The fallout from the BAFTA Film Awards controversy continues to ripple through the entertainment world, as a damning independent review reveals what really went wrong.

What should have been a celebratory night quickly spiraled into chaos, leaving organizers, broadcasters, and audiences grappling with uncomfortable truths about planning, accountability, and oversight.

BAFTA Review Reveals Structural Weaknesses

An independent investigation into the awards ceremony uncovered serious cracks in the system that contributed to the widely criticized on-air moment.

The review, commissioned by the BAFTA board and conducted by RISE Associates, highlighted “a number of structural weaknesses” in planning, escalation procedures, and crisis coordination.

While the findings were critical, the board emphasized that “it did not find evidence of malicious intent on the part of those involved in delivering the event. We accept its conclusions in full.”

Still, the absence of ill intent did little to soften the broader implications.

The report, made available to The Hollywood Reporter, clarified that BAFTA’s internal systems were not robust enough to handle unexpected incidents, particularly in a live broadcast environment where timing and responsiveness are crucial.

BAFTA Apology Acknowledges Deep Impact

In the wake of the controversy, BAFTA issued a sweeping apology that addressed multiple communities affected by the incident.

The organization stated, “We apologize unreservedly to the Black community, for whom the racist language used carries real pain, brutality, and trauma; to the disability community, including people with Tourette Syndrome, for whom this incident has led to unfair judgement, stigma, and distress; and to all our members, guests at the ceremony and those watching at home. What was supposed to be a moment of celebration was diminished and overshadowed.”

The statement didn’t stop there. BAFTA also confirmed, “We have written to those directly impacted on the night to apologize.”

These acknowledgments showed the wide-reaching consequences of the incident, which went beyond a single moment on stage and ignited broader conversations about responsibility and sensitivity in global broadcasts.

BBC Faces Backlash Over Broadcast Failure

The controversy didn’t just stop with BAFTA. The BBC, which aired the ceremony, came under intense scrutiny for allowing the offensive language to make it to viewers despite a built-in delay.

Following its own investigation, the broadcaster’s Executive Complaints Unit delivered a blunt verdict earlier this week.

As The Blast reported, the unit stated, “The ECU found that the inclusion of the n-word in the broadcast (which was also streamed live on iPlayer) was highly offensive, had no editorial justification and represented a breach of the BBC’s editorial standards, but that the breach was unintentional.”

This conclusion placed the BBC in a delicate position, acknowledging the seriousness of the mistake while maintaining that it was not deliberate.

Former director-general Tim Davie had earlier described the incident as “a genuine error,” attributing the oversight to confusion during the editing process.

Despite these explanations, the backlash highlighted growing expectations for broadcasters to exercise tighter control over live and near-live content.

BAFTA Editing Breakdown Explained By BBC

Further details about the mishap revealed a breakdown not in policy, but in execution.

BBC chief content officer Kate Phillips shed light on how the moment slipped through the cracks.

She explained that the production team “did not hear the n-word at the time it was said and therefore no decision was taken to leave the word within the broadcast. The ECU accepted this was a genuine mistake.”

Phillips also pointed out that the team had successfully edited out another instance of the same word, adding that this was done “especially as the team did correctly identify and edit out a subsequent use of the same word, in line with the protocols that were agreed in advance of the event regarding offensive and unacceptable language.”

This explanation painted a picture of a system that, while theoretically sound, failed at a critical moment when vigilance mattered most.

BAFTA Streaming Delay Fuels Outrage

If the initial broadcast sparked concern, the delayed removal of the footage only intensified public anger.

The unedited version remained accessible online longer than expected, compounding the damage.

The ECU did not mince words, calling the delay a “serious mistake” and noting that “The fact that the unedited recording remained available for so long aggravated the offense caused by the inadvertent inclusion of the n-word in the broadcast.”

Kate Phillips addressed this issue as well, explaining, “There was a lack of clarity among the team present at the event as to whether the word was audible on the recording. This resulted in there being a delay before the decision was taken to remove the recording from iPlayer.”

