#MAGFAB: Zoë Kravitz Covers W MAGAZINE’s Fall Fashion Issue
This might seem counterintuitive, considering her public persona as a street-style maven and sphinx-like ambassador for Saint Laurent, but Kravitz, a self-proclaimed “weird theater kid,” says she has always been goofy. When she was growing up in Topanga, California, her mother, the actor Lisa Bonet, was strict about what her daughter could watch and for how long, so the young Kravitz would entertain herself by dressing up and creating impromptu characters and scenes.
This might seem counterintuitive, considering her public persona as a street-style maven and sphinx-like ambassador for Saint Laurent, but Kravitz, a self-proclaimed “weird theater kid,” says she has always been goofy. When she was growing up in Topanga, California, her mother, the actor Lisa Bonet, was strict about what her daughter could watch and for how long, so the young Kravitz would entertain herself by dressing up and creating impromptu characters and scenes.
“They were always inspired by movies,” she says. She recently found a photo of herself wearing a green wig, antennas, and wings and carrying a rubber knife, and another of her in a bonnet walking outside and pretending she was in a secret garden. Her takeaway as an adult? Boredom can be a good thing.
Issue is on newsstands now.
#RHOA: Kandi and Riley Burruss' Have an Ultra Glam Night Out
Kandi Burruss and Riley Burruss are really close. The Real Housewives of Atlanta alum has such a strong relationship with her daughter, which was evidenced when they were each other's dates at an awards show over the weekend.
The mother-daughter duo stepped out on the red carpet on Sunday, Sept. 7, for night two of the 2025 Creative Arts Emmys. This was a big night for both Kandi and Next Gen NYC's Riley, as they presentedthe nominees for Outstanding Structured Reality Program together.
Both Kandi and Riley looked so glam in their coordinating black and gold outfits. Kandi opted for a black velvet corset dress with gold detailing and a long train. Riley, on the other hand, wore a long-sleeve black dress with a gold belt, gold clutch, and two oversized black and gold bangles worn on one wrist. The NYU graduate chose to repost a photo from the red carpet to her Instagram Story on Sunday night, where she tagged her mom and added a simple red heart emoji to it.
Before the mother-daughter duo posed and presented together, they first had to make their way to the Peacock Theater in Los Angeles, where the awards show was held. Kandi took to her Instagram Story on Sunday, where she posted a video of her and Riley in the car on the way to the show, while Riley ate some food.
In the video, Riley can be seen holding a container of food in the lap of her dress, while Kandi narrates what is going on. "She better not be getting it on her dress," Kandi said in the video. "You've got on a dress, getting ready to go to an awards, eating what is that?" she asked her daughter, "Buffalo cauliflower," Riley replied. "Buffalo cauliflower. On her lap," Kandi noted.
"We gotta eat around here," Riley added. "I know we're in LA, but I'm not LA."
Riley also took to her Instagram Story, where she added some clarification to her eating on the car ride there. "I needed to see what the hype was about Erewhon," she noted.
Although Riley currently lives in NYC, and Kandi lives in Atlanta, they are still very close. Both Kandi and Riley appeared on Watch What Happens Live with Andy Cohen on July 15, where Riley admitted that Kandi has not cut her off financially. "I'm still going to get my master's [degree]," she explained. "So I'm still gonna go to school."
Riley admitted that she had not decided on what she's studying or where she wants to school, but she did reveal that she was studying to take her entrance exam. "Yeah, so y'all pray for my baby that she pass and get high scores on her test," Kandi
#MusicNews: Chris Brown is bringing his 'Breezy Bowl to Theaters!
This story was sourced from thejasminebrand.com
Chris Brown’s latest artistic venture represents a significant evolution in how contemporary musicians translate live performance energy into cinematic experiences. The Grammy-winning artist has embarked on an ambitious project to document his Breezy Bowl tour through a comprehensive film production that aims to bridge the gap between live concert attendance and theatrical entertainment.
The project marks a calculated expansion of Brown’s artistic portfolio, demonstrating his understanding of how modern entertainment consumption patterns have shifted toward multi-platform experiences. By investing in theatrical presentation of his tour content, Brown positions himself at the forefront of artists who recognize the commercial and artistic potential of concert cinema as a distinct entertainment category.
Industry observers note that this approach reflects broader trends in entertainment where traditional boundaries between live performance, film production, and audience engagement continue to blur. Brown’s decision to pursue theatrical release rather than direct streaming distribution suggests confidence in the cinematic quality of the final product and recognition of the communal viewing experience that theaters provide.
The timing of this project coincides with renewed interest in concert films across the entertainment industry, as artists seek innovative ways to extend the reach and longevity of their touring investments. Brown’s approach appears designed to capture not only performance highlights but also the creative processes and production complexity that define contemporary touring experiences.
The film production strategy extends beyond conventional concert documentation to encompass what sources describe as a hybrid approach combining live performance capture with behind-the-scenes exploration. This methodology suggests an attempt to create viewing experiences that satisfy both casual entertainment seekers and dedicated fans interested in deeper artistic insights.
Production teams are reportedly focusing on capturing the intricate choreography and staging elements that have become hallmarks of Brown’s live performances. The emphasis on visual storytelling through dance and movement positions the film as a showcase for Brown’s comprehensive artistic abilities rather than simply a recording of musical performances.
The integration of documentary-style behind-the-scenes content promises to provide audiences with unprecedented access to tour preparation and execution processes. This approach acknowledges audience appetite for authentic glimpses into celebrity professional lives while maintaining the entertainment value necessary for theatrical success.
Technical production standards being applied to the project reportedly emphasize theatrical presentation quality, with filming techniques and post-production processes designed specifically for large-screen viewing. This focus on cinematic presentation distinguishes the project from traditional concert recordings or streaming content optimized for smaller screens.
Brown’s film project enters a marketplace where concert films have demonstrated both commercial viability and artistic recognition. Recent successful theatrical releases by other major artists have established audience expectations for high production values and comprehensive artistic presentation that extends beyond basic performance documentation.
The decision to pursue theatrical distribution reflects strategic thinking about audience engagement and revenue generation that extends beyond traditional touring income streams. Theatrical releases provide opportunities for extended promotional cycles and potential awards consideration that streaming-first releases typically cannot achieve.
Industry analysis suggests that concert films can significantly extend the commercial lifespan of touring productions while creating new revenue opportunities in both domestic and international markets. Brown’s project positioning appears designed to capitalize on these opportunities while building long-term value for his artistic brand.
The film’s development occurs within a broader context of artists experimenting with innovative content distribution strategies that leverage multiple platforms and viewing formats. Brown’s approach suggests recognition that contemporary audiences expect multi-dimensional engagement with their preferred artists across various media formats.
This project represents Brown’s return to concert film production following his 2017 release Welcome to My Life, which combined performance footage with personal narrative elements. The earlier film’s approach provided a template for balancing entertainment value with intimate artist portrayal that appears to influence the current project’s development.
The experience gained from his previous film project likely informs current production decisions regarding content balance, pacing, and audience engagement strategies. Industry professionals note that artists who successfully navigate concert film production often demonstrate improved understanding of cinematic storytelling techniques in subsequent projects.
Brown’s previous venture into concert cinema established relationships with production professionals and distribution networks that may facilitate the current project’s development and release processes. These existing industry connections could prove valuable in securing optimal theatrical placement and promotional support.
The evolution from his earlier film work to the current project demonstrates artistic growth and expanded understanding of how live performance energy can be effectively translated into cinematic experiences. This progression suggests increased sophistication in approaching concert film as a distinct artistic medium rather than simply documentation of live events.
Fan engagement and market expectations
The Breezy Bowl tour has generated substantial social media engagement and audience enthusiasm that provides a built-in marketing foundation for the film project. This existing fan excitement creates opportunities for sustained promotional campaigns that can build anticipation leading up to theatrical release.
Social media responses to tour performances indicate strong audience appreciation for Brown’s choreographic innovation and stage production values, suggesting that film documentation of these elements will resonate with both existing fans and potential new audiences. The visual spectacle aspect of his performances translates naturally to cinematic presentation.
Fan community discussions about the film project reveal expectations for comprehensive documentation that captures both the energy of live attendance and exclusive content unavailable through concert attendance alone. Meeting these expectations requires balancing familiar performance elements with novel behind-the-scenes insights.
Market research indicates that Brown’s fan demographics align favorably with theatrical concert film audiences, suggesting strong potential for box office success if the final product meets quality expectations. The crossover appeal between his musical audience and concert film enthusiasts provides multiple pathways for audience development.
