Earlier this week, Justin Timberlake had a run-in with the law, as it was reported that he was arrested for driving while intoxicated in Sag Harbor, New York. Timberlake has yet to publicly address the situation, but now his lawyer apparently has.
Edward Burke Jr., Timberlake’s defense attorney, reportedly told TMZ, “[We] look forward to vigorously defending Mr. Timberlake against these allegations. He will have a lot to say at the appropriate time. He is currently awaiting full discovery from the DA’s office.”
So, it would appear that Timberlake and his lawyer believe that his arrest and charges are somehow unjust.
The publication also notes that Timberlake was pulled over by police on June 17, after driving through a stop sign and was seen swerving. Timberlake allegedly told the arresting officer all he had to drink was one martini at The American Hotel. Officers apparently claim Timberlake had bloodshoot and glassy eyes, the smell of alcohol on his breath, and slowed speech, and that he failed a field sobriety test and refused to do a breathalyzer.
Timberlake supposedly spent the night in jail before being released without bail the next morning, June 18. He is due to make a court appearance in July.
If there is one thing Norman Reedus loves, it’s motorcycles. If there are two things that Norman Reedus loves, it’s motorcycles and hyping up Keanu Reeves, and luckily, he has gotten to do both over the years. Sometimes at the same time!
Reedus appeared on Jimmy Kimmel Live!, where the concept of Reeves came up, as it often does. Kimmel asked the actor how he met Keanu, when he revealed that they met in the most cosmic way: at a red light.
“I originally met Keanu at a red light. It was like ‘Hey!’ ‘Hey!’” He started. What else are you going to say to someone at a stoplight, after all. After the two met, Reedus really wanted him on his motorcycle docuseries, Ride With Norman Reedus.
“Then I tried to get him on Ride, obviously, because he’s a big bike guy,” Reedus began. He explained, “But I was up at the top of Mount Fuji during a snow storm and I rode up there with two bald monks on Harleys. And I’m calling Keanu from the top of the mountain and I’m like, ‘Can you hear me? It’s Norman,’” he said, mimicking a missed connection. Reportedly the service is quite spotty up there. “And then I was like ‘It’s not meant to happen, I’ll try next year!’
Reedus is also joining the John Wick universe by appearing in the spinoff, Ballerina. It turned out to be a lot harder than a scenic bike ride.
“I know Keanu, and my hat’s off to him because it’s a very physical, full-on, I-need-a-bottle-of-Advil-all-day-long type of job,” Reedus recently told Collider. “But it’s fun. It’s super fun,” he admitted.
Maybe one day Keanu and Norman can do a normal friend activity, like grabbing a coffee or going out to dinner or throwing around a football. There doesn’t always have to be intense action sequences going on!
However, social media has also connected people around the world in a way that humanity has never seen before. That can be both good and bad, but when it’s good, it can delight and inspire people around the globe.
That’s where an Icelandic puffin sweater comes in.
Celia Robbins shared a post on X explaining that her 14-year-old daughter had asked her if she ever has any regrets.
“While I know she was asking this question on a philosophical level, my mind immediately went to this puffin sweater I saw in Iceland,” she wrote. “It’s been 3 years since I saw it in a shop there, & I still regret not buying it.”
— (@)
Three years may seem like a long time to be pining for a sweater, but non-buyer’s remorse is a real thing, especially when you can’t just hop online and order something. Robbins really loves puffins, but the sweater was too expensive for her buy at the time, and when she went back to Iceland in 2022, she couldn’t find it again.
Fortunately—but unexpectedly—a random stranger who lives 4,000 miles away had the exact opposite regret about exactly the same sweater.
My regret is that I bought this exact sweater for my wife two years ago. She has worn it zero times. I’m in NYC. Cover shipping and it’s yours.
David Wiskus, who is the CEO of Nebula and lives in New York, shared that his regret was that he bought that puffin sweater for his wife two years ago on a trip to Iceland.
“She has worn it zero times,” he wrote. “I’m in NYC. Cover shipping and it’s yours.”
Robbins was incredulous, but Wiskus was serious. “I would never joke about a puffin sweater,” he wrote.
— (@)
The people of X became invested in the puffin sweater exchange. What are the chances, after all?
But sure enough, 10 days after Robbins posted the photo of the sweater she wished she’d bought, it arrived at her home in Berlin, Germany. Wiskus even covered the shipping and expedited it, despite Robbins offering to pay for it.
And wouldn’t you know, it fits her perfectly.
People are amazing!
