Justin and Christian “King” Combs, the sons of imprisoned music mogul Sean “Diddy” Combs, have announced a forthcoming documentary series set to air on Zeus Network in 2026, offering their personal perspective on the events surrounding their father’s highly publicized legal troubles.

The announcement comes just weeks after the release of Sean Combs: The Reckoning, a four-part Netflix docuseries executive produced by Diddy’s longtime rival Curtis “50 Cent” Jackson. While that project examined the case from outside voices, Justin and Christian say their series will focus on their own experiences and the impact on their family.

Photo Credit: Variety

In a trailer shared late Sunday night, the brothers are seen seated together watching news clips and courtroom footage from their father’s federal criminal trial. The teaser promises to explore “our voice,” touching on family dynamics, personal pain, public scrutiny, and what they describe as misinformation surrounding the case.

The clip closes with an automated phone call from Fort Dix Federal Correctional Institution, where Sean Combs is currently serving a 50-month sentence following convictions on two federal prostitution charges. It remains unclear whether Combs himself participated in the production or will appear through recorded conversations.

Photo Credit: Blex Media

Zeus Network CEO Lemuel Plummer addressed the project directly, emphasizing that the docuseries is not intended to defend or vindicate Diddy. Instead, he described it as a platform for Justin and Christian to share their lived experiences during an intense and life-altering period.

The timing of the announcement is notable. Netflix’s Sean Combs: The Reckoning quickly became a ratings success, amassing nearly 22 million minutes viewed within its first week. That series included behind-the-scenes footage originally commissioned by Combs, which his legal team criticized as unfair and unauthorized, though Netflix maintains it was obtained legally.

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Beyond their father’s case, both Justin and Christian Combs have faced their own legal scrutiny. Each has been named in separate sexual assault lawsuits alongside their father, allegations they have consistently denied.

While no official title or release date has been confirmed, the Zeus Network project is shaping up to be one of the most closely watched celebrity documentaries of 2026, not for spectacle, but for the rare look at how a family navigates fame, fallout, and public judgment from the inside.

During the height of Detty December, Tafawa Balewa Square came alive for Wizkid’s G.O.A.T: The Greatest of All Time Experience, one of the most anticipated concerts of the year. Media coverage and official announcements confirmed the event, marking it as a headline performance in Lagos’s crowded year-end entertainment calendar.

By early evening, the venue was buzzing with energy. Longtime fans, younger listeners drawn by Wizkid’s international hits, and returnees in town for the holidays all filled the space. Observers noted that the crowd followed the performance closely, reacting to each song with attention rather than impulsive excitement.

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Wizkid took the stage without a long lineup of opening acts. According to attendee reports and media coverage, there were no widely publicised guest appearances during the performance. His setlist spanned his career, moving from early hits that prompted loud sing-alongs to newer tracks delivered steadily. In some sections, fans carried parts of featured verses themselves, underscoring the show’s solo-led focus.

The stage featured multiple levels and a dominant LED screen. Fans near the front enjoyed clear sightlines and strong sound, while those farther back relied on the screen. Reports and social media commentary highlighted that the visuals, which included abstract imagery for long stretches, occasionally drew attention away from the performer in distant sections.

Wizkid – Instagram

Post-event reactions captured the range of audience experiences. Some praised the show’s focus on Wizkid alone, while others noted challenges in visibility from the back. Discussions centred on engagement, sightlines, and how large venues influence the concert experience.

Organisers and city authorities confirmed additional transport and crowd control measures were implemented to manage turnout. Ticketing included an instalment payment option, publicly announced before the show, which some fans welcomed and others debated online. Both elements underscored the planning and logistics required for an event of this scale.

Wizkid – Instagram

The response to The G.O.A.T Experience shows that audiences now look for more than just star power. Attendance and engagement confirmed Wizkid’s draw, but visibility, access, and production matter just as much. How a performance reaches every corner of the venue is now a key measure of success.

For Lagos’s concert scene, the event sets a new standard for solo-led shows. It illustrates how production, venue size, and audience placement intersect, providing insight into what fans will expect from similar large-scale performances in the future.

2025 has confirmed what fans have long known: Wizkid is not just a star; he is one of Africa’s most influential musical exports. This year, he became the first African artist to surpass 20 billion global streams, including both his solo tracks and collaborations. Alongside these streaming milestones, his albums have sold millions worldwide, making him Africa’s best selling artist in modern music history.

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On Spotify alone, Wizkid has exceeded 9 billion streams, a record no African artist has reached before. His hit One Dance, a collaboration with Drake and Kyla, continues to attract billions of plays, showing the lasting power of his music. In 2025, he also became the first African artist to cross 100 million Shazams, proving that listeners actively seek out his work rather than streaming it passively.

These achievements reflect influence and reach as much as numbers. Wizkid’s music travels from Lagos to London, Los Angeles, and Tokyo, appearing consistently on global charts and playlists. His success sets a tangible example for young African artists, showing that global recognition is attainable. Streams, Shazams, chart positions, and album sales translate into revenue, touring opportunities, and brand partnerships, turning music into a serious business.

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Wizkid’s catalogue spans Afrobeats, R&B, and global pop, connecting with listeners without losing its Nigerian roots. Each song carries storytelling, rhythm, and identity that resonate internationally. His rise demonstrates consistency and strategy. From early albums to recent releases, he has built a body of work that commands attention through quality and relevance rather than overblown marketing or generic hype.

Beyond personal achievement, Wizkid’s success marks a turning point for African music. Afrobeats is no longer confined to local audiences; it has earned a permanent place on global stages. Every stream, playlist feature, radio play, and album sale reinforces that African music can compete with the biggest international acts.

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For Nigeria, for Africa, and for emerging artists, Wizkid’s career provides a clear roadmap. It shows that with the right combination of sound, vision, and persistence, African music can dominate charts, streams, and cultural conversations worldwide. 2025 is more than a year of record-breaking numbers; it is the year African music solidified its global presence.

Wizkid has not simply benefited from Afrobeats’ international rise. He has actively shaped it. His work continues to define the genre’s sound and influence, proving that African music belongs at every major stage, in every global playlist, and in record books worldwide.