#MAGFAB:Jaÿ Z for GQ Magazine photographed by artist Rashid Johnson
Jay-Z has kept his thoughts to himself for the better part of the past decade. But here, in a rare interview, he puts everything on the table—reflecting on music, business, family, and life over the 30 years since the release of Reasonable Doubt.
Get more HERE:
#RHOA: Drew Sidora Hits Back at RHOA Newcomer K. Michelle’s Shade: ‘To All the Beginners Out There…’
Season 17 of The Real Housewives of Atlanta is right around the corner, and one thing is already painfully obvious: Drew Sidora and K. Michelle can’t stand each other.
The two have been taking shots at each other online for months, and as the Season 17 promo ramps up, so does the shade. At this point, a friendship seems pretty unlikely, but if nothing else, Drew knows how to roll with the punches and turn the shade into self-promotion.
The latest round in this feud started when K, Angela Oakley, and Phaedra Parks appeared on the soon-to-be-off-the-air Sherri show. During the interview, Sherri asked the former Love & Hip Hop star about her ongoing beef with Drew.
K explained, “I can’t say a lot, but I can say it’s not for what people think it is or what she would hope it would be about. She would hope it would be about music, but I don’t fight about music when something doesn’t compare, so it wasn’t that.”
We’re still not any closer to understanding the feud. Instead, K just repeatedly made digs at Drew’s music career. Doesn’t she know how hard Drew and Dennis McKinley fought to get that EP off the ground?
K added, “I travel all over the world. I work. [I have] platinum [and] gold records, all types of stuff. One thing I’m not going to do is fight about music. I think people think that’s what it’s going to be. I try to support all of the beginners in music.”
Yikes! Clearly, there’s a whole lot of shade coming from K, but Drew was not fazed by it. When she caught wind of the Sherri clip, she took a moment to type up a level-headed response, standing up for all of the “beginners” out there while also teasing the next big chapter in her music career.
Drew wrote, “To all the beginners out there … keep going. I’m finally living my dream and preparing for my first Live Nation tour. Tickets are live.”
Whether Drew is on a Live Nation tour or if K is selling platinum records, it really doesn’t matter. They’re both now on the same Bravo show and holding the exact same peach. They’re peers, and maybe someday, they’ll be friends.
The Real Housewives of Atlanta returns to Bravo on Sunday, April 5 at 8/7c. You can stream it the next day on Peacock.
TELL US – WHAT ARE YOUR THOUGHTS ON THIS K. MICHELLE AND DREW FEUD? DO YOU THINK THEY CAN RESOLVE THEIR CONFLICT BY THE END OF SEASON 17?
Season 17 of The Real Housewives of Atlanta is right around the corner, and one thing is already painfully obvious: Drew Sidora and K. Michelle can’t stand each other.
The two have been taking shots at each other online for months, and as the Season 17 promo ramps up, so does the shade. At this point, a friendship seems pretty unlikely, but if nothing else, Drew knows how to roll with the punches and turn the shade into self-promotion.
The latest round in this feud started when K, Angela Oakley, and Phaedra Parks appeared on the soon-to-be-off-the-air Sherri show. During the interview, Sherri asked the former Love & Hip Hop star about her ongoing beef with Drew.
K explained, “I can’t say a lot, but I can say it’s not for what people think it is or what she would hope it would be about. She would hope it would be about music, but I don’t fight about music when something doesn’t compare, so it wasn’t that.”
We’re still not any closer to understanding the feud. Instead, K just repeatedly made digs at Drew’s music career. Doesn’t she know how hard Drew and Dennis McKinley fought to get that EP off the ground?
K added, “I travel all over the world. I work. [I have] platinum [and] gold records, all types of stuff. One thing I’m not going to do is fight about music. I think people think that’s what it’s going to be. I try to support all of the beginners in music.”
Yikes! Clearly, there’s a whole lot of shade coming from K, but Drew was not fazed by it. When she caught wind of the Sherri clip, she took a moment to type up a level-headed response, standing up for all of the “beginners” out there while also teasing the next big chapter in her music career.
Drew wrote, “To all the beginners out there … keep going. I’m finally living my dream and preparing for my first Live Nation tour. Tickets are live.”
Whether Drew is on a Live Nation tour or if K is selling platinum records, it really doesn’t matter. They’re both now on the same Bravo show and holding the exact same peach. They’re peers, and maybe someday, they’ll be friends.
The Real Housewives of Atlanta returns to Bravo on Sunday, April 5 at 8/7c. You can stream it the next day on Peacock.
TELL US – WHAT ARE YOUR THOUGHTS ON THIS K. MICHELLE AND DREW FEUD? DO YOU THINK THEY CAN RESOLVE THEIR CONFLICT BY THE END OF SEASON 17?
#MusicNews: Miles Caton Signs to Columbia Records, introduces new song ‘Don’t Hate Me’
Actor and singer Miles Caton has inked a record deal with Columbia Records.
The Sinners star joins a roster that includes Beyoncé, Adele, Leon Bridges, Chlöe, Halle and more.
With his new deal, the 21-year-old has released his major-label debut single, “Don’t Hate Me.” The piano-laden ballad, produced by JT Daly, is an honest assessment of a lopsided relationship, where Caton takes accountability for throwing it off balance.
He croons in the chorus: “Don’t hate me / I know this heart of mine it drives you crazy / You want a promise, but I’m just a maybe / Your worst is twice the best that I can do / But baby, don’t hatе me for loving you.”
Actor and singer Miles Caton has inked a record deal with Columbia Records.
The Sinners star joins a roster that includes Beyoncé, Adele, Leon Bridges, Chlöe, Halle and more.
With his new deal, the 21-year-old has released his major-label debut single, “Don’t Hate Me.” The piano-laden ballad, produced by JT Daly, is an honest assessment of a lopsided relationship, where Caton takes accountability for throwing it off balance.