Just 10 days ago, I shared a thought about one of my regrets in life. Of course, not buying a sweater sounds like a minor regret, but SO MANY could relate!
Robbins told TODAY.com she almost started crying when she received the package.
“I don’t know how else to explain it, but it’s like a tiny little moment where the universe cared about me,” she said. “I’m living in a new country. We’ve only been in Berlin for like 11 months, and sometimes life is really hard. I don’t speak German. I thankfully have a job where I get to speak English, but this was just the universe being like, ‘Hey, I care about you and what you want.’”
Wiskus told TODAY.com that he was on a work trip to Amsterdam when he happened to come across Robbins’ tweet and immediately recognized the sweater. It still had the tags on it in his wife’s closet.
“I was sincere. I would happily get rid of that sweater,” he said. “I didn’t realize so many people on the internet would be that excited about it.”
“I can’t stress enough, I really thought this was just, like, doing a funny bit with a random stranger on (X) and it’s just turned into this other thing,” he added. “But the sincerity of it is what I find so charming.”
How does his wife feel about him giving away her sweater? She’s okay with it, he said, but she did tell him, “you’re going to have to take me to Iceland so I can get another sweater.”
People have loved the story on Upworthy’s Instagram page, celebrating the internet being utilized for something so wholesome and magical:
“This is ABSOLUTELY what the internet is for. Nothing more. Nothing less.”
“This is what I had hoped the internet and social media would partly be, connecting people around the world in really zany but loving ways. Keeping hope alive.”
“Stories like these keep me coming back to the internet 😍👏🐧”
“This is the best damn use of the internet—more like this story!”
Who knew it a puffin sweater would bring people together to gush over the positive side of social media.
Instead of signing the agreement, Swift opted to re-record her first six albums released under Big Machine, which would allow her full ownership of the new masters.
In a two-episode docuseries called Taylor Swift Vs. Scooter Braun: Bad Blood, viewers will get a look at each side of the argument, with one episode exploring Swift’s side that the sale was conducted behind her back and that she has since been blocked from purchasing her recordings, and the other episode examining Braun’s allegations that Swift refused to negotiate and instead, prompted her fan base against him in a public feud.
As Swift maintains her status as a household name, and the biggest pop star in the world right now, Swifties aren’t going to want to miss this television event.
How to watch Taylor Swift Vs. Scooter Braun: Bad Blood
According to a press release from Warner Bros. Discovery, Taylor Swift Vs. Scooter Braun: Bad Blood will stream on various platforms worldwide.
In the US, the docuseries will stream on Max, and in the UK, fans can stream it on Discovery+.
“Taylor Swift’s dispute with Scooter Braun over the ownership of her music exploded into the mainstream, taking contract law from boardroom to social media and into public interest,” said Charlotte Reid, Vice President of Commissioning, Networks & Streaming at WBD U.K. & Ireland, in a statement. “It’s a high-profile, high-interest story that opened debate on fandom and dominated headlines, one which will resonate with our viewers who are highly engaged with access-led documentaries like ‘vs’, which continues to be a popular format on discovery+.”
Taylor Swift Vs. Scooter Braun: Bad Blood is executive produced by Matt Reid for Warner Bros. Discovery.
The Worldwide Leader in Sports has broadcast the NBA Finals for years, and based on all the reporting around the upcoming media rights deal, that’s not going to change. That said — and I’m saying this purely anecdotally — this year, it really felt like the gripes about the way ESPN presents the Finals were ramped up. A part of this was the series itself, which featured three blowouts, but there are clearly some things that just aren’t working as they should.
We’ve seen what ESPN is capable of at its very best when it’s broadcasting an event, and the Finals just don’t seem to be getting the four-letter’s very best. It can only play the hand it’s dealt based on the caliber of the games it broadcasts — during the blowout win by Dallas in Game 4, Mike Breen just flat out asked the rest of the booth “So, what do you guys wanna talk about?” — but there are important tweaks that need to be made around the presentation of the whole thing to really hammer home that we’re watching something important.
The good news is that the baby doesn’t have to be thrown out with the bath water here, as there are a number of pieces in place around the broadcast that do work really well. ESPN has a very talented crew both in front of and behind the camera, but not everything is clicking, nor is everyone being given the full opportunity to shine. Today, we wanted to separate things into two camps: what ESPN should keep as part of its Finals broadcast, and what needs to be changed.
