Starting in 2026, Martin Luther King Jr. Day and Juneteenth will be removed from the National Parks’ list of free entrance days, according to TMZ. That said, a new holiday will take its place: Trump’s birthday. TMZ reports that the Trump Administration will name the free-entrance designations to “patriotic fee-free days.” The bold move is part of Donald Trump’s plan of “Making America Beautiful Again.” The executive order, issued back in July, aims to “make parks more affordable for American citizens.” The outlet reports that the change has already been listed on the National Parks‘ website. Along with Trump’s birthday, which is on June 14, free admission for US residents will be available on Presidents’ Day, Memorial Day, Independence Day weekend, and the 110th Birthday of the National Park Service on August 25. Constitution Day, Theodore Roosevelt’s birthday, and Veterans Day will also offer free admission, TMZ says. UTAH, UNITED STATES – 2025/10/14: View of the landscape at the end of the Scenic Drive in Capitol Reef National Park, Utah, United States. (Photo by Wolfgang Kaehler/LightRocket via Getty Images) “These policies ensure that U.S. taxpayers, who already support the National Park System,” says Secretary of the Interior Doug Burgum In a press release issued today, Secretary of the Interior Doug Burgum noted that upcoming changes help to “always [put] American families first.” Burgum continued, “These policies ensure that U.S. taxpayers, who already support the National Park System, continue to enjoy affordable access. Meanwhile, international visitors contribute their fair share to maintaining and improving our parks for future generations.” In other news, the iconic Rush Hour franchise is officially ready for its next installment and has been greenlit for production, PEOPLE reports. However, it wouldn’t have been possible without President Donald Trump, who lobbied on the film and its director’s behalf. The surprise news came from entertainment journalist and former editorial director for The Hollywood Reporter, Matthew Belloni.

On the latest episode of The Kardashians, Kim Kardashian got emotional while talking about the response to her 2016 Paris robbery. Particularly, it was the response from her ex-husband, Kanye West, that hurt the most. “That was so like a knife to my heart,” Kardashian says. “Just to think that someone wouldn’t believe you, like, that’s so close to you, that should know you, that should know how much that affected your life.” Following the robbery, social media users and even large radio stars, like Howard Stern, claimed that Kardashian had faked the event for her television show. “It just really bothered me,” the SKIMS founder continued. “Like you don’t know how I am. So to finally be able to go to trial and face these people and hear their accounts and apologies, so I can be like, ‘see, it’s real guys, you know.’ I’m happy its over.” Kim Kardashian Reveals She Failed The Bar Exam In other news, a few weeks back, Kim Kardashian opened up about a setback in her ongoing legal journey, revealing that she didn’t pass the California Bar Exam. The reality star and business mogul shared the news on her Instagram Stories, writing, “Well… I’m not a lawyer yet. Six years into this law journey, and I’m still all in until I pass the bar. No shortcuts, no giving up — just more studying and even more determination.” Kardashian explained that although she came close to passing, she’s using the experience as motivation to keep pushing forward. “I was so close this time, and that only motivated me even more,” she added. The SKIMS founder began studying law back in 2018 through California’s apprenticeship program, which allows aspiring attorneys to train under a practicing lawyer rather than attend a traditional law school. In 2021, she passed the First-Year Law Students’ Examination — better known as the “baby bar” — after failing it three times.

