Michael Oberlies, Sean “Diddy” Combs’ longtime personal videographer, has addressed the swirling rumors surrounding Netflix’s Sean Combs: The Reckoning. Produced by 50 Cent, the four-part series has captured widespread attention. It features interviews with figures from Diddy’s past, including members of his inner circle and alleged victims. It also includes previously unreleased footage of the music mogul speaking with his attorney, Marc Agnifilo, shortly before his arrest. The appearance of this unseen material prompted speculation about its origins. Some suggest it arose from a “fee dispute or contract issue.” Oberlies, however, clarified that the controversy occurred during his temporary absence from work. He emphasized that it was not tied to any contractual disagreement. Speaking to Rolling Stone, Oberlies said, “For over two years, we have been diligently compiling a project centered around Sean ‘Diddy’ Combs. The footage in question was not authorized by me or anyone within the rightful channels handling his material. It was instead shared through a third party who temporarily filled in for me while I was out of state. This incident is unrelated to any alleged contract issues or payment disputes. The behavior of those involved reflects poorly on the standard of integrity that every storyteller should uphold. Utilizing footage meant for our project to forge an agenda outside our own signifies not just ethical breaches but also a disregard for our essential narrative.” Diddy’s Reaction to the Docuseries After the series debuted, Diddy’s team publicly criticized the production, calling it a “shameful hit piece.” They emphasized that the footage had never been authorized for public release. They also stressed Diddy’s years of careful work to preserve his own narrative. The statement framed Netflix’s use of the material as unfair and unlawful, portraying it as a violation of his intellectual property rights. Netflix, for its part, defended the series. They asserted that all footage was obtained legally and that standard industry practices were followed throughout production.

The arrival of 50 Cent’s Netflix docuseries Sean Combs: The Reckoning has triggered an unexpected resurgence in both his own catalog and Diddy’s decades-long musical footprint. The four-part series, released earlier this month, has found a wide audience. With it, there is a notable rise in listeners revisiting 50 Cent’s early work. Data from Hip Hop All Day shows that December 9 became the most streamed day of 50 Cent’s career. His music tallied 11.3 million plays across major platforms. His breakthrough album Get Rich or Die Tryin’ drove much of that traffic, reaching its highest daily total in years. The surge offers a clear illustration. A widely viewed documentary can rekindle interest in an artist’s past work. It can also reshape listening patterns almost overnight. Online reactions captured the shift in real time. One fan remarked, “Haha that documentary coming in clutch,” while another speculated that the renewed attention might be an unwelcome development for Diddy, considering the documentary’s focus. For 50 Cent, the moment adds to a long-running pattern of blending media projects with broader cultural conversations. 50 Cent earned his BIGGEST streaming day of all-time on Spotify on December 9th, with 11.3M streams across all credits ‘Get Rich Or Die Tryin’ also reached a new all time peak of daily streams. pic.twitter.com/bRoiVeypvP — Hip Hop All Day (@HipHopAllDay) December 10, 2025 Diddy Pushes Back In the days after the docuseries premiered, Diddy’s legal team issued a forceful response. They accused the filmmakers of misrepresentation and called the project a “shameful hit piece.” A representative for Combs insisted that he has spent years gathering footage to tell his story on his own terms. They argued that Netflix relied on material he never cleared for release. 50 Cent has rejected the idea that he shaped the documentary with personal motives. In an interview with GQ, he said, “There’s no place for me, I didn’t make the docuseries. I got the best possible people to make one.” He added that had he wanted to steer the narrative, he “would have been more focused” on Combs’ ongoing legal troubles. Appearing on Sherri Shepherd’s daytime show, 50 Cent hinted that even more footage exists. These clips, he suggested, could shed new light on past figures within New York hip-hop and potentially on Diddy himself. Whether that material ever comes to light is unknown. However, the suggestion has already deepened the public debate surrounding the documentary and its impact.