KEEP: Mike Breen and Doris Burke
Breen is the best of the best, and that’s not just in basketball. Think through the other major American sports and try to think of which other broadcasters bring the gravitas that he does to a specific sporting event. Jim Nantz does it with the Masters, and … that might be it. It’s not a knock on anyone else, but Breen’s got the right voice and the right energy, has built himself as an institution in his sport over his many years at ESPN, and is still exceptional at calling games and meeting the moment.
As for Burke, she’s been a great basketball analyst for a long time in just about every capacity, and getting moved to the top booth in the aftermath of Jeff Van Gundy and Mark Jackson’s departures made a ton of sense. Her love of the game and her ability to break things down for a viewer make her really great on television, plus she’s really good at sliding in lines that are just great, like her Caitlin Clark quip from Game 5 of the NBA Finals. She should not go anywhere any time soon, and I think having a new color commentator alongside her would go a long way.
CHANGE: JJ Redick (because they may have to)
Redick got thrown into a pretty impossible spot this year, and in fairness to him, he did about as good of a job as he could for someone who was dropped into the top booth midseason because Doc Rivers took the Milwaukee Bucks job. Part of the issue is, he and Burke want to be in sort of the same spots as analysts. That can lead to some really good basketball conversation between the two, but it also created some awkwardness when the booth just needed some excitement. Redick is so serious about basketball (which is possibly going to land him the Lakers job) that he didn’t always seem natural doing fun, in-game banter with Breen and Burke, or reading highlights going into breaks.
He’s a leading candidate for the Los Angeles Lakers head coaching job, and even if he doesn’t get it, going through a proper search to find a replacement for Rivers would make sense. That’s especially true now that Breen and Burke have a year under their belt, giving us a real sense for what the booth needs next to them — I think someone a little more lighthearted, with Breen playing it straight with the play-by-play and Burke as the link between the two, would work well. Whether that’s someone already on the ESPN roster like Richard Jefferson, or if they were to go out and try to poach a TNT analyst with Turner seemingly losing broadcasts rights after next season, a mild shakeup to the top booth may be in order to loosen up what felt at times to be a stiff trio.
KEEP: Malika Andrews and Adrian Wojnarowski
Andrews has turned into a very good point guard between her NBA Today and NBA Countdown responsibilities. She knows how to set up the rest of the panel and keep a conversation moving, which is the most important job of a studio show host, especially when they’re comfortable being part of the conversation and not just getting steamrolled all the time. After years of NBA Countdown trying its hardest to find a long-term host, Andrews has answered the call, and she should stay behind the desk for as long as she wants. On top of her duties on set, she’s also terrific handling sit-down interviews with players.
As for Wojnarowski, listen, it’s not super necessary to have an insider on the broadcasts, but ESPN does a good job using him during the pregame show for quick segments and not overextending him. Here’s some insight on the Kristaps Porzingis injury, here’s an update on the biggest news elsewhere in basketball, boom, done. You get the exact right amount of Woj on NBA Countdown, and unless you’re someone who just hates slop in all forms (which, I get it), it’s worth keeping him in his current role.
CHANGE: Everything else about the pregame/halftime show
Building the whole plane out of Stephen A. Smith has come under a ton of fire over the years, dating back to when the show was hosted by Mike Greenberg and briefly featured Magic Johnson on the panel (remember that?!). Now, it’s just a mess. The only way Stephen A.’s entire schtick works is if he has someone capable of at least trying to match his energy on set. Instead, you have Smith riling himself up opposite two much more low-key counterparts in Michael Wilbon and Bob Myers. Myers wants to be positive all the time, which is certainly not a bad thing generally, but it’s just not the right energy to bring across the desk from Stephen A. Then there’s Wilbon, who is a Hall of Famer for good reason, but is much better on PTI where he and Tony Kornheiser can be curmudgeons together, as opposed to trying to get into debates with Stephen A.
The lack of a former player on set also makes for a bit of a strange feeling, although Kendrick Perkins does make the occasional appearance to fill that void, as that perspective is particularly valuable on a show that looks to provide analysis — especially in the NBA Finals, where someone with Finals experience can really speak authoritatively to the situation the players are about to face. ESPN kept bringing in active players during the Finals, but they were thrown into an already awkward panel with no one to really relate to on the desk. Chris Paul, Josh Hart, Paul George, and Julius Randle were all fine, but they would’ve looked much more comfortable on a desk with someone they view more as a peer.
