On the night he allegedly shot a founding member of the New York rap crew that helped launch his career, ASAP Rocky was carrying only a “prop gun” from a music video shoot that couldn’t fire real bullets, his defense attorney said Friday.
During opening arguments in the rap star’s Los Angeles assault trial, defense attorney Joe Tacopina painted Rocky — whose real name is Rakim Mayers — as the victim rather than the aggressor in an assault case that could end with him facing up to 20 years in prison.
Prosecutors have accused Mayers of shooting Terrell Ephron, a.k.a. ASAP Relli, on a Hollywood street corner after a heated argument on Nov. 6, 2021. The two were longtime friends and members of the Harlem rap crew ASAP — which stands for “Always Strive and Prosper” — but had grown apart in recent years.
While much of the prosecution’s case was aired last year during a preliminary hearing, this week was the first time the public got a look at Tacopina’s defense strategy. For an hour Friday afternoon, Tacopina hammered Ephron’s credibility, arguing he only reported Mayers to the police to boost a civil suit and insisting he knew Mayers was carrying a fake weapon.
Tacopina pointed to the fact that LAPD officers found “no evidence” of a shooting when they responded to 911 calls in the area that night, and questioned how Ephron — not the police — managed to recover two shell casings when he returned to the scene an hour later.
“What you’ll learn is that Relli returned to that scene an hour later and he attempted to fabricate evidence,” Tacopina said. “This is some offensive stuff.”
But prosecutors made a disclosure shortly before opening arguments began Friday that could upend that approach.
Deputy Dist. Atty. John Lewin said prosecutors received a late piece of “ballistic evidence” from the Los Angeles Police Department’s Robbery-Homicide Division on the eve of trial. The analysis, according to Lewin, confirmed the shell casings recovered at the shooting scene were most likely fired from a 9mm handgun. The “somewhat unique” markings could match to a “subset” of Glock firearms, Lewin said.
While police never found the weapon used in the shooting, the evidence could potentially undercut Tacopina’s “prop gun” defense, as such a device would fire blanks, not 9mm rounds.
Tacopina was incensed by the eleventh-hour revelation and asked Los Angeles County Superior Court Judge Mark Arnold to delay opening arguments or restart jury selection in light of the new information. Arnold declined both requests, noting the evidence was not tantamount to “a smoking gun,” such as an eyewitness claiming Mayers was the shooter.
“This is not right. It’s not fair to him,” Tacopina said, pointing to Mayers.
An LAPD spokeswoman could not immediately explain why the evidence was turned over so late in a case that police presented to prosecutors in 2022.
Tacopina said the case was about Ephron’s “jealousy, lies and greed,” noting the accuser didn’t report the shooting to LAPD until two days later, after he’d retained a civil attorney. He also pointed to text messages Ephron sent claiming he was going to “get this … money” from Mayers.
“This case is all about money … an attempt at extortion by Relli so he can keep funding his extravagant lifestyle,” Tacopina said.
Tacopina said it was “miraculous” that Ephron was able to recover shell casings after seven LAPD officers searched and found nothing. He repeatedly called the prosecution’s chief witness a “perjurer” who knew Mayers was carrying a prop gun.
Mayers has a permit to carry a concealed weapon in California, according to Tacopina, but did not pack a real firearm even though he’d been threatened in the months leading up to the shooting. Tacopina said Mayers took the prop gun from the set of a recent music video shoot he’d filmed alongside Rihanna, his longtime partner with whom he has two children.
In his opening statement, Deputy Dist. Atty. Paul Przelomiec said the case was not “complicated” and largely played a pair of surveillance videos that showed Mayers and Ephron arguing and wrestling with each other on Argyle Avenue in Hollywood.
Mayers, who was flanked by two other founding members of the ASAP crew, can be clearly seen pulling a handgun from his waistband in one video. A second clip captures audible pops that sound like gunshots, but neither clip directly captures the shooting.
Przelomiec described Mayers as the aggressor in the incident, pointing to texts he sent Ephron demanding to meet up hours before the shooting. The pair had been arguing over text in recent weeks because Ephron, mistakenly, believed Mayers hadn’t paid for the funeral of a fellow crew member who had died of a drug overdose.
While the injuries Ephron suffered were extremely minor — photos displayed small scrapes on two of his knuckles — Przelomiec noted severe wounds were not necessary for a jury to find Mayers guilty of assault. Przelomiec also said he was not concerned by LAPD’s failure to locate shell casings at the scene, noting calls to 911 on the night of the incident did not pinpoint the exact location of the shooting.
Przelomiec also pointed to a search warrant executed in 2022 at Mayers’ Los Angeles residence, where police recovered a half-empty 9mm magazine. Tacopina countered that the ammunition contained in the magazine was a different brand from the type Ephron said he recovered at the scene. There is no forensic evidence tying Mayers to the shell casings.