The prolonged availability of the clip raised serious concerns about internal communication and crisis management, exposing gaps that extended beyond the initial mistake.

Ultimately, the review makes one thing clear: while the incident may not have been intentional, it exposed critical vulnerabilities in both BAFTA’s event planning and the BBC’s broadcast processes.

As both organizations promise reforms, the spotlight remains firmly fixed on whether meaningful change will follow or if history could repeat itself.

Of all the many blockbusters releasing this summer, few will likely hit the box office heights of Toy Story 5, which is predicted to match the success of the previous two installments and break the billion-dollar barrier. Woody (Tom Hanks), Buzz (Tim Allen), Jessie (Joan Cusack), and the rest of the gang will return to theaters on June 19, joined by several other new and returning names, including Tony Hale as Forky, Blake Clark as Slinky, and John Wick himself, Keanu Reeves, who reprises his role as Duke Caboom from the fourth installment.

However, before Reeves fans can enjoy the return of one of his lesser-discussed roles in recent memory, his latest project has finally debuted on Apple TV. Outcome, the latest directorial effort from Jonah Hill, officially premiered on the streamer on April 10 and stormed straight to the top of the U.S. charts. A satirical black comedy starring Reeves as Reef Hawk, the world’s biggest movie star, the film also features supporting performances from Matt Bomer and Cameron Diaz as Xander and Kyle, two of the only people to still like Reef.

The rest of the Outcome cast is stacked with talent, including Susan Lucci, Laverne Cox, David Spade (Saturday Night Live), Atsuko Okatsuka, Roy Wood, Jr., Welker White, Kaia Gerber, Ivy Wolk, and even the Hollywood icon Martin Scorsese as a washed-up talent agent. However, those excited about this latest Reeves role will be frustrated to hear that, upon its debut, the movie is being ripped apart by critics. At the time of writing, Outcome has earned a disastrous 25% score on review aggregator Rotten Tomatoes. This is Reeves’ lowest score for a film since 2018’s Replica.

What Did Collider Say About ‘Outcome’?

Most critics might be disappointed by Outcome, but how did Collider respond? Well, Nate Richard agreed with the consensus that this is far from Reeves’ best work, scoring the film a 4/10 in his review. “Outcome is clearly coming from a personal place for Hill. It doesn’t come across as too bitter or full of self-pity, but the point of the movie is never made fully clear,” Richard wrote. “It moves at too quick a pace to leave much of an impact, and it’s a bit of a tonal nightmare. Hill has already proven himself as a director, but Outcome was a strange yet bold choice to make as his second narrative film.”

Outcome is streaming on Apple TV. Stay tuned for more stories.

Advertisement

Advertisement

Release Date

April 10, 2026

Runtime

83 Minutes

Advertisement

Advertisement

Advertisement

Advertisement

It’s not always easy to be the new kid on the block, but Fire Country’s debut spin-off, Sheriff Country, has proved that it’s here to stay. Now, six months after its debut episode promised audiences a different side to the in-universe town of Edgewater, California, the Morena Baccarin-led series is also showing that while it might have connections to the flagship series, it can proudly stand on its own. Each week, we’ve watched as the title has taken over global charts for its network home at CBS and, as we head into the fourteenth installment of its debut season, audiences have even gotten the crossover event they had long been hoping for with last week’s two-parter.

There’s no rest for the wicked and there’s certainly no slowing down for the brave first responders behind the primary story of Sheriff Country either. After last week’s chaotic installment that saw a group of children kidnapped and held captive, things aren’t getting any easier for Baccarin’s Sheriff Mickey Fox and the rest of her team on tonight’s episode titled “Show of Force.” Spirits are riding high in Edgewater during the town’s Blood Moon Festival, with its residents eager to take in one of nature’s most gorgeous sights. But, lurking and operating from the shadows, a serial killer goes after young women, throwing Mickey into a game of cat and mouse.