While Wilbon is a Hall of Fame inductee for a reason and Myers can add insight as someone who has been an agent and a team executive, the show is crying out for perspective from ex-players with big personalities who know how to balance providing analysis with letting loose. We’ll see if Smith’s contract negotiations forces their hand in one way or the other here — I wonder if Smith coming back could lead to ESPN making a monster push for his friend, Charles Barkley, despite his recent claims he is going to retire, and then Countdown is built around those two and Wilbon, who is close with both Smith and Barkley.
And then, of course, there is the fact that the halftime show is objectively a disaster. ESPN would be better running 15 straight minutes of commercials instead of what it does now. Even when they gave their panel a bit more time in Game 5, Stephen A. just Stephen A.’d it up after there were attempts by the other analysts to praise the Celtics for how well they played in a title clinching game. He went on a very First Take-y rant about how Kyrie Irving and Luka Doncic weren’t playing well enough, which works a lot better at 10:00 a.m. on a debate show than it does at 10:00 p.m. while the Finals are happening. Smith is undoubtedly a draw, but the attempts to embrace debate on this stage just haven’t worked, especially with this current crew.
“So where the hell is the disgust? Because I’m disgusted! This is Game 5 of the NBA Finals, and you’re on the road, the stars show up!… Luka is holding on to the ball too damn much… Kyrie is just a no-show! Just an absolute no-show right now!…” – Stephen A. Smith pic.twitter.com/rKSkhZlr1y
Seriously, watch the intermission show during a Stanley Cup Final game. Obviously, the crew of Steve Levy, Mark Messier, and PK Subban (go Devils) get two 20-minute blocks that they have to fill, but they actually get the time and space to talk about the game within that, while Emily Kaplan interviews players and gets insight into what’s happened in the game so far. The NBA Finals broadcast does get that second thing in between quarters, but the differences between the two studio shows is night and day.
If I was made the supreme overlord of ESPN, I’d buy a beach house somewhere because I would presumably have a lot more money. And then, I’d keep Andrews as the host before overhauling the analysts. Have Redick (who I think would be awesome in a studio role with a touchscreen to break things down) on there if he doesn’t head to the Lakers, then hit up someone from NBA Today about moving to Countdown — I’d pick Chiney Ogwumike, who is very good at television and has earned this spot. Finally, I’d chase at least one of Jamal Crawford or Candace Parker from Turner, assuming the network is indeed going to miss out on the next NBA media rights deal. Those two are lights out in the studio, and would immediately bring a ton of respectability and a unique voice to ESPN’s coverage — I wouldn’t be opposed to Crawford as the person next to Burke and Breen, either, as he really blossomed in that role for Turner in the playoffs. You can even keep Wilbon as part of the show by having him do sit down interviews with players and pre-recorded featurettes, which he’s great at.
Do that, let them cook before the game starts, give actual space for a halftime show, have an actual postgame show (more on this later), and we have something special here.
KEEP: Lisa Salters
A pro’s pro, Salters has been good at sideline reporting forever, knows what to ask in the 20 seconds she has with someone in between quarters, and is a great emcee when it’s time to hand a team the Larry O’Brien trophy. The ultimate “if it ain’t broke, don’t fix it,” Salters is as reliable as they come. Unless she ever wants to lighten her workload and focus entirely on Monday Night Football before taking a few months to unwind — which, ESPN has a loaded roster of NBA sideline reporters, so someone good would get promoted — this is Salters’ job as long as she wants it.
CHANGE: More big video packages
It is completely insane to me — like, actively makes me upset — that we do not get more big video packages from ESPN. The introductory video leading into the start of the game broadcast is pretty good (it’s a little later in the post, where I bring up something else), but jump to the 6:14 mark of the below video:
While it’s not as over the top as something like this, it’s still awesome. That’s a pregame video for a Game 7 in the first round between the Cleveland Cavaliers and the Orlando Magic! It was the single best thing that ESPN created all postseason, and it made the game feel even more important. Every NBA Finals game should get its own — we go through the entire season for the series that determines a champion, and special video packages would go a long way towards making them feel like the biggest thing on earth. One day after the NBA Finals came to an end, Sportsnet (which has a reputation for doing this) gave us exactly the sort of thing I’m talking about here with this incredible video package before Game 5 of Oilers-Panthers.
ESPN and the NBA are sitting on a treasure trove of footage that it can use to piece together gigantic video packages that set the tone for the game that you are about to watch, and the Worldwide Leader has one of the best video production teams on earth. This shouldn’t just be used, this should be a crucial and frequent part of broadcasts. Would anyone complain about a 2-3 minute long video package before games that gets you fired up to watch, either because it features clips from this series or iconic old moments from the franchises participating in it? Of course not! This is a great way to make the NBA Finals feel gigantic, and there’s no reason not to take advantage.