The case, Tacopina said, relies entirely on Ephron’s testimony.
“This cases rises or falls on his credibility. The videos you saw, without his testimony, prove absolutely nothing,” Tacopina said. “You need to believe his testimony and his version of events from the video for these charges to be proven.”
Przelomiec, meanwhile, painted a portrait of betrayal, one where Ephron went to meet up with Mayers hoping to repair their fractured friendship and never expected to be met with violence.
“In his state of mind, he never believed he was going to be shot. He never believed the defendant would actually shoot him,” Przelomiec said. “He will tell you had this been a stranger, someone he didn’t know as well, he would have been petrified.”
But as their argument worsened, in the seconds before he claims he was shot, Ephron had a realization, according to Przelomiec.
“These men never came here to make peace with him,” the prosecutor said.
1 of 5 | Stephan James stars in “Ricky,” which premiered at the 2025 Sundance Film Festival. Photo courtesy of Sundance Institute
PARK CITY, UTAH Jan. 26 (UPI) — Ricky, which screened at the Sundance Film Festival, is a moving drama about the difficulties for a parolee and his family. It is subtle about the characters’ circumstances and even subtler with its message.
Ricardo Smith (Stephan James) is on parole after serving 15 years for robbery and attempted murder, in prison since he was just 15. He’s a good barber but struggles to find clients or a regular job, and confronts others involved with his crime.
The film parses out information about what led to Ricky’s arrest. Characters reference past events vaguely because they are all familiar with it, as opposed to pointed exposition for the audience.
This not only keeps the audience curious to find out more about the Smith family, but makes the drama more natural. Scenes don’t feel constructed just for a movie.
For Ricky, the demands on parolees, though justified, are so high they create a precarious situation that could collapse at any time. He needs to keep appointments with his parole officer (Sheryl Lee Ralph), find a regular job, attend parolee support meetings, and avoid any felons or drugs, which present themselves around every corner.
Ricky can’t do this alone. He doesn’t have a driver’s license yet and relies on his brother, James (Maliq Johnson) for rides.
It only takes one time for his brother to forget, or love interest Cheryl (Andrene Ward-Hammond) to escalate into a volatile scenario, and Ricky has inadvertently violated his parole.
In many ways, Ricky is still emotionally 15. He’s trying to cope with having missed out on many formative socializing years.
He might take a joke from James personally. He might trigger Cheryl and provoke an even more volatile fight.
The film continues to share more about the Smith family, the neighborhood and even the parole officer late into the film. In the script co-written by director Rashad Frett and Lin Que Ayoung, these are characters with history that only becomes clear when relevant to the current situation.
Ricky’s progress may feel like he takes one step forward and two steps back. However, there is gradual headway.
It takes patience and compassion, powerful emotions with which any piece of art can deal. Ricky embodies that without shying away from the harsh realities of the situation.
Fred Topel, who attended film school at Ithaca College, is a UPI entertainment writer based in Los Angeles. He has been a professional film critic since 1999, a Rotten Tomatoes critic since 2001, and a member of the Television Critics Association since 2012 and the Critics Choice Association since 2023. Read more of his work in Entertainment.
For the record, Morris Chestnut is not a real doctor. He just plays one on TV.
To be precise, Chestnut has played multiple physicians in the last several years, scrubbing in as a trauma specialist in “Nurse Jackie” before moving on to pathology in Fox’s “Rosewood.”
The last doctor he played, Barrett Cain in Fox’s “The Resident,” is a standout. Viewers loathed him. Chestnut loved it.
“Cain was more concerned about the money a patient would make for the hospital than the patient’s health,” he said with a mischievous laugh. “Fans loved to hate me. They would approach me and say, ‘You’re so mean.’ I really liked that.”
Chestnut is putting his “bad doctor” days behind him, taking on a new specialty as a compassionate geneticist and internist in CBS’ medical drama “Watson,” a modern reboot of the Sherlock Holmes mythology. He plays Dr. John Watson, Holmes’ partner, who becomes the head of an elite rare disorders clinic at a Pittsburgh hospital after Holmes is murdered.
“I’ve never made Hollywood my life,” Chestnut said. “It’s a tough place — physically and emotionally.”
(Christina House / Los Angeles Times)
Reworking the Watson character means more to Chestnut than just expanding his medical resume. While he has enjoyed a fairly consistent career since his acclaimed debut in 1991’s “Boyz N the Hood,” Chestnut has mostly been featured in ensemble or supporting roles, many of them romantic vehicles showcasing his good looks and athletic build.
“Watson” represents his hoped-for ascension into the ranks of leading man.