Ahead of the episode’s premiere later tonight, Collider is thrilled to unveil a sneak peek at the pulse-pounding story that brings a serial killer to Edgewater. Unfortunately for Mickey, a psychopathic murderer won’t be the only thing she’s dealing with after she’s forced to pick up the pieces when Hank (Ian Quinlan) loses his service vehicle. In our first look, Edgewater’s Sheriff sits her officer down for disciplinary action — but he isn’t the only one facing her wrath. While Hank may have been responsible for carrying out the hot-headed move that lost him his vehicle, Mickey is even more annoyed with Deputy Boone (Matt Lauria), who was the commanding officer at the time of the incident.

What’s Next for ‘Sheriff Country’?

The end of Sheriff Country’s first season is just around the corner, with its finale set for May 22. Over the next few weeks, audiences will tag along with the dutiful crew of first responders on a slew of new emergencies and, with Season 2 already receiving a green light, there’s even more where that came from in CBS’ fall block.

Watch our sneak peek of tonight’s episode of Sheriff Country above.

Advertisement

Advertisement

Release Date

October 17, 2025

Showrunner

Advertisement

Matt Lopez

Advertisement

Advertisement

Advertisement

By Chris Snellgrove
| Published 1 second ago

Star Trek: First Contact is generally considered the best of the Next Generation movies, one that pitted Captain Picard and his erstwhile crew against their most implacable foe: the Borg. Fans love the movie, but one thing that many of them hate is the inclusion of Alice Krige’s Borg Queen. Her very existence as an individual makes no sense in a Collective where everyone shares the same hive mind. On top of that, she’s a walking time paradox, repeatedly dying onscreen only to pop up in future TV shows whenever the writers needed a cheap Big Bad reveal.

However, Star Trek’s stupidest villain was almost fixed by the franchise’s first prequel. Recently, a number of writers and producers for Star Trek: Enterprise got together for Trek Talks, a livestream telethon that helps raise money for the Hollywood Food Coalition. Together, they revealed a number of rejected episode pitches that would have electrified the fandom. Arguably, the most ambitious of these pitches would have been an origin story for the Borg Queen, one that had the potential to answer burning questions Trek fans have been debating for decades. 

The Borg Queen’s Origin Story

During the Trek Talks stream, Enterprise writers Judith and Garfield Reeves-Stevens revealed they wanted to “have another Borg show, but bring in the head of Starfleet Medical, which would be played by Alice Krige.” Krige, of course, played the Borg Queen in Star Trek: First Contact, and the franchise has never revealed any details about who or what she was before being assimilated. In Reeves-Stevens’ story, we would see her Starfleet Medical bigwig “choosing to join the Collective,” and they wanted the episode to explore “what goes through the mind” of a person making such an insane choice to abandon both their individuality and their humanity.

Sadly, Reeves-Stevens didn’t elaborate on their pitch beyond those details, so all we know is that this Enterprise episode would have been a Borg Queen origin story explaining how this mechanical monarch was once the human head of Starfleet Medical. Still, I can’t help but think that this episode would have made her character much more palatable to the average fan. That’s because a well-written episode could answer fans’ biggest questions about this character while more organically integrating her into Star Trek canon.

Attack Of The Drones

For example, the Borg we first saw in The Next Generation spoke with a singular hive mind, and the concept of individuality was completely alien to them. That’s what made Picard’s assimilation so shocking. Not only did these bionic baddies target everyone’s favorite captain, but they turned him into a mouthpiece for their coldhearted collective. The Enterprise episode that Reeves-Stevens pitched could explain how and why the Borg learned the value of having an individual spokesperson. Furthermore, showing Krige’s character volunteering to join these villains might offer context for why the Borg Queen in First Contact wanted Picard to surrender himself willingly rather than be assimilated against his will. 

Additionally, a Borg Queen origin story might finally help fans nail down a timeline of how and when Starfleet first learned about the Borg. In The Next Generation, Q is seemingly responsible for introducing Starfleet to this new threat by flinging the Enterprise deep into Borg territory. However, the Voyager episode “Dark Frontier” later revealed how Seven of Nine’s parents were Federation scientists eager to study the Borg, a race they mostly knew about through whispered rumors. The Enterprise episode “Regeneration” retconned things even further by revealing that Zefram Cochrane warned people about the Borg seen in First Contact, but he later recanted after his claims were dismissed as tall tales from a known drunk.

