50 Cent draws in celebrity friends’ star ‘Power’ to his show

Rapper-turned-producer 50 Cent is the executive producer behind ‘Power.’ (Photo supplied)
Updated 10 September 2018
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50 Cent draws in celebrity friends’ star ‘Power’ to his show

  • 50 Cent will continue as the show's producer despite his character being killed off
  • The rapper has plans to bring in some of his other celebrity friends into the show

DUBAI: 50 Cent’s character was killed in the latest episode of his hit television show “Power,” airing in the Middle East on Starz Play Arabia, but that does not mean that he will be stepping away.

Before becoming a ratings winner and the flagship show of the network, “Power” attracted viewers through 50 Cent being heavily promoted as its executive producer. The rapper brought a sense of realism to the African-American-led crime drama, a role he will continue to hold.

As a producer, 50 Cent has assisted the show in more ways than one. In a recent episode, he brought in Pulitzer Prize-winning rapper Kendrick Lamar for his acting debut on the show, a performance that garnered positive reviews from fans and critics.

“His response, just the general public’s response to his performance, was more encouraging than me. It was a huge response,” 50 Cent told Arab News.

50 Cent has plans to bring in some of his other celebrity friends as well. After their successful collaboration in the 2018 film “Den of Thieves,” 50 Cent and Gerard Butler have spoken about Butler potentially coming on the program. According to 50 Cent, “Den of Thieves” outperformed expectations because of how well the two of them got along, both on screen and off.

“With ‘Den of Thieves,’ we came in seven million over what they projected and they accounted that to my involvement and the things that we were doing marketing-wise during the promo. Me and Gerard, I think that also opened his interest and having the audience coming out to see him and me,” said 50 Cent.

Power’s audience overlaps strongly with Butler’s, 50 Cent said. “They love Gerard Butler, the same audience watching ‘Power,’ but they love when he’s playing aggressive characters like in ‘300’ or in ‘Law Abiding Citizen.’”

Who would be his dream guest star? 50 Cent did not hesitate to answer.

“Oh, De Niro. I’d bring De Niro. And he’s in New York! He’s always the dream guy to get.”


Review: ‘Sorry, Baby’ by Eva Victor

Eva Victor appears in Sorry, Baby by Eva Victor, an official selection of the 2025 Sundance Film Festival. (Supplied)
Updated 27 December 2025
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Review: ‘Sorry, Baby’ by Eva Victor

  • Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character

There is a bravery in “Sorry, Baby” that comes not from what the film shows, but from what it withholds. 

Written, directed by, and starring Eva Victor, it is one of the most talked-about indie films of the year, winning the Waldo Salt Screenwriting Award at Sundance and gathering momentum with nominations, including nods at the Golden Globes and Gotham Awards. 

The film is both incisive and tender in its exploration of trauma, friendship, and the long, winding road toward healing. It follows Agnes, a young professor of literature trying to pick up the pieces after a disturbing incident in grad school. 

Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character. The story centers on Agnes’ perspective in her own words, even as she struggles to name it at various points in the film. 

There is a generosity to Victor’s storytelling and a refusal to reduce the narrative to trauma alone. Instead we witness the breadth of human experience, from heartbreak and loneliness to joy and the sustaining power of friendship. These themes are supported by dialogue and camerawork that incorporates silences and stillness as much as the power of words and movement. 

The film captures the messy, beautiful ways people care for one another. Supporting performances — particularly by “Mickey 17” actor Naomi Ackie who plays the best friend Lydia — and encounters with strangers and a kitten, reinforce the story’s celebration of solidarity and community. 

“Sorry, Baby” reminds us that human resilience is rarely entirely solitary; it is nurtured through acts of care, intimacy and tenderness.

A pivotal scene between Agnes and her friend’s newborn inspires the film’s title. A single, reassuring line gently speaks a pure and simple truth: “I know you’re scared … but you’re OK.” 

It is a reminder that in the end, no matter how dark life gets, it goes on, and so does the human capacity to love.