“This is a significant milestone for me in a number of ways,” he said. “I’ve had lead roles before, but as an actor, I feel I’m hitting my stride in terms of how I approach the work. The opportunity to play this character, and on CBS, is huge. And to play with the Sherlock Holmes mythology is something I never would have imagined.”
CBS is putting heavy promotional muscle behind “Watson.” Before its official premiere Feb. 16, the network is launching the drama on Jan. 26 following the NFL playoffs.
“Given our strong belief in the show, it’s only fitting to give ‘Watson’ a high-profile launch with a powerful lead-in immediately following the AFC Championship football game, which is always one of the most viewed television events of the year, and a proven platform for launching some of our most successful series,” Amy Reisenbach, president of CBS Entertainment, said in an email. She called Chestnut “a classic, charming lead star, and his singular take on the iconic doctor is bold, wise and heroic.”
The actor maintained that “Watson” is distinctive from other medical dramas. “We are not just doctors, we are detectives,” he said. “When patients come into our clinic, we don’t solve the medical mystery right there. We go into their homes, we go into the streets. It’s combining the medical aspect of Watson with the influence of Sherlock.”
Making his way through a healthy breakfast at a Beverly Hills hotel, Chestnut was enthusiastic as he discussed the series. He looked much the same as he did in the first “The Best Man” feature in 1999 in which his portrayal of a muscular football star solidified his heartthrob status.
He credited his appearance to his aggressively healthy lifestyle: “It’s a blessing from God. I’ve never made Hollywood my life. It’s just a part of my life. It’s a tough place — physically and emotionally. I’ve seen it eat people and spit them out. I go home and chill after work. I don’t go to parties. That stuff can take a toll on your soul, body and mind.”
Chestnut as John Watson in “Watson,” which premieres Sunday in the prime post-NFL time slot.
(Colin Bentley / CBS)
Chestnut, who is also an executive producer of “Watson,” was immediately excited when first presented with the pilot script from showrunner Craig Sweeny. “It was so strong. Had everything — action, emotion, wit. It left you with a cliffhanger to see where things were going to go. After I met with Craig and learned where he wanted to take the show, I knew I had to sign on.”
Yet he also is uncomfortably aware that not everyone is pleased with a Black actor taking on a role that has historically been portrayed by white men. The list of past Watsons include Nigel Bruce, Robert Duvall, Jude Law, John C. Reilly and Martin Freeman.
The move has been already met with gripes on social media, mirroring the criticism that greeted the casting of Halle Bailey in the live-action remake of “The Little Mermaid,” the “Star Wars” franchise and other beloved properties that have embraced more cultural diversity.
“I’m reluctant to discuss it, particularly in the times we’re living in,” said Chestnut, his deep voice registering his disappointment. “I’ve seen some negative comments about me playing this character. And I really don’t want to focus on that — I just hope people see the character in the mythology for who he is. I don’t want to call attention to that.”
Still, he acknowledged that his casting would have attracted less attention several years ago, when the Black Lives Matter movement sparked calls for more equity and inclusion in Hollywood.
Said Chestnut, “It would have been much more seamless, 100%. In these times, people like to point to certain things and bring a negative political spin to it. I’m glad that ‘The Little Mermaid’ and ‘Wicked’ are wildly successful. In my whole career, I’ve never made it about things outside of my work. It is frustrating to have to deal with that. Hopefully we are all successful.”
“Watson” is just one of several new doctor dramas checking into prime time this season. NBC’s “Brilliant Minds,” Fox’s “Doc,” Max’s “The Pitt” and ABC’s “Doctor Odyssey” have joined veterans “Grey’s Anatomy” and “Chicago Med.”
Assisting Watson in the clinic is a squad of young, accomplished doctors who are also investigating the rare disorders. Complicating his personal life is his lingering affection for his ex-wife, Dr. Mary Morstan (Rochelle Aytes), who is also the hospital’s medical director. And Watson is still being targeted by Holmes’ nemesis, Moriarty.
“I’m most energized not only by the evolution of my character, but of the other characters,” Chestnut said. “The audience is really going to feel for them. The show is exciting and emotional.”
Chestnut first rose to prominence in the 1990s with films such as “Boyz N the Hood” and “The Best Man.”
(Christina House / Los Angeles Times)
The series marks the network’s second Holmes reboot. “Elementary,” which starred Jonny Lee Miller and Lucy Liu as the investigative duo, premiered in 2012 and had a solid seven-season run.
Sweeny, who was an executive producer on “Elementary,” said Chestnut was one of the actors he was thinking about when he was writing the pilot for “Watson”: “It was because of his empathy and intelligence. Everybody in the industry has nothing but glowing words for Morris as a person. He is one of the kindest and most respectful people I’ve ever worked with, as well as a great leader.”