Cardi B helped close out Stefon Diggs’ birthday week with a celebration that quickly turned into the center of attention. Even though his actual birthday passed on November 29th, the New England Patriots star chose to wait until his team’s bye week to enjoy the moment. By the time Thursday arrived in Miami, the atmosphere was set for a late but lively gathering with close friends, and Cardi took charge of making the night special. Cardi B and Stefon Diggs at his 32nd birthday party tonight in Miami. pic.twitter.com/XruDLZJbh5 — Fan Account | #BLM (@BardiUpdatess) December 5, 2025 Before the party picked up speed, the group sat down for dinner, where Diggs was presented with a birthday cake. As he prepared to make his wish, Cardi joined everyone at the table in singing Stevie Wonder’s iconic version of “Happy Birthday.” The room filled with cheers, and Diggs soaked up the moment surrounded by people he trusts. What happened afterward completely shifted the energy. Once the group moved from dinner to what appeared to be a club setting, Cardi decided the celebration wasn’t complete without a performance of her own. The rapper began dancing for Diggs, putting on a twerk-filled moment that instantly became the highlight of the night. He watched her closely, smiling as she turned the evening into something far more personal and dynamic than a traditional birthday toast. For anyone who remembers the viral boat moment earlier this year, the scene felt familiar. Cardi once again chose to mark a meaningful moment with a private dance just for him. And with the couple recently welcoming their newborn son, the birthday celebration added another milestone to what has already been a major chapter for Diggs. Between his relationship, his growing family, and the season still ahead, Diggs’ birthday week ended on a high note, and Cardi made sure the celebration was unforgettable.

Misa Hylton says the release of Sean Combs: The Reckoning has brought a wave of harassment toward her and her son, Justin Combs, and she’s calling out the source of it. In her public statement, Hylton wrote that the treatment they’ve received because of “things implied by Gene Deal and stated in a recent Netflix documentary has been heartbreaking,” adding that the public is being “misled” about her family. She said she and Justin have been dragged into a “cruel game built on rumors and agendas” and emphasized that none of what’s circulating was ever asked for or deserved. View this post on Instagram As the commentary continued to spread online, an old audio clip of Gene Deal resurfaced—one in which he openly explains why he allowed certain rumors involving Justin to circulate. Deal says the tension between him and Sean “Diddy” Combs escalated into something he considered warfare. “And it was born from there. So I went to war with this dude,” he says in the recording. From his perspective, that meant using whatever tools benefitted him: “And when you go to war with a he can’t tell you what kind of ammunition to bring to the fight. What you going to load up with. You not going to tell the ammunition that you going to use, because you going to use any and everything that comes your way life.” The rumor that Wolf was Justin’s father is one example Deal mentions directly. “For instance, you had on the internet that said that I said that wolf was Justin’s father. I never said that.” He then admits he intentionally chose not to correct the claim. “But did I deny it? Did I act like I didn’t know? Yeah, you know why? Because anything that could hurt this… it was on from there.” Deal also acknowledges that his silence caused harm: “You just the casualty of war right now, I know what I what I what was said, hurt Justin, because I did not clarify it to nobody.” For Misa Hylton, that’s exactly the problem. What Deal calls “war,” she calls an attack on her child—one she’s now demanding the public stop amplifying.

The release of Sean Combs: The Reckoning on Netflix has sparked a fresh wave of debate. Attorneys for Diddy have accused the filmmakers—and 50 Cent, listed as an executive producer—of using footage without authorization. This dispute has intensified the attention surrounding the series’ debut. However, remarks from Roger Bonds, a former top security figure within Bad Boy Records, complicate the narrative. They suggest a different perspective on how the material may have circulated. In a series of social media posts that quickly gained traction, Bonds explained the behind-the-scenes practices shaping Diddy’s video archives. As highlighted by DJ Akademiks, he said the footage reflects an established pattern. Diddy frequently hired young, inexperienced videographers drawn to the prestige of working with him. Yet they were often paid far below what their extensive workloads demanded. According to Bonds, this dynamic helped create the conditions for the disputes now emerging. Bonds detailed the rigorous day-to-day expectations for these videographers: “Diddy requires a videographer at his side continuously. Whether they are at a lavish event or an intimate gathering, the agreed payment often doesn’t correlate with the extensive hours worked. This leads to disputes over invoices.” He added that the relentless schedule often pushed videographers to seek alternative avenues for compensation, including selling footage to “the highest bidder.” Bonds implied that in this instance, the bidder may have been 50 Cent. This highlights tensions within the professional relationships involved. View this post on Instagram The Rift Between Two Iconic Rap Figures The rift between the two men stretches back for years and has only deepened over time. While competition among industry peers is common, this feud has intensified amid longstanding questions about Diddy’s business dealings. Recent allegations of sexual misconduct have exacerbated the situation. During this period, 50 Cent has frequently targeted Diddy in public forums, turning their rivalry into a recurring topic across social media platforms. Meanwhile, Netflix responded promptly to Diddy’s team, rejecting the allegations. They emphasized adherence to established licensing standards. A spokesperson told Variety, “This is not a hit piece or an act of retribution. Curtis Jackson (50 Cent) is an executive producer but does not exercise creative control over the project.” The statement aimed to clearly distinguish 50 Cent’s public persona from the documentary’s editorial decisions. It underscored the platform’s claim of objective reporting.