Industry implications and future trends
Brown’s investment in theatrical concert film production reflects broader industry recognition of concert cinema as a viable entertainment category with distinct audience appeal and revenue potential. His project contributes to the growing catalog of high-quality concert films that are establishing new industry standards.
The project’s emphasis on cinematic production values and theatrical presentation may influence how other artists approach concert documentation and distribution strategies. Success in this format could encourage additional investment in concert cinema across the music industry.
Distribution partnerships and promotional strategies developed for this project will likely provide insights into optimal approaches for marketing concert films to both music fans and general theatrical audiences. These learnings could inform future projects across the entertainment industry.
The integration of live performance documentation with behind-the-scenes content represents an evolving approach to artist presentation that balances entertainment value with authentic insight. This methodology may become a template for other artists seeking to create compelling concert film experiences.
Production timeline and release considerations
While specific release dates remain unannounced, active filming suggests the project maintains momentum toward completion within reasonable timeframes for theatrical distribution. The ongoing production indicates commitment to comprehensive documentation of the tour experience across multiple performance venues.
Distribution strategy development likely involves evaluating optimal release timing to maximize both theatrical impact and commercial performance. Factors including competitive landscape, seasonal audience patterns, and promotional opportunity availability will influence final release decisions.
The absence of announced distribution partnerships suggests ongoing negotiations that could affect both release scope and marketing approach. Securing appropriate theatrical distribution remains crucial for achieving the project’s apparent ambitions for wide audience reach and industry recognition.
Production completion and post-production processes will ultimately determine release readiness, with quality standards apparently prioritized over rapid market entry. This approach suggests confidence in the project’s commercial viability and commitment to delivering a product that meets established industry standards for concert cinema.
#HipHopNews:Drake Told To ‘Chill Out’ By Ghostface Killah
Drake needs to chill out a little bit, according to Wu-Tang Clan legend, Ghostface Killah.
Speaking to TMZ, Ghostface was asked about Drake being hurt over remarks that he is a “culture vulture”.
Tony Starks made it clear he doesn’t think Drake needs to be worrying about such things.
He said: “Oh. Hey, listen, I’ve been called worse than that. You need to chill out.”
During his controversial interview with Bobbi Althoff, Drake talked about the culture vulture label.
He said: “I experience a lot of guilt-tripping in my life where people are like, ‘No, this is your fault,’ essentially. And my intentions are pure. My intentions are pure. It’s the same way even in music. People will be like, ‘You’re a culture vulture.'”
Drizzy added: “They’ll put a negative spin on it and try and tell me that it’s a self-serving thing or whatever, and I think I get really sensitive about that.”
Kendrick Lamar would also lobby the accusations at him at the height of their beef.
On “Euphoria”, Lamar rapped: “You not a rap artist, you a scam artist with the hopes of bеing accepted.”
The Compton superstar followed up on “Not Like Us” by spitting: “You called Future when you didn’t see the club / Lil Baby helped you get your lingo up / 21 gave you false street cred / Thug made you feel like you a slime in your head / Quavo said you can be from Northside / 2 Chainz say you good, but he lied / You run to Atlanta when you need a few dollars / No, you not a colleague, you a fuckin’ colonizer.”
Drake has also been called out by 2Pac’s brother for purchasing jewelry previously owned by the late rap legend.
Speaking on The Latest, Mopreme said: “My man need to think more about his moves. Because I just saw in London, talking about, ‘London got the best rappers. London rappers are better than American rappers.’ So why are you so seeking after the king of raps’ jewels, literal jewels?”
He continued: “If England has the best rappers, why are you doing this? So I don’t know. I think the family should have all of Pac’s things, personally. But things don’t always work out that way. My personal opinion, that’s what I feel.”
Speaking to TMZ, Ghostface was asked about Drake being hurt over remarks that he is a “culture vulture”.
Tony Starks made it clear he doesn’t think Drake needs to be worrying about such things.
He said: “Oh. Hey, listen, I’ve been called worse than that. You need to chill out.”
During his controversial interview with Bobbi Althoff, Drake talked about the culture vulture label.
He said: “I experience a lot of guilt-tripping in my life where people are like, ‘No, this is your fault,’ essentially. And my intentions are pure. My intentions are pure. It’s the same way even in music. People will be like, ‘You’re a culture vulture.'”
Drizzy added: “They’ll put a negative spin on it and try and tell me that it’s a self-serving thing or whatever, and I think I get really sensitive about that.”
Kendrick Lamar would also lobby the accusations at him at the height of their beef.
On “Euphoria”, Lamar rapped: “You not a rap artist, you a scam artist with the hopes of bеing accepted.”
The Compton superstar followed up on “Not Like Us” by spitting: “You called Future when you didn’t see the club / Lil Baby helped you get your lingo up / 21 gave you false street cred / Thug made you feel like you a slime in your head / Quavo said you can be from Northside / 2 Chainz say you good, but he lied / You run to Atlanta when you need a few dollars / No, you not a colleague, you a fuckin’ colonizer.”
Drake has also been called out by 2Pac’s brother for purchasing jewelry previously owned by the late rap legend.
Speaking on The Latest, Mopreme said: “My man need to think more about his moves. Because I just saw in London, talking about, ‘London got the best rappers. London rappers are better than American rappers.’ So why are you so seeking after the king of raps’ jewels, literal jewels?”
He continued: “If England has the best rappers, why are you doing this? So I don’t know. I think the family should have all of Pac’s things, personally. But things don’t always work out that way. My personal opinion, that’s what I feel.”
The MTV VMAs: Full Winners List
Ariana Grande won video of the year at the 2025 Video Music Awards, which were handed out Sunday night.
The video for her song “brighter days ahead” won the night’s highest honor. Overall, Grande went home with a total of three awards.
Lady Gaga was the biggest winner of the night; among her four wins was artist of the year, which was presented to her two days after she was forced to cancel a show in Miami due to an “extremely strained” voice. She said in her acceptance speech that she couldn’t stick around for the rest of the VMAs as she had to get to Madison Square Garden, where she was scheduled to perform Sunday night. About 90 minutes later, the VMAs broadcast her performing “Abracadabra” and “The Dead Dance” from her show at MSG.
Sabrina Carpenter also took home three “Moon Person” trophies, including album of the year with Short n’ Sweet.
Other winners who accepted during the telecast were Rosé, who won song of the year for “APT.,” her collaboration with Bruno Mars; and KATSEYE, who won MTV Push performance of the year for “Touch.” Mars and Gaga also won best collaboration for “Die With a Smile.”
Also during the show, Mariah Carey was presented with the Video Vanguard Award, Busta Rhymes received the inaugural Rock the Bells Visionary Award, and Ricky Martin accepted the inaugural Latin Icon Award. All three artists also performed. (See all the stars’ red carpet arrivals here.)
This year, the VMAs added two new categories: best pop artist and best country video.
The VMAs aired live coast-to-coast starting at 5 p.m. Sunday from UBS Arena in Elmont, New York, with LL Cool J serving as host. The show aired on CBS for the first time in addition to their longtime home on MTV and stream live on Paramount+ (for subscribers to the service’s premium plan). (See a list of the wildest VMA moments of all time.)
Former MTV head Van Toffler and his company Gunpowder & Sky produced the 2025 VMAs along with Den of Thieves.
A full list of winners follows.
Video of the Year
Ariana Grande, “Brighter Days Ahead” (WINNER)
Billie Eilish, “Birds of a Feather”
Kendrick Lamar, “Not Like Us”
Lady Gaga & Bruno Mars, “Die With A Smile”
Rosé & Bruno Mars, “APT.”
Sabrina Carpenter, “Manchild”
The Weeknd, Playboi Carti, “Timeless”
Artist of the Year
Bad Bunny
Beyoncé
Kendrick Lamar
Lady Gaga (WINNER)
Morgan Wallen
Taylor Swift
The Weeknd
Song of the Year
Alex Warren, “Ordinary”
Billie Eilish, “Birds of a Feather”
Doechii, “Anxiety”
Ed Sheeran, “Sapphire”
Gracie Abrams, “I Love You, I’m Sorry”
Lady Gaga & Bruno Mars, “Die With A Smile”
Lorde, “What Was That”
Rosé & Bruno Mars, “APT.” (WINNER)
Tate McRae, “Sports Car”
The Weeknd, Playboi Carti, “Timeless”
Best New Artist
Alex Warren (WINNER)
Ella Langley
Gigi Perez
Lola Young
Sombr
The Marías
Best Pop Artist
Ariana Grande
Charli xcx
Justin Bieber
Lorde
Miley Cyrus
Sabrina Carpenter (WINNER)
Tate McRae
MTV Push Performance of the Year
August 2024: Shaboozey, “A Bar Song (Tipsy)”
September 2024: Ayra Starr, “Last Heartbreak Song”
October 2024: Mark Ambor, “Belong Together”
November 2024: Lay Bankz, “Graveyard”
December 2024: Dasha, “Bye Bye Bye”
January 2025: KATSEYE, “Touch” (WINNER)
February 2025: Jordan Adetunji, “Kehlani”
March 2025: Leon Thomas, “Yes It Is”
April 2025: Livingston, “Shadow”
May 2025: Damiano David, “Next Summer”
June 2025: Gigi Perez, “Sailor Song”
July 2025: Role Model, “Sally, When The Wine Runs Out”
Best Collaboration
Bailey Zimmerman with Luke Combs, “Backup Plan (Stagecoach Official Music Video)”
Kendrick Lamar & SZA – “luther”
Lady Gaga & Bruno Mars, “Die With a Smile” (WINNER)
Post Malone ft. Blake Shelton, “Pour Me a Drink”
Rosé & Bruno Mars, “APT.”