Miguel’s return to the spotlight with his new album Caos marks the end of an eight-year stretch without a full-length release, but he’s already setting his sights on what comes next. The singer revealed in a recent Genius interview that another completed album is sitting in the vault, and he believes it surpasses the one he just dropped. When asked whether fans should expect another long pause between albums, he responded immediately: “No.” He went on to share that the unreleased music is “better” than Caos, and that if he had the power to move freely, fans would already have a release date. “If it was up to me, I’d put another album out before the tour starts,” he explained. However, Miguel says label restrictions are holding everything up. Because of contractual terms with RCA Records, he isn’t allowed to release new music until late next year. Although he acknowledges there are people at RCA who “understand and want to do the right thing,” he believes the structure of his current deal is fundamentally flawed. “I would sooner release it independently than to allow them to pick up the deal without it being a fair deal,” he said. “And it’s not a fair deal, and I’m happy to go on record about that.” For Miguel, the conflict is part of a broader industry pattern he no longer wants to accommodate. He has ownership of his intellectual property, and the next phase of his career, he says, needs to be centered on independence. “There’s absolutely things that need to happen that I would prefer to happen as an independent artist,” he added. Looking ahead, he hopes to use the next decade to uplift other creatives. “My next 10 [years] is me really taking what I’ve learned and hopefully educating and stewarding other artists,” he said. Releasing Caos after so many years stirred emotions he hadn’t expected. “It’s been such a long time since I put music out that I forgot how you can never explain or expect all of the emotion,” he shared. The response from his peers has been overwhelming. “I’ve gotten more notes about this album … than I’ve ever gotten for any of my projects,” he said. “It’s been really, really dope, and it’s a really endearing and reassuring thing.”

In a recent sit-down on Club Shay Shay, The Game reignited long-running debates about Compton’s musical hierarchy. He asserted that he stands alone at its peak. Speaking with host Shannon Sharpe, he delivered the claim with certainty: “I’m definitely the best rapper from Compton,” he said. He extended that self-assessment across the entire West Coast with equal force. He grounded his assertion in what he considers a rare combination of technical agility and lived experience. “Can’t nobody out rap me man. Anyone who knows will know,” he said. He emphasized the mix of craft and authenticity he believes defines his work. To drive the point home, he added, “I’m the best rapper in this town.” This declaration spread swiftly once the clip circulated online. The moment gained traction after DJ Akademiks shared it on Instagram and immediately drew Kendrick Lamar into the discussion. Fans responded with passion and divided loyalties. Some championed Lamar’s legacy, others sided with The Game, and many tried to appreciate both. One commenter spoke to Kendrick’s broader appeal, writing, “Kendrick is the best and music will last forever with real things being said not just name calls.” Another suggested that while The Game’s claim has merit, Lamar’s influence remains firmly part of the city’s identity. View this post on Instagram The Game Reflects on His Past and Documentary 3 The conversation also moved beyond competitive claims. The Game discussed his upbringing in Compton, recalling the instability of his early years. This included time spent in jail and reflecting on complicated alliances with figures such as 50 Cent and Kanye West. His willingness to revisit those chapters added contour to the interview. It suggested that his artistry and ambition are rooted in experiences that continue to shape him. He also provided an update on Documentary 3, his next studio album. In earlier conversations with Big Boy and The Cruz Show, he spoke about the project’s evolution following the release of Every Movie Needs A Trailer. “I wanted to give fans fresh music this year while preparing for the release of Documentary 3. I went in and knocked out these 19 tracks with Mike & Keys,” he said. He explained the urgency behind the recording process. He anticipates releasing the album early next year, a timeline that has fueled anticipation among longtime listeners.