He croons in the chorus: “Don’t hate me / I know this heart of mine it drives you crazy / You want a promise, but I’m just a maybe / Your worst is twice the best that I can do / But baby, don’t hatе me for loving you.”
LISTEN HERE:
“Don’t Hate Me” is accompanied by a somber video directed by Geoff Sean Levy.
#HipHopNews: 50 Cent Is Bringing A New $100 Million-Dollar Venue To Times Square
This isn’t your average nightlife spot … PH Live is designed to be a full-blown celebrity magnet, hosting everything from pop-up concerts and movie premieres to high-end private parties and major cultural events.
50 says the goal is simple … to create the ultimate destination where everything collides. “Planet Hollywood has always been connected to pop culture, and PH Live takes that energy to the next level,” he said.
The space is being loaded with state-of-the-art LED tech that can completely transform the venue depending on the event … think surprise performances, live sports watch parties, album launches, and over-the-top birthday celebrations that feel more like exclusive Vegas shows.
Truth be told, it sounds like a pretty dope idea. Which A-List celebrities will actually partake in this new venture remains to be seen. We just hope said “A-Listers” don’t end up being the likes of Tony Yayo and Uncle Murda (no shots, just sayin’).
If proven successful, 50’s PH Live can expand to other locations in the coming future as 50 knows there’s always money to be made.
What do y’all think about 50 Cent’s PH Live endeavor?
Even in the midst of beefing with T.I., Jim Jones, and Papoose, 50 Cent still found some spare time to continue to make bank as he’s constantly proven to be one of the hardest working men in show business.
According to TMZ, 50 Cent’s latest venture will be landing in the heart of New York City, Times Square. The pettiest rapper to ever live has teamed up with Planet Hollywood head honcho, Robert Earl, to launch PH Live, which will serve as a new way for everyday people to meet some of their favorite celebrities. Fitty’s new $100 million-dollar endeavor is set to take over Planet Hollywood’s flagship location in Midtown Manhattan and will allow fans to party with some of their favorite A-List celebrities while catching surprise performances all in one night.This isn’t your average nightlife spot … PH Live is designed to be a full-blown celebrity magnet, hosting everything from pop-up concerts and movie premieres to high-end private parties and major cultural events.
50 says the goal is simple … to create the ultimate destination where everything collides. “Planet Hollywood has always been connected to pop culture, and PH Live takes that energy to the next level,” he said.
The space is being loaded with state-of-the-art LED tech that can completely transform the venue depending on the event … think surprise performances, live sports watch parties, album launches, and over-the-top birthday celebrations that feel more like exclusive Vegas shows.
Truth be told, it sounds like a pretty dope idea. Which A-List celebrities will actually partake in this new venture remains to be seen. We just hope said “A-Listers” don’t end up being the likes of Tony Yayo and Uncle Murda (no shots, just sayin’).
If proven successful, 50’s PH Live can expand to other locations in the coming future as 50 knows there’s always money to be made.
What do y’all think about 50 Cent’s PH Live endeavor?
Woman pleads not guilty to all charges connected to shooting at Rihanna's home
A Florida woman fired about 20 rounds at Rihanna’s Los Angeles home and put "lives at risk" while the Grammy winner, her partner, A$AP Rocky, and their children were inside, prosecutors said Wednesday.
Ivanna Lisette Ortiz, 35, pleaded not guilty to all charges in connection with the March 8 attack on Rihanna’s home in the Beverly Crest neighborhood of Los Angeles.
By taking aim at Rihanna's home and squeezing off about 20 rounds, Ortiz was "putting numerous lives at risk," Los Angeles County Deputy District Attorney Alexander Bott told a judge.
Ortiz was found in a car with the rifle, ammunition and a wig she was going to use a disguise, Bott said.
Ortiz faces one count of attempted murder, 10 counts of assault with a semiautomatic firearm, two counts of shooting at an inhabited dwelling and one count of shooting at an inhabited vehicle, according to the criminal complaint.
She is due back in court on April 8, when a preliminary hearing date will be set. Ortiz is being held in lieu of $1.875 million bail and has been ordered to have no contact with Rihanna.
Ortiz drove up to the property’s entrance and started shooting, police said. A possible motive wasn’t clear.
The property’s front gate appeared to have bullet holes, but police said no one was hurt.
Ivanna Lisette Ortiz, 35, pleaded not guilty to all charges in connection with the March 8 attack on Rihanna’s home in the Beverly Crest neighborhood of Los Angeles.
By taking aim at Rihanna's home and squeezing off about 20 rounds, Ortiz was "putting numerous lives at risk," Los Angeles County Deputy District Attorney Alexander Bott told a judge.
Ortiz was found in a car with the rifle, ammunition and a wig she was going to use a disguise, Bott said.
Ortiz faces one count of attempted murder, 10 counts of assault with a semiautomatic firearm, two counts of shooting at an inhabited dwelling and one count of shooting at an inhabited vehicle, according to the criminal complaint.
She is due back in court on April 8, when a preliminary hearing date will be set. Ortiz is being held in lieu of $1.875 million bail and has been ordered to have no contact with Rihanna.
Ortiz drove up to the property’s entrance and started shooting, police said. A possible motive wasn’t clear.
The property’s front gate appeared to have bullet holes, but police said no one was hurt.
Usher Calls Diddy a “Legacy Figure,” Refuses to Speak Negatively
Usher is standing by Sean Combs, saying he will not speak negatively about the music mogul despite ongoing public scrutiny.
In an interview with Forbes, Usher said his personal experience with Combs differs from how the producer has been portrayed publicly. “I don’t have anything negative to say about Sean Combs because my experience was not what the world has seen,” he explained.
While acknowledging that no one is without flaws, Usher emphasized the importance of recognizing Combs’ impact on the music industry. “I can’t with any sense of humanity not recognize the valuable contributions that this man made,” he said.
Usher added that many artists and creatives have benefited from what Combs built, which is why he continues to view him as a “legacy figure.”
You can see the full interview HERE.