Resistance Is Futile (She Brought Cuffs)

This has led to lingering questions, like how long have Starfleet and the Federation officially known about the Borg? Unofficially, who was keeping tabs on these villains? Were shadowy figures (like Section 31) cross-referencing Cochrane’s tall tales with stories from El-Aurian refugees and Captain Archer’s own account of hostile, cybernetic beings? Right now, all of this is a mystery, one made more frustrating because it involves Star Trek’s most famous villains. Had we gotten this Enterprise episode, it might have cleared that mystery up for fans while making it easier for future writers (say, the Picard writers) to do more with the Borg Queen than have her show up and make evil speeches.

Early on Enterprise was viewed as a major letdown for Star Trek fans. But it started to get really good in its fourth and final season, and the Borg Queen pitch from Judith and Garfield Reeves-Stevens proves that this show still had some great stories to tell. Had we gotten this episode and more like it, Enterprise might have gone on to become one of the franchise’s most successful series. If nothing else, it could have avoided decades of fan squabbles over who and what the Borg Queen is and what she offers to the Collective beyond being (let’s face it) dommy mommy eye candy for drones and fans alike. 

Happy New Music Friday! The weekend is here, which means more streaming, new playlists and the best that music has to offer — and ET has you covered for everything in between.

Coachella kicks off today with headliners Sabrina Carpenter, Justin Bieber, Karol G, and Anyma. Fans can tune in via Coachella’s YouTube Channel to see seven stages featuring a lineup that includes Addison Rae, BIGBANG, BINI, Clipse, David Guetta, FKA twigs, Jack White, Kaskade, KATSEYE, Major Lazer, Laufey, The Strokes, Teddy Swims and more. The livestream will begin at 4pm PT each night.

CBS and Dick Clark Productions announced that Queen Latifah will host the 52nd American Music Awards on May 25. This will mark 30 years since her AMAs hosting debut when she was a co-host in 1995. She shared, “I am so excited to return to the American Music Awards stage to host this year. It’s been an incredible year for music and there is no better place to celebrate than in Vegas.”

Women lead nominations for the 61st Academy of Country Music Awards. Megan Moroney leads with 9 nominations, followed by Miranda Lambert with 8, Ella Langley with 7, Lainey Wilson with 7, Chris Stapleton with 6, Zach Top with 5 and Cody Johnson with 4. More performers have also been announced — Kacey Musgraves, Little Big Town and Miranda Lambert will join previously announced performers Cody Johnson, Lainey Wilson and Riley Green. The awards will stream live on May 17 on Prime Video.

The Latin Recording Academy announced that Daddy Yankee will be the 2026 Latin Recording Academy Person of the Year. He will be honored for his nearly three-decade career as a singer, songwriter and performer within the urban genre, as well as for his humanitarian efforts. Daddy Yankee shared, “This recognition from The Latin Recording Academy is a dream come true. It means a lot because it represents more than just a successful career; it’s recognition of years of discipline, struggle, faith and commitment to our culture.” He will be celebrated at a private gala on November 11 in Las Vegas, as part of Latin GRAMMY Week.

Lady Gaga and Doechii released their new song “Runway,” the first piece of music from The Devil Wears Prada 2. The song was written by Bruno Mars, Jaylah Hickmon, Lady Gaga, Andrew Watt, Henry Walter, Dernst “D’Mile” Emile II and Jayda Love, and produced by Bruno Mars, Andrew Watt, Cirkut and D’Mile. The song marks the first collaboration between Gaga and Doechii.

Hilary Duff has released “Come Clean (Mine),” a re-recorded version of her 2003 hit single. The track will be featured in “The Reunion: Laguna Beach” which premieres April 10 on The Roku Channel. The song will also be included on Hilary Duff – (Mine), a brand new collection of newly re-recorded renditions of Hilary’s great hits, out on April 18 exclusively for Record Store Day 2026.

