Hercy Miller Will Play Master P in ‘Snoop,’ Adding a Family Connection to the Biopic’s No Limit Chapter

Hercy Miller has been cast as Master P in Snoop, the in-production Snoop Dogg biopic scheduled for theaters on August 6, 2027. The role will mark Miller’s feature-film debut, and it gives the production an unusually direct family connection: he will portray his own father at a consequential point in Snoop Dogg’s career.

That point is Snoop’s 1998 signing with No Limit Records after leaving Death Row Records. Master P’s New Orleans label became Snoop’s next business home, and Snoop released Da Game Is to Be Sold, Not to Be Told that same year. It began a three-album stretch with No Limit, a period that brought together an already-established West Coast star and Master P’s formidable Southern independent operation.

The film’s growing cast also includes Zachariah Rogers as The D.O.C. and actor-comedian Tyquan Givens, known as Watts Homie Quan, in an original role named B. Mack. Jonathan Daviss leads the film as Snoop Dogg, while Craig Brewer directs from his rewrite of Joe Robert Cole’s original screenplay.

A personal casting choice for a major industry transition

Biopics routinely cast performers to recreate public figures. Casting a family member to play a parent changes the nature of that challenge, even if it does not eliminate it. Hercy Miller will still be portraying a specific version of Master P within a scripted film: a person shaped by the screenplay’s perspective, the director’s staging and the story’s need to make a complex industry shift understandable on screen.

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But the familial connection makes the casting notable beyond resemblance. Master P is not simply another recognizable figure in Snoop Dogg’s larger circle. His No Limit deal is central to explaining what happened after Snoop’s Death Row period and why the next phase of his career looked different. The movie is therefore placing someone with a direct personal link to Master P at the intersection of two distinct rap-business histories.

For audiences, the useful distinction is between personal proximity and historical authority. Miller’s casting establishes the former: he has an unmistakable connection to the man he is playing. A feature biopic, however, remains a dramatized work built from a script and a production’s chosen scope. The finished film will determine how much room it gives Master P, the No Limit organization and the practical stakes of Snoop’s move.

The casting does indicate that the No Limit period is expected to be more than a passing caption in Snoop’s story. A named portrayal of Master P suggests the film intends to dramatize at least part of the relationship rather than merely reference the record deal in dialogue or montage.

Why the 1998 No Limit move matters

Snoop’s arrival at No Limit connected two established forces that had reached prominence in different ways. He joined the label after departing Death Row Records, bringing star power and an existing audience. Master P, meanwhile, had developed No Limit through a high-volume release approach and a distribution deal with Priority Records.

“High-volume release schedule” is an important piece of context here. It describes a label strategy built around issuing a large quantity of music rather than concentrating all attention on only a small number of releases. In the account presented by the film’s background, that approach was part of how Master P built No Limit’s presence. The Priority arrangement, meanwhile, refers to distribution: the business process of getting records into the channels through which listeners could buy them. Distribution is not the same thing as a record label’s creative identity or artist roster, but it can be essential to turning an independent operation into one with broad reach.

That made the Snoop signing significant on both sides. For Snoop, No Limit represented a new business home after Death Row. For No Limit, bringing in an artist of his stature linked its organizational model with one of rap’s most recognizable figures. The resulting three-album run gives Snoop a defined narrative chapter to work with: a change in label affiliation, a new set of collaborators and a career that had to keep moving after a highly visible previous era.

It is also a chapter where the film can explore an industry reality often flattened by celebrity storytelling. An artist’s career is not solely a sequence of recordings and public appearances. It is also shaped by partnerships, distribution systems, label structures and the search for stability or opportunity after a major transition. The available details do not establish exactly which events or negotiations will appear in Snoop, so viewers should not assume a scene-by-scene account. Still, Master P’s presence makes the subject materially harder to ignore.

From college basketball to a scripted feature

Before this role, Hercy Miller’s public profile had largely been tied to basketball. He played college basketball at Tennessee State, Louisville and Southern Utah, and he later appeared on the Netflix reality series Calabasas Confidential. Playing Master P moves him into a scripted feature—and into a role with a particularly high degree of personal significance.