Meagan Good & Tank Join “Reasonable Doubt” Season 4 As Series Regulars
Reasonable Doubt is adding some new star power for its upcoming season.
Meagan Good has officially joined the cast as a series regular for Season 4, alongside singer and actor Durrell “Tank” Babbs. Meagan is set to play Regina Harris, described by Deadline as a sharp and compassionate district attorney who’s “nobody’s fool.”
Tank will portray Eric Cropper, a wealthy and influential R&B artist who’s also a longtime client of Jacqueline “Jax” Stewart (portrayed by Emayatzy Corinealdi). The character is described as “charming” and “calculating,” someone accustomed to always getting his way. While an exact premiere date hasn’t been announced, Season 4 is expected to arrive sometime this fall.
Reasonable Doubt is adding some new star power for its upcoming season.
Meagan Good has officially joined the cast as a series regular for Season 4, alongside singer and actor Durrell “Tank” Babbs. Meagan is set to play Regina Harris, described by Deadline as a sharp and compassionate district attorney who’s “nobody’s fool.”
Tank will portray Eric Cropper, a wealthy and influential R&B artist who’s also a longtime client of Jacqueline “Jax” Stewart (portrayed by Emayatzy Corinealdi). The character is described as “charming” and “calculating,” someone accustomed to always getting his way. While an exact premiere date hasn’t been announced, Season 4 is expected to arrive sometime this fall.
Cardi B’s “Am I The Drama?” Rollout To Be Studied At Howard University
Howard University students now have the opportunity to take a course centered on Cardi B’s successful rollout of her sophomore album.
According to an official post from the university’s fine arts department, the class will give students an in-depth look at what made the promotion behind Am I The Drama? such a standout moment. The elective will be offered for the fall 2026 semester as part of the hip hop studies minor, in partnership with Warner Music Group. Cardi’s second studio album, released on September 19, 2025, debuted at No. 1 on the Billboard 200.
She’s currently on the road supporting the project, with multiple sold-out shows already under her belt. The Little Miss Drama Tour has made 19 stops so far, and #Cardi is set to hit the stage again tonight (Mar. 25) at Madison Square Garden for what’s expected to be another high-energy performance.
Howard University students now have the opportunity to take a course centered on Cardi B’s successful rollout of her sophomore album.
According to an official post from the university’s fine arts department, the class will give students an in-depth look at what made the promotion behind Am I The Drama? such a standout moment. The elective will be offered for the fall 2026 semester as part of the hip hop studies minor, in partnership with Warner Music Group. Cardi’s second studio album, released on September 19, 2025, debuted at No. 1 on the Billboard 200.
She’s currently on the road supporting the project, with multiple sold-out shows already under her belt. The Little Miss Drama Tour has made 19 stops so far, and #Cardi is set to hit the stage again tonight (Mar. 25) at Madison Square Garden for what’s expected to be another high-energy performance.
Meta and YouTube Found Negligent in Landmark Social Media Addiction Trial
The woman, known as Kaley, was awarded $6m (£4.5m) in damages, a result likely to have implications for hundreds of similar cases now winding their way through US courts.
Meta and Google said they disagreed with the verdict and intended to appeal
Meta said: "Teen mental health is profoundly complex and cannot be linked to a single app.
"We will continue to defend ourselves vigorously as every case is different, and we remain confident in our record of protecting teens online."
A spokesperson for Google said: "This case misunderstands YouTube, which is a responsibly built streaming platform, not a social media site."
But speaking to BBC Breakfast, Ellen Roome, who is herself suing TikTok after the death of her son, said the case was an "enough was enough" moment.
"How many more children are going to be harmed and potentially die from these platforms?" she asked.
"It's been proved it's not safe - and social media companies need to fix it."
'Malice, oppression or fraud'
Jurors found that Kaley should receive $3m in compensatory damages and an additional $3m punitive damages, because they determined Meta and Google "acted with malice, oppression, or fraud" in the way the companies operated their platforms.
Meta will be expected to shoulder 70% of Kaley's damages award, with Google the remaining 30%.
Parents of other children, who are not part of Kaley's lawsuit but claim they also were harmed by social media, were outside the courthouse on Wednesday, as they had been many days throughout the five-week trial.
When the verdict came through, parents like Amy Neville were seen celebrating, and hugging other parents and supporters who had been waiting for a decision.
The LA verdict came a day after a jury in New Mexico found Meta liable for the way in which its platforms endangered children and exposed them to sexually explicit material and contact with sexual predators.
Mike Proulx, a research director for advisory firm Forrester, said the back-to-back verdicts underline a "breaking point" between social media companies and the public.
In recent months, countries such as Australia have imposed restrictions for children to stop or limit their use of social media. The UK is currently running a pilot programme to see how a ban of social media for people aged under 16 may work.
"Negative sentiment toward social media has been building for years, and now it's finally boiled over," Proulx said.
Reacting to the verdict, Prime Minister Sir Keir Starmer said the status quo was "not good enough" and more needed to be done to protect children.
Highlighting the government's consultation asking whether to ban social media for under-16s, he said: "It's not if things are going to change, things are going to change.
The question is, how much and what are we going to do?"
Meanwhile, the Duke and Duchess of Sussex, who have campaigned at length about the harms of social media, called the verdict a "reckoning".
"Let this be the change – where our children's safety is finally prioritised above profit."
During his appearance before the jury in February, Mark Zuckerberg, Meta's chairman and chief executive, relied on his company's longstanding policy of not allowing users under the age of 13 on any of its platforms.
When presented with internal research and documents showing that Meta knew young children were, in fact, using its platforms, Zuckerberg said he "always wished" for faster progress to identify users under 13. He insisted the company had reached the "right place over time".
While Google, as the owner of video-sharing site YouTube, was also a defendant in the case, most of the trial proceedings focused on Instagram and Meta.
Snap and TikTok were also initially defendants, but both companies reached undisclosed settlements with Kaley prior to trial.