Selena Gomez, Benny Blanco, “Sunset Blvd”
Best Pop
Alex Warren, “Ordinary”
Ariana Grande, “Brighter Days Ahead” (WINNER)
Ed Sheeran, “Sapphire”
Lady Gaga & Bruno Mars, “Die With A Smile”
Rosé & Bruno Mars, “APT.”
Sabrina Carpenter, “Manchild”
Best Hip-Hop
Doechii, “Anxiety” (WINNER)
Drake, “Nokia”
Eminem ft. Jelly Roll, “Somebody Save Me”
GloRilla ft. Sexyy Red, “Whatchu Kno About Me”
Kendrick Lamar, “Not Like Us”
LL Cool J ft. Eminem, “Murdergram Deux”
Travis Scott, “4X4”
Best R&B
Chris Brown, “Residuals”
Leon Thomas & Freddie Gibbs, “Mutt (Remix)”
Mariah Carey, “Type Dangerous” (WINNER)
Partynextdoor – “No Chill”
Summer Walker, “Heart Of A Woman”
SZA, “Drive”
The Weeknd, Playboi Carti, “Timeless”
Best Alternative
Gigi Perez, “Sailor Song”
Imagine Dragons, “Wake Up”
Lola Young, “Messy”
mgk & Jelly Roll, “Lonely Road”
Sombr, “Back to Friends” (WINNER)
The Marías, “Back To Me”
Best Rock
Coldplay, “All My Love” (WINNER)
Evanescence, “Afterlife (From the Netflix Series Devil May Cry)”
Green Day, “One Eyed Bastard”
Lenny Kravitz, “Honey”
Linkin Park, “The Emptiness Machine”
Twenty One Pilots, “The Contract”
Best Latin
Bad Bunny, “Baile Inolvidable”
J Balvin, “Rio”
Karol G, “Si Antes Te Hubiera Conocido”
Peso Pluma, “La Patrulla”
Rauw Alejandro & Romeo Santos, “Khé?”
Shakira, “Soltera“ (WINNER)
Best K-pop
Aespa, “Whiplash”
Jennie, “Like Jennie”
Jimin, “Who”
Jisoo, “Earthquake”
Lisa ft. Doja Cat & Raye, “Born Again” (WINNER)
Stray Kids, “Chk Chk Boom”
Rosé, “Toxic Till the End”
Best Afrobeats
Asake & Travis Scott, “Active”
Burna Boy ft. Travis Scott, “TaTaTa”
Moliy, Silent Addy, Skillibeng & Shenseea, “Shake It To The Max (Fly) (Remix)”
Rema, “Baby (Is It a Crime)”
Tems ft. Asake, “Get It Right”
Tyla, “Push 2 Start” (WINNER)
Wizkid ft. Brent Faiyaz, “Piece Of My Heart”
Best Country
Chris Stapleton, “Think I’m In Love With You”
Cody Johnson with Carrie Underwood, “I’m Gonna Love You”
Jelly Roll, “Liar”
Lainey Wilson, “4x4xU”
Megan Moroney, “Am I Okay?” (WINNER)
Morgan Wallen, “Smile”
Best Album
Bad Bunny, Debí Tirar Más Fotos
Kendrick Lamar, GNX
Lady Gaga, Mayhem
Morgan Wallen, I’m the Problem
Sabrina Carpenter, Short n’ Sweet (WINNER)
The Weeknd, Hurry Up Tomorrow
Best Longform Video
Ariana Grande, “Brighter Days Ahead” (WINNER)
Bad Bunny – “Debí Tirar Más Fotos (Short Film)”
Damiano David, “Funny Little Stories”
Mac Miller, “Balloonerism”
Miley Cyrus, “Something Beautiful”
The Weeknd, “Hurry Up Tomorrow”
Best Group
aespa
All Time Low
Backstreet Boys
BLACKPINK (WINNER)
Coldplay
Evanescence
Fuerza Regida
Grupo Frontera
Imagine Dragons
Jonas Brothers
KATSEYE
My Chemical Romance
SEVENTEEN
Stray Kids
The Marías
twenty one pilots
Song of the Summer
Addison Rae, “Headphones On”
Alex Warren, “Ordinary”
Benson Boone, “Mystical Magical”
BigXthaPlug ft. Bailey Zimmerman, “All The Way”
Chappell Roan, “The Subway”
Demi Lovato, “Fast”
Doja Cat, “Jealous Type”
HUNTRIX: EJAE, Audrey Nuna & REI AMI, “Golden”
Jessie Murph, “Blue Strips”
Justin Bieber, “Daisies”
MOLIY, Silent Addy, Skillibeng & Shenseea, “Shake It to the Max (FLY) (Remix)”
Morgan Wallen ft. Tate McRae, “What I Want”
Ravyn Lenae ft. Rex Orange County, “Love Me Not”
Sabrina Carpenter, “Manchild”
sombr, “12 to 12”
Tate McRae, “Just Keep Watching (From F1 The Movie)” (WINNER)
Video for Good
Burna Boy, “Higher”
Charli xcx – “Guess featuring Billie Eilish” (WINNER)
Doechii, “Anxiety”
Eminem ft. Jelly Roll, “Somebody Save Me”
Selena Gomez, Benny Blanco – “Younger and Hotter Than Me”
Zach Hood ft. Sasha Alex Sloan, “Sleepwalking”
Best Direction
Ariana Grande, “Brighter Days Ahead”
Charli xcx, “Guess featuring Billie Eilish”
Kendrick Lamar, “Not Like Us”
Lady Gaga, “Abracadabra” (WINNER)
Rosé & Bruno Mars, “APT.”
Sabrina Carpenter, “Manchild”
Best Art Direction
Charli xcx, “Guess featuring Billie Eilish”
Kendrick Lamar, “Not Like Us”
Lady Gaga, “Abracadabra” (WINNER)
Lorde, “Man of the Year”
Miley Cyrus, “End of the World”
Rosé & Bruno Mars, “APT.”
Best Cinematography
Ariana Grande, “Brighter Days Ahead”
Ed Sheeran, “Sapphire”
Kendrick Lamar, “Not Like Us” (WINNER)
Lady Gaga, “Abracadabra”
Miley Cyrus, “Easy Lover”
Sabrina Carpenter, “Manchild”
Best Editing
Charli xcx, “Guess featuring Billie Eilish”
Ed Sheeran, “Sapphire”
Kendrick Lamar, “Not Like Us”
Lady Gaga, “Abracadabra”
Sabrina Carpenter, “Manchild”
Tate McRae, “Just Keep Watching (From F1: The Movie)” (WINNER)
Best Choreography
Doechii, “Anxiety” (WINNER)
FKA Twigs, “Eusexua”
Kendrick Lamar, “Not Like Us”
Lady Gaga, “Abracadabra”
Tyla – “Push 2 Start”
Zara Larsson, “Pretty Ugly”
Best Visual Effects
Ariana Grande, “Brighter Days Ahead”
Lady Gaga, “Abracadabra”
Rosé & Bruno Mars, “APT.”
Sabrina Carpenter, “Manchild” (WINNER)
Tate McRae, “Just Keep Watching (From F1: The Movie)“
The Weeknd, “Hurry Up Tomorrow”
Ariana Grande won video of the year at the 2025 Video Music Awards, which were handed out Sunday night.
The video for her song “brighter days ahead” won the night’s highest honor. Overall, Grande went home with a total of three awards.
Lady Gaga was the biggest winner of the night; among her four wins was artist of the year, which was presented to her two days after she was forced to cancel a show in Miami due to an “extremely strained” voice. She said in her acceptance speech that she couldn’t stick around for the rest of the VMAs as she had to get to Madison Square Garden, where she was scheduled to perform Sunday night. About 90 minutes later, the VMAs broadcast her performing “Abracadabra” and “The Dead Dance” from her show at MSG.
