Death Row Records Enters Its Cinematic Era as Snoop Dogg Readies New Album and True-Crime Thriller

Snoop Dogg appears in a scene from his newly released short film, "Ten Til Midnight." The West Coast rap mogul dropped the visual project on Friday as a precursor to his April 10 studio album, signaling Death Row Records' aggressive expansion into a full-fledged Hollywood production studio. (Screengrab/Death Row Records)

There was a time when Calvin Broadus Jr. was public enemy number one, a lanky, silky-voiced gangsta rapper who sent shockwaves through the American political establishment with a drawl smoother than a fresh set of Daytons. Three decades later, the artist universally known as Snoop Dogg isn't just surviving the culture — he is actively architecting its future from the Hollywood executive suite.

The West Coast icon is currently orchestrating a multimedia expansion that proves the Doggfather's bite is still as potent as his bark. Juggling a massive double-drop for his new "Ten Til Midnight" project with a high-profile acting and producing gig alongside cinema royalty, Snoop is effectively transforming the notorious Death Row Records banner into a full-fledged Hollywood studio.

This week, it was announced that the 54-year-old mogul will star in and produce the upcoming true-crime thriller "God of the Rodeo." Partnering with Ridley Scott's Scott Free Productions, the film adapts journalist Daniel Bergner's gritty reporting from inside Louisiana's infamous Angola Prison in 1967.

Directed by Rosalind Ross, the plot follows an inmate serving a life sentence (Shia LaBeouf) who enters the facility's brutal, gladiatorial inmate rodeo. But Snoop’s involvement is not limited to trading dialogue with LaBeouf. Through his Death Row Pictures banner, he and partner Sara Ramaker are co-producing the film, while Death Row Records is handling the entire soundtrack.

“Linking up with Scott Free Productions and working with Ridley Scott and Giannina Scott on 'God of the Rodeo' is life-changing and an honor,” Snoop said in a statement to Deadline. “Rosalind Ross brought a story with heart and grit, and that's what I'm about. Me and the team at Death Row Pictures stepping in as producers, I'm acting in it, and Death Row Records is building the soundtrack — and this one got soul.”

For a label that once terrorized the industry with raw, unfiltered G-funk, producing a Ridley Scott thriller is a staggering pivot. Yet, it fits perfectly into Snoop's 2026 playbook.

Simultaneously, the rapper is ushering in his next musical era. On Friday, Snoop dropped the short film "Ten Til Midnight," starring a new generation of West Coast heavyweights including Ray Vaughn, G Perico, BLK ODYSSY, and Hitta J3. The cinematic release serves as the visual appetizer for his full-length studio album of the same name, slated to hit streaming platforms on April 10.

By merging cinematic storytelling with his musical output — a strategy he honed with 2024's "Missionary" and 2025's "Iz It a Crime?" — Snoop is refusing to coast on nostalgia.

From 187 on an undercover cop to executive producing with the director of "Gladiator," Snoop's evolution is one of the most compelling character arcs in hip-hop history. Death Row Records is no longer just a label; it is a cinematic universe in its infancy. And right now, the Dogg is writing a script that could see it grow into an entertainment powerhouse.

Ryan Coogler Wins Best Original Screenplay, Michael B. Jordan Takes Best Actor for ‘Sinners'

HISTORY MADE: Actor Michael B. Jordan smiles during a Q&A session for his film "Sinners" in Los Angeles on Nov. 22, 2025. Jordan cemented his Hollywood legacy at the 98th Academy Awards on Sunday, becoming only the sixth Black man to win the Oscar for Best Actor for his ambitious dual role in the Ryan Coogler-directed vampire thriller. (Photo/Kevin Paul)

Hollywood's biggest night proved to be a monumental milestone for Black cinema. On Sunday, the 98th Academy Awards heavily honored Ryan Coogler’s vampire thriller "Sinners," highlighted by a historic Best Actor victory for Michael B. Jordan.

Michael B. Jordan receives a massive round of applause from the entire room as he wins the #Oscar for Best Actor.

