX", and their live duet on Super Bowl halftime show.
Chipotle to Open First-Ever Restaurant in Mexico
For the first time in its 30-year history, Chipotle Mexican Grill is heading south of the border. The California-based restaurant chain announced plans on Monday to open its first location in Mexico in early 2026. The move marks a major milestone for the company, which has long operated in the U.S. and recently began expanding into international markets.
To bring the concept to Mexico, Chipotle is partnering with Alsea, a prominent Mexico City-based restaurant operator responsible for franchises like Domino’s, Starbucks, Burger King, and Chili’s across Latin America and parts of Europe.
Alsea will lead the launch of Chipotle’s first restaurant in Mexico City and is expected to explore additional growth opportunities throughout the region.
Nate Lawton, Chipotle’s Chief Business Development Officer, expressed optimism about the move.
“The country’s familiarity with our ingredients and affinity for fresh food make it an attractive growth market for our company,” Lawton said in a statement.
The expansion comes at a time when trade relations between the U.S. and Mexico are shifting. The U.S. Commerce Department recently announced plans to end a 2019 agreement that had paused an antidumping investigation into tomato imports from Mexico. The change, which could impose a 20.91 percent tariff on most fresh tomatoes, is set to take effect in July.
While tomatoes may soon carry higher costs, Chipotle’s avocado supply—which is sourced roughly 50 percent from Mexico—remains unaffected by current tariffs.
Founded in 1993 in Denver, Chipotle now operates more than 3,700 restaurants and is on pace to open up to 345 more locations this year. The brand has increasingly prioritized international expansion, launching its first new market in over a decade last year by opening locations in Kuwait and the United Arab Emirates through a partnership with the Alshaya Group.
For the first time in its 30-year history, Chipotle Mexican Grill is heading south of the border. The California-based restaurant chain announced plans on Monday to open its first location in Mexico in early 2026. The move marks a major milestone for the company, which has long operated in the U.S. and recently began expanding into international markets.
To bring the concept to Mexico, Chipotle is partnering with Alsea, a prominent Mexico City-based restaurant operator responsible for franchises like Domino’s, Starbucks, Burger King, and Chili’s across Latin America and parts of Europe.
Alsea will lead the launch of Chipotle’s first restaurant in Mexico City and is expected to explore additional growth opportunities throughout the region.
Nate Lawton, Chipotle’s Chief Business Development Officer, expressed optimism about the move.
“The country’s familiarity with our ingredients and affinity for fresh food make it an attractive growth market for our company,” Lawton said in a statement.
The expansion comes at a time when trade relations between the U.S. and Mexico are shifting. The U.S. Commerce Department recently announced plans to end a 2019 agreement that had paused an antidumping investigation into tomato imports from Mexico. The change, which could impose a 20.91 percent tariff on most fresh tomatoes, is set to take effect in July.
While tomatoes may soon carry higher costs, Chipotle’s avocado supply—which is sourced roughly 50 percent from Mexico—remains unaffected by current tariffs.
Founded in 1993 in Denver, Chipotle now operates more than 3,700 restaurants and is on pace to open up to 345 more locations this year. The brand has increasingly prioritized international expansion, launching its first new market in over a decade last year by opening locations in Kuwait and the United Arab Emirates through a partnership with the Alshaya Group.
AND FINALLY FROM “THE CRAZY PEOPLE SHOPPING AT WALMART” FILES
Courtesy of P.O.Wm
We hope that he found everything he needs.
Enjoy!
Need to Shop
We hope that he found everything he needs.
AND NOW Meet: Victor
It's Victor! You can see more HERE
DISCLAIMER: WE DO NOT OWN any images posted on this blog. All images are found online or submitted.
Enjoy!
HAVE A GREAT DAY ALL!!!
EFREM
No comments:
Post a Comment