Sabrina Carpenter also took home three “Moon Person” trophies, including album of the year with Short n’ Sweet.
Other winners who accepted during the telecast were Rosé, who won song of the year for “APT.,” her collaboration with Bruno Mars; and KATSEYE, who won MTV Push performance of the year for “Touch.” Mars and Gaga also won best collaboration for “Die With a Smile.”
Also during the show, Mariah Carey was presented with the Video Vanguard Award, Busta Rhymes received the inaugural Rock the Bells Visionary Award, and Ricky Martin accepted the inaugural Latin Icon Award. All three artists also performed. (See all the stars’ red carpet arrivals here.)
This year, the VMAs added two new categories: best pop artist and best country video.
The VMAs aired live coast-to-coast starting at 5 p.m. Sunday from UBS Arena in Elmont, New York, with LL Cool J serving as host. The show aired on CBS for the first time in addition to their longtime home on MTV and stream live on Paramount+ (for subscribers to the service’s premium plan). (See a list of the wildest VMA moments of all time.)
Former MTV head Van Toffler and his company Gunpowder & Sky produced the 2025 VMAs along with Den of Thieves.
A full list of winners follows.
Video of the Year
Ariana Grande, “Brighter Days Ahead” (WINNER)
Billie Eilish, “Birds of a Feather”
Kendrick Lamar, “Not Like Us”
Lady Gaga & Bruno Mars, “Die With A Smile”
Rosé & Bruno Mars, “APT.”
Sabrina Carpenter, “Manchild”
The Weeknd, Playboi Carti, “Timeless”
Artist of the Year
Bad Bunny
Beyoncé
Kendrick Lamar
Lady Gaga (WINNER)
Morgan Wallen
Taylor Swift
The Weeknd
Song of the Year
Alex Warren, “Ordinary”
Billie Eilish, “Birds of a Feather”
Doechii, “Anxiety”
Ed Sheeran, “Sapphire”
Gracie Abrams, “I Love You, I’m Sorry”
Lady Gaga & Bruno Mars, “Die With A Smile”
Lorde, “What Was That”
Rosé & Bruno Mars, “APT.” (WINNER)
Tate McRae, “Sports Car”
The Weeknd, Playboi Carti, “Timeless”
Best New Artist
Alex Warren (WINNER)
Ella Langley
Gigi Perez
Lola Young
Sombr
The Marías
Best Pop Artist
Ariana Grande
Charli xcx
Justin Bieber
Lorde
Miley Cyrus
Sabrina Carpenter (WINNER)
Tate McRae
MTV Push Performance of the Year
August 2024: Shaboozey, “A Bar Song (Tipsy)”
September 2024: Ayra Starr, “Last Heartbreak Song”
October 2024: Mark Ambor, “Belong Together”
November 2024: Lay Bankz, “Graveyard”
December 2024: Dasha, “Bye Bye Bye”
January 2025: KATSEYE, “Touch” (WINNER)
February 2025: Jordan Adetunji, “Kehlani”
March 2025: Leon Thomas, “Yes It Is”
April 2025: Livingston, “Shadow”
May 2025: Damiano David, “Next Summer”
June 2025: Gigi Perez, “Sailor Song”
July 2025: Role Model, “Sally, When The Wine Runs Out”
Best Collaboration
Bailey Zimmerman with Luke Combs, “Backup Plan (Stagecoach Official Music Video)”
Kendrick Lamar & SZA – “luther”
Lady Gaga & Bruno Mars, “Die With a Smile” (WINNER)
Post Malone ft. Blake Shelton, “Pour Me a Drink”
Rosé & Bruno Mars, “APT.”
Selena Gomez, Benny Blanco, “Sunset Blvd”
Best Pop
Alex Warren, “Ordinary”
Ariana Grande, “Brighter Days Ahead” (WINNER)
Ed Sheeran, “Sapphire”
Lady Gaga & Bruno Mars, “Die With A Smile”
Rosé & Bruno Mars, “APT.”
Sabrina Carpenter, “Manchild”
Best Hip-Hop
Doechii, “Anxiety” (WINNER)
Drake, “Nokia”
Eminem ft. Jelly Roll, “Somebody Save Me”
GloRilla ft. Sexyy Red, “Whatchu Kno About Me”
Kendrick Lamar, “Not Like Us”
LL Cool J ft. Eminem, “Murdergram Deux”
Travis Scott, “4X4”
Best R&B
Chris Brown, “Residuals”
Leon Thomas & Freddie Gibbs, “Mutt (Remix)”
Mariah Carey, “Type Dangerous” (WINNER)
Partynextdoor – “No Chill”
Summer Walker, “Heart Of A Woman”
SZA, “Drive”
The Weeknd, Playboi Carti, “Timeless”
Best Alternative
Gigi Perez, “Sailor Song”
Imagine Dragons, “Wake Up”
Lola Young, “Messy”
mgk & Jelly Roll, “Lonely Road”
Sombr, “Back to Friends” (WINNER)
The Marías, “Back To Me”
Best Rock
Coldplay, “All My Love” (WINNER)
Evanescence, “Afterlife (From the Netflix Series Devil May Cry)”
Green Day, “One Eyed Bastard”
Lenny Kravitz, “Honey”
Linkin Park, “The Emptiness Machine”
Twenty One Pilots, “The Contract”
Best Latin
Bad Bunny, “Baile Inolvidable”
J Balvin, “Rio”
Karol G, “Si Antes Te Hubiera Conocido”
Peso Pluma, “La Patrulla”
Rauw Alejandro & Romeo Santos, “Khé?”
Shakira, “Soltera“ (WINNER)
Best K-pop
Aespa, “Whiplash”
Jennie, “Like Jennie”
Jimin, “Who”
Jisoo, “Earthquake”
Lisa ft. Doja Cat & Raye, “Born Again” (WINNER)
Stray Kids, “Chk Chk Boom”
Rosé, “Toxic Till the End”
Best Afrobeats
Asake & Travis Scott, “Active”
Burna Boy ft. Travis Scott, “TaTaTa”
Moliy, Silent Addy, Skillibeng & Shenseea, “Shake It To The Max (Fly) (Remix)”
Rema, “Baby (Is It a Crime)”
Tems ft. Asake, “Get It Right”
Tyla, “Push 2 Start” (WINNER)
Wizkid ft. Brent Faiyaz, “Piece Of My Heart”
Best Country
Chris Stapleton, “Think I’m In Love With You”
Cody Johnson with Carrie Underwood, “I’m Gonna Love You”
Jelly Roll, “Liar”
Lainey Wilson, “4x4xU”
Megan Moroney, “Am I Okay?” (WINNER)
Morgan Wallen, “Smile”
Best Album
Bad Bunny, Debí Tirar Más Fotos
Kendrick Lamar, GNX
Lady Gaga, Mayhem
Morgan Wallen, I’m the Problem
Sabrina Carpenter, Short n’ Sweet (WINNER)
The Weeknd, Hurry Up Tomorrow
Best Longform Video
Ariana Grande, “Brighter Days Ahead” (WINNER)
Bad Bunny – “Debí Tirar Más Fotos (Short Film)”
Damiano David, “Funny Little Stories”
Mac Miller, “Balloonerism”
Miley Cyrus, “Something Beautiful”
The Weeknd, “Hurry Up Tomorrow”
Best Group
aespa
All Time Low
Backstreet Boys
BLACKPINK (WINNER)
Coldplay
Evanescence
Fuerza Regida
Grupo Frontera
Imagine Dragons
Jonas Brothers
KATSEYE
My Chemical Romance
SEVENTEEN
Stray Kids
The Marías
twenty one pilots
Song of the Summer
Addison Rae, “Headphones On”
Alex Warren, “Ordinary”
Benson Boone, “Mystical Magical”
BigXthaPlug ft. Bailey Zimmerman, “All The Way”
Chappell Roan, “The Subway”
Demi Lovato, “Fast”
Doja Cat, “Jealous Type”
HUNTRIX: EJAE, Audrey Nuna & REI AMI, “Golden”
Jessie Murph, “Blue Strips”
Justin Bieber, “Daisies”
MOLIY, Silent Addy, Skillibeng & Shenseea, “Shake It to the Max (FLY) (Remix)”
Morgan Wallen ft. Tate McRae, “What I Want”
Ravyn Lenae ft. Rex Orange County, “Love Me Not”
Sabrina Carpenter, “Manchild”
sombr, “12 to 12”
Tate McRae, “Just Keep Watching (From F1 The Movie)” (WINNER)
Video for Good
Burna Boy, “Higher”
Charli xcx – “Guess featuring Billie Eilish” (WINNER)
Doechii, “Anxiety”
Eminem ft. Jelly Roll, “Somebody Save Me”
Selena Gomez, Benny Blanco – “Younger and Hotter Than Me”
Zach Hood ft. Sasha Alex Sloan, “Sleepwalking”
Best Direction
Ariana Grande, “Brighter Days Ahead”
Charli xcx, “Guess featuring Billie Eilish”
Kendrick Lamar, “Not Like Us”
Lady Gaga, “Abracadabra” (WINNER)
Rosé & Bruno Mars, “APT.”