(via ABC/AMPAS) pic.twitter.com/TpPrBBU3OB

— Variety (@Variety) March 16, 2026

Jordan took home the gold for his ambitious, double-duty performance as twins Elijah "Smoke" Moore and Elias "Stack" Moore. With the victory, Jordan cements his Hollywood legacy, becoming only the sixth Black man in the 98-year history of the Academy Awards to win Best Actor — joining the elite, history-making ranks of Sidney Poitier, Denzel Washington, Jamie Foxx, Forest Whitaker and Will Smith.

The win represents a triumphant peak for the actor, whose ascent to superstardom began with Coogler's 2013 feature debut, "Fruitvale Station."

Coogler also had his name called to the podium, winning the Oscar for Best Original Screenplay for "Sinners." The visionary director's concept entered the ceremony with a record-breaking 16 nominations — surpassing the previous all-time high of 14 shared by "All About Eve," "Titanic" and "La La Land."

"Sinners" also broke major ground behind the camera. Autumn Durald Arkapaw made Oscar history by taking home the award for Best Cinematography, becoming the first female director of photography to ever win the category. The film's composer, Ludwig Göransson, also captured the award for Best Original Score.

Misty Copeland comes out of retirement to put Timothée Chalamet in his place during a live ‘Sinners’ performance at the #Oscars. pic.twitter.com/EhUIOEw8jg

— New York Magazine (@NYMag) March 15, 2026

Beyond the trophies, the telecast itself served as a massive platform for Black music and culture. The ceremony featured a highly anticipated, cinematic musical tribute to "Sinners" that celebrated the film's singular visual style and its deep roots in Black dance and musical traditions.

R&B legend Raphael Saadiq and breakout star Miles Caton took the stage to perform the Best Original Song nominee, "I Lied to You." The performance expanded into a larger celebration of Black musical excellence, featuring an all-star lineup that included Shaboozey, blues pioneer Buddy Guy, Eric Gales, Christone "Kingfish" Ingram and Bobby Rush.

"These show moments are more than just performances — they expand into cinematic tributes that celebrate the relationship between music and storytelling and why these films resonated so deeply with audiences around the world," Oscars producers Raj Kapoor and Katy Mullan stated prior to the broadcast.

While Paul Thomas Anderson’s "One Battle After Another" ultimately took home the night's top prize for Best Picture — which also featured a Best Supporting Actress nomination for Teyana Taylor — the cultural footprint of the 2026 Oscars belongs undeniably to Coogler, Jordan and the entire "Sinners" ensemble.

To see the entire list of winners click here.

Watch: New ‘Michael’ Footage Dives Deep Into the Making of the King of Pop

The uncanny valley may have officially been conquered.

On Monday, Lionsgate released the extended trailer for Antoine Fuqua’s long-awaited biopic “Michael,” and if the footage is to be believed, Jaafar Jackson isn’t just playing his uncle — he is channeling him from the molecular level up.

Set for a global theatrical release on April 24, “Michael” promises to be the definitive cinematic account of the King of Pop. But as the new preview reveals, this isn’t just a “greatest hits” reel. It is a deep dive into the friction that forged the diamond.

For the uninitiated, casting a family member can often feel like a gimmick. But Jaafar Jackson — the son of Jermaine — silences that skepticism in seconds. The new footage, which expands significantly on last year’s teaser, showcases the 29-year-old inhabiting Michael’s physicality with terrifying precision. From the feather-light spoken voice to the explosive kinetics of the “Bad” era, the resemblance is less “acting” and more “resurrection.”

The trailer gives us our first real look at the film's central conflict, specifically the dynamic between Michael and the patriarch, Joe Jackson. In a chilling sequence, Colman Domingo (playing Joe) delivers a line that sets the temperature for the entire film. When a young adult Michael asserts that he needs “time to think” about his career direction, Joe’s retort is ice cold: “I told you what to think.” It’s a moment that suggests Fuqua isn’t shying away from the heavy toll of the Jackson family dynasty.

Fuqua has assembled a talented cast. Beyond Jaafar and Domingo, the film features Nia Long as the steadfast Katherine Jackson and Miles Teller as attorney John Branca. But the real casting coup might be Larenz Tate. The actor portrays Motown founder Berry Gordy, a role that requires a specific kind of gravitas that Tate has commanded since the 90s. We also get glimpses of Kat Graham as Diana Ross and Laura Harrier stepping into the role of Suzanne de Passe.