Cher’s romance with boyfriend Alexander “AE” Edwards is seemingly going so strong that she is ready to put a ring on it. In an update from Page Six, the legendary singer whose career spans 60-years, is ready to spend the next season of her life as a wife again. Additionally, she is considering having the nuptials on her 80th birthday. “Cher doesn’t give a hoot about their [40-year] age difference and they’re both ready to commit to each other,” an insider told the Mirror. “She sees her upcoming celebration at turning 80 as the perfect time for her and Alexander to seal the deal,” the insider said. The rumors arrive nearly 50 years after the end of Cher’s second marriage to Gregg Allman (1975-1979). Her first marriage was with Sonny Bono (1969-1975). “I only dated younger men because they were the ones to ask. Older men don’t ask me out. Are they frightened of me? I don’t know. Older men never find me that attractive. It seems strange that a young man isn’t intimidated, but an older man is.” —Cher (source) View this post on Instagram Cher’s rep, however, tells Page Six that the Sun’s report is “not true.” The duo first crossed paths while attending Paris Fashion Week separately in October 2022. Then dating rumors took over the internet in November when they were seen holding hands in Los Angeles. Days later, Cher defended the relationship after making things official on social media. One fan asked if the pair met at Paris Fashion Week, to which Cher replied “yes,” adding that everyone in her family has met him. By December 2022, Cher tweeted a photo of a six-carat pear-shaped diamond ring, seemingly confirming that the music exec popped the question. But after 6 months there seemed to be trouble in paradise. By May 2023, Cher and Edwards called it quits. “AE and Cher were never engaged and that ring he got her was just a gift,” a source exclusively told Us at the time. “There’s no bad blood between them and they’re on good terms.” The split was short lived and the couple resumed their public romance.  In a Nov 4. 2025 interview with Gayle King on CBS Mornings, Cher gushed about Edwards, ex-partner of Amber Rose. “We laugh all the time, and I just love him,” the “Believe” singer said. “I think he’s beautiful. He’s really talented. He’s one of the most talented persons I’ve ever met.” Cher has also famously dated Val Kilmer, Gene Simmons and Tom Cruise. THERE R NO WORDS,ALEXANDER,A.E pic.twitter.com/TZOYLGVWkv — Cher (@cher) December 25, 2022

A simmering feud has emerged in entertainment circles between rapper-producer 50 Cent and comedian Marlon Wayans. It was triggered by criticism of 50 Cent’s Netflix documentary, Sean Combs: The Reckoning. Wayans’ comments quickly ignited a flurry of social media reactions. This illustrates how Hollywood disputes can escalate into public clashes. In a recent interview, Wayans clarified his remarks. He emphasized that he was not defending Sean “Diddy” Combs but responding to a question posed during the interview. “Let me be perfectly clear: I’m not defending Diddy,” he said firmly. Frustrated by the way his words were framed, Wayans urged audiences to consider how narratives are shaped in the media. “People have the right to express their views on any issue without being labeled,” he added. He highlighted the importance of independent judgment in a fast-moving media landscape. Wayans also reflected on the limits of narrative control in storytelling. “As a storyteller, you can construct any narrative you like,” he said. “But just because you present a story one way doesn’t mean it’s accurate.” He voiced concern over 50 Cent’s timing, noting, “50’s taking shots at Diddy during a challenging time is troubling. What you put out into the world has a way of returning to you.” View this post on Instagram 50 Cent’s Instagram Post Intensifies Feud with Wayans In turn, 50 Cent responded on Instagram, posting a still of Wayans from his 2004 film White Chicks with a pointed caption telling the comedian to steer clear of commentary. The post intensified the public sparring. It highlighted how personal disputes in celebrity culture now unfold online in real time. The documentary, executive produced by 50 Cent and directed by Alex Stapleton, delves into Diddy’s life and career. He is a figure whose influence and controversies continue to spark conversation. Since its release last week, the film has prompted renewed debate. This debate revolves around loyalty, rivalry, and the ethics of shaping public narratives in the entertainment industry.

