Snoop Dogg has responded to George Zimmerman’s threats to ‘feed’ Jay-Z to alligators after the rapper allegedly ‘harassed’ Zimmerman’s family over an upcoming documentary.
Zimmerman was acquitted of the 2012 death of 17-year-old Trayvon Martin and has now claimed that Jay and the production crew have been hassling his parents, and ominously threatened the crew, telling The Blast: ‘I know how to handle people who fuck with me, I have since February 2012.’
Jay and The Weinstein Company announced earlier in 2017 that they would be making a six-part documentary called Rest In Power: The Trayvon Martin Story, based on famed attorney Lisa Bloom’s book, the Suspicion Nation.
In response to Zimmerman’s claims, Snoop took to Instagram to suggest that ‘if one hair on jays hair is touched that’s when the revolution will b televised (sic)’.
Zimmerman added that the crew, headed by executive producer Michael Gasparro, made ‘unannounced visits to his parents and uncle’s homes in Florida in an attempt to get them on camera’.
It is also reported that he is ‘especially upset over money he claims has been paid to his ex-wife over her alleged participation in the documentary’ and that ‘producers have refused to pay his
However it was claimed that he ‘would not elaborate on their participation or willingness to go on camera for money’.
Metro.co.uk has contacted reps for Jay for comment.
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‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.