The synopsis promises a journey “beyond the music,” tracking Michael from the Gary, Indiana, grind to the global stratosphere. The trailer teases the creation of “Don't Stop 'Til You Get Enough” and the groundbreaking visuals of “Thriller,” offering a “fly on the wall” perspective of the studio sessions that changed pop history.

While the film appears to focus heavily on the ascent and the peak of his powers, it remains to be seen how deeply it will wade into the turbulent waters of his later years. However, with the Estate involved, the focus is clearly on the artistry and the human cost of becoming the most famous person on Earth.

Come April 24, the world will see if the movie can hold the weight of the legacy. But based on this three-minute preview, one thing is certain: The spirit of Michael Jackson is back in the building.

Ice T Expands His Legacy Beyond Music and TV With Og Network

Ice T performs in 2018. The rapper and actor is a co-founder of OG Network, a new free streaming platform focused on creator-owned urban storytelling. (Stefan Bollmann, via Wikimedia Commons).

Ice T and media executive Courtney “Big Court” Richardson II are entering the streaming space with a familiar argument, one hip-hop has been making for decades: ownership still matters.

This week, Richardson and Ice T officially launched OG Network, a free ad-supported streaming platform focused on urban culture, independent filmmakers and creator-owned programming.

According to the company, the platform has already surpassed 2.3 million viewing minutes during its early rollout — a figure reported by OG Network that suggests early audience engagement, though it has not been independently verified.

OG Network is available in 186 countries across Roku, Apple TV, Fire TV, Android TV, iOS and Google Play, placing it within the rapidly expanding FAST and AVOD streaming ecosystem. That space has grown crowded in recent years, dominated by large-scale platforms such as Pluto TV, Tubi and Freevee, while smaller, culture-specific services compete for attention and sustainability.

 

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Rather than positioning itself as a mass-market disruptor, OG Network is framing its mission around creator control and curated programming. Richardson said the platform was built to give independent creators ownership over their work and greater control over distribution — a message that aligns with long-standing concerns in hip-hop about exploitation and gatekeeping.

Ice T’s involvement adds historical weight to that framing. Few artists have navigated the shift from outsider to industry institution as visibly or deliberately. From his early work in protest rap to his long-running television career, Ice T has consistently engaged questions of power, representation and access, making his role as co-founder more than symbolic.

The platform’s early programming slate reflects that intent. OG Network’s launch includes “Somebody Had To Say It,” a weekly discussion series hosted by Layzie Bone of Bone Thugs-N-Harmony alongside Richardson, centered on hip-hop debate and cultural commentary. Ice T serves as executive producer and narrator of “Put The Guns Down — A World Epidemic,” a documentary examining gun violence through a global lens rooted in cultural context. The service is also debuting independent films, including “My Cherie Amour,” a thriller starring Omar Gooding that OG Network says has driven strong engagement since its release.

Richardson’s “Holdin’ Court Podcast,” previously distributed elsewhere, now streams exclusively on the platform, reinforcing OG Network’s emphasis on long-form conversation over short-form virality. The service also hosts a growing library of films, documentaries and creator-led projects, with additional releases planned throughout the year.

OG Network enters a streaming landscape littered with ambitious launches that struggled to scale. FAST platforms, by design, prioritize ad-supported volume over subscription loyalty, and long-term success depends less on buzz than on sustained viewing and advertiser confidence. Whether OG Network’s creator-first positioning can translate into durability remains an open question.

NAACP Image Awards Nominees Spotlight a Year of Black-Led Film, TV and Music

Teyana Taylor, nominated for Entertainer of the Year at the 57th NAACP Image Awards, is among a field that also includes Kendrick Lamar, reflecting a year in which music, film and performance-driven storytelling converged across Black culture.

The NAACP on Monday announced the full list of nominees for the 57th NAACP Image Awards, placing this year’s ceremony squarely in the middle of an awards season already shaped by Black-led film, television and music.

Cynthia Erivo, Doechii, Kendrick Lamar, Michael B. Jordan and Teyana Taylor were nominated for Entertainer of the Year, one of the Image Awards’ most closely watched categories. The ceremony will air live Feb. 28 from the Pasadena Civic Auditorium at 8 p.m. (ET/8 p.m. PT on BET), with a simultaneous broadcast on CBS.