16 year old country singer Maddox Batson is currently on his Live Worldwide Tour 2026 and made a stop at The Wiltern in Los Angeles this week, which was his 100th show.

Simone Ashley has announced her debut EP, Songs I Wrote In New York. Best known for her starring roles in “Bridgerton” and “Sex Education” and upcoming films “The Devil Wears Prada 2” and “Peaked,” Ashley reconnects with her early foundations in music. Before acting, music and performing were her earliest forms of creative expression. Simone shared, “I’ve found a confidence in knowing what kind of women and artist I want to be – that feeling really kept me company whilst in the studio writing and recording these songs.”

Plus, new music from Ella Langley, KATSEYE, Anitta, Shakira, Laufey, Snoop Dogg, Foo Fighters, DJ Khaled, Kehlani, Missy Elliott, Teddy Swims, Anyma x LISA, Marshmello, Thomas Rhett, Josh Groban, Maya Hawke, Melanie C, Cruz Beckham and more.
 

“Runway” – Lady Gaga & Doechii

Stream it now: Apple / Spotify
 

Dandelion – Ella Langley

Stream it now: Apple / Spotify
 

“PINKY UP” – KATSEYE

Stream it now: Apple / Spotify
 

“Come Clean (Mine)” – Hilary Duff

Stream it now: Apple / Spotify
 

“Choka Choka” – Anitta & Shakira

Stream it now: Apple / Spotify
 

10 Til’ Midnight – Snoop Dogg

Stream it now: Apple / Spotify

“Of All People” – Foo Fighters

Stream it now: Apple / Spotify

“One of Them” – DJ Khaled feat Futre & Lil Baby

Stream it now: Apple / Spotify
 

“Back and Forth” – Kehlani feat Missy Elliott

Stream it now: Apple / Spotify

A Matter of Time: The Final Hour – Laufey

Stream it now: Apple / Spotify
 

“Mr. Know It All” – Teddy Swims

Stream it now: Apple / Spotify
 

“Bad Angel” – Anyma X LISA

Stream it now: Apple / Spotify

“Where We Go” – Marshmello & Thomas Rhett

Stream it now: Apple / Spotify
 

“waste your pain” – Cruz Beckham

Stream it now: Apple / Spotify

“FREE” – Simone Ashley
Stream it now: Apple / Spotify

“As Time Goes By” – Josh Groban

Stream it now: Apple / Spotify
 

“Bring Home My Man” – Maya Hawke

Stream it now: Apple / Spotify
 

“Awake Tonight” – AFROJACK, David Guetta, Sia

Stream it now: Apple / Spotify
 

“Attitude” – Melanie C

Stream it now: Apple / Spotify
 

Superbloom – Jessie Ware

Stream it now: Apple / Spotify
 

“You Still Move Me” – Marie Osmond & Dan Seals

Stream it now: Apple / Spotify
 

“Who Will You Follow” – Evanescence

Stream it now: Apple / Spotify
 

“Already There” – Young the Giant

Stream it now: Apple / Spotify

Cruel World – Holly Humberstone

Stream it now: Apple / Spotify
 

“Don’t You Worry Babe” – Belle and Chain

Stream it now: Apple / Spotify
 

SIGNALS – BINI

Stream it now: Apple / Spotify
 

“Sick Of Love” – Lykke Li

Stream it now: Apple / Spotify

wHIMSY! – DESTIN CONRAD
 

Stream it now: Apple / Spotify
 

“Fare Thee Well” – David Nail

Stream it now: Apple / Spotify
 

“stuck” – Saint Harrison

Stream it now: Apple / Spotify
 

“God Winks (moments)” – Annie Bosko

Stream it now: Apple / Spotify
 

KEYVITUP – KEYVITUP

Stream it now: Apple / Spotify
 

“SAME SH!T” – Isaiah Rashad

Stream it now: Apple / Spotify

“Damn Good Actress” – Tiffany Stringer

Stream it now: Apple / Spotify

80 Acres – 80 Acres

Stream it now: Apple / Spotify
 

Joy Next Door – The Maine

Stream it now: Apple / Spotify
 

“Carrie Bradshaw” – Kylie Cantrall

Stream it now: Apple / Spotify

Since the news of The Beatles’ break-up first officially broke in 1970, it has been framed as a definitive decision by Paul McCartney. While, yes, this is technically true, the reality was far less sudden, shaped instead by a series of cracks forming away from the spotlight. Before the public had the chance to catch on, each band member had already begun questioning their place within The Beatles.