Sabrina Carpenter, “Manchild”
Best Art Direction
Charli xcx, “Guess featuring Billie Eilish”
Kendrick Lamar, “Not Like Us”
Lady Gaga, “Abracadabra” (WINNER)
Lorde, “Man of the Year”
Miley Cyrus, “End of the World”
Rosé & Bruno Mars, “APT.”
Best Cinematography
Ariana Grande, “Brighter Days Ahead”
Ed Sheeran, “Sapphire”
Kendrick Lamar, “Not Like Us” (WINNER)
Lady Gaga, “Abracadabra”
Miley Cyrus, “Easy Lover”
Sabrina Carpenter, “Manchild”
Best Editing
Charli xcx, “Guess featuring Billie Eilish”
Ed Sheeran, “Sapphire”
Kendrick Lamar, “Not Like Us”
Lady Gaga, “Abracadabra”
Sabrina Carpenter, “Manchild”
Tate McRae, “Just Keep Watching (From F1: The Movie)” (WINNER)
Best Choreography
Doechii, “Anxiety” (WINNER)
FKA Twigs, “Eusexua”
Kendrick Lamar, “Not Like Us”
Lady Gaga, “Abracadabra”
Tyla – “Push 2 Start”
Zara Larsson, “Pretty Ugly”
Best Visual Effects
Ariana Grande, “Brighter Days Ahead”
Lady Gaga, “Abracadabra”
Rosé & Bruno Mars, “APT.”
Sabrina Carpenter, “Manchild” (WINNER)
Tate McRae, “Just Keep Watching (From F1: The Movie)“
The Weeknd, “Hurry Up Tomorrow”
Congrats to all the winners!
Jay-Z’s Sexual Assault Accuser Says Her Mental Health May Suffer If Her Identity Is Revealed
After stepping away from her lawsuit against Jay-Z, the woman behind the now-dismissed claims is asking the court for something else: the right to stay hidden.
According to AllHipHop, in a recent court filing, she expressed fears that revealing her identity could trigger harassment and cause serious harm to her mental health and family life.
Her psychiatrist, Dr. John T. Olsen, backed the plea with a strong warning to the judge.
Olsen went further, adding that the risk of relapse is high and could deeply affect her long-term stability.
While Jay-Z continues to pursue a defamation claim against her, she’s now fighting for her anonymity.
According to AllHipHop, in a recent court filing, she expressed fears that revealing her identity could trigger harassment and cause serious harm to her mental health and family life.
Her psychiatrist, Dr. John T. Olsen, backed the plea with a strong warning to the judge.
Olsen went further, adding that the risk of relapse is high and could deeply affect her long-term stability.
While Jay-Z continues to pursue a defamation claim against her, she’s now fighting for her anonymity.
Fat Joe revealed that two of his sneaker deals fell through due to high-profile rap beefs.
In a new episode of Sneaker Shopping with Complex’s Joe La Puma, the rapper discussed his failed Jordan and Reebok deals.
“I was the first rapper with a Jordan sneaker. Not only that, designed by Michael Jordan,” he said, recalling that the model was either going to be a Jordan 3 or 4.
However, Jordan passed on working with Joey Crack following a tense moment at the 2005 MTV VMAs involving 50 Cent. Joe remembered receiving a phone call from an executive at the brand. “‘Yo, Big Joe, you know, I'm not with controversy. Maybe we look at this in the future,’” the exec told him.
Around that time, his Reebok deal also fell through due to his feud with Jay-Z.
“Reebok had approached me and was like, ‘Yo, we want to do a sneaker with you for millions,’” Joe said. “I caught the squeeze play cuz Hov was over there and 50 Cent.”
He said at some point, the head of Reebok called him to renege on the sneaker. “He said, ‘Yo, I ain't know you not cool with Hov.’”
“They shut it down. They was just like, ‘Yo, we won't do business with you if you give this guy a sneaker.’ That's part of the karma. It's part of the ins and outs. I've done it to other guys. It came back to me.”
At the time of the 2005 VMAs, Joe and Fif were already at odds and brought their feud to the awards show. 50 made multiple attempts to get a rise out of Joe, including waving at Joe from the cheap seats while he presented awards, 50 wandering on stage during commercial breaks, and 50 yelling at Joe while the show was live.
Joe eventually broke, saying on stage, “‘I feel safe with all the police protection courtesy of G-Unit.’” His barb led 50 to call him a “pussy” on stage.
Joe and Jay-Z were also beefing in 2004. While it’s unclear what exactly ignited their feud, one reason many point to is mounting tensions on the basketball court. That year, at the New York City’s Entertainment Basketball Classic at Harlem’s Rucker Park, Jay’s team forfeited to Joe’s when they didn’t show up to the championship game. The moment prompted Joe to take a shot at Hov on the 2004 single, “Lean Back.”
“I don’t wanna speak about the Rucker / Not even Pee Wee Kirkland could imagine this / My n***a didn’t have to play to win the championship,” Joe raps.
Joe eventually squashed his beef with both rappers. He and Fif began their reconciliation following the 2012 death of their mutual friend, Chris Lighty. Then, a few years later in 2016, Joe and Jay deaded their issues when the pair posed for a picture at Beyoncé’s Formation tour, followed by Jay hopping on a remix of Joe and Remy Ma’s classic, “All the Way Up.”Joe was beefing with both rappers around 2004 and 2005.
Fat Joe revealed that two of his sneaker deals fell through due to high-profile rap beefs.
In a new episode of Sneaker Shopping with Complex’s Joe La Puma, the rapper discussed his failed Jordan and Reebok deals.
“I was the first rapper with a Jordan sneaker. Not only that, designed by Michael Jordan,” he said, recalling that the model was either going to be a Jordan 3 or 4.
However, Jordan passed on working with Joey Crack following a tense moment at the 2005 MTV VMAs involving 50 Cent. Joe remembered receiving a phone call from an executive at the brand. “‘Yo, Big Joe, you know, I'm not with controversy. Maybe we look at this in the future,’” the exec told him.
Around that time, his Reebok deal also fell through due to his feud with Jay-Z.
“Reebok had approached me and was like, ‘Yo, we want to do a sneaker with you for millions,’” Joe said. “I caught the squeeze play cuz Hov was over there and 50 Cent.”
He said at some point, the head of Reebok called him to renege on the sneaker. “He said, ‘Yo, I ain't know you not cool with Hov.’”
“They shut it down. They was just like, ‘Yo, we won't do business with you if you give this guy a sneaker.’ That's part of the karma. It's part of the ins and outs. I've done it to other guys. It came back to me.”
At the time of the 2005 VMAs, Joe and Fif were already at odds and brought their feud to the awards show. 50 made multiple attempts to get a rise out of Joe, including waving at Joe from the cheap seats while he presented awards, 50 wandering on stage during commercial breaks, and 50 yelling at Joe while the show was live.
Joe eventually broke, saying on stage, “‘I feel safe with all the police protection courtesy of G-Unit.’” His barb led 50 to call him a “pussy” on stage.
Joe and Jay-Z were also beefing in 2004. While it’s unclear what exactly ignited their feud, one reason many point to is mounting tensions on the basketball court. That year, at the New York City’s Entertainment Basketball Classic at Harlem’s Rucker Park, Jay’s team forfeited to Joe’s when they didn’t show up to the championship game. The moment prompted Joe to take a shot at Hov on the 2004 single, “Lean Back.”
“I don’t wanna speak about the Rucker / Not even Pee Wee Kirkland could imagine this / My n***a didn’t have to play to win the championship,” Joe raps.
Joe eventually squashed his beef with both rappers. He and Fif began their reconciliation following the 2012 death of their mutual friend, Chris Lighty. Then, a few years later in 2016, Joe and Jay deaded their issues when the pair posed for a picture at Beyoncé’s Formation tour, followed by Jay hopping on a remix of Joe and Remy Ma’s classic, “All the Way Up.”Fat Joe Says Jay-Z and 50 Cent Beef Cost Him Jordan and Reebok Sneaker Deals
Fat Joe revealed that two of his sneaker deals fell through due to high-profile rap beefs.