As for Kaley's lawyers, they argued that Meta and YouTube had built "addiction machines" and failed in their responsibility to prevent children from accessing their platforms.
Kaley said she started using Instagram aged nine and YouTube aged six, and encountered no attempts to block her because of her age.
"I stopped engaging with family because I was spending all my time on social media," Kaley said during her testimony.
Kaley said she was 10 years old when she started having feelings of anxiety and depression, disorders for which she would be diagnosed years later by a therapist.
She also started to obsess about her physical appearance and began using Instagram filters that would change the way she looked – making her nose smaller and her eyes bigger – almost as soon as she started using the platform as a child.
Kaley has since been diagnosed with body dysmorphia, a condition which causes people to worry excessively about their physical appearance and prevents them from seeing themselves as others do.
Her lawyers argued that features of Instagram, like infinite scroll, were designed to be addictive.
Meta's growth goals were aimed at getting young people to use its platforms, Kaley's lawyers said.
Using testimony from experts and former Meta executives, they argued the company wanted young users because they were more likely to stick with its platforms for longer stretches of time.
When lawyers for Kaley told Adam Mosseri, the head of Instagram, that her longest single day of use of the platform stretched to 16 hours, he denied that it was evidence of an addiction.
Instead, he called a teenager spending most hours of the day on Instagram "problematic".
Lawyers for Kaley said Wednesday that the jury's verdict "sends an unmistakable message that no company is above accountability when it comes to our children."
Another case against Meta and other social media platforms over their alleged harms to children is poised to begin in June in California federal court.
Parents and campaign groups seeking tighter restrictions on social media have welcomed a Los Angeles jury handing down an unprecedented win for a young woman who sued Meta and YouTube over her childhood addiction to social media.
Jurors found that Meta, which owns Instagram, Facebook and WhatsApp, and Google, owner of YouTube, intentionally built addictive social media platforms that harmed the 20-year old's mental health.The woman, known as Kaley, was awarded $6m (£4.5m) in damages, a result likely to have implications for hundreds of similar cases now winding their way through US courts.
Meta and Google said they disagreed with the verdict and intended to appeal
Meta said: "Teen mental health is profoundly complex and cannot be linked to a single app.
"We will continue to defend ourselves vigorously as every case is different, and we remain confident in our record of protecting teens online."
A spokesperson for Google said: "This case misunderstands YouTube, which is a responsibly built streaming platform, not a social media site."
But speaking to BBC Breakfast, Ellen Roome, who is herself suing TikTok after the death of her son, said the case was an "enough was enough" moment.
"How many more children are going to be harmed and potentially die from these platforms?" she asked.
"It's been proved it's not safe - and social media companies need to fix it."
'Malice, oppression or fraud'
Jurors found that Kaley should receive $3m in compensatory damages and an additional $3m punitive damages, because they determined Meta and Google "acted with malice, oppression, or fraud" in the way the companies operated their platforms.
Meta will be expected to shoulder 70% of Kaley's damages award, with Google the remaining 30%.
Parents of other children, who are not part of Kaley's lawsuit but claim they also were harmed by social media, were outside the courthouse on Wednesday, as they had been many days throughout the five-week trial.
When the verdict came through, parents like Amy Neville were seen celebrating, and hugging other parents and supporters who had been waiting for a decision.
The LA verdict came a day after a jury in New Mexico found Meta liable for the way in which its platforms endangered children and exposed them to sexually explicit material and contact with sexual predators.
Mike Proulx, a research director for advisory firm Forrester, said the back-to-back verdicts underline a "breaking point" between social media companies and the public.
In recent months, countries such as Australia have imposed restrictions for children to stop or limit their use of social media. The UK is currently running a pilot programme to see how a ban of social media for people aged under 16 may work.
"Negative sentiment toward social media has been building for years, and now it's finally boiled over," Proulx said.
Reacting to the verdict, Prime Minister Sir Keir Starmer said the status quo was "not good enough" and more needed to be done to protect children.
Highlighting the government's consultation asking whether to ban social media for under-16s, he said: "It's not if things are going to change, things are going to change.
The question is, how much and what are we going to do?"
Meanwhile, the Duke and Duchess of Sussex, who have campaigned at length about the harms of social media, called the verdict a "reckoning".
"Let this be the change – where our children's safety is finally prioritised above profit."
During his appearance before the jury in February, Mark Zuckerberg, Meta's chairman and chief executive, relied on his company's longstanding policy of not allowing users under the age of 13 on any of its platforms.
When presented with internal research and documents showing that Meta knew young children were, in fact, using its platforms, Zuckerberg said he "always wished" for faster progress to identify users under 13. He insisted the company had reached the "right place over time".
While Google, as the owner of video-sharing site YouTube, was also a defendant in the case, most of the trial proceedings focused on Instagram and Meta.
Snap and TikTok were also initially defendants, but both companies reached undisclosed settlements with Kaley prior to trial.
As for Kaley's lawyers, they argued that Meta and YouTube had built "addiction machines" and failed in their responsibility to prevent children from accessing their platforms.
Kaley said she started using Instagram aged nine and YouTube aged six, and encountered no attempts to block her because of her age.
"I stopped engaging with family because I was spending all my time on social media," Kaley said during her testimony.
Kaley said she was 10 years old when she started having feelings of anxiety and depression, disorders for which she would be diagnosed years later by a therapist.
She also started to obsess about her physical appearance and began using Instagram filters that would change the way she looked – making her nose smaller and her eyes bigger – almost as soon as she started using the platform as a child.
Kaley has since been diagnosed with body dysmorphia, a condition which causes people to worry excessively about their physical appearance and prevents them from seeing themselves as others do.
Her lawyers argued that features of Instagram, like infinite scroll, were designed to be addictive.
Meta's growth goals were aimed at getting young people to use its platforms, Kaley's lawyers said.
Using testimony from experts and former Meta executives, they argued the company wanted young users because they were more likely to stick with its platforms for longer stretches of time.