More than a decade after the notorious 2014 Met Gala elevator confrontation, fashion designer Oscar G. Lopez has provided a fresh perspective on the moment that captivated global attention. His reflections illuminate the tension between Jay-Z and Solange Knowles. This has sparked renewed conversation about a night that has long lingered in pop culture memory. In an interview with the Daily Mail, Lopez suggested that the drama may have begun with a seemingly innocent compliment. On the red carpet, he recalled Jay-Z praised Rachel Roy for her custom black lace gown—a design by Lopez himself. “I believe Jay-Z complimented her on the gown, and Solange didn’t think it was appropriate,” he said. Lopez described how this brief exchange may have set in motion the confrontation that soon erupted behind elevator doors, a pivotal moment involving Jay-Z. Security footage later revealed the now-iconic scene: Solange confronting Jay-Z in the elevator while Beyoncé watched silently. The clip quickly went viral, cementing the moment as one of the most talked-about incidents in celebrity culture. Reflecting on its impact, Lopez said, “Any press is good press. Sometimes you benefit from a scandal, even if you’re not directly involved in it… let’s just call it collateral damage.” A Spotlight on Rachel Roy The night was also a turning point for Rachel Roy. She was poised for a breakthrough following her win on Project Runway: Under the Gunn. Lopez explained that he had created the gown under tight time constraints. Roy’s delayed arrival meant she nearly missed her red carpet moment. Yet, paradoxically, the elevator drama thrust her dress into the media spotlight. “Despite the circumstances, the dress went viral,” Lopez noted, emphasizing the unexpected trajectory of the evening, which once again involved Jay-Z who made the compliment. Lopez frames the elevator incident as a collision of fashion, fame, and celebrity dynamics—one that continues to capture public fascination. Social media has amplified its resonance, generating memes and commentary that keep the story alive years later. Far from a fleeting spectacle, the 2014 Met Gala elevator encounter has become a layered narrative of style, interpersonal tension, and the unpredictable nature of public life, with Jay-Z remaining a central figure to this day.

Victoria Monét, a rising force in contemporary R&B, has captured attention by revealing her desire to work with Drake. The announcement is particularly striking given her previous admiration for Kendrick Lamar, prompting a range of reactions from fans and industry insiders alike. Her comments reflect the complex balance of loyalty, artistry, and strategy that defines today’s music landscape. During her appearance on Angel Reese’s podcast, Unapologetically Angel, Monét conveyed her excitement about the potential partnership. “I still want to work with Drake. Love Drake. Yeah, he’s amazing,” she said. Reese’s enthusiastic response, “As you should,” reinforced Monét’s enthusiasm and underscored the shared anticipation for the collaboration. The statement quickly reverberated through Drake’s fanbase, generating both excitement and cautious speculation. While listeners eagerly anticipate new music from the Canadian rapper, Monét’s previous alignment with Kendrick Lamar complicates the narrative. Fans debated online whether she should maintain allegiance to Lamar’s camp, given the longstanding rivalry between the two hip-hop icons. Monét’s interest also raises broader questions about reconciliation and collaboration in the industry. Could a partnership with Drake bridge divides between fan communities, or has too much time passed to overcome past tensions? As an artist respected by both camps, Monét may hold a unique position to foster creative dialogue and innovation across genre boundaries. what happened to her repping the west coast last year https://t.co/VF4WtnIiAm — §osa (@sosavrse) December 5, 2025 Anticipation Mounts for Drake’s Upcoming Album ICEMAN At the same time, the music world is abuzz over Drake’s forthcoming album, ICEMAN. Though an official release date has not yet been confirmed, many expect a 2025 debut. In an email interview with Complex, Drake hinted at a livestream event to preview the project, fueling excitement among fans. The discussions surrounding ICEMAN highlight the intensity of loyalty and rivalry in contemporary hip-hop and R&B. Speculation about potential collaborations drives conversation about how artists and fanbases might intersect in new ways. With Drake and Kendrick Lamar at the center of these dynamics, Victoria Monét’s aspirations could serve as a catalyst for unity and creative exploration in a genre often shaped by division.