In a new episode of Sneaker Shopping with Complex’s Joe La Puma, the rapper discussed his failed Jordan and Reebok deals.
“I was the first rapper with a Jordan sneaker. Not only that, designed by Michael Jordan,” he said, recalling that the model was either going to be a Jordan 3 or 4.
However, Jordan passed on working with Joey Crack following a tense moment at the 2005 MTV VMAs involving 50 Cent. Joe remembered receiving a phone call from an executive at the brand. “‘Yo, Big Joe, you know, I'm not with controversy. Maybe we look at this in the future,’” the exec told him.
Around that time, his Reebok deal also fell through due to his feud with Jay-Z.
“Reebok had approached me and was like, ‘Yo, we want to do a sneaker with you for millions,’” Joe said. “I caught the squeeze play cuz Hov was over there and 50 Cent.”
He said at some point, the head of Reebok called him to renege on the sneaker. “He said, ‘Yo, I ain't know you not cool with Hov.’”
“They shut it down. They was just like, ‘Yo, we won't do business with you if you give this guy a sneaker.’ That's part of the karma. It's part of the ins and outs. I've done it to other guys. It came back to me.”
At the time of the 2005 VMAs, Joe and Fif were already at odds and brought their feud to the awards show. 50 made multiple attempts to get a rise out of Joe, including waving at Joe from the cheap seats while he presented awards, 50 wandering on stage during commercial breaks, and 50 yelling at Joe while the show was live.
Joe eventually broke, saying on stage, “‘I feel safe with all the police protection courtesy of G-Unit.’” His barb led 50 to call him a “pussy” on stage.
Joe and Jay-Z were also beefing in 2004. While it’s unclear what exactly ignited their feud, one reason many point to is mounting tensions on the basketball court. That year, at the New York City’s Entertainment Basketball Classic at Harlem’s Rucker Park, Jay’s team forfeited to Joe’s when they didn’t show up to the championship game. The moment prompted Joe to take a shot at Hov on the 2004 single, “Lean Back.”
“I don’t wanna speak about the Rucker / Not even Pee Wee Kirkland could imagine this / My n***a didn’t have to play to win the championship,” Joe raps.
Joe eventually squashed his beef with both rappers. He and Fif began their reconciliation following the 2012 death of their mutual friend, Chris Lighty. Then, a few years later in 2016, Joe and Jay deaded their issues when the pair posed for a picture at Beyoncé’s Formation tour, followed by Jay hopping on a remix of Joe and Remy Ma’s classic, “All the Way Up.”
Mary J. Blige draws line against folks she feels are ungrateful
The queen of hip-hop soul has reached her breaking point. Mary J. Blige recently posted a defiant message across her social media platforms, announcing she has contributed enough to those who fail to appreciate her efforts. The declaration marks a pivotal moment for the Grammy-winning artist as she navigates turbulent waters in both her personal and professional spheres.
The timing of Blige’s public statement coincides with escalating legal troubles involving her former confidante, Misa Hylton. Court documents reveal Hylton has initiated a $5 million lawsuit against the singer, claiming interference with rapper Vado’s management agreement. The litigation represents more than financial strain — it symbolizes fractured relationships within Blige’s inner circle.
Industry insiders suggest the lawsuit stems from competing business interests that have spiraled into personal animosity. The case threatens to expose private communications and business dealings that could damage reputations across the hip-hop community.
The timing of Blige’s public statement coincides with escalating legal troubles involving her former confidante, Misa Hylton. Court documents reveal Hylton has initiated a $5 million lawsuit against the singer, claiming interference with rapper Vado’s management agreement. The litigation represents more than financial strain — it symbolizes fractured relationships within Blige’s inner circle.
Industry insiders suggest the lawsuit stems from competing business interests that have spiraled into personal animosity. The case threatens to expose private communications and business dealings that could damage reputations across the hip-hop community.
Blige‘s journey from housing projects in Yonkers, New York, to international acclaim exemplifies the American dream realized through raw talent and determination. Her 1992 debut album What’s the 411? revolutionized R&B by blending street credibility with emotional vulnerability, establishing her as hip-hop’s first lady.
Throughout three decades in entertainment, she has accumulated nine Grammy Awards, sold over 50 million albums worldwide and earned Academy Award nominations for her acting work. Her music became the soundtrack for countless women navigating heartbreak, addiction and societal challenges.
The artist’s willingness to expose personal struggles — including domestic violence and substance abuse — transformed her from entertainer to cultural healer. Songs like “Family Affair” and “Be Without You” provided anthems for resilience that transcended racial and economic boundaries.
Beyond the Hylton litigation, recent friction with singer Tyrese has intensified speculation about Blige’s frustrations. The actor-musician publicly criticized her for declining a collaboration request, suggesting professional relationships have soured.
Entertainment industry veterans note that such public disputes rarely emerge without deeper underlying tensions. The incidents collectively paint a picture of an artist growing weary of demands from colleagues who may not reciprocate loyalty or respect.
Mental health awareness has gained prominence across entertainment circles, with artists increasingly vocal about establishing boundaries. Blige’s declaration reflects this broader cultural shift toward prioritizing personal well-being over external expectations.
Psychologists emphasize that public figures face unique pressures to remain accessible and accommodating, often at personal expense. The singer’s stance represents healthy boundary-setting that could inspire similar decisions among her peers.
As the situation unfolds, music historians argue that Blige‘s contributions warrant greater industry appreciation. Her influence extends beyond album sales to cultural impact — she provided voice to marginalized communities while breaking barriers for female artists in male-dominated hip-hop.
The current controversies may ultimately strengthen her position by demonstrating unwillingness to tolerate disrespect. Fans have rallied behind her message, flooding social media with support and acknowledgment of her decades-long service to music.
The industry now watches whether other artists will follow Blige’s lead in demanding reciprocal respect from collaborators and business partners. Her bold stance may signal a broader transformation in how entertainment professionals approach relationships and self-advocacy.
In an era where authenticity commands premium value, Mary J. Blige’s refusal to accept ungratefulness represents both personal evolution and potential industry catalyst for change.
Keke Wyatt Responds After Son Rahjah’s Viral TikTok Accusations
Keke Wyatt is no stranger to headlines, but last week her name trended for all the wrong reasons.
Her son Rahjah sparked conversation on TikTok after posting a “Put A Finger Down” challenge where he accused his mother of using his cancer diagnosis for attention and even suggested she once told him his diagnosis was karma for being gay.
@rahjahke_ Storytime? #mlm #storytime #theaudacity #narcissism #traumatok ♬ original sound – Rahjah’Ke
The video spread quickly, leaving social media divided and waiting for Keke Wyatt’s response.
On Sunday, Keke Wyatt broke her silence.
She released a statement on Instagram with Le’Andria Johnson’s gospel track “Better Days” playing in the background.
Her message read:
I will publicly address this one time only…
I love my son, and I love all of my children. I love all people.
Anyone who truly knows me understands there is not a homophobic bone in my body.
Like any parent, every day is not sunshine but my love for my children never changes.
I kindly ask that you respect our family, keep us in your prayers🙏🏽 and allow us the privacy to move forward in peace.
Love Y’all, Keke 💋💋💋
The post was heartfelt yet firm, signaling that she will not revisit the matter again publicly.
Clifton Powell opens up about the colorism and racism he faced in Hollywood
Powell says he lost roles in film and commercials because producers thought he was “too dark.”
He described confronting racism on set, including working with crew members who were Klan-affiliated.
He reflected on how these experiences reveal persistent discrimination in the entertainment industry.
Clifton Powell opened up about the racism and colorism he faced throughout his career during a candid interview with “The Art of Dialogue.” The veteran actor didn’t hold back when recalling moments that shaped his journey in Hollywood.
Powell revealed that his complexion cost him roles, including a major TV movie. “Well, basically, what happened was the producers told the director that I was so dark that it looked like I would scare everyone. So they wouldn't hire me. I haven't spoken on it, but I'm gonna put it in my book. And, basically, that's what happened.”
The discrimination extended beyond films. “That’s happened to me on a McDonald’s commercial. One of my friends was the producer and the agency thought I was just too dark.”
He also referenced a well-documented moment involving another Black star. “There was [an] article years ago… Wesley Snipes’ white agent from CAA… they called him and said, ‘Don't send anybody darker than Denzel. Racism permeates… You’ve got to understand, if Obama was my skin complexion, he wouldn’t have been president.”