When lawyers for Kaley told Adam Mosseri, the head of Instagram, that her longest single day of use of the platform stretched to 16 hours, he denied that it was evidence of an addiction.
Instead, he called a teenager spending most hours of the day on Instagram "problematic".
Lawyers for Kaley said Wednesday that the jury's verdict "sends an unmistakable message that no company is above accountability when it comes to our children."
Another case against Meta and other social media platforms over their alleged harms to children is poised to begin in June in California federal court.
Paris Jackson Accused of ‘Complete Lack of Understanding’ in Michael Jackson Will Dispute
John Branca and John McClain, who have managed the King of Pop's fortune since his 2009 death, filed a response Thursday in Los Angeles probate court defending their stewardship of the estate and their roles as producers on the upcoming Michael biopic.
Paris, 27, has challenged various expenditures by Branca and McClain this past fall, accusing them of trying to "enrich and aggrandize" themselves through their work as producers on Michael. She also criticized Branca's casting choice of Miles Teller to play a younger version of himself in the film.
In their court filing, the executors characterized her complaints as without merit.
"These meritless objections are a profound waste of the court's time and, ironically, the estate's money," the executors wrote in their Thursday response.
The co-executors emphasized their track record managing Michael's legacy, noting their work has generated billions of dollars for the estate, of which $65 million has already been distributed to Paris. Much of that revenue stems from entertainment projects they produced, including the Broadway show MJ The Musical and the 2009 documentary Michael Jackson's This Is It.
"The objections complain about the executors' qualifications to act as producers but seem to be wholly ignorant of the fact that the executors have produced several projects involving Michael Jackson. Those efforts have been wildly successful," attorney Jonathan Steinsapir wrote on behalf of Branca and McClain.
The executors noted that This Is It is the highest-grossing concert documentary in history, surpassing Taylor Swift's 2023 The Eras Tour theatrical release.
Branca and McClain also defended a 2021 financial settlement with Michael's producing partner Quincy Jones, arguing it was a prudent business decision made "to effectively guarantee peace with Quincy Jones and his heirs forever."
Regarding Paris's complaints about the estate's failure to invest in stocks and bonds in 2021, the executors explained the IRS required them to keep funds in escrow due to tax litigation over the sale of Michael's stake in Sony/ATV Music Publishing.
"The executors recognize that they are, by definition, the 'grown-ups' here — that is the whole point of a fiduciary," the filing stated. "No payment made by this estate, in its 16 year history, has been disallowed."
In a statement to Billboard, Steinsapir said, "Ms. Jackson and her attorneys are once again abusing the courts and the legal system by making a series of false allegations as part of a media campaign to distract from their legal setbacks and the inherent weakness of their case."
The executors of Michael Jackson's estate have pushed back against his daughter Paris Jackson's challenge to their spending, saying her objections "betray a complete lack of understanding about how the motion picture industry works," Billboard reports.
Paris, 27, has challenged various expenditures by Branca and McClain this past fall, accusing them of trying to "enrich and aggrandize" themselves through their work as producers on Michael. She also criticized Branca's casting choice of Miles Teller to play a younger version of himself in the film.
In their court filing, the executors characterized her complaints as without merit.
"These meritless objections are a profound waste of the court's time and, ironically, the estate's money," the executors wrote in their Thursday response.
The co-executors emphasized their track record managing Michael's legacy, noting their work has generated billions of dollars for the estate, of which $65 million has already been distributed to Paris. Much of that revenue stems from entertainment projects they produced, including the Broadway show MJ The Musical and the 2009 documentary Michael Jackson's This Is It.
"The objections complain about the executors' qualifications to act as producers but seem to be wholly ignorant of the fact that the executors have produced several projects involving Michael Jackson. Those efforts have been wildly successful," attorney Jonathan Steinsapir wrote on behalf of Branca and McClain.
The executors noted that This Is It is the highest-grossing concert documentary in history, surpassing Taylor Swift's 2023 The Eras Tour theatrical release.
Branca and McClain also defended a 2021 financial settlement with Michael's producing partner Quincy Jones, arguing it was a prudent business decision made "to effectively guarantee peace with Quincy Jones and his heirs forever."
Regarding Paris's complaints about the estate's failure to invest in stocks and bonds in 2021, the executors explained the IRS required them to keep funds in escrow due to tax litigation over the sale of Michael's stake in Sony/ATV Music Publishing.
"The executors recognize that they are, by definition, the 'grown-ups' here — that is the whole point of a fiduciary," the filing stated. "No payment made by this estate, in its 16 year history, has been disallowed."
In a statement to Billboard, Steinsapir said, "Ms. Jackson and her attorneys are once again abusing the courts and the legal system by making a series of false allegations as part of a media campaign to distract from their legal setbacks and the inherent weakness of their case."
Viral Jill Scott Goodwill Photo Mystery Gets a Happy Ending: 'We’re All Grateful'
Jill Scott has confirmed that a set of childhood photos discovered at a Goodwill store is being returned to her family, closing the loop on a viral story that quickly spread across social media.
In a post shared on X, the Grammy-winning artist addressed the situation directly, writing, “How does one’s personal pictures end up in a Goodwill? Welp, moving to a new home. My Mommy moved. We’re all grateful to get the pics back. I’ll let you know when they arrive. Thanks again.”
The message not only confirmed that the photos were authentic but also provided context on how such personal items ended up in a thrift store. Scott’s response quickly gained traction online, with fans reacting to both the unexpected journey of the images and the successful effort to return them.
The story began when a Nashville-based TikToker named Hannah, known for sharing thrift store finds, came across a collection of framed and loose photographs featuring what appeared to be a young Scott and her family.
Initially describing it as “the saddest thing” she had seen at Goodwill, Hannah later realized who the photos belonged to and purchased them with the intention of returning them.
In a follow-up video, she asked her audience to help connect her with Scott, making it clear that she had no interest in profiting from the discovery.
“I’ve been reading some of y’alls comments about how some of these photos could be worth money. I don’t care. I know that photos are very special and meaningful to some people,” she said.
