Fashion entrepreneur and mother Kimora Lee Simmons sat down on Today with Jenna & Friends and said she has embraced a parental role toward the twin daughters of Sean “Diddy” Combs and the late Kim Porter. The twins, D’Lila Combs and Jessie Combs, are now 18. Simmons, who already raises five children of her own, said she jokes: “I have my kids, and then I have kids on the side.” She added, “I have a stepdaughter — well, an additional daughter. I have another son, bonus son … one of my friends who passed away, Kim Porter, I have all of her kids … some of them are 18 — twins.” When asked if the twins turn to her for support, she responded plainly, “Yeah, they’re with me. I just got off the phone with them! I’m a lot of people’s mom.” A Surrogate Mother Figure Porter died in 2018. Since then, Simmons said she and her family have remained closely connected to the Combs children. In addition to D’Lila and Jessie, she said she supports other children from her friend’s extended family. Simmons, 50, is a mother to five children: daughters Ming Lee Simmons and Aoki Lee Simmons with ex-husband Russell Simmons; son Kenzo Lee Hounsou with actor Djimon Hounsou; son Wolfe Lee Leissner with former partner Tim Leissner; and an adopted son, Gary Lee Simmons.  By all accounts, Simmons seems to consider the twins part of her extended family. Her remarks suggest a deep-seated sense of duty and affection. Simmons’s declaration comes as the twins navigate their late teens amid continued public scrutiny of their father’s legal and personal battles. Some observers have noted the emotional toll such pressure may take on young adults. In that light, Simmons’s support may be more than symbolic — it could represent stability and compassion during a challenging period. Simmons said of the twins and others she cares for: “I’m a lot of people’s mom.” That statement, delivered with a laugh, underscored how seriously she embraces her role.

A new claim from the Netflix docuseries Sean Combs: The Reckoning is drawing attention for how it portrays the events surrounding The Notorious B.I.G.’s funeral. In the series, Kirk Burrowes alleges that Sean “Diddy” Combs initially promised to cover the costs of the service, but ultimately pushed the expense onto Biggie’s estate. Burrowes describes the moment in detail, saying, “Sean said, ‘We’re gonna do the biggest funeral for Biggie that New York has ever seen.’” He claims the enthusiasm shifted once the financial reality became clear. According to him, “We start to put that together, he starts to see the price. He says, ‘We’re gonna do the biggest funeral, but Biggie’s gonna have to pay for this funeral.’” Burrowes further alleged that “He was gonna make the funeral be a recoupable charge to Biggie in death. Sean doing a big show looks good on him. But he’s not gonna tell the world that Biggie was gonna pay for it.” Following the documentary’s release, Biggie’s estate manager Wayne Barrow stepped forward to challenge the statements presented. Speaking on behalf of Voletta Wallace, he rejected the suggestion that the funeral charges were passed onto the estate. Barrow stated that he was directly involved in planning the service alongside Burrowes and emphasized that the claims about the financial arrangements were inaccurate. Barrow also addressed another narrative highlighted in the docuseries, one suggesting that the rapper’s contract situation had become strained shortly before his death. There have long been rumors that negotiations were underway between Biggie and Diddy during that time. Barrow countered this by saying the idea was unfounded, adding that Life After Death had already been completed and that no contract renegotiation was happening at the time. Through his statements, Barrow aimed to correct what he views as significant distortions about Biggie’s final days and the management of his legacy.

Cardi B is rethinking how she approaches her music, and much of that reflection comes from understanding what her listeners connected with most on Am I the Drama?. During an X Spaces conversation on Thursday morning (Dec. 4th), she broke down her realizations about creativity, process, and the kind of sound she feels most at home making. @sunnybanks_ #CardiB on spaces talking about her music like WAP, her babies and not sitting on music too long and not over thinking #Cardi #Viral #fyp #foryourpage ♬ original sound – $unny Bank$ One topic she expanded on was her natural musical taste versus what she chooses to release. Cardi said she often has to dial her energy back because her instincts lean toward a grittier style. “I like to make music that everybody would like. If I was to make music that I would listen to, it would be super drill music,” she explained. “Baby, I would be sounding like Kay Flock and G Herbo in this motherf****r because that’s just how I am. Or I might go a little bit old school Cam’ron and Fab type of vibe because that’s the type of music I grew up listening to.” She also addressed the perception that her music focuses heavily on sexual themes. Cardi pushed back strongly on that point. “Most of my songs I’m not even mentioning p***y or f***ing, most of my songs are about things I don’t really brag about, but I brag in my songs and my gangster s**t,” she said. “So I don’t get why people say that. I just really think people pay attention to that when it comes to female rap… Why do people want to ignore when you talking about yourself? … Please y’all just wanna pop that p***y.” When the discussion shifted to her next project, Cardi made it clear she wants to let go of perfectionism. She acknowledged that the songs requiring the most effort weren’t the ones fans gravitated toward. “One thing I’mma do for my next project or my next song, I kinda just wanna go with something that makes me feel good and makes me happy,” she said. She added, “Next project, I hope that I just release things.” As for collaborations, she revealed that several features were originally planned but didn’t make the album. “Some people played and some people actually turned in their vocals, but I didn’t feel like they fit,” she said.