Creative tension and the ludicrous pressures of fame pushed John Lennon, George Harrison, and Ringo Starr to briefly walk away and even threaten to leave at various stages of the late 1960s. These uncomfortable moments were, unfortunately, not just heated arguments but signals of increasingly unbearable tension. So, when McCartney made it official, the idea of The Beatles breaking up was no longer unthinkable but, perhaps, inevitable.

Paul McCartney Wasn’t The Only Beatles Member Who Wanted Out

Before any official break-up announcements were ever made, each of the Beatles’ members had actually walked away from the group at one stage, but always returned following their respective spats. Ringo Starr left for two weeks in the summer of 1968, but returned from his vacation with flowers on his drum kit as a peace offering that convinced him to stay. Like Ringo, George Harrison walked away from The Beatles for five days during the Get Back sessions in January 1969, when tensions were growing, and the group was being filmed for the Peter Jackson documentary. Harrison looked back at the difficulties, asking, “What’s the point of this? […] Everybody had gone through that. Ringo had left at one point. I know John wanted out. It was a very, very difficult, stressful time, and being filmed having a row as well was terrible. I got up, and I thought, ‘I’m not doing this anymore. I’m out of here.’” Harrison returned on the condition that The Beatles stop plans for live performance and that they move the recording to their new Apple basement studio.

Related

The Beatles Said No to This George Harrison Song — Then It Became a Classic Hit

George Harrison brought this iconic song to a Beatles rehearsal and it was rejected.

Advertisement

Months later, in September 1969, John Lennon privately shared that he wanted to quit by saying he wanted to “divorce” The Beatles. This comment felt particularly weighty, as The Beatles’ output was, arguably unfairly, dependent on the writing partnership of Lennon and McCartney. So, the breakdown of such a creatively powerful duo looked like the beginning of the end. Lennon’s strained decision also aligned with the emergence of The Plastic Ono Band, which perhaps gave Lennon a sense of creative freedom he felt The Beatles no longer provided.

Paul McCartney Finally Decided To Let The Beatles Be

Shortly after Lennon’s desire for separation, McCartney echoed the sentiment in Life Magazine. He expressed a simultaneous nostalgic longing for the old days and a need to move forward: “I would rather do what I began by doing, which is making music. We make good music and we want to go on making good music. But the Beatle thing is over. It has been exploded, partly by what we have done, and partly by other people. We are individuals—all different.” McCartney acknowledged the immense tension between a group of such musically strong individuals and hinted at a struggle between egos as well. It’s also a touch of class and reassuring self-awareness that McCartney identified the enormous pressure caused by the interference of fame and how that could affect the well-being of young men.

What seemed to be the ultimate catalyst for the break-up of The Beatles was the final few months of grappling with Apple Records, the record label founded by the band in 1968. The appointment of business manager Allen Klein was strongly resisted by McCartney, who instead favored his own father-in-law for the position. After that, McCartney refused to attend meetings, clarifying that the feeling of friendship had dwindled along with business camaraderie. By then, one could imagine it would seem like a stretch to find creative catharsis when even mundane business matters felt tedious.

Related

After Their Heartbreaking Split, Ringo Starr Managed to Reunite All Four Beatles on This Album

A surprising collaboration that sparked hope of a reunion.