He was also impressed by a few of the actor’s previous portrayals of physicians.
Said Sweeny: “In writing a medical show, I’m going to task the actor with swimming in an ocean of medical jargon. It takes a commitment. With this show, we’re committed to getting the science right with every medical twist and turn. Correct science has a lot of syllables. Morris is as committed to getting it right on his end as we are in the writing.”
“Playing a doctor is very challenging, and playing a doctor in a one-hour series is even more challenging,” Chestnut said. “The medical terminology is almost a different language. I have to know what I’m talking about. I can’t change the words around like I could in a regular role. The terms and diagnosis have to be accurate and on point. It puts a whole different layer to the performance.”
It’s a challenge he is grateful to take on, particularly at this point in his creative growth. In “Boyz N the Hood,” late director John Singleton‘s landmark debut about young people living amid the dangers of gang life in South Los Angeles, Chestnut played Ricky Baker, a star high school football star who hopes to go to college with a scholarship. Ricky meets a tragic end when he is gunned down by gang members.
“Aside from that film launching my career, it has helped me sustain my career,” he said. “It’s not only a great film, but people were rooting for me. People were emotionally connected to the character, but the staying power while I was doing other projects connected people to me. I can’t tell you how many people I talk to today who were not alive when the movie was released.”
The other key highlight is “The Best Man,” Malcolm D. Lee’s romantic comedy about a group of college friends who have a joyous but rocky reunion when two of them decide to marry. That film bucked the trend of Black films at the time that focused on turmoil in Black areas, focusing on sophisticated, upscale Black characters.
Chestnut was among the cast members who would move on to major stardom, including Taye Diggs, Terrence Howard, Nia Long, Regina Hall and Melissa De Sousa. The cast reunited for a sequel, 2013’s “The Best Man Holiday,” and the 2022 Peacock limited series “The Best Man: The Final Chapters.”
In the franchise, Chestnut played another star football player, Lance Sullivan, who is emotionally distraught in “The Best Man Holiday” after learning that his wife, Mia (Monica Calhoun), is dying of cancer. Once again, Chestnut said, “People were on an emotional journey with me. That also helped me sustain a career.”
Those films and subsequent projects have positioned him for the spotlight in “Watson,” he said.
“I am so honored they thought of me for this,” he said. “I just wanted the industry to recognize me, to see me and say, ‘I want that guy.’ ”
1 of 5 | Dev Patel plays a sound recordist in “Rabbit Trap,” which premiered at the 2025 Sundance Film Festival. Photo courtesy of Sundance Institute
PARK CITY, UTAH Jan. 26 (UPI) — Rabbit Trap, which premiered Friday at the Sundance Film Festival, is a slow burn horror movie that doesn’t pay off enough.
Darcy (Dev Patel) and Daphne Davenport (Rosy McEwen) are musicians living in Wales in 1976. Darcy records sounds outside to blend into tracks for his wife’s songs.
One day a child (Jade Croot) visits Darcy outside and comes back to the house to meet Daphne. They welcome the kid until he becomes needy and pushy.
The recording of natural sounds in a unique region is interesting and plays well in Dolby Atmos. However, there is only so much watching Patel hold a microphone a viewer can take.
The film shows how Daphne incorporates those sounds into a track, but unfortunately, Rabbit Trap is not a movie about avant-garde music so it gives minimal screen time to that.
The child starts to overstay his welcome, visiting in the early morning and requesting food and drink so he can stay longer. He gets angry that the Davenports never skinned and ate the rabbit he trapped for them.
That’s the rabbit trap. The rabbit trap is also a metaphor for the child trapping the Davenports, but there is an actual rabbit trap in the movie.
A kid from hell is a real problem for an adult couple. How do you force him to leave?
They don’t want to hurt him but they ultimately have to lay hands on him to remove him from their house, which never becomes more of a problem because they’re so remote no other characters enter the story.
Certainly, the kid doesn’t go to child services to report the Davenports for abuse, and he wouldn’t want to get them arrested. He wants to live with them.
The child introduces the Davenports to local mythology which may be somewhat interesting as a different take on demonic legends. They call the ultimate evil The Shadow (Nicholas Sampson).
The mythology too is parsed out very slowly. An hour of that becomes little more than a dry history lesson.
There are some creepy, haunting images in the final half hour. Glass melts, slugs and vegetation overrun the house and more but it is too little too late.
Rabbit Trap will probably interest a very niche audience. For anyone else, it fails to make the case for Welsh folk tales.
Fred Topel, who attended film school at Ithaca College, is a UPI entertainment writer based in Los Angeles. He has been a professional film critic since 1999, a Rotten Tomatoes critic since 2001, and a member of the Television Critics Association since 2012 and the Critics Choice Association since 2023. Read more of his work in Entertainment.
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