50 Cent says he joined the Netflix project Sean Combs: The Reckoning with intention, not rivalry. In a recent conversation with GQ, he explained why he decided to help bring the docuseries to the platform this week. The series revisits long-standing allegations involving Sean “Diddy” Combs, drawing on accounts from former collaborators and people who once worked closely with him. Jackson framed his involvement as a response to what he considers an uneasy quiet within the industry. Though he and Diddy have traded barbs for years, 50 Cent insisted the project was not born from past tensions. “If someone’s not saying something, then you would assume everybody in hip-hop is okay with what’s going on,” he said. He suggested that many in music tread lightly around Combs’ stature, creating a climate where critique is rare and often solitary. 50 Cent said he has grown accustomed to being one of the few willing to speak publicly. His remarks hint at a wider debate over power, loyalty, and who feels free to voice concern. A Creative Process with Boundaries 50 Cent emphasized that his executive producer title did not give him authority over the documentary’s narrative. “There’s no place for me; I didn’t make the docuseries,” he said. “I brought in the best possible people to create it.” He added that if he had been shaping the story directly, the tone might have shifted toward even more contentious territory. Instead, he described his role as facilitating access while staying out of the creative decisions. After the series premiered, Diddy’s team pushed back, alleging that Netflix used footage without consent. A spokesperson for Netflix disputed that characterization, calling the claims “completely false.” The company said all material, including footage tied to Diddy’s legal matters, was obtained properly. Netflix also clarified that 50 Cent, despite his producing credit, had no creative control over the final product. Their response signals an effort to defend the film as questions over its production continue to mount.

Kanye West’s clash with Brazilian authorities has escalated once again, with officials moving to block his latest planned performance. He had been slated to appear at São Paulo’s Interlagos Racetrack on November 29, but the show was canceled after his inflammatory remarks and reported admiration for Nazism resurfaced online. Consequence first reported the decision, which Brazilian officials framed as a necessary response to rhetoric they consider incompatible with the country’s laws and public values. The São Paulo cancellation follows a similar setback earlier this year. In Rio de Janeiro, local leaders shut down West’s attempt to stage a large-scale concert modeled after the Rolling Stones’ 2006 beach performance. Officials said his past comments left them with little choice, arguing that granting him a platform would run counter to Brazil’s stringent protections against hate-driven speech. Their stance reflects a government increasingly willing to draw firm lines when artists cross into extremist territory. São Paulo’s mayor, Ricardo Nunes, made that point plainly: “No one who promotes Nazism will perform or sing any words on public equipment belonging to the City Hall. We do not accept it, and we will take all necessary measures to ensure that no individual promoting Nazism can engage in any activity here in São Paulo.” His comments mirror Brazil’s broader commitment to enforcing its anti-Nazi legislation. Signs of a Public Reset Even with these setbacks, West has recently made efforts to address the controversy. He met with Rabbi Yoshiyahu Yosef Pinto in New York, a conversation Rabbi Pinto described as sincere and grounded in accountability. According to him, if West continues “real efforts” toward learning and reflection, Brazil may eventually reconsider its stance. West has also revised parts of his musical catalog. He has removed several contentious tracks—”WW3,” “HEIL HITLER/HALLELUJAH,” and “COUSINS”—a move that appears aimed at distancing himself from past themes that fueled public outrage. The quiet deletions suggest an attempt to shift his artistic identity as he navigates the fallout. Officials remain wary, but a future return is not entirely off the table. Some organizers have floated the possibility of a Brazilian date in 2026, potentially outside São Paulo, should West continue to demonstrate meaningful change. For now, his path forward hinges on whether these early overtures can persuade skeptical authorities.