The 69-year-old made it clear he’s never allowed anyone to disrespect him. “I did a TV series, which I am not gonna say, but some of the teamsters were Klan members. This is real. It's real. I don't take any s**t from anybody that's racist, sexist, or anything. Period. And I could tell you a billion stories and I'm never gonna take it.”
While acknowledging improvements, Powell insisted the industry still reflects larger societal issues. “I'm not gonna bash Hollywood because Hollywood is a microcosm of what's going on in the world right now. I'm just not that guy, and I'm never gonna be that guy. And so I've lost work because of it. I've been fired because of it. I've walked off of sets because of it.”
Despite the challenges, Powell has built an impressive body of work. He’s appeared in critically acclaimed projects such as Ray, Menace II Society, Dead Presidents, and Selma, Lord, Selma. He’s also a familiar face on television, with roles in “The Family Business,” “Sacrifice,” “Saints & Sinners,” and “Fight Night: The Million Dollar Heist.”
He described confronting racism on set, including working with crew members who were Klan-affiliated.
He reflected on how these experiences reveal persistent discrimination in the entertainment industry.
Clifton Powell opened up about the racism and colorism he faced throughout his career during a candid interview with “The Art of Dialogue.” The veteran actor didn’t hold back when recalling moments that shaped his journey in Hollywood.
Powell revealed that his complexion cost him roles, including a major TV movie. “Well, basically, what happened was the producers told the director that I was so dark that it looked like I would scare everyone. So they wouldn't hire me. I haven't spoken on it, but I'm gonna put it in my book. And, basically, that's what happened.”
The discrimination extended beyond films. “That’s happened to me on a McDonald’s commercial. One of my friends was the producer and the agency thought I was just too dark.”
He also referenced a well-documented moment involving another Black star. “There was [an] article years ago… Wesley Snipes’ white agent from CAA… they called him and said, ‘Don't send anybody darker than Denzel. Racism permeates… You’ve got to understand, if Obama was my skin complexion, he wouldn’t have been president.”
The 69-year-old made it clear he’s never allowed anyone to disrespect him. “I did a TV series, which I am not gonna say, but some of the teamsters were Klan members. This is real. It's real. I don't take any s**t from anybody that's racist, sexist, or anything. Period. And I could tell you a billion stories and I'm never gonna take it.”
While acknowledging improvements, Powell insisted the industry still reflects larger societal issues. “I'm not gonna bash Hollywood because Hollywood is a microcosm of what's going on in the world right now. I'm just not that guy, and I'm never gonna be that guy. And so I've lost work because of it. I've been fired because of it. I've walked off of sets because of it.”
Despite the challenges, Powell has built an impressive body of work. He’s appeared in critically acclaimed projects such as Ray, Menace II Society, Dead Presidents, and Selma, Lord, Selma. He’s also a familiar face on television, with roles in “The Family Business,” “Sacrifice,” “Saints & Sinners,” and “Fight Night: The Million Dollar Heist.”
Tessa Thompson & Imogen Poots Join Cast of 'Hedda' at 2025 Toronto International Film Festival Premiere
Tessa Thompson and Imogen Poots are joining their co-stars for the premiere of their new movie!
The pair walked the red carpet for the 2025 Toronto International Film Festival premiere of Hedda on Monday (September 7).
Tessa and Imogen were joined by the film’s director, Nia DaCosta, as well as their co-stars Tom Bateman, Nicholas Pinnock, and Nina Hoss.
The film’s summary, per the film festival, reads: “Newly wed and precariously dissatisfied with life, Hedda (Thompson), gun-loving daughter of the late General Gabler, has convinced her husband George (Bateman), a timid but ambitious scholar, to throw a lavish party the couple cannot afford. On the teeming guest list is Eileen Lovborg (Hoss), a celebrated author of a book exploring sexuality — and George’s key rival for a coveted academic post. Hedda sees the guests as pawns in an elaborate game she plans to orchestrate with ruthless precision.”
One of Hedda‘s stars was honored at the TIFF Tribute Awards!
Tessa Thompson and Imogen Poots are joining their co-stars for the premiere of their new movie!
The pair walked the red carpet for the 2025 Toronto International Film Festival premiere of Hedda on Monday (September 7).
Tessa and Imogen were joined by the film’s director, Nia DaCosta, as well as their co-stars Tom Bateman, Nicholas Pinnock, and Nina Hoss.
The film’s summary, per the film festival, reads: “Newly wed and precariously dissatisfied with life, Hedda (Thompson), gun-loving daughter of the late General Gabler, has convinced her husband George (Bateman), a timid but ambitious scholar, to throw a lavish party the couple cannot afford. On the teeming guest list is Eileen Lovborg (Hoss), a celebrated author of a book exploring sexuality — and George’s key rival for a coveted academic post. Hedda sees the guests as pawns in an elaborate game she plans to orchestrate with ruthless precision.”
One of Hedda‘s stars was honored at the TIFF Tribute Awards!
NFL Star Damar Hamlin Appear in Trailer for Hallmark Channel's 'Holiday Touchdown: A Bills Love Story'
The Buffalo Bills are making a cameo appearance in a new Hallmark Channel movie!
On Sunday (September 7), Hallmark Channel released the trailer for an upcoming christmas movie, Holiday Touchdown: A Bills Love Story.
The movie stars Holland Roden and Matthew Daddario with special cameos from Buffalo Bills players, including Damar Hamlin.
This NFL-focused Christmas movie was announced after the success of 2024′s Holiday Touchdown: A Chiefs Love Story.
The synopsis for the movie reads in part, “The Quinns and DeLucas have lived next door to each other for decades in the shadow of Highmark Stadium – the home of their beloved Buffalo Bills. With their longtime friendship rooted in being proud members of Bills Mafia, the two clans have enjoyed cherished traditions that revolve around cheering for their favorite team – especially at the holidays when they celebrate the last home game before Christmas.”
Holiday Touchdown: A Bills Love Story will premiere on November 22.
Check out the trailer HERE
On Sunday (September 7), Hallmark Channel released the trailer for an upcoming christmas movie, Holiday Touchdown: A Bills Love Story.
The movie stars Holland Roden and Matthew Daddario with special cameos from Buffalo Bills players, including Damar Hamlin.
This NFL-focused Christmas movie was announced after the success of 2024′s Holiday Touchdown: A Chiefs Love Story.
The synopsis for the movie reads in part, “The Quinns and DeLucas have lived next door to each other for decades in the shadow of Highmark Stadium – the home of their beloved Buffalo Bills. With their longtime friendship rooted in being proud members of Bills Mafia, the two clans have enjoyed cherished traditions that revolve around cheering for their favorite team – especially at the holidays when they celebrate the last home game before Christmas.”
Holiday Touchdown: A Bills Love Story will premiere on November 22.
Check out the trailer HERE
Queen Latifah Says Menopause Is a ‘Scary Thing’ but She Feels ‘In Control’ and ‘Powerful
Queen Latifah opens up to PEOPLE exclusively about the moment she learned she was entering menopause
The actress, 55, says she feels like she’s in control of this new phase of life
She is the spokesperson for the new WeightWatchers for Menopause campaign, a holistic program to help women during the transition
For Queen Latifah, hearing the word "menopause" from her doctor came as a shock. But now the 55-year-old has one word to describe this phase of her life: Powerful.
“I feel like I'm in control when it comes to this,” she tells PEOPLE.
In an exclusive interview, the rapper and actress opens up about navigating menopause and announces the launch of the new WeightWatchers for Menopause campaign, a holistic program to help women during the natural transition.
Latifah’s journey began about two years ago when she visited her gynecologist. As someone who'd previously experienced “challenges with my reproductive system," the doctor’s appointment was routine, and she thought nothing of it.
“I felt pretty normal,” she says, recalling her surprise when her doctor pointed out changes in her hormone levels. “I wouldn't have even known that I was in premenopause, and I was actually kinda shocked.”
“It was her telling me what my numbers were saying. And once I saw that, I could sort of tune into a couple of symptoms I may have been having,” the Girls Trip star continues. “I never had a hot flash or sweat down my forehead instantly like some of my friends, but I might argue about the temperature in the car with my driver so hey, maybe that was what was going on. Or this last 10 pounds that doesn’t wanna go — you know, different things like that.”
Latifah — whose real name is Dana Owens — says her doctor immediately gave her information about navigating menopause and made it less “scary” for her. But the Grammy winner recognizes that “it is a scary thing for a lot of people and not very well talked about.”
“At the end of the day, it's a physical change that's happening and we all want to understand how to deal with it and how to handle it better,” she says.
