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Justin Bieber takes his $200K electric G-Wagon for a spin as wife Hailey is brutally mocked by fans

Justin Bieber takes his $200K electric G-Wagon for a spin as wife Hailey is brutally mocked by fans

Daily Mail​13 hours ago
Justin Bieber looked stern behind the wheel of his $200K electric Mercedes G-Wagon as he cruised through the streets of Los Angeles on Fourth of July.
The Peaches hitmaker, 31 - who recently enjoyed a solo outing to a Russian bathhouse - donned a printed white shirt and black shades while heading to his next destination.
The music artist rolled down the windows to the luxurious vehicle and causally rested his left arm out of the driver's side.
It comes not long after his wife Hailey was brutally mocked by fans over a new Rhode product - as the couple continue to be embroiled in speculation of relationship trouble.
Earlier this week, the two stars were seen going on a number of separate outings - with Justin spotted leaving a Russian-inspired spa called Voda on Thursday.
That same day, the model was seen cruising through the streets in a sleek vehicle in the bustling city. At one point, she was spotted glancing down at her phone in her hand.
And just one day earlier on Wednesday, the two stars were also spotted on solo outings once again.
The media personality - whose brand Rhode was recently acquired by E.l.f. Cosmetics for a major $1 billion deal - enjoyed a bite to eat at celebrity hotspot Sushi Park alongside Leonardo DiCaprio's ex Camila Morrone.
Bieber flashed her toned figure in a semi-sheer, black lace top as well as a pair of chic black trousers.
Meanwhile, the Baby singer gave a glimpse at his workout routine by taking to his Instagram stories.
He uploaded a photo of himself going shirtless at the gym and was also joined by pal and fellow music artist Gunna.
Despite their recent solo outings, Justin and Hailey put on an united front while attending DJ Martin Garrix's headlining gig in L.A. over the past weekend on Sunday.
In a short reel uploaded by a fan on TikTok, Bieber could be seen backstage with Hailey. The couple - who tied the knot in 2018 - stood next to each other as Justin draped his arm over his wife's shoulders.
The two stars were later seen grooving to the DJ's set in a VIP section and at one point, the singer removed his shirt as he stood behind Hailey.
Despite their recent solo outings, Justin and Hailey put on an united front while attending DJ Martin Garrix's headlining gig in L.A. over the past weekend on Sunday; seen in 2022 in Las Vegas
And on Saturday, Justin jumped to his main Instagram page to share a series of snaps which also featured his wife Hailey.
The pictures were taken to show the star inside a music studio surrounded by Hailey and other pals.
Bieber donned a shirt that had 'I have time for nothing except being cute' printed on the back as he stood next to recording equipment.
Hailey kept it casual in a short-sleeved, striped shirt as well as white shorts as she supported her husband.
It came amid swirling rumors of relationship woes between the pair - and a source talked to Us Weekly last week about their 'tense' marriage.
'Things aren't great right now,' the insider stated, and added Bieber's erratic behavior has caused 'a lot of stress' for Hailey.
'Family issues have clouded her success. Justin's going through a difficult time, and Hailey is giving him room to get himself back on track. He's doing his best, but it's tough.'
But late last week, Justin seemingly dropped a major hint about his relationship with Hailey when he shared an Instagram post that included photos of both his wife and baby son Jack Blues.
A few days earlier, Hailey was brutally mocked after debuting her latest Rhode beauty accessory for the Peptide Lip Treatment.
When she came out with the Rhode Lip Case in February - a phone case with a built-in holder for the lip tint and other lip gloss - fans swarmed to buy it.
But a new launch in the Rhode line may have damaged those accolades.
Along with a new 'Lemontini' Peptide Lip Tint, Hailey debuted a Rhode Belly Chain - a waist chain meant to hold her lip tints - on her Instagram feed.
The chain was shown in a series of promotional photos of Hailey that included the starlet in a black tube top and matching shorts.
Hailey captioned the photo dump 'lemontini ballerini' followed by a lemon emoji and martini emoji. But aside from the lip tint itself, fans focused their attention on the 'belly chain.'
Waist beads have origins in ancient Egypt and West Africa, while waist chains can be traced to the Indian subcontinent.
Many people, knowing this, claimed that Hailey's new product was a form of cultural appropriation.
Even aside from that, fans criticized the Rhode belly chain for being an unnecessary (and impractical) cash grab - and made less than complimentary comparisons.
'This and the phone case are stupid as f**k to be honest, at this point she's just trying to sell SUPER unnecessary things, consumerism at its max,' one X (formerly Twitter) user wrote.
'Why would any woman want to wear there lip tint around the waist like that?' another asked.
'The phone case was cute but she's milking this concept now,' one fan wrote, and another shared, 'It looks like a tampon holder.'
'Celebrities are crazy. This is the most unnecessary thing ever,' added a fourth.
An hour after Hailey posted on her own personal Instagram, the official Rhode account posted a picture of the new lip tint with a caption explaining that the Lemontini Peptide Lip Tint would be the first with a new and improved formula.
It comes not long after Hailey made a $1 billion deal with E.l.f. Cosmetics which acquired her brand Rhode.
And her dad Stephen recently reacted to the big news during a recent episode of The Adam Carolla Show.
'It took her three years,' he said. 'What, did you think that was just some rotten tomatoes journey? The cool part of it is she's super smart, smart in business.'
Baldwin continued, 'Succeeded as a model prior to everything she's doing now. But the cool part was she actually had an offer to do something pretty big and cool in the cosmetics a couple years ago and didn't.
'The reason its succeeding is people are responding to it. It actually works as hydration and all of that.'
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Paula Bomer: ‘If you describe yourself as a victim, you're dismissed'
Paula Bomer: ‘If you describe yourself as a victim, you're dismissed'

