50 Cent’s Diddy Doc Directors Reach Out To Misa Hylton About Her Own Project

December 04, 2025

Misa Hylton asserted control of her story as Netflix circled new projects after The Reckoning revived scrutiny of her past with Diddy.

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Misa Hylton is signalling that she’s ready to control her own narrative as the spotlight returns to her past and she may do it on her terms.

She recently shared Instagram DMs from filmmaker Alex Stapleton, who reached out with a pitch for Netflix-based projects while her 50 Cent-produced documentary about Diddy, Sean Combs: The Reckoning, tops global streaming charts.

Stapleton wrote that she wanted to speak “directly” with Hylton about “a project I’m directing for Netflix,” explaining that she planned to “lean into all that you contributed to hip hop and Bad Boy.”

She added that there were “two separate projects but both do involve your own show.”

Hylton responded with caution and clarity. “I’m not doing interviews about Sean,” she wrote, asserting that any participation on her part must revolve around her own journey.

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Stapleton’s outreach comes at a charged moment.

Sean Combs: The Reckoning premiered on December 2, 2025, as a four-episode docuseries on Netflix, directed by Stapleton and executive-produced by 50 Cent.

The series retraces Diddy’s rise to fame, his dominance through Bad Boy Records, the abuse allegations against him, and his 2024 arrest. The doc features never-before-seen footage captured in the days leading up to his arrest — footage obtained legally, according to the producers.

The Reckoning doesn’t just rely on archival material. It includes first-person interviews from former associates, security personnel, artists, and legal jurors, among them Erick Sermon, cofounder of legendary rap group EPMD.

Erick Sermon appears on screen, claiming that Diddy once cut off his friendship with Hylton, a claim that underlines decades-old tensions tied to loyalty, power and control in the Bad Boy orbit.

Since its release, the doc has generated controversy, with interviews by former associates, including artists from Bad Boy, jurors from the trial, and alleged victims, surfacing. Stories include claims of abuse, control, and exploitation, providing a sweeping, if disturbing, portrayal of Diddy’s legacy.

Against this turbulent backdrop, Hylton’s post feels calculated. She isn’t closing the door; she appears to be repositioning herself.

By declining to participate in any Diddy-centered interviews while entertaining the idea of her own documentary, she sends a message: this isn’t about him, it’s about her. Her Instagram carousel ended with a slide quoting a scripture: “Until they confess all the lies they said against you to gain favor, they’ll never know PEACE. Isaiah 48:22.”

That assertion frames her stance: she’s protecting her truth and keeping her story on her terms.

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