Scott, a three-time Grammy winner whose career spans music, acting, and writing, has built a reputation for grounding her work in personal storytelling.
From her early days in poetry to roles in projects like Why Did I Get Married?, her creative output has often centered on memory, identity, and lived experience.
The viral moment arrives during a period of renewed visibility for Scott, who recently released her latest album independently.
Jill Scott has confirmed that a set of childhood photos discovered at a Goodwill store is being returned to her family, closing the loop on a viral story that quickly spread across social media.
In a post shared on X, the Grammy-winning artist addressed the situation directly, writing, “How does one’s personal pictures end up in a Goodwill? Welp, moving to a new home. My Mommy moved. We’re all grateful to get the pics back. I’ll let you know when they arrive. Thanks again.”
The message not only confirmed that the photos were authentic but also provided context on how such personal items ended up in a thrift store. Scott’s response quickly gained traction online, with fans reacting to both the unexpected journey of the images and the successful effort to return them.
The story began when a Nashville-based TikToker named Hannah, known for sharing thrift store finds, came across a collection of framed and loose photographs featuring what appeared to be a young Scott and her family.
Initially describing it as “the saddest thing” she had seen at Goodwill, Hannah later realized who the photos belonged to and purchased them with the intention of returning them.
In a follow-up video, she asked her audience to help connect her with Scott, making it clear that she had no interest in profiting from the discovery.
“I’ve been reading some of y’alls comments about how some of these photos could be worth money. I don’t care. I know that photos are very special and meaningful to some people,” she said.
Scott, a three-time Grammy winner whose career spans music, acting, and writing, has built a reputation for grounding her work in personal storytelling.
From her early days in poetry to roles in projects like Why Did I Get Married?, her creative output has often centered on memory, identity, and lived experience.
The viral moment arrives during a period of renewed visibility for Scott, who recently released her latest album independently.
Security Guard Involved in Chappell Roan Hotel Incident Releases Statement, Takes 'Full Responsibility for the Interactions'
The security guard at the center of the Chappell Roan Sao Paulo hotel incident is breaking his silence on the situation.
The man, who has since been identified as Pascal Duvier, just released his own statement on Instagram, days after soccer star Jorginho Frello, wife Catherine Harding and Chappell, herself, have all spoken out about what happened.
If you recall, while staying at the same hotel as Chappell, Jorginho and Catherine‘s daughter had a rude encounter with the security guard after walking by the singer’s table at breakfast.
In his statement, Pascal addressed the “online rumors” and says the accusations circulating are not true, but he is taking full responsibility for the interactions. He also confirmed that he was hired as an outside security personnel and not part of Chappell‘s personal team.
“I do not normally address online rumors, but the accusations currently circulating are false and constitute defamation,” Pascal wrote on Instagram on Wednesday (March 25).
“I take full responsibility for the interactions on March 21st. I was at the hotel on behalf of another individual, and I was not part of the personal security team of Chappell Roan. The actions I took were not on behalf of Chappell Roan, her personal security team, her management, or any other individuals,” he continued. “I made a judgment call based on information we obtained from the hotel, events I had witnessed in the days prior and the heightened overall security risk of our location. My sole interaction with the mother was calm and with good intentions, and the outcome of the encounter is regretful.”
Earlier this week, Chappell‘s rep released a new statement, following the singer’s own video about what happened, where she shared she had no idea the girl even walked by the table.
The initial statement from Jorginho also lead the mayor of Rio de Janeiro to preemptively ban Chappell from performing at the city’s Todo Mundo no Rio event.
The man, who has since been identified as Pascal Duvier, just released his own statement on Instagram, days after soccer star Jorginho Frello, wife Catherine Harding and Chappell, herself, have all spoken out about what happened.
If you recall, while staying at the same hotel as Chappell, Jorginho and Catherine‘s daughter had a rude encounter with the security guard after walking by the singer’s table at breakfast.
In his statement, Pascal addressed the “online rumors” and says the accusations circulating are not true, but he is taking full responsibility for the interactions. He also confirmed that he was hired as an outside security personnel and not part of Chappell‘s personal team.
“I do not normally address online rumors, but the accusations currently circulating are false and constitute defamation,” Pascal wrote on Instagram on Wednesday (March 25).
“I take full responsibility for the interactions on March 21st. I was at the hotel on behalf of another individual, and I was not part of the personal security team of Chappell Roan. The actions I took were not on behalf of Chappell Roan, her personal security team, her management, or any other individuals,” he continued. “I made a judgment call based on information we obtained from the hotel, events I had witnessed in the days prior and the heightened overall security risk of our location. My sole interaction with the mother was calm and with good intentions, and the outcome of the encounter is regretful.”
Earlier this week, Chappell‘s rep released a new statement, following the singer’s own video about what happened, where she shared she had no idea the girl even walked by the table.
The initial statement from Jorginho also lead the mayor of Rio de Janeiro to preemptively ban Chappell from performing at the city’s Todo Mundo no Rio event.
Chaka Khan Says Modern Pop Stars Use “Butts and Body Parts” to Compensate for Lack of Talent
At 73 years old, Chaka Khan doesn’t have to move around on stage like other women who could be her grandchildren, and whose performances are expected to feature singing and choreographed dancing at a minimum. To hear the Queen of Funk tell it, however, the women who do the “most physicalities” with their “butts” are overcompensating for a lack of talent.
Khan made the comments during a recent episode of Jessie Ware’s Table Manners podcast, where the host brought up a recent The Breakfast Club interview with tourmates Patti LaBelle and Stephanie Mills. During that sitdown, LaBelle said it was important to “represent ourselves the right way” as Black women, without “pretend singing.” Mills added there were “no tricks” to their shows, similar to “back in the day.”
“You were all kind of commenting, When we go on stage, we just sing. We don’t need to do the bells and whistles. We don’t need to show our bodies,” Ware said. “Do you think that the demands have changed on female performers now, or do you think it’s always been there [and] you just haven’t played the game?”