The Guardian

time38 minutes ago

  • The Guardian

Paula Bomer: ‘If you describe yourself as a victim, you're dismissed'

When I arrive at Paula Bomer's apartment building in south Brooklyn I am briefly disoriented in the lobby, until I hear the yapping of dogs and amid them, her voice calling my name. Bomer is tall and striking, in her mid-50s. I met her last year at a reading in Williamsburg, Virginia, where she seemed like someone who cared almost manically about literature and also like someone who would be fun to hang out with, two qualities not always confluent. I had heard of these anxious dogs before, when she and I met for dinner a few months ago, and she disclosed that her life was now spent managing canine neuroses. 'I got them when my dad died,' she says, in between offering me matcha, coffee, tequila or wine (it's 2.30pm on a Sunday; Bomer doesn't drink any more, save a glass of champagne on selling her book, but doesn't mind if others do). 'The dogs were a mistake,' she says, 'But that's OK, I'll survive it.' Bomer was involved with the cohort of mid-2000s US writing broadly characterised as 'alt lit', an irreverent internet vernacular-driven movement personified by Tao Lin. She published anonymously on the website HTML Giant and had her first novel, Nine Months, in a drawer for 10 years. Mark Doten of Soho Press picked it up in 2012. Since then she has been widely admired in the literary world for her transgressive, vivid work, which often examines women at points of great pressure from an uncanny perspective – her fans include Sam Lipsyte and Jonathan Franzen. This admiration has not yet fully broken through to a mainstream audience, but her new book looks set to do so. Bomer's latest novel, The Stalker, is all about the nastiest, most parasitic kind of survival. Its antihero, Robert Doughten Savile or 'Doughty', is the bearer of an entitlement so groundless and infinite that it obliterates anyone he approaches. Born to a once-wealthy Connecticut family but now without material means, he uses his charisma and total confidence to live in New York as he believes he deserves. He lies effortlessly, inventing lavish real estate deals while in fact whiling away his afternoons watching George Carlin specials, smoking crack in the park, and allowing older men to perform oral sex on him in Grand Central for a little extra cash. In the evenings, meanwhile, he is primed to identify and zone in on women who may prove useful. This is Doughty's great gift, knowing what a woman needs and what she will tolerate to get it, how his cruelty is best deployed or concealed. To nauseating effect, his skill escalates operatically as the book continues. It's a knockout novel, one I've passed around to friends, scenes from which I still feel a thrill of horror to recall. 'Originally I wanted him to be the devil,' she says. 'The actual devil, evil incarnate. But then I found myself humanising him. And I kind of regret it.' By the simple relentlessness of his presence, his unwillingness to allow the women enough space or thought to disengage from his influence, he comes to represent male intrusion on female life. 'On a daily basis, if you leave your building you are dealing with some shitty man spewing garbage,' she says. 'It wears on us, and that's why I have a problem with critics being weary of the survivor-victim thing: 'Oh just get over it, it's boring, you can be strong.' It's like, I did try that. I did that: 'I'm strong. I'm going to shoot pool with the guys.' Although, I really do like to shoot pool.' We derail here while she leads me to her office, pleasantly cluttered with paintings like the rest of the flat, so that she can show me her pool cue, which she has had since she was 19. I ask if she was good. 'You rank 'em out of six, I was a solid three. But on a good day I could beat a six.' We return to the question of victim fatigue, something that has been on my own mind lately, having just read a brilliant memoir called Trauma Plot by Jamie Hood, which exists partly in conversation with the cultural malaise around making art about having survived violence and abuse. Both Hood's book and Bomer refer to a New Yorker essay by Parul Sehgal titled The Case Against the Trauma Plot, which argues that overuse of trauma as a narrative device has led to constricted, rote work. Sehgal subsequently panned Sarah Manguso's autobiographical divorce novel, Liars, describing it as 'thin and partial', and asking: 'What is this vision of womanhood, of sexually indiscriminate infants running households?' Bomer, on the other hand, was so moved by Manguso's depiction of infidelity and the violence of being lied to that she wrote Manguso a fan letter (one of seven she has written in her life, Philip Roth and Franzen among recipients of the others). 'Sehgal misses the entire point of the book, which is that Manguso is now free – not bitter, free. Whenever you describe yourself as a victim, you're immediately dismissed … I feel like finding Doughty's voice in my book was my way, hopefully, to be heard – in the way that no one wants to fucking hear another story about women. And yet he's such an everyman. So it's like, here's your cliche then.' Bomer was raised in Indiana by a French professor father and an Austrian mother who was a translator and a painter: 'She refused to become an American citizen, for political reasons. Which really makes sense now, right? She was ahead of her