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.

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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.

Justin and Hailey Bieber attended Fai Khadra’s holiday gathering in West Hollywood, joining a guest list drawn from fashion, music and entertainment. The event was smaller than many seasonal parties in the city, bringing together people who were familiar with one another in a relaxed setting. The evening offered an opportunity for friends and collaborators to reconnect away from the spotlight.

Hailey opted for a simple, structured outfit with clean lines and a practical cut, keeping her look deliberate yet understated. Justin matched the relaxed tone with casual, functional attire suited to the evening. Together, they maintained a calm, approachable presence, blending naturally into the setting.

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The atmosphere remained informal and conversational, with familiar interactions taking priority over formal introductions. Guests moved freely between small groups, catching up and sharing stories, creating a comfortable and sociable environment.

Khadra is recognised for hosting private gatherings that bring together people from creative industries. His holiday events typically include those who have established connections with him, producing a setting that feels informal and familiar rather than staged. These gatherings have become a quiet fixture of the West Hollywood holiday calendar, providing an alternative to larger, more public celebrations.

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As West Hollywood’s holiday season fills with launches, premieres and high-profile parties, this gathering stood out for its smaller scale and calm energy. The evening centred on conversation, with interactions taking precedence over visibility. It was a reminder that selective social events can be memorable for the connections they foster, even without the attention of a larger audience.

Peacock’s upcoming thriller All Her Fault opens with a moment that could happen to anyone: a mother arrives to collect her son from a playdate, but neither the boy nor the friend’s mother is there. Released ahead of the show’s November premiere, the trailer turns an ordinary afternoon into a waking panic, and it’s deeply unsettling to watch.

Sarah Snook plays Marissa Irvine, a mother whose calm life disintegrates in a matter of hours. The trailer avoids melodrama, lingering instead on her disbelief, the unanswered calls, the growing silence, and the moment when confusion turns into suspicion. Snook, best known for Succession, delivers a performance that feels unnervingly real. There’s no screaming hysteria, just a controlled breakdown that viewers can’t look away from.

Photo – Google

Based on Andrea Mara’s best-selling novel, All Her Fault begins with one small act of trust that unravels everything around it. The missing child becomes the trigger for a broader web of secrets: neighbours who remember nothing, friends who suddenly act guarded, and a husband whose answers raise more questions than they settle.

The supporting cast includes Dakota Fanning, Jay Ellis and Michael Peña. They appear in short, loaded clips that hint at motives and half-truths. Rather than setting up a single villain, the trailer suggests a collective guilt that builds from quiet lies and shifting loyalties.

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Behind the scenes, writer and showrunner Megan Gallagher (Wolf, Suspicion) teams with Carnival Films to steer the adaptation. Their approach favours measured suspense over spectacle. Shot in Melbourne but designed to resemble small-town America, the series looks familiar yet faintly wrong, like something safe that’s just stopped being safe.

What makes the trailer genuinely chilling is what it refuses to give away. There’s no clear villain, no police saviour, and no tidy explanation. Instead, it leaves viewers in the same uncertain space as Marissa, where even the simplest truths start to feel unreliable. That restraint is rare in modern thrillers and gives the story its emotional weight.

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The show also resists the urge to dramatise grief. It treats loss as a slow erosion rather than an explosion. Relationships fracture quietly; trust disappears by degrees. The tension comes not from shocking twists but from the creeping realisation that every connection in Marissa’s life may already be compromised.

Snook anchors that tension throughout the trailer. Her expression changes incrementally, from polite confusion to realisation, then to the panic of someone whose world no longer adds up. The editing mirrors that descent, closing in on her until every sound and every look from another character feels suspect.

Photo – Google

Scheduled to premiere in November, All Her Fault is being positioned as one of Peacock’s major psychological releases of the year. Early reactions suggest it could join the ranks of recent character-driven thrillers that blend emotional realism with slow, precise storytelling.

If the series sustains the intensity hinted at in the trailer, All Her Fault might emerge as a standout. Not because of elaborate twists or dramatic flourishes, but because it understands something truer. The most frightening stories aren’t about strangers breaking in. They’re about the people you already know, and how quickly certainty can disappear when they stop telling the truth.