That’s why Latifah is partnering with WeightWatchers for the launch of their new WeightWatchers for Menopause campaign. With the actress as the first spokesperson, the program will give women equitable access to menopause support and resources in hopes of ending the stigma surrounding the pivotal stage of life.
“It's important to be able to get as much information as you can so that you can take care of yourself,” she says. “Whether it's hormone replacement or other options that are available, I think what WeightWatchers is doing is making sure that they have clinicians there for you, that they have the information there for you, and a supportive community that you may need while going through this.”
“It’s important to have people who do understand,” she adds. “Finally, there's something you can do about it.”
In addition to the help from WeightWatchers, Latifah has also had a lot of support from her close friends.
“Fortunately, I was a young girl running in these streets trying to be grown,” she says with a laugh. “So a lot of my friends are several years older than me so they experienced this before me. I mean, I'd never really heard the word perimenopause until one of my friends brought it up."
Latfiah says she also tries to focus on overall wellness and how she can “remain as healthy and vibrant” as possible.
For her, it starts with sleep — and everything else falls into place.
“I think sleep is extremely overrated for some people, but I always try to get a good night's sleep. Eight hours or better,” she notes. “And then some exercise, eat well, strengthen your bones, and just have fun, stay positive, you know, check on your mind.”
“I've been on my scooter a lot lately just because I need to feel the wind in my face,” she adds. “That does something for my brain and my heart.”
Since wrapping up The Equalizer earlier this year after five seasons, Latifah says she no longer has 16-hour workdays to manage, but admits that maintaining a healthy lifestyle is still a challenge.
However, she's ready to meet that challenge.
“It's never been easy for me to schedule my life, but I never stop trying. I'll always continue to try to get better at it,” she tells PEOPLE. “And for me, I'm just excited right now because, you know, menopause is a word that has a meaning. But what’s left with the rest of life? My God, every day is a new thing I’m excited about.”
“Scary times,” Latifah quips. “Nevertheless, I'm excited about what the future holds because every day that we are here, there's a chance to learn something new and even an opportunity to change someone's life. So that's where I like to keep my mind.”
Queen Latifah opens up to PEOPLE exclusively about the moment she learned she was entering menopause
The actress, 55, says she feels like she’s in control of this new phase of life
She is the spokesperson for the new WeightWatchers for Menopause campaign, a holistic program to help women during the transition
For Queen Latifah, hearing the word "menopause" from her doctor came as a shock. But now the 55-year-old has one word to describe this phase of her life: Powerful.
“I feel like I'm in control when it comes to this,” she tells PEOPLE.
In an exclusive interview, the rapper and actress opens up about navigating menopause and announces the launch of the new WeightWatchers for Menopause campaign, a holistic program to help women during the natural transition.
Latifah’s journey began about two years ago when she visited her gynecologist. As someone who'd previously experienced “challenges with my reproductive system," the doctor’s appointment was routine, and she thought nothing of it.
“I felt pretty normal,” she says, recalling her surprise when her doctor pointed out changes in her hormone levels. “I wouldn't have even known that I was in premenopause, and I was actually kinda shocked.”
“It was her telling me what my numbers were saying. And once I saw that, I could sort of tune into a couple of symptoms I may have been having,” the Girls Trip star continues. “I never had a hot flash or sweat down my forehead instantly like some of my friends, but I might argue about the temperature in the car with my driver so hey, maybe that was what was going on. Or this last 10 pounds that doesn’t wanna go — you know, different things like that.”
Latifah — whose real name is Dana Owens — says her doctor immediately gave her information about navigating menopause and made it less “scary” for her. But the Grammy winner recognizes that “it is a scary thing for a lot of people and not very well talked about.”
“At the end of the day, it's a physical change that's happening and we all want to understand how to deal with it and how to handle it better,” she says.
That’s why Latifah is partnering with WeightWatchers for the launch of their new WeightWatchers for Menopause campaign. With the actress as the first spokesperson, the program will give women equitable access to menopause support and resources in hopes of ending the stigma surrounding the pivotal stage of life.
“It's important to be able to get as much information as you can so that you can take care of yourself,” she says. “Whether it's hormone replacement or other options that are available, I think what WeightWatchers is doing is making sure that they have clinicians there for you, that they have the information there for you, and a supportive community that you may need while going through this.”
“It’s important to have people who do understand,” she adds. “Finally, there's something you can do about it.”
In addition to the help from WeightWatchers, Latifah has also had a lot of support from her close friends.
“Fortunately, I was a young girl running in these streets trying to be grown,” she says with a laugh. “So a lot of my friends are several years older than me so they experienced this before me. I mean, I'd never really heard the word perimenopause until one of my friends brought it up."
Latfiah says she also tries to focus on overall wellness and how she can “remain as healthy and vibrant” as possible.
For her, it starts with sleep — and everything else falls into place.
“I think sleep is extremely overrated for some people, but I always try to get a good night's sleep. Eight hours or better,” she notes. “And then some exercise, eat well, strengthen your bones, and just have fun, stay positive, you know, check on your mind.”
“I've been on my scooter a lot lately just because I need to feel the wind in my face,” she adds. “That does something for my brain and my heart.”
Since wrapping up The Equalizer earlier this year after five seasons, Latifah says she no longer has 16-hour workdays to manage, but admits that maintaining a healthy lifestyle is still a challenge.
However, she's ready to meet that challenge.
“It's never been easy for me to schedule my life, but I never stop trying. I'll always continue to try to get better at it,” she tells PEOPLE. “And for me, I'm just excited right now because, you know, menopause is a word that has a meaning. But what’s left with the rest of life? My God, every day is a new thing I’m excited about.”
“Scary times,” Latifah quips. “Nevertheless, I'm excited about what the future holds because every day that we are here, there's a chance to learn something new and even an opportunity to change someone's life. So that's where I like to keep my mind.”
Kendrick Lamar Wins 2025 Emmy Award for Super Bowl LIX Halftime Show
Kendrick Lamar has won his second Emmy, securing the Creative Emmy for Outstanding Music Direction for The Apple Music Super Bowl LIX Halftime Show Starring Kendrick Lamar. He and fellow music director Tony Russell received the award—one of seven for which the show was nominated. Other Creative Emmys winners included the 2024 Grammys broadcast, for choreography, and SNL 50: The Anniversary Special in several technical categories.
Beyoncé’s Netflix special did not bag any awards last night, though she won her first Emmy last month in a special category for the show’s costumes. The Creative Emmys are designed to honor those behind-the-scenes, before the main awards gala a week later.
Beyoncé’s Netflix special did not bag any awards last night, though she won her first Emmy last month in a special category for the show’s costumes. The Creative Emmys are designed to honor those behind-the-scenes, before the main awards gala a week later.
South Carolina Republicans Push Bill That Could Threaten Birth Control Access
health care Female pharmacist hold medicine bottle pharmacist holding at drugstore
South Carolina lawmakers are once again under fire after introducing Senate Bill 323, a proposal for a total abortion ban that goes further than many expected.
On paper, the bill is framed around outlawing abortion, but reproductive rights groups warn the language is so broad it could also affect access to birth control and reproductive health information.
If passed, the legislation wouldn’t just criminalize abortion—it would also make it a crime to “aid and abet” someone in seeking one, even by providing information over the phone or internet. That sweeping definition raises concerns about whether doctors, clinics, and even educators could safely provide or discuss certain contraceptives.
Advocates say the wording blurs the line between abortion care and contraception. Some fear methods like IUDs, emergency contraception, or hormonal birth control could fall into a gray area, leaving providers hesitant to offer them.
The first hearing on the bill is set for October 1, and it’s already drawing nationwide attention.
health care Female pharmacist hold medicine bottle pharmacist holding at drugstore
South Carolina lawmakers are once again under fire after introducing Senate Bill 323, a proposal for a total abortion ban that goes further than many expected.
On paper, the bill is framed around outlawing abortion, but reproductive rights groups warn the language is so broad it could also affect access to birth control and reproductive health information.
If passed, the legislation wouldn’t just criminalize abortion—it would also make it a crime to “aid and abet” someone in seeking one, even by providing information over the phone or internet. That sweeping definition raises concerns about whether doctors, clinics, and even educators could safely provide or discuss certain contraceptives.
Advocates say the wording blurs the line between abortion care and contraception. Some fear methods like IUDs, emergency contraception, or hormonal birth control could fall into a gray area, leaving providers hesitant to offer them.
The first hearing on the bill is set for October 1, and it’s already drawing nationwide attention.
AND FINALLY FROM “THE CRAZY PEOPLE SHOPPING AT WALMART” FILES
Courtesy of P.O.Wm
Rapunzel
The braid of DOOM!
HAVE A GREAT DAY ALL!!!
EFREM
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