SIDEBAR: Who’s leading the 57th NAACP Image Awards

The 57th NAACP Image Awards reflect a year in which Black storytelling dominated across film, television and music — not just in volume, but in cultural reach.

Kendrick Lamar leads the music categories with six nominations. In film, “Sinners” leads the motion picture categories with 18 nominations. On the television side, “Bel-Air” tops the field with seven nominations. Netflix leads all platforms with 47 nominations overall, according to the NAACP.

The Entertainer of the Year nominees — Cynthia Erivo, Doechii, Kendrick Lamar, Michael B. Jordan and Teyana Taylor — underline how performance, authorship and cultural impact increasingly move together.

Full nominee list + public voting: naacpimageawards.net

Film and television categories reflect a year of sustained visibility across platforms. “Sinners” leads the motion picture field with 18 nominations, followed by “Highest 2 Lowest” with nine. In television and streaming, “Bel-Air” tops the list with seven nominations, while “Abbott Elementary,” “Reasonable Doubt” and “Ruth & Boaz” earned six nods apiece. Netflix led all networks with 47 nominations overall.

Teyana Taylor emerged as one of this year’s most broadly recognized nominees, earning six nominations across film and music, including Entertainer of the Year, acting nods for “One Battle After Another” and “Tyler Perry’s Straw,” and recognition for her album “Escape Room.” Erivo received four nominations, including Entertainer of the Year and a nomination for her performance in “Wicked: For Good.”

In the music recording categories, Kendrick Lamar received the most nominations with six. Cardi B. and Leon Thomas earned four nominations each, while Doechii and Taylor followed closely with three apiece. RCA Records led all labels with eight nominations. In literary categories, HarperCollins topped publishers with eight nominations, followed by Penguin Random House with six.

This year also marks a structural expansion for the Image Awards themselves. The NAACP introduced two new categories: Outstanding Literary Work – Journalism, honoring nationally distributed journalism that reflects Black experiences and social impact through a lens of equity and justice; and Outstanding Editing in a Motion Picture or Television Series, Movie, or Special, recognizing the craft of post-production in shaping narrative and emotional clarity.

Nominations were announced live on “CBS Mornings” by comedian Deon Cole and NAACP President and CEO Derrick Johnson, with additional reveals streamed on YouTube and NAACPPlus.

“The NAACP Image Awards is our declaration to our community that ‘We See You,’ affirming Black creativity, excellence and humanity across every space where our stories are told,” Johnson said in a statement. “From film, television and music to literature and beyond, the voices of all of our nominees tell stories that honor our past, celebrate our identity and move culture forward.”

BET President Louis Carr echoed that sentiment, calling the nominees “the heartbeat of culture” and emphasizing the awards’ role in elevating storytelling rooted in authenticity and purpose.

Public voting is now open in select categories at naacpimageawards.net and runs through Feb. 7. Winners will be announced during the live broadcast Feb. 28, with additional honors presented during the NAACP Image Awards Creative Honors events later that week.

Golden Globes open with Teyana Taylor win for 'One Battle After Another'

Teyana Taylor appears in a scene from “One Battle After Another,” the Paul Thomas Anderson film that earned her the Golden Globe for best supporting actress during the opening moments of the 83rd Golden Globe Awards.

Teyana Taylor became the emotional center of the Golden Globes early Sunday night, winning best supporting actress in a motion picture for her performance in “One Battle After Another.”

Taylor’s win was the first award announced during the live telecast of the Golden Globe Awards, and it immediately shifted the tone inside the Beverly Hilton from pageantry to presence.

Teyana Taylor just gave the best speech of the entire award season at the Golden Globes

"To my brown sisters and little brown girls nominated tonight, our softness is not a liability. Our depth is not too much. Our light does not need permission to shine. We belong in every room… pic.twitter.com/LeWdDFA3Yr

— Spencer Althouse (@SpencerAlthouse) January 12, 2026

“To my brown sisters and little brown girls watching tonight, our softness is not a liability,” Taylor said as she accepted the award, visibly emotional. “Our depth is not too much. Our light does not need permission to shine. We belong in every room we walk into. Our voices matter and our dreams deserve space.”