McCartney’s official departure was covered in the Daily Mirror newspaper on April 10, 1970, as part of a self-interview. The breaking story was confirmed with McCartney’s exit statement: “I have no future plans to record or appear with the Beatles again or to write any more music with John.” In retrospect, it feels a little odd to know there was a definitive day on which the news was announced, quite a while after it had been bubbling for so long. However, it also makes total sense that McCartney was the one to do it. The other band members had already established solo projects throughout their Beatles careers (Lennon with the Plastic Ono Band, Ringo with films, and Harrison with production and solo material), so it was up to McCartney to officially close a door that was already shut. His announcement then marked the inevitability of his own eventual solo album, McCartney, the final mark of The Beatles’ dissolution.

In 1970, after the split, McCartney revealed that “Leaving the Beatles, or having the Beatles leave me, whichever way you look at it, was very difficult because that was my life’s job.” But there was no need for him to worry. Paul McCartney has gained 83 Grammy nominations and 19 wins, including nine with The Beatles, two with Wings, a collaboration with Nirvana, and two lifetime achievement awards. He also holds the Guinness World Record for the most No. 1 hits as a songwriter. The Beatles didn’t fall apart overnight after McCartney’s announcement, but it relieved some of the mounting pressure. By the time it was official, The Beatles had formed their own legacies, shaped their own identities, and continued to define music history in their unique ways.

Days after the arrests of Pooh Shiesty, his father, Big30 and six others, Gucci Mane is finally breaking his silence. Over the last two days, reports have confirmed that Gucci spoke with Dallas police on the evening of the incident, January 10. But die-hard Gucci fans weren’t sold on him “snitching.” But Gucci’s new diss record, ‘Crash Dummy,’ is telling it ALL.

RELATED: From A Staples Stop To Social Media Flexing, Here Are 7 WILD Allegations In Pooh Shiesty’s Kidnapping Case

Gucci Mane Pops Off On Pooh Shiesty & Big30 In ‘Crash Dummy’ 

While the internet debated how Gucci Mane would handle the criminal case against his artist, he was preparing to release ‘Crash Dummy.’ There’s no telling whether he recorded the diss record after this week’s arrests and failed bond hearing. However, he teased the track on Thursday, announcing its midnight release on April 10. The release marks exactly three months from the day he was allegedly held at gunpoint and robbed, on January 10. It’s also the first time Gucci has publicly spoken out about what happened, despite viral reports about what he told Dallas police after the alleged incident.

‘Crash Dummy’ is three minutes long, but goes in on Pooh Shiesty and Big30 from the jump. Though he doesn’t name them, here’s what he raps:

“Tell the truth, you went out like a real crash dummy / And after all that, boy you still signed to me. I’m like Birdman and n*gga, this my Cash Money /And your fat a*s flunkie, he a stone cold junkie.” 

As the verse continues, Gucci Mane gave his POV of what went down on January 10. He confirmed that he believed they had a business meeting, but “it was a setup.” Mane said they were dapping him up, but “plotting against” him the whole time. Still, he’s not taking it personal, he said. For me, it’s all business.

“What don’t kill you make you stronger, don’t bite the hand that feeds you. And my money keep getting longer now these haters got amnesia.”

A few seconds later, he talks about winning “stupid prizes” after playing “stupid games.” Adding that, “Some people like to take a n*gga kindness for weakness, I pulled up on business but y’all was on some weak sh*t.” Later, seemingly taking another shot at Pooh Shiesty and his dad, Lontrell Williams Sr., Gucci raps:

“You learn from ya daddy/ So I guess that it’s hereditary / I’m that same n***a who put money on your commissary.” 

Gucci Mane clarifies that “this ain’t back in the day,” and that he’s not letting anyone destroy what he built, especially his 1017 label. He then bragged about being the CEO and signing the checks! “I done been betrayed now my heart turned cold,” he raps in the chorus. In the outro, he says: “CEO. 1017 for life. Big Gucci. This for all the crash dummies out there. I don’t know what the f**k you thought. Still getting money, this ain’t that.” 

RELATED: Whew! Fans React To Clip Of 21 Savage Bumping Pooh Shiesty’s Music Amid Allegations That He Robbed Gucci Mane (WATCH)