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   50 Cent Explains His Diddy Doc
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   What Diddy Did.
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                  <p style="margin:0;margin-bottom:16px">
                   Cassie’s lawsuit. The house raids. The arrest. The trial and
                   <a style="text-decoration: underline; color: #000000;">
                    the verdict
                   </a>
                   . The increasingly disturbing
                   <a style="text-decoration: underline; color: #000000;">
                    allegations and revelations
                   </a>
                   regarding Sean “Diddy” Combs have fed pop-culture discourse for the last two years straight, and today the content machine keeps churning, with the release of
                   <em>
                    The Reckoning
                   </em>
                   , a four-episode Netflix docuseries that ambitiously charts Puff Daddy’s 30-plus-year arc from hip-hop paradigm-shifter to
                   <a style="text-decoration: underline; color: #000000;">
                    convicted felon
                   </a>
                   .
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   As if that logline wasn’t juicy enough, there’s another wrinkle: One of the doc’s executive producers is 50 Cent, who’s been trolling Puffy mercilessly since Cassie’s initial allegations broke the dam two years ago. 50 announced early on that he intended to make a documentary exposing Diddy’s alleged trail of abuse and death, but no one quite expected him to follow through—let alone debut the doc on the biggest streaming service, barely a month after its subject began serving his sentence at Ft. Dix.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   In a statement released through a spokesperson yesterday, Diddy slammed the doc as a “shameless hit piece” by “a longtime adversary with a personal vendetta” against him. But 50 insists the doc isn’t rooted in pettiness or colored by his personal agenda, and that in director Alexandria, he’s found an objective voice to present the story as it is, with new perspectives and footage that ultimately leave the final opinion in the hands of the viewer. I screened most of
                   <em>
                    The Reckoning
                   </em>
                   before its release and then talked to 50 and Alexandria about Puffy’s last week before his arrest, their decision to dedicate a whole episode to the
                   <a style="text-decoration: underline; color: #000000;">
                    Biggie
                   </a>
                   /
                   <a style="text-decoration: underline; color: #000000;">
                    Tupac
                   </a>
                   feud, and who they wish would’ve participated as a talking head.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    50, you expressed your interest in producing this fairly quickly once everything started happening, and you guys turned it around just as quickly. What about this case and this story compelled you to want to make a documentary about it as it was all unfolding?
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <em>
                    50:
                   </em>
                   To be honest, just the culture itself. If someone's not saying something, then you would assume that everybody in hip-hop is okay with what's going on because [other rappers] will say, "I ain't going to say nothing. I'm going to mind my business," because of a position that [Diddy] held in culture for so long, you understand? So [that] would leave me. Without me saying that I will do it, there's nobody there.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    So in your mind, this is like you drawing the line in the sand here, making this and putting the right context around it?
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <em>
                    50:
                   </em>
                   That's right, because if it's one person's decision, one person's behavior, it's not the entire culture's behavior.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    One of the first surprises when you turn this on is that it starts with footage of Puff in the days before his arrest, and the reveal that he was videoing himself that week. How did you guys get your hands on that footage, if I may ask?
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <em>
                    50:
                   </em>
                   You're a journalist, right?
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    Yeah.
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <em>
                    50:
                   </em>
                   You're not going to reveal your sources, so why would you ask me to reveal my sources? [laughs]
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    I had to try.
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <em>
                    50:
                   </em>
                   But look, you know that when you're part of the culture that things will come to you faster than something that's not. Because whoever he'll be working with, it is usually [someone] in or around the culture, so, it surfaced.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    I figured you wouldn't want to talk too much about how you got it, but I did want to ask you guys' opinion on him filming himself during those days, which must've been as stressful and anxious as he’s ever been. Why would anyone want a camera on them?
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <em>
                    50
                   </em>
                   : To be honest, I don't know why somebody would want to do that. When I saw it was like, "Oh, shit. Wow."