In “One Battle After Another,” directed by Paul Thomas Anderson, Taylor plays Perfidia Beverly Hills, a role defined less by dialogue than by control. The performance resists flourish, relying instead on timing, restraint and physical presence — tools Taylor has honed across disciplines long before this moment.

She won the Globe over Emily Blunt for “The Smashing Machine,” Elle Fanning and Inga Ibsdotter Lilleaas for “Sentimental Value,” Ariana Grande for “Wicked: For Good,” and Amy Madigan for “Weapons.” The category was crowded. The decision was decisive.

For much of her career, Taylor has existed in the space between visibility and validation — widely respected, rarely centered. She emerged publicly as a dancer and singer, but steadily expanded her range behind the scenes, directing visuals, shaping performances and, more recently, choosing acting roles with increasing care.

Sunday night did not introduce a new version of Teyana Taylor. It acknowledged one that has been forming in plain sight.

Teyana Taylor’s Golden Globe Nod Crowns a Year When the Culture Took Center Stage

Teyana Taylor in “One Battle After Another.” Her fearless performance in Ryan Coogler’s drama, now a Golden Globe contender, embodies the rise of authentic, culture-rooted storytelling that reshaped this year’s awards season. (Photo Courtesy Warner Bros.)

Teyana Taylor walked into awards season as an outsider again — no big-budget campaign, no glossy magazine spread, no studio whispering her name into voters’ ears. But when the 2026 Golden Globe nominations dropped today, the Harlem-born artist’s name landed right where it belonged: on the list.


Her supporting role in “One Battle After Another,” a bruising indie drama that went from festival buzz to nine nominations, marked one of the few times the Globes have recognized a performer who started her career choreographing for Beyoncé and grinding through the same hip-hop hustle that Hollywood pretended didn’t exist.

For longtime fans who first saw her dancing in Jay-Z videos or directing her own visuals under the moniker “Spike Tey,” the news hit different. Taylor, now nominated for Best Supporting Actress for “One Battle After Another” — the year’s most-nominated film — walked into awards season with the same mix of grit and grace that’s carried her through every reinvention.

Where the Culture Showed Up at the 2026 Golden Globes

Key nominees announced Dec. 8, 2025, for the 83rd Golden Globes:

• "One Battle After Another" – Leads all films with 9 nominations, including Best Motion Picture – Musical or Comedy and a Supporting Actress nod for Teyana Taylor.
• "Sinners" – Scores 7 nominations, including Best Motion Picture – Drama, Best Director (Ryan Coogler), Best Actor (Michael B. Jordan), Best Original Score (Ludwig Göransson) and Best Original Song for "I Lied to You" by Göransson and Raphael Saadiq.
• Tessa Thompson – Nominated for Best Actress in a Motion Picture – Drama for "Hedda".
• Cynthia Erivo – Nominated for Best Actress in a Motion Picture – Musical or Comedy for "Wicked: For Good", which also picked up Best Original Song nods.
• Ayo Edebiri – Returns to the TV comedy race for her work in "The Bear".
• Quinta Brunson – Continues her awards run with another nomination for "Abbott Elementary" in the comedy series field.

For the full list of 2026 Golden Globe nominees, visit GoldenGlobes.com.

She wasn’t alone. With "Sinners," Ryan Coogler’s return to prestige filmmaking, Michael B. Jordan earned a Best Actor nod, solidifying the pair as modern cinema’s Scorsese and De Niro.. Composer Ludwig Göransson and Raphael Saadiq’s “I Lied to You” brought the film its fourth nomination, giving soul music a rare home inside a category once dominated by pop ballads and movie musicals.

From Teyana to Michael, from Cynthia Erivo’s “Wicked: For Good” nomination to Ayo Edebiri and Quinta Brunson representing television’s comedy elite, the 2026 Globes quietly told a story years in the making: the artists shaped by Black music, hip-hop aesthetics and R&B storytelling no longer sit at the margins of Hollywood — they are the pulse.

That change didn’t come from committees or press releases. It came from the culture refusing to wait for permission. When the HFPA scandal forced the Globes to rebuild, the world outside kept moving — through mixtapes, streaming, indie film circuits, and TikTok threads where music, politics, and performance blur daily. The result? Hollywood’s old party suddenly sounds like something new.