KEEP: Scott Van Pelt and Tim Legler on the postgame SportsCenter
Already said it about Salters, but it also applies here: Van Pelt and Legler are just great pros. The former is great at interviewing athletes after games and getting them to let their guard down a bit, which leads to especially good insight into the game they just played. The latter is ESPN’s single best basketball analyst, and watching him go to work with the telestrator is a delight. Plus the pair have an incredible mutual respect for one another, as evidenced by Van Pelt showing Legler love after Game 5.
The one thing I will say is that I do think there needs to be a real postgame show with the NBA Countdown crew, one which lets them flex their muscles a bit as analysts and give insights into what players think about a game that just happened. Give them 30 minutes to do that, then let Van Pelt and Legler do what they do best (Van Pelt’s interviews with players could be recorded during this time), and all of a sudden, you have at least an hour of awesome postgame content from a bunch of different perspectives, all of which will make sure talking about the game is the No. 1 priority. You could also bump Legler into a Countdown role, where I think he’d also shine, but selfishly, I really enjoy the rapport he has with SVP.
CHANGE: Give me a big musical score that says “NBA Finals”
Here (the 3:30 mark of the below video) is what greets us when broadcasts start.
The song is … fine? It’s a collection of strings that seem like they are designed to not overtake the visuals, which I do get. But let’s compare it to all four of the songs you get for a random ass NFL game.
All of these sound like they’re for a thing that is supposed to be a huge deal, and I have heard them played before regular season games that involve the Washington Commanders. Obviously, ESPN decided to go in a different direction, as it used the above song for its introduction and leaned into its ad campaign built around Metro Boomin’s “Runnin Outta Time” as a source of music. But going forward, I really want to hear a gigantic, epic musical score that makes me go “I am about to witness something special,” all while Breen welcomes me onto the grandest stage in the sport.
It’s never too late for a sequel, as Tom Cruise so effectively made it clear with the release of Top Gun: Maverick nearly 36 years after the original film. So even though Mel Brooks is about to turn 98 years old, he thought that it was time for a Spaceballs sequel, nearly 37 years after the initial movie. Brooks always has the last laugh. Sorry, Tom! Maybe you should have waited a little longer.
Variety confirmed that a sequel to the 1987 comedy film is in the works, with Josh Gad (Olaf from Frozen, naturally) co-writing and starring in the film.
Earlier this week, Gad posted the news to Instagram, saying “My phone has never exploded as hard as it did today. We are very excited! Early days still, but working with the legendary Mel freaking Brooks to make something worthy of this franchise and his legacy has been a dream come true.” The flick is being produced by Amazon MGM Studios.
Spaceballs is a cult classic parody film that draws inspiration from Star Wars, Planet Of The Apes, and Star Trek. In 2020, star Bill Pullman said that if there would be a sequel, Brooks would have to be in charge. “It’s up to Mel. Ask him if he has too much money and that’s why he doesn’t do it,” he said. Maybe he ran out of money, because the time is now.
Josh Greenbaum is slated direct the film, which was co-written by Gad, Benji Samit, and Dan Hernandez. Gad added that he and the crew “worship at the alter of all things Brooks” and they are working “alongside Mel to make sure you get what you’ve waited 37 long years for. EVERYTHING.” Those are some big space shoes to fill.
April brought some big news: Ashanti confirmed that after she and Nelly rekindled their relationship, the two were engaged and expecting a child. Well, it looks like the story may actually be deeper than that.
According to a TMZ report today (June 19) that cites “public records,” the two are actually already legally married, and their marriage date is listed as December 27, 2023.
The document apparently doesn’t note the city in which the two got married, but it was supposedly in St. Louis County, which would suggest that the wedding was likely in Nelly’s St. Louis hometown.
The two do not appear to have had a wedding ceremony yet, so if the report is accurate, perhaps they wanted to get the legal aspect of the marriage done and take their time planning a ceremony.
Meanwhile, Ashanti just told Entertainment Tonight about Nelly’s surprise proposal, revealing that it was a “beautiful, intimate moment” at home.
It was a surprise, but she wasn’t caught totally off guard, saying, “I felt like it was gonna come soon. I didn’t know when. And the way that it happened was just so funny.”
As for the wedding date, that’s not currently clear, as Ashanti said, “We’re both extremely busy, obviously with the baby coming, everything else takes the back seat.”
