Odessa A’zion is preparing to take on a starring role in a new music video from The Rolling Stones.
The 25-year-old actress made a big impression with her lead performance in Marty Supreme, the successful comedy drama released in 2025, and she is now expected to feature in the band’s upcoming video after filming her scenes in London last week.
A source told The Sun newspaper: "The concept follows the Stones across different eras. There’s so much happening within it. They recruited a wide range of extras to reflect different subcultures and musical movements.
"The vision pulls together everything from blues and soul influences to punk energy, alongside classic rock fans and Northern Soul dancers.
"It also brings in touches of glam rock flair and a raw, DIY spirit to mirror the history of the Stones.
"Odessa sits right at the heart of the whole piece.
"The final video is expected to look incredible once everything comes together."
The iconic group previously featured Sydney Sweeney in the video for "Angry", their 2023 single. In the clip, the actress wore black studded chaps paired with a corset, later saying she felt "hot" despite criticism surrounding her outfit.
Sydney, who has quickly risen to become one of Hollywood’s most in-demand stars, told Glamour: "I felt hot. I picked my own outfit out of racks and racks of clothes. I felt so good in it."
Sydney also shared that the experience left her feeling confident and empowered.
She said: "One of the questions I get is, ‘Are you a feminist?’ I find empowerment through embracing the body that I have. That’s sexy and strong, and I don’t think there’s anything wrong with it.
"I’m in a Rolling Stones video. How cool and iconic is that? I felt so good.
"Everything I did, every move, was completely freestyle. I mean, who else gets the chance to roll around on top of a convertible cruising down Sunset Boulevard with police escorts? It’s moments like that in this career I never imagined I’d experience."
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There is no question that Clipse’s Let God Sort Em Out made a serious impact and continues to hold weight. The project showed that hip hop is not limited by age and proved that a long-awaited return can still land in a major way regardless of the time away.
If you need a reminder, the Virginia duo’s fourth studio album debuted comfortably within the top five of the Hot 200. It secured the number four position and moved an impressive 118,000 units in its first week.
On top of that, it picked up a win at this year’s Grammys, earning Best Rap Performance for “Chains & Whips.” The album also received four additional nominations, including Best Music Video, Rap Album, and Album of the Year.
It is hard to believe the project will officially hit its one year mark this summer on July 11. Even so, Pusha T is making it clear that both supporters and critics should not be overlooking it anytime soon.
While performing at Coachella yesterday, King Push told the crowd that LGSEO still sits at the top, regardless of genre.
He said, “‘Let God Sort Em Out’ is still the album of the motherfckin year. Whole new year, still album of the year,” per Kurrco. “Album of the motherfcking year until we drop again. We don't care who dropping. It don't matter.”
That is a strong statement for obvious reasons, especially considering the recent claims surrounding Push himself.
Over the same weekend, hip hop social media lit up after several alleged reference tracks connected to Quentin Miller and Push began circulating. Three tracks surfaced in total, but one that drew the most attention was an alleged record titled “Real Gon’ Come.” It is said to come from the DAYTONA era, around 2017 to 2018.
The situation gained traction because fans remember the past tension between Drake and Pusha T before Drake’s clash with Kendrick Lamar. During that feud, Pusha accused Drake of using ghostwriters on tracks like “Infrared,” which appears on DAYTONA. On that song, he raps, “The bigger question is how the Russians did it /
It was written like Nas, but it came from Quentin.”
Reactions have been mixed. Some people argue it is not a major issue since Miller’s alleged contributions were limited to hooks. Others point out that the songs were never officially released, so they see no real problem. Meanwhile, critics view it as clear hypocrisy on Pusha T’s part, a perspective that DJ Akademiks has also supported.