In response, Khan said, “The game has changed because all bets are off. These women are doing any and every damn thing on stage and trying to sing, too. And the ones who are doing the most physicalities, with their butts and stuff, and their body parts, are the ones that usually are compensating for what they don’t have.”
Ware’s mother, Lennie, offered, “Move your bottom if you don’t,” before Khan continued, “[Have the] voice. Absolutely. I came to sing, and I came to really do a good job, and that’s hard work. I don’t feel like it’s hard work once I’m doing it. I feel great.”
Khan didn’t name names, but it doesn’t take much effort to think of top-tier performers who are able to do elaborate dance choreography while belting out vocals. Even “back in the day,” the late Tina Turner was known for shaking it on stage while roaring through “What’s Love Got to Do with It,” “Private Dancer,” “I Don’t Wanna Fight,” and any of her other hits.
And of course, Beyoncé has taken onstage physicality to the next level with her intricately produced shows, which include flying prop cars in addition to her second-to-none choreography. No one in their right mind would say P!NK can’t sing, either.
Speculating further is just asking for trouble, so we’re going to chalk this up to a certified legend having the privilege to just rely on her voice onstage and not having to even consider adding choreography to her shows.
Khan has also never been one to bite her tongue, once saying the Rolling Stone editors “must be the children of Helen Keller” in response to the publication’s “200 Greatest Singers of All Time” list.
At 73 years old, Chaka Khan doesn’t have to move around on stage like other women who could be her grandchildren, and whose performances are expected to feature singing and choreographed dancing at a minimum. To hear the Queen of Funk tell it, however, the women who do the “most physicalities” with their “butts” are overcompensating for a lack of talent.
Khan made the comments during a recent episode of Jessie Ware’s Table Manners podcast, where the host brought up a recent The Breakfast Club interview with tourmates Patti LaBelle and Stephanie Mills. During that sitdown, LaBelle said it was important to “represent ourselves the right way” as Black women, without “pretend singing.” Mills added there were “no tricks” to their shows, similar to “back in the day.”
“You were all kind of commenting, When we go on stage, we just sing. We don’t need to do the bells and whistles. We don’t need to show our bodies,” Ware said. “Do you think that the demands have changed on female performers now, or do you think it’s always been there [and] you just haven’t played the game?”
In response, Khan said, “The game has changed because all bets are off. These women are doing any and every damn thing on stage and trying to sing, too. And the ones who are doing the most physicalities, with their butts and stuff, and their body parts, are the ones that usually are compensating for what they don’t have.”
Ware’s mother, Lennie, offered, “Move your bottom if you don’t,” before Khan continued, “[Have the] voice. Absolutely. I came to sing, and I came to really do a good job, and that’s hard work. I don’t feel like it’s hard work once I’m doing it. I feel great.”
Khan didn’t name names, but it doesn’t take much effort to think of top-tier performers who are able to do elaborate dance choreography while belting out vocals. Even “back in the day,” the late Tina Turner was known for shaking it on stage while roaring through “What’s Love Got to Do with It,” “Private Dancer,” “I Don’t Wanna Fight,” and any of her other hits.
And of course, Beyoncé has taken onstage physicality to the next level with her intricately produced shows, which include flying prop cars in addition to her second-to-none choreography. No one in their right mind would say P!NK can’t sing, either.
Speculating further is just asking for trouble, so we’re going to chalk this up to a certified legend having the privilege to just rely on her voice onstage and not having to even consider adding choreography to her shows.
Khan has also never been one to bite her tongue, once saying the Rolling Stone editors “must be the children of Helen Keller” in response to the publication’s “200 Greatest Singers of All Time” list.
NCIS Kills Off Major Character After 18 Years
NCIS said goodbye to a longtime character on the March 24 episode. Here's what actor Rocky Carroll said about the shocking death in the series' 500th episode.
NCIS is giving a farewell salute to a beloved character.
The crime procedural said goodbye to Director Leon Vance (played by Rocky Carroll) on the March 24 episode, 18 years after the leader's debut in season five. During the 500th episode, Vance was killed in a shooting with a corrupt agent and welcomed to heaven by late Chief Medical Examiner Donald "Ducky" Mallard (played by Adam Campbell).
So, how does Carroll feel about leaving the show? Well, he's had a few months to process his departure since filming the final scene last year.
"I’ve been able to wrap my mind around it and come to terms with it because I’ve known about this since November, when I was first told about what was going to happen," he told Variety in an interview published March 24. "And the last scene, where Director Vance realizes that he’s been talking to basically the grim reaper, the angel of death, and walks toward the light, that was shot on Dec. 11."
At this point, the 62-year-old feels he's been able to "come full circle with it."
"I really think it’s a great episode," Carroll continued. "I’m not just saying this to be a team player, but if you’ve gotta send a character off, what a way to go."
And he credits executive producer Steven D. Binder with writing a meaningful ending for Vance, calling the episode "a real love letter to the character that really summarized his journey and his impact on the show."
Still, Carroll admitted that he initially questioned why Vance had to be killed off instead of written off another way.
"I had this kind of knee-jerk response," he noted, "where I remember one of the first things I was saying to our executive producers was: 'We lose characters all the time, but we sent Gibbs off to Alaska. Tony and Ziva, Bishop, all these characters, they were all able to kind of go on their own free will, always with the thought that they’re gone, but not dead. So if you wanted this character to go, why are we being so final about it, when everybody else just gets sent off to another country?'"
But after sharing his "rebuttal," the producers told the actor they wanted a big moment for the 500th episode.
"The studio, the network, everybody involved said, 'We don’t have to put this show on the map—it’s on the map—but we have to remind people why it is one of the most watched shows in the world and has been on as long as it has. Let’s do something spectacular for the 500th episode. And this is what we’ve come up with,'" Carroll recalled. "Once the creative in me and the director in me read the script and got a real good gist of it, I was like, 'It actually is a great idea.' It’s a terrific storyline. And you know, actors love dying on camera anyway."