Usher and Big Sean are expanding their impact in Detroit with a major new initiative aimed at preparing local youth for careers in fast-growing creative and technology fields. The two artists revealed on Thursday that they are launching the Detroit Entertainment Innovation Incubator, backed by a $1 million investment that will be funneled through the Michigan Central Boys & Girls Club of Southeastern Michigan. The new facility is expected to open its doors in February 2026. This effort brings together several key partners. Usher’s New Look Foundation and the Sean Anderson Foundation are collaborating with Ilitch Sports + Entertainment and Emory University’s Goizueta Business School to build a program designed to introduce young people to future-focused industries. The Detroit Entertainment Innovation Incubator will offer structured training in areas such as A.I., 3D design, virtual production, and immersive technologies. Students will have access to a virtual production studio, a specialized SFX lab, an autonomous training center, and a creator’s lounge, spaces intended to support both technical learning and creative development. Michigan Central’s Chief Operating Officer, Carolina Pluszczynski, expressed excitement about the program and its potential effect on the community. She highlighted how the facility’s arrival next year will provide young people with tools and skills that are increasingly essential in today’s evolving job landscape. For both artists, the initiative continues the work they have been doing individually through their foundations, each focused on mentorship, education, and long-term opportunities for youth. Their shared investment reflects a commitment to making Detroit a hub where young people can gain exposure to industries that are shaping the future. With the incubator underway, the partnership positions Usher and Big Sean at the center of a project designed to help Detroit’s next generation build careers in innovation, entertainment, and technology, fields that continue to expand rapidly across the country.

Chinese Kitty, real name Taylor Hing, makes headlines with her new “10 Million (Freestyle),” released December 3 on Worldstar Hip-Hop, a track that mentions Justin Laboy and rap star Drake. The New York rapper unloads a barrage of sharp talk aimed at the popular media personality while dropping a bold claim involving the most-streamed rapper of 2025 — all just a month after appearing on Laboy’s platform for a sit-down. The freestyle opens with Kitty asserting her allegiance and her grind. “Married to the M.O.B.,” she raps, framing herself as loyal to the movement that built her. She follows with, “I’d slap a red bitch before she come check me,” establishing early that respect is nonnegotiable and any perceived challenge will be met with force — verbal or otherwise. But it’s her shots at Justin Laboy that push the record into viral territory. “Justin LaBoy, you a bitch, don’t CC me,” Kitty spits, flipping corporate email etiquette into a dismissal of the online instigator’s meme-driven brand of celebrity. The bar reads like a direct response to the way Laboy often inserts himself into drama through reposts and commentary. Kitty makes clear she wants no association with what she views as manufactured online chaos. Chinese Kitty Goes At Justin Laboy While Claiming Drake In Her DMs In New Freestyle She keeps the pressure on internet-famous men with, “I’d never fuck a n***a who got little ol’ memes,” brushing off social media notoriety as low-value currency. “Lame, you strange, but it’s part of the game,” she adds, acknowledging that meme culture now shapes fame even as she distances herself from it. Her verse widens to the industry at large: “Make a nerd n***a train when they mention my name,” she raps, highlighting her pull even among men who don’t fit traditional hip-hop archetypes. She follows with, “Ball players want to date but can’t handle the fame,” calling out athletes who crumble under the spotlight she commands. Kitty shifts into self-reflection with, “I’m tired of diming my light to make a n***a feel sane,” a bar that signals an end to shrinking herself to soothe fragile egos. Then she raises the stakes: “And this pussy still worth 10 million,” tying the freestyle’s title to a declaration of her own market value and autonomy. But the line guaranteed to ignite timelines comes at the end: “Drake in my DMs, he worth some millions.” Whether flex or fact, Kitty knows the weight of invoking Drake’s name. The freestyle ensures the conversation lands exactly where she wants it.