50 Cent tells Sherri Shepherd he already has plans for the unreleased footage of Sean “Diddy” Combs from the #1 Netflix documentary Sean Combs: The Reckoning. The television and music mogul hit The Sherri Shepherd Show on December 10 to celebrate the chaos he’s stirred with Sean Combs: The Reckoning, the explosive four-part Netflix documentary he executive-produced. The series hasn’t just taken over the platform—it’s sitting at No. 1 and bulldozing everything in its path. “He has a baby by a woman that was dating 2Pac.” 50 Cent reveals he still has more unreleased footage that wasn’t included in his Netflix Diddy documentary, and says he’s considering releasing it on YouTube. ( Sherri/YouTube) pic.twitter.com/sl1dCpl0Y2 — The Art Of Dialogue (@ArtOfDialogue_) December 10, 2025 Sherri Shepherd opened the segment with the kind of applause 50 knows well. She saluted the mogul for holding the top spot on Netflix, telling him the doc is “outperforming everything” on the service. When she asked if he expected the series to be this dominant, 50 barely blinked. “I expected it to be bigger,” he said. “It’s actually exceeded my expectations now. Stranger Things is a huge show, and it’s outperforming Stranger Things on Netflix.” 50 Cent Tells Sherri Shepherd He Plans To Drop The Unreleased Diddy Footage On YouTube Shepherd didn’t waste time diving into what fans really want to know: the vault. She pointed out how much raw, personal footage of Diddy made the final cut and asked the question hanging over social media all week: Is there more? “This is a lot of the personal footage of Diddy. It shocked a lot of people,” she said. “And I know, 50, the way you run, this cannot be all you have. Is there other stuff that you just have not shown?” 50 confirmed what many assumed—there’s a mountain of footage sitting on the cutting room floor. “Yeah, well, everything couldn’t make—it’s only four episodes,” he explained. “So it’s a lot, you had to pick and choose things.” He even teased sections that got trimmed, including the part “where he chose to date people who he knows previously dated someone,” adding, “He has a baby by someone who was dating Tupac to add to it. But we had to cut it down.” Then Shepherd went straight for the headline: “I know next year is going to be a number-two… Season 2?” 50 responded with a smirk only he could deliver: “Or just put it on YouTube.” If that’s the plan, Diddy’s reckoning may only be entering its next chapter—and 50 Cent looks ready to push the story even further.

Sean “Diddy” Combs is escalating his dispute with Netflix following the debut of Sean Combs: The Reckoning. This docuseries was executive-produced by 50 Cent. His team has condemned the project as a “shameful hit piece,” arguing that the filmmakers relied on footage he never approved for release. With the series circulating for just over a week, those close to Diddy say he is preparing an aggressive legal counter. He wants to regain control over how his story is being presented. Reports from outlets including Media Take Out suggest that Diddy and his family are considering a sweeping defamation lawsuit that seeks $1 billion in damages. People familiar with the discussions say the amount could grow if Netflix does not address several claims featured in the series. “This documentary was crafted not as a piece of journalism but as an attack on his character,” an insider said. They characterized the clash as deeply personal for the artist. In a statement provided earlier to The Hollywood Reporter, Diddy’s representatives laid out their objections to Netflix’s handling of the series. “Netflix’s so-called ‘documentary’ is a blatant attempt to harm Mr. Combs’ reputation. The teaser featured on GMA highlights the fact that Netflix relied on appropriated footage. This footage was never authorized for public disclosure. Since he was just 19, Mr. Combs has been gathering material to narrate his own story. It is not only fundamentally unjust but also illegal for Netflix to exploit that content.” The Stakes of Reputation Diddy’s legal team also criticized Netflix for collaborating with Curtis “50 Cent” Jackson. This is a figure whose public rivalry with the mogul has stretched on for years. “It is both incredible and disheartening that Netflix granted creative rein to an individual who harbors a personal vendetta,” they wrote. They argued that the streaming giant allowed long-standing tensions to shape a project that demanded neutrality. Their statement highlighted Diddy’s respect for Netflix’s chief executive, Ted Sarandos. It also mentioned his admiration for the legacy of Sarandos’ late father-in-law, Clarence Avant. For Combs, permitting a longtime adversary to frame his life story represents a rupture of trust. “At the very least, he anticipated impartiality from those he esteemed,” the statement concluded. It emphasized that the dispute is as much about stewardship of his narrative as it is about reputation.