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <em>
                    Alex:
                   </em>
                   Well, what's interesting is that, I don't know if you remember, but during his sentencing, he actually released a documentary that he made to represent his life as a video to support in his defense that was released to the public. I mean, I think you can tell that Sean is a person who likes to film himself. He had a whole 10-year run in reality programming, right? I don't know what the end result is, but I think that it is fair to say that he likes to control his own narrative and wants to always be the person that is going to author his story.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    50, you’ve obviously had a past relationship with Puffy. You acknowledged that in your Instagram post promoting the doc—you even had the “I Get Money” remix with you, him and Jay-Z tagged. How do you reconcile your past relationship with him, with where you guys stand now and making something like this?
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <em>
                    50:
                   </em>
                   Well, I don't think people understand the relationship. When I first came in contact with him, I was writing for him. That remix, even the things that he's saying on the record are things that I wrote for him.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    Yeah, I remember him saying that you and Jay helped him with that verse.
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <em>
                    50:
                   </em>
                   Yeah we sat there and got it together and Jay knew he wanted to shout out Sean John and do the other stuff so we put all that in the version.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    You got some bars off for him.
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <em>
                    50:
                   </em>
                   There were blurbs that went out within the culture, like
                   <a style="text-decoration: underline; color: #000000;">
                    me saying [Puff] wanted to take me shopping
                   </a>
                   . They looked at that as if it was some sort of beef, and it wasn't, it was just me saying, I felt like that was a test of [Diddy] trying to see if I'm a heterosexual man or some shit. It felt weird. And when you hear and see things now, it's a little clearer. Technically, he's the only man in jail for hiring male prostitutes to travel across state lines.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   So I think some of the weird shit that I was feeling is [evidenced] in how that happens later. But that's not
                   <em>
                    beef
                   </em>
                   —you're not doing nothing to each other at all. You see what I'm saying? I still hired [Puff’s sons] Christian and Justin to work on
                   <a style="text-decoration: underline; color: #000000;">
                    my scripted projects
                   </a>
                   , put them in
                   <em>
                    Power
                   </em>
                   and shit like that, because my issue with him is not a gripe that would allow you to have problems with the kids.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    It was more just energy you were trying to get away from, or weren't feeling.
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <em>
                    50:
                   </em>
                   Yeah, I didn't know what that was like. And he keeps saying ‘daddy.’ “For real, daddy.” That slang, that shit is so old. Why would someone hold on to that? Maybe the guy who's paying male prostitutes to cross state lines.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    50, critics and cynics would say that your decision to produce a doc like this was just based on your own personal feelings or animus towards Puffy. What do you say to that?
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <em>
                    50:
                   </em>
                   What I say to them is, the one person that I wish was in the doc that would create clarity for people in a different way is Jane Doe. So you could see someone who was willing to do it for money. Do you understand? Cassie came in so early, she's a baby at 19. Look, the innocent energy that you feel when his kids are walking into the courtroom and you're sympathetic to them—that's who Cassie was when she met him. She was a 19-year-old girl like that. So the things that she went through and the influence of finances in everything she wanted for her life and music culture and entertainment is all connected…
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   And it's an interesting play, bro. And it's hard— where's she going? It is a really interesting balance of things because people think of how a woman who has a moral compass, a traditional woman would feel under those circumstances. They don't think about hoes. Now, hoes are a bit different. They're not so emotionally connected to the sexual experience. So they can have that sexual experience with those other people as long as you're going to pay. You see what I'm saying to you? If the person's a frequent OnlyFans person and already solicited and looking for somebody to pay and you meet them and you tell them, "Just be who you are and meet other people and do it in front of me," you don't think they'll do it?