Whenever an actor is ready to reprise the character that made them famous, it normally means that they have found the exact right circumstances to bring said character back to life. Michael Keaton thought that 30-plus years was enough time in between his Beetlejuice reprisal, while Hugh Jackman waited for Ryan Reynolds to offer up a big paycheck for him to reprise his role of Wolverine. For Jon Hamm, however, all he needed to reprise his role of Don Draper was a call from Jerry Seinfeld and a stale toaster pastry.
Hamm appeared in Unfrosted, Seinfeld’s first movie since the acclaimed 2007 cinematic adventure Bee Movie, as Don Draper, his infamous Mad Men character. Hamm hasn’t sported Draper’s suit since the series ended in 2015. Surprisingly, he was only on board when John Slattery got involved.
Of the return, Hamm told The Hollywood Reporter, “I was of two minds. I told Jerry, ‘I don’t enter into this lightly. I’m not trying to be too precious about this, but I don’t want to devalue it.’” He said. It’s very important to keep Draper’s integrity intact since he basically works in PR.
Hamm continued, “[Seinfeld] goes, ‘I understand that, but this would be very funny.’” Seinfeld prides himself in knowing what’s funny, it seems. But Hamm wasn’t convinced. He added, “Then I called Slattery and said, ‘If you don’t do it, I won’t do it, but it could be really funny.’ He goes, ‘Why wouldn’t we do it?’” Shockingly, they did it. And it was harder than Hamm expected to get back into that Draper mindset… and suit.
“I look at pictures now and God, I’m, like, 20 pounds heavier, 10 years older, and it’s just like, yuck. But it was literally like putting on a very familiar, very comfortable suit. You’re just like, ‘Oh sh*t, I can do this.’” He added. So he did!
A pandemic-era favorite is making a comeback. Today (June 19), super-producers Swizz Beatz and Timbaland announced that Verzuz will make a return via a partnership with X (formerly Twitter).
The news arrives months after Tim and Swizz purchased Verzuz from previous partner Triller, now owning 100 percent of the Verzuz platform, while retaining their equity from their time with Triller. As a result, X will now have distribution rights to Verzuz, which will now broadcast on the platform that has over 550 million users.
“We are beyond thrilled to have found the best partner for Verzuz,” said Swizz in a statement. “Not only are we excited to have Verzuz on X, we’re excited to help X build the biggest entertainment company in the world. I would like to thank Elon Musk, Linda Yaccarino, Brett Weitz, Mitchell Smith and the entire X team for believing in the Verzuz vision. We can’t wait to get to work.”
Verzuz has seen several hip-hop and R&B artists — like Brandy and Monica, Nelly and Ludacris, Gucci Mane and Jeezy, and more — duel off, playing hit-for-hit within their discography. Verzuz has produced over 40 episodes, generating 100 million-plus live views and over 70 billion impressions.
At the time of writing, no new Verzuz face-offs have been announced, but we imagine Tim and Swizz have some exciting competitions in the pipeline.
“We are thrilled to partner with X, the most innovative platform globally,” said Timbaland in a statement. “Our goal has always been to bring Verzuz to the world which we can now do bigger than ever.”
For the past decade, rapper and entrepreneur 50 Cent has had television in a chokehold — notably with the Power franchise, as well as his series BMF. Given his sucess in the realm of TV, 50 is taking his on-screen endeavors to the next level.
Back in March, 50 launched G-Unit Studios, a 330-acre compound, in Shreveport, Louisiana. While this is an exciting new chapter in 50’s career, some people started comparing his endeavors to those of producer, director, and writer Tyler Perry.
The Root even published an article titled “50 Cent Preparing to Be a Tyler Perry Rival?“, which 50 immediately shut down. 50 took a screenshot of the article and wrote an Instagram post, noting that things are going well on his end, and that he’s not in competition with anyone.
“I’m doing great but you’re getting it fvcked up, if you think me and Tyler will be at odds at any point,” he said in the post’s caption. “He’s helping me, already going out of his way to aid my progress. So in the nicest way cut the sh*t!”
G-Unit studios is set to open August 8, per an announcement on 50’s Instagram page. You can get a first look at the studios above.
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
has broadcast the NBA Finals for years, and based on all the reporting around the upcoming media rights deal, that’s not going to change. That said — and I’m saying this purely anecdotally — this year, it really felt like the gripes about the way ESPN presents the Finals were ramped up. A part of this was the series itself, which featured three blowouts, but there are clearly some things that just aren’t working as they should.