That transition matters because reality television and scripted feature work ask different things of a performer. A scripted role requires an actor to serve scenes, dialogue, character beats and the broader rhythm of a film, regardless of whether the character is connected to the actor’s own family. In this case, the connection could provide emotional texture, but it could also make audiences especially attentive to whether the portrayal feels like an impersonation, an interpretation, or something between the two.

There is no indication yet of how extensive Miller’s role will be, what period of Master P’s life it covers, or how the screenplay frames the relationship between Master P and Snoop. Those are meaningful unknowns. The casting news supports the conclusion that Master P will appear; it does not yet support claims about how much narrative weight he will carry.

Anyone tracking the project should also separate confirmed production details from the assumptions that can grow around an ensemble biopic. What is confirmed is that the film is in production, that Miller is playing Master P, and that the No Limit deal is relevant historical context. What remains unconfirmed includes the precise chronology of the film, its music choices, its final structure and the amount of screen time devoted to each supporting figure. A separate casting report likewise identifies Miller’s role as Master P, but the eventual movie remains the work that will define its scope.

An ensemble spanning multiple parts of Snoop’s story

Snoop has assembled a cast that points to a wide range of people surrounding Snoop Dogg across his career and personal life. Myles Bullock is set to play Dr. Dre, Camron Jones will portray Tupac Shakur, Algee Smith is Warren G, Tre Hale is Suge Knight and SwayvoTwain is The Notorious B.I.G.

Lauren London plays Snoop’s mother, Beverly Tate, while Laya DeLeon Hayes plays Shante Taylor. Cynthia Erivo has joined as Afeni Shakur, placing her opposite Jones’ Tupac in the production. Together, those roles signal that the film’s canvas is not limited to one label, one city or one musical partnership.

That breadth presents a familiar structural challenge for a music biopic. Every additional real-life figure can enrich the central character’s world, but also competes for narrative focus. Dr. Dre, Tupac, Warren G, Suge Knight, Master P and Afeni Shakur each carry considerable cultural and historical associations. The film will need to use them in ways that clarify Snoop’s story rather than turn the project into a sequence of celebrity cameos.

Master P’s role has a useful advantage in that respect. His connection to Snoop is tied to a clear professional pivot: the 1998 No Limit signing. Rather than requiring the film to introduce a figure only because of name recognition, the Master P character can help dramatize the practical meaning of a new label chapter. If the screenplay makes that transition legible, audiences may get a stronger sense of the decisions and infrastructure behind a career that is often remembered through hit songs and public persona.

The creative and production team behind ‘Snoop’

Craig Brewer is directing Snoop and rewrote a script originally written by Joe Robert Cole. That credit sequence matters because a rewrite can shape how a film organizes real events, combines or prioritizes characters, and establishes its dramatic viewpoint. It does not tell audiences exactly what changed from the original draft, but it identifies Brewer as a key creative voice in the version now being made.

Snoop Dogg is producing alongside Death Row Pictures president Sara Ramaker and Imagine Entertainment’s Brian Grazer and Allan Mandelbaum. The film is described as the first project under Death Row Pictures’ overall deal with NBCUniversal Entertainment. In straightforward terms, an overall deal is a broader business arrangement between companies that can support the development or production of projects; here, Snoop is positioned as the first film emerging from that relationship.

Universal has the film set for an August 6, 2027 theatrical release. Between now and then, audiences can expect further casting and production updates, but the confirmed picture is already substantial: Daviss as Snoop, a director and screenplay team in place, a large supporting ensemble, and a Master P portrayal that literally brings the Miller family into the story of Snoop’s No Limit era.

For now, Hercy Miller’s feature debut is one of the project’s most distinctive decisions. It does not answer every question about how Snoop will approach history, but it gives the movie a personal route into a pivotal business partnership—one that linked Snoop Dogg’s next act with Master P’s No Limit machine.