                  </p>
                  <p style="margin:0">
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                   <strong>
                    Between the Taps
                   </strong>
                  </p>
                  <p style="margin:0">
                   (
                   <em>
                    A weekly roundup of everything else I consumed since the last Tap In)
                   </em>
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                   <strong>
                    Gunna, live at Madison Square Garden
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Through all of the drama, fallout, and ShadeRoom-bait antics, it’s been admirable to watch Gunna just completely keep his head down and keep making some of the most consistent, solid music out. All this guy does is run, lift, and record. He hasn’t had an album quite as good top to bottom since his first post-prison release A Gift &amp; A Curse, but every Gunna project is going to have a handful of heaters, and all the highs from those last three albums makes for one hell of a live show. This latest tour doesn’t pack quite the same triumphant punch as his first one-off, “I’m back” show at Barclays a couple of years ago but that’s hard lightning to recapture. What does hold up is that of all the mumble rap peers a casual listener might be tempted to group Gunna with, he has the best audience command and stage presence out of all of them. No backing track, no guests, just a 90-minute endless array of hits. Him all along, indeed.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    <em>
                     Wake Up, Dead Man
                    </em>
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   I liked the first
                   <em>
                    Knives Out
                   </em>
                   quite a bit, but I haven’t rewatched it since and now, given how much the sequels have not hit for me, I’m a little scared to revisit it. Glass Onion is a cringefest but occasionally fun and delightfully over the top and Wake Up, Dead Man just feels…dutiful. This is easily the lamest use of an A-list ensemble that Rian’s deployed yet; Kerry Washington, Jeremy Renner and Mila Kunis in particular all look like they’re half-asleep playing thanklessly thin characters. The mystery is just as ambient. Glenn Close is always committed, Josh Brolin always understands the assignment, but the true hero here is Josh O’Connnor. Obviously he’s been on a crazy run for the last two years but stepping up as the second lead on a populist, broad stage like this and absolutely hitting it out of the park feels like a vibe shift for his Hollywood stardom, the next lisan al-gaib to effortlessly switch between indie Oscar bait and blockbuster crowd pleasers. At the end of the day, I’ll watch as many installments of this as Rian and Daniel Craig choose to make, and I respect the seamless vibe switches but man this is a snooze.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    Dijon live at Brooklyn Paramount
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Dijon got his own Tap proper a few weeks ago when he took The Greek in LA by storm but I had a free evening open up in New York last night and popped into his tour’s stop in downtown Brooklyn and, surprise, it still hits. Beyond just running it back though, it was interesting to see him in an indoor venue and chart the vibe shifts, if any. Outside at The Greek certainly felt more ethereal and intimate, but the New York audience was a little livelier and more locked in, which allowed the bigger tracks like “Yamaha” to hit a little harder. Whatever coast you’re on, it bears repeating: go see this tour if you can.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    <em>
                     Nobody Wants This,
                    </em>
                   </strong>
                   <strong>
                    season 2
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   I don’t believe in the concept of Guilty Pleasures, if you’ve made it this far then you’re a loyal subscriber and you know I’m shameless about what I like. I’ll proudly tell anyone who asks that I fuck with this show, but I’ll readily admit it’s often corny, saccharine, and redundant. I’m just a sucker for Adam Brody and Kristen Bell, sue me. Great chemistry goes a long way, even through mid-subplots, repetitive relationship drama and the most hilariously basic B-roll of Los Angeles county that gives absolutely no sense of neighborhood specificity for this ensemble. There is some genuinely good stuff in here—from the disaster Valentine’s Day episode (Rabbi Noah’s perfect boyfriend shtick needed to be knocked down a few pegs) to truly sweet moments like the way Noah forcing Joanne’s family to celebrate her mom’s birthday turns out—but in general, it’s just charming and pleasant, which are underrated vibes in the TV landscape right now. I’ll always be happy to see Seth Cohen shine (check my profile on Brody from last year after the show became a phenomenon if you missed it) and I will be there for season 3 whenever they saunter in with it.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    Wale,
                   </strong>
                   <strong>
                    <em>
                     everything is a lot
                    </em>
                   </strong>
                   <strong>
                    ; Summer Walker
                   </strong>
                   <strong>
                    <em>
                     Finally Over It
                    </em>
                   </strong>
                  </p>
                  <p style="margin:0">
                   I don’t have anything particularly illuminating or critically insightful to say about these projects—they’re just really good. Sometimes an artist locking in, delivering exactly what you expect in the creative and stylistic lanes they excel at is all you need.
                  </p>
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