Kim Kardashian revealed that Kanye West accused her of staging her 2016 robbery in Paris. On the latest episode of “The Kardashians,” she explained how West was skeptical that the heist ever took place. “My ex-husband had said, ‘And you faked your robbery for a TV show.’ And had said that in front of all these people,” Kardashian said in an emotional confession. “That was a knife to my heart.” “Just to think that someone wouldn’t believe you — that’s so close to you, that should know you. That should know how much that affected your life. It just really bothered me,” she continued. “You don’t know who I am.” Kardashian also shared how it was to face her assailants during her testimony at the trial. “To finally be able to go to trial and face these people and hear their accounts and apologies, I’m like, see, guys,” she said. “It was real.” “I’m happy it’s over,” Kardashian said through her tears. Kardashian recalled saying a prayer when the robbers came into her hotel room, dressed as police officers in the middle of the night. She was dressed in only a robe. “I was sure I was going to be raped,” she said during her testimony. “This was less than 10 minutes of my life. I’ve lived an amazing life,” Kim said in the confessional. “That’s always given me a little bit of peace, just to know — what was it? 8, 9 minutes? — of pure terror and panic aren’t going to ruin me.” After her almost six-hour testimony, Kim told her mother, Kris, that the experience “changed my life for the better.” “I wanted to say that during the testimony. And I thought my attorneys were gonna kill me,” she told her mom. “They’d lose it if I said that. Said, ‘Thank you for doing this to me.’”

GloRilla isn’t losing a wink of sleep over the leaked Young Thug jail calls that briefly stirred up chaos across social media. Instead, the Memphis star is turning the moment into a testament to her humor, her confidence, and her refusal to let rap-world turbulence disrupt her momentum. After her electrifying Bayou Classic 2025 performance, she sat down with Complex’s Jordan Rose and clarified exactly where she stands with Thug — and the answer was far cooler than fans expected. GloRilla and Young Thug are cool after Thug apologized to her pic.twitter.com/iNo3fZjsyq — Complex Music (@ComplexMusic) December 3, 2025 The leaked phone calls painted a messy picture: Young Thug casually dismissing GloRilla while talking to his girlfriend, Mariah The Scientist, followed by an unreleased GloRilla diss track aimed at both of them surfacing online. The internet lit up with speculation that a full-blown feud was brewing. But according to GloRilla, the reality is far less dramatic. When Rose asked if she had spoken to Thug since his public apology, GloRilla couldn’t hold back a laugh. “Nah, we cool,” she said, brushing off the tension with her signature nonchalance. Rose pressed again — “Oh, y’all have talked?” — and GloRilla doubled down with another laugh: “Yeah.” GloRilla Says She’s Cool With Young Thug After Apology Her delivery made it clear the conversation wasn’t tense at all. She later explained why. “I don’t take a lot of stuff too serious,” she told Rose. Conflict, she said, only matters when the stakes are real. “Especially if it’s no death or fighting matter, like that. I ain’t going to take it too serious — like okay. We talked after that. We cool.” Rose asked whether the call was difficult, and GloRilla shut that down immediately: “Nah, it was a funny conversation.” Her ability to turn a viral controversy into something lighthearted reveals an artist who isn’t here for prolonged internet theatrics. She prefers honest conversations over online back-and-forths — and she moves on just as quickly. Of course, Rose couldn’t resist asking the question fans are already buzzing about: could Thug still land on her upcoming album? GloRilla answered with a sly smirk. “We’ll see about it.” With that tease, she left the door open — proving once again that for GloRilla, the story rarely ends with the drama. It ends with the music.

Aubrey O’Day delivers one of the most heartbreaking moments in the new Netflix documentary, “Sean Combs: The Reckoning.” On camera, O’Day reads a witness affidavit alleging she was sexually assaulted by Sean “Diddy” Combs nearly two decades ago. The four-part documentary, executive-produced by Curtis “50 Cent” Jackson, premiered on December 2 and has already intensified scrutiny surrounding the embattled music mogul. O’Day reads the affidavit during filming, reacting in real time to allegations she says she never heard before. The document, drafted by counsel for an alleged victim in a separate matter, outlines a 2005 incident at Bad Boy Studios. A witness claims they accidentally entered the wrong room and saw Combs and another man “sexually assaulting” O’Day, who the witness described as motionless and “looking very inebriated” on a leather couch. O’Day becomes visibly shaken as she considers the account, stating she has no memory of any such encounter. Through tears, she asks, “Does this mean I was raped? Is that what this means?” She adds that she “didn’t drink like that at all” during the relevant period, disputing the description of her appearing impaired. Aubrey O’Day Recounts Alleged Sexual Assault By Diddy In New Netflix Documentary The documentary also presents emails that O’Day says Combs sent while she was a member of Danity Kane during the Making the Band 3 era. O’Day asserts the messages were explicit and inappropriate, reiterating her long-standing claim that she was dismissed from the group after refusing sexual contact with Combs. “This is your boss at your work sending you that email,” she says. “Six months later, I was fired.” Director Alexandria Stapleton told NBC News the production team spent “hours” supporting O’Day before and after the on-camera revelation to ensure she was prepared to share the information. Stapleton said viewers witness a subject “struggling to digest whether this happened or not,” calling the moment one of the series’ most difficult. Combs’ legal representative Juda Engelmayer criticized the documentary as “biased,” arguing that several participants have “personal grievances or financial motives.” He said Combs will address “legitimate matters” through the courts rather than a streaming platform. Netflix defended its reporting and said all footage was legally obtained. The series also features other alleged victims and former associates describing long-standing misconduct. For O’Day, the disclosure marks a pivotal point in her public claims against Combs and underscores the legal and reputational fallout continuing to build around the former Bad Boy executive.

Adidas prevailed this week in a shareholder appeal claiming the company concealed alleged misconduct by Kanye West before their lucrative Yeezy partnership collapsed. The Ninth Circuit found the investors failed to show the sportswear giant misled the market about risks tied to the mogul’s behavior. View this post on Instagram In a published decision, the appellate panel held that Adidas had no duty to disclose every instance of West’s erratic conduct. It notes that a “reasonable investor” would understand the inherent volatility of a celebrity-driven partnership. The ruling affirms a prior district court dismissal of the putative class action brought by HLSA-ILA Funds, which argued that Adidas ignored mounting red flags surrounding West’s public behavior, including years of controversial statements, before formally severing ties in 2022. Adidas Wins Appeal Against Kanye West The investors alleged they suffered significant losses when Adidas ended the partnership after West posted antisemitic remarks. It triggered a steep drop in the company’s share price. The Yeezy line had accounted for billions in annual revenue and was considered one of Adidas’ most valuable assets. Plaintiffs argued the company privately grappled with West’s conduct while publicly presenting the collaboration as stable, thereby omitting material information from securities filings. The panel rejected that theory, concluding that the plaintiffs failed to identify any actionable misrepresentation. The judges wrote that Adidas’ disclosures already acknowledged risks associated with relying on high-profile talent and that the company was not required to forecast West’s future behavior or the exact moment the partnership might unravel. The lawsuit also referenced West’s appearance at a 2022 fashion event where he promoted a “White Lives Matter” design, followed by online antisemitic comments that prompted the company to halt production and remove Yeezy products from sale immediately. Several corporate partners — including Gap and JPMorgan — cut ties with West in the same period, intensifying the fallout. The partnership’s collapse left Adidas with more than €1 billion in unsold Yeezy inventory. The company later announced plans to liquidate the remaining stock and donate part of the proceeds to groups combatting hate. Counsel for the investors did not respond to requests for comment. Representatives for West also remained silent. The ruling marks a decisive win for Adidas and clarifies the boundaries of disclosure obligations in celebrity-driven commercial ventures.

The Game’s newest mixtape rollout has sparked immediate discussion thanks to one track title that stands out from the rest. As he prepares to release Every Movie Needs a Trailer, produced by DJ Drama along with Mike & Keys, fans quickly noticed a song labeled “The Assassination of Candace Owens.” The artist revealed the full lineup of songs on December 1, prompting widespread conversation about whether the track was aimed at the conservative commentator. Two days later, TMZ posted a brief interview with The Game in which he broke down the meaning behind the title. According to him, the choice was inspired by recent comments Owens has made publicly. “Recently I’ve been seeing conspiracy theories about Candace Owens from herself, you know, self-admitted,” he said. “She feels like people are conspiring [against] her. So what it was is more so an assassination of the character. So I just used that because it’s current news, but the song is not about Candace.” He also emphasized the creative approach behind it, adding, “I’m a rapper, we use metaphors, you know?” When asked whether he expected Owens to fire back, The Game didn’t express any concern. “Nah, I’m not worried about Candace. But then again, you gotta hear the song,” he told TMZ. He also complimented her intellect, calling her “real smart” and “intelligent,” before making it clear he was ready for whatever response might come: “But if she comes for me, you know, it is what it is.” Owens has found herself referenced in hip-hop before. Earlier this year, she was mentioned in Jay Electronica’s 2025 track “@RealCandaceO …Tell Us More!” where he rapped, “The whole world is phony/I’m exposing like Candace Owens and Brigitte Macron,” adding her to a lineage of political figures woven into rap commentary.