Over the weekend at Art Basel in Miami, Busta Rhymes became the center of an unusual confrontation after a TikTok creator mistakenly identified him as comedian Tracy Morgan. The exchange quickly drew attention as the rapper responded firmly to the misidentification, highlighting the tension that can arise when humor clashes with respect in public spaces. A video obtained by TMZ shows the TikTok user standing beside Busta, casually addressing him as “Tracy.” “Wait, wait, wait. What did you just say?” Busta asked sharply, visibly displeased. “Put your camera down… I’m trying to take a picture to show love, and you’re playing around… You don’t joke with a grown man, little boy. That’s how people get hurt.” The moment underscored the rapper’s insistence on being taken seriously, even in lighthearted or mistaken interactions. This is not the first time Busta has faced comparisons to Morgan. In 2020, after sharing a fitness update on Instagram, he encountered playful backlash when 50 Cent highlighted their resemblance by posting an old photo with the caption: “They really kinda look alike right LOL. He gonna curse me out when he wake up.” The incident demonstrated how public figures are often subject to both humor and scrutiny, regardless of context. Looking Ahead: Busta Rhymes’ Vengeance Beyond the Art Basel moment, Busta Rhymes has been making headlines with his upcoming album, Vengeance. He first announced the project in August while celebrating his Hollywood Walk of Fame star, telling Variety, “The title of the new album is ‘Vengeance,’ and we aim to release it sometime early September.” Although the album has yet to arrive, anticipation remains high among fans, particularly after his two recent EPs, Dragon Season… The Awakening and Dragon Season… Equinox. These releases have maintained momentum in his career, keeping interest strong for his forthcoming full-length project and reaffirming his enduring influence in hip-hop.

Months after 14-year-old Celeste Rivas’ body was found in the trunk of an abandoned Tesla linked to artist D4vd, her family remains resolute in seeking answers. The investigation has evolved in recent weeks. This brought renewed attention to the circumstances surrounding the young girl’s death. The case continues to draw scrutiny from both the public and the music industry. It highlights its lasting emotional and cultural impact. On December 8, Robert Morgenroth, a central witness, appeared before a Los Angeles grand jury to provide insight into the ongoing inquiry. Serving as general manager of D4vd’s record label, Morgenroth faced questions regarding his actions after Rivas’ body was discovered. Authorities sought to clarify why law enforcement was not contacted sooner. They also questioned how decisions were made during that critical window. According to TMZ, Morgenroth was overheard outside the grand jury room discussing his exchanges with Deputy District Attorney Beth Silverman. He reportedly explained that he did not feel responsible for notifying authorities at the time. Instead, he was focused on keeping the tour on schedule. His remarks have fueled additional questions about priorities and accountability in the days immediately following Rivas’ death, especially considering the involvement of artist D4vd. Unanswered Questions The timeline of the tour remains unclear, particularly how it intersected with the discovery of Rivas’ body. The events occurred shortly after D4vd had launched his “Withered” world tour. This prompted investigators to examine his whereabouts and activities during that period. Every new detail adds complexity to a case already marked by tragedy and unanswered questions. Morgenroth’s testimony is part of a broader investigation into the circumstances of Rivas’ death. Authorities have reportedly named D4vd a suspect, noting his connection to the teen. They cited images allegedly showing the two together before her passing. Additionally, a previously unreleased song by D4vd referencing “Celeste” has drawn the attention of investigators. A second suspect has also emerged, though officials have not revealed their identity. The nature of D4vd’s relationship with Rivas remains unclear. Each new revelation continues to shape a case fraught with uncertainty. It leaves her family and the community seeking answers involving D4vd.