However, Carroll isn't completely leaving the NCIS family, as he confirmed he's coming back to direct.
NCIS is giving a farewell salute to a beloved character.
The crime procedural said goodbye to Director Leon Vance (played by Rocky Carroll) on the March 24 episode, 18 years after the leader's debut in season five. During the 500th episode, Vance was killed in a shooting with a corrupt agent and welcomed to heaven by late Chief Medical Examiner Donald "Ducky" Mallard (played by Adam Campbell).
So, how does Carroll feel about leaving the show? Well, he's had a few months to process his departure since filming the final scene last year.
"I’ve been able to wrap my mind around it and come to terms with it because I’ve known about this since November, when I was first told about what was going to happen," he told Variety in an interview published March 24. "And the last scene, where Director Vance realizes that he’s been talking to basically the grim reaper, the angel of death, and walks toward the light, that was shot on Dec. 11."
At this point, the 62-year-old feels he's been able to "come full circle with it."
"I really think it’s a great episode," Carroll continued. "I’m not just saying this to be a team player, but if you’ve gotta send a character off, what a way to go."
And he credits executive producer Steven D. Binder with writing a meaningful ending for Vance, calling the episode "a real love letter to the character that really summarized his journey and his impact on the show."
Still, Carroll admitted that he initially questioned why Vance had to be killed off instead of written off another way.
"I had this kind of knee-jerk response," he noted, "where I remember one of the first things I was saying to our executive producers was: 'We lose characters all the time, but we sent Gibbs off to Alaska. Tony and Ziva, Bishop, all these characters, they were all able to kind of go on their own free will, always with the thought that they’re gone, but not dead. So if you wanted this character to go, why are we being so final about it, when everybody else just gets sent off to another country?'"
But after sharing his "rebuttal," the producers told the actor they wanted a big moment for the 500th episode.
"The studio, the network, everybody involved said, 'We don’t have to put this show on the map—it’s on the map—but we have to remind people why it is one of the most watched shows in the world and has been on as long as it has. Let’s do something spectacular for the 500th episode. And this is what we’ve come up with,'" Carroll recalled. "Once the creative in me and the director in me read the script and got a real good gist of it, I was like, 'It actually is a great idea.' It’s a terrific storyline. And you know, actors love dying on camera anyway."
However, Carroll isn't completely leaving the NCIS family, as he confirmed he's coming back to direct.
Ready to serve? Army Wants 40+ Recruits as Iran War Escalates
Too Old to Serve? Not Anymore. Army Wants 40+ Recruits as Iran War Escalates
The U.S. Army is expanding who can serve, opening the door to older recruits as part of a broader push to strengthen enlistment numbers.
In a newly announced policy change, the Army has raised its maximum enlistment age to 42, up from the previous limit of 35. The update, outlined in a memo distributed this week, is set to take effect in April. Officials say the move is designed to widen the pool of eligible candidates following recent recruiting challenges.
The decision follows a period in which the Army missed its Regular Army enlistment goals in both 2022 and 2023, before showing signs of recovery in 2024. By increasing the age cap, leaders aim to attract individuals who may have previously been excluded but still meet physical and professional standards.
The Army’s adjustment also aligns it more closely with other military branches. The Air Force and Navy already accept recruits over 40, while the Marine Corps maintains a lower cap of 28, with waivers available for those slightly older.
Data shows the average age of Army recruits has been rising. So far in fiscal year 2026, the average enlistment age is 22.7, compared to 21.7 in the 2000s and 21.1 in the 2010s. This shift suggests a growing interest among slightly older individuals seeking military service.
In a separate but related change, the Army will also remove the requirement for a waiver for applicants with a single marijuana possession or drug paraphernalia conviction. More serious offenses will still require additional review.
The policy shift comes as global tensions continue to rise, especially with the ongoing war involving Iran. The conflict began on February 28, 2026, when U.S. and Israeli forces launched coordinated airstrikes on Iranian targets, triggering retaliation through missile and drone attacks on U.S. bases and allied nations across the Middle East.
Recent developments show the situation remains volatile, with continued strikes, rising casualties, and threats to key oil routes like the Strait of Hormuz, which is critical to global energy supply.
Too Old to Serve? Not Anymore. Army Wants 40+ Recruits as Iran War Escalates
The U.S. Army is expanding who can serve, opening the door to older recruits as part of a broader push to strengthen enlistment numbers.
In a newly announced policy change, the Army has raised its maximum enlistment age to 42, up from the previous limit of 35. The update, outlined in a memo distributed this week, is set to take effect in April. Officials say the move is designed to widen the pool of eligible candidates following recent recruiting challenges.
The decision follows a period in which the Army missed its Regular Army enlistment goals in both 2022 and 2023, before showing signs of recovery in 2024. By increasing the age cap, leaders aim to attract individuals who may have previously been excluded but still meet physical and professional standards.
The Army’s adjustment also aligns it more closely with other military branches. The Air Force and Navy already accept recruits over 40, while the Marine Corps maintains a lower cap of 28, with waivers available for those slightly older.
Data shows the average age of Army recruits has been rising. So far in fiscal year 2026, the average enlistment age is 22.7, compared to 21.7 in the 2000s and 21.1 in the 2010s. This shift suggests a growing interest among slightly older individuals seeking military service.
In a separate but related change, the Army will also remove the requirement for a waiver for applicants with a single marijuana possession or drug paraphernalia conviction. More serious offenses will still require additional review.
The policy shift comes as global tensions continue to rise, especially with the ongoing war involving Iran. The conflict began on February 28, 2026, when U.S. and Israeli forces launched coordinated airstrikes on Iranian targets, triggering retaliation through missile and drone attacks on U.S. bases and allied nations across the Middle East.
Recent developments show the situation remains volatile, with continued strikes, rising casualties, and threats to key oil routes like the Strait of Hormuz, which is critical to global energy supply.
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