There are still gaps. No major hip-hop documentaries or biopics made the cut. Streaming platforms with Black showrunners remain under-nominated. But the list feels alive — reflective of a generation that grew up with Dilla drums under Scorsese cuts and Nina Simone lyrics sampled on Billboard hits.

If the Globes are finally listening, it’s because the culture stopped asking to be heard.

50 Cent Takes His Feud Global With Netflix Doc 'Sean Combs: The Reckoning'

Promotional poster for Netflix’s “Sean Combs: The Reckoning,” a four-part documentary series executive-produced by Curtis “50 Cent” Jackson. The series, directed by Alex Stapleton, explores decades of sexual-assault and trafficking allegations against Sean “Diddy” Combs and premieres December 2, 2025. (Photo courtesy of Netflix)

When 50 Cent trolls, it’s entertainment. When he warns, it’s prophecy. And this time, Curtis Jackson wasn’t joking.

The Queens mogul’s long war of words with Sean “Diddy” Combs has exploded into something bigger — a global event. Netflix just dropped the trailer for “Sean Combs: The Reckoning,” the four-part documentary executive-produced by 50 Cent and directed by Emmy nominee Alex Stapleton, set to premiere December 2, 2025. It’s the project nobody in hip-hop wanted to touch — until now.

“They said I was capping 🤷 What happened?” 50 wrote on Instagram after posting the teaser. The clip opens with a voice, low and final: “You can’t continue to keep hurting people, and nothing ever happens.” Then the screen cuts to black, stamped with 50’s calling card — “GLG 🚦 GreenLightGang 🎥 G-Unit Film & TV.”

The message landed like a gavel. For years, 50 and Diddy have traded public jabs — one man the corporate kingpin of the “All About the Benjamins” era, the other a bulletproof hustler who built an empire off instincts and smoke. But what started as an ego clash has now turned into one of hip-hop’s most consequential reckonings.

The series pulls back decades of headlines, lawsuits, and whispers around Diddy’s rise — from “No Way Out” and Bad Boy’s platinum run to Cîroc, Revolt TV, and the empire that once made him untouchable. Netflix’s synopsis calls it a “complex human story spanning decades,” but the timing says more than the tagline ever could. The streaming giant announced “The Reckoning” just a week after Combs’ 2024 arrest on federal charges of racketeering, sex trafficking, and transporting individuals for prostitution.

50 Cent had been teasing this moment since December 2023, when he first revealed plans to produce a documentary on the mounting allegations, pledging to donate proceeds to sexual-assault victims. At the time, many thought it was just another viral 50 stunt. By the fall of 2024 — after raids, indictments, and settlements — nobody was laughing.

In a joint statement, 50 and Stapleton said their mission was to “give a voice to the voiceless and present authentic and nuanced perspectives,” while reminding viewers that Combs’ story “is not the full story of hip-hop and its culture.” It’s a take that shows how carefully this project is walking the line — a film that both calls out individual power and protects the broader culture it came from.

The rivalry itself is pure hip-hop mythology — born in the early 2000s, when 50 accused Diddy of exploiting artists and disrespecting the streets that made him. For years, their feud simmered through cryptic interviews and social media. When the lawsuits hit, 50 shifted from jokes to journalism, posting court filings and clips like he was running his own newsroom. His followers called it obsession; now it looks like documentation.

Alex Stapleton’s direction adds weight to the production. Known for “Reggie” and “Black Hollywood: They’ve Gotta Have Us,” she approaches the story like an autopsy of fame and silence — combining survivor testimonies with archival footage and insider accounts from inside Diddy’s once-impenetrable circle. Netflix insiders describe “The Reckoning” as “methodical, not messy” — a rare attempt to dissect power without glorifying it.

When the trailer hit social media, hip-hop stopped scrolling. Within hours, 50’s post hit six figures in likes. Comments split between applause and disbelief — some called it overdue justice, others called it opportunism. But either way, the same name dominated the feed: Diddy.

Fifty Cent’s greatest gift has always been timing — and this time, his timing might have changed the course of hip-hop’s accountability era. The streets remember the shine, the suits, the whispers, and the silence. Now, with “The Reckoning” set to stream worldwide, it’s all coming back under lights no bottle service can dim.

Watch the full teaser below: