50 Cent, Russell Simmons Slam Oprah’s Forthcoming #MeToo Documentary For ‘Only Going After Black Men’
Months in the wake of getting flack for her exceptionally advanced plunk down with informers who (by means of the disputable ‘Leaving Neverland’ TV unique) reemerged charges King of Pop Michael Jackson explicitly ambushed them as youngsters, Oprah Winfrey is forced to bear staunch analysis again for her as of late reported, yet-titled narrative about sexual unfortunate behavior in the music business.
Set to make a big appearance in 2020, the Apple restrictive is delivered and coordinated by Oscar-named producers Kirby Dick and Amy Ziering. Purportedly highlighting an accursing meeting from a supposed casualty of stimulation head honcho Russell Simmons, updates on the film’s conveyance arrived at the work area of individual tycoon 50 Cent who, in a blazing Instagram post, pummeled Winfrey for what he contends is a system to ‘target Black men.’
HBO’s Leaving Neverland led to petitions against the late Jackson. Plus, Oprah faced some backlash for hosting a special television program where she interviewed MJ’s Leaving Neverland accusers Wade Robson and James Safechuck.
Last night, 50 Cent returned to Instagram to throw another shot at Winfrey. He posted a meme that featured accused sexual abusers Bill Cosby, Jeffrey Epstein, Kevin Spacey, Harvey Weinstein, R. Kelly, and Donald Trump. The black men were labeled with “jail” and the white men were labeled with “walk.” The pic’s caption read, “You think Oprah don’t notice how this sh*t is playing out?”
Be that as it may, reports recommend the film will pursue a previous music official potentially uncovering somebody in the business after a supposed attack. This data and a Sundance depiction about the film prompted theory that the narrative is about Drew Dixon, the lady that blamed Def Jam fellow benefactor Russell Simmons of different cases of wrongdoing.
Kirby Dick and Amy Ziering (The Invisible War, The Hunting Ground) are coordinating and delivering the Apple TV narrative. The film is depicted as “a significant assessment of race, sex, class, and intersectionality, and the cost ambushes take on their unfortunate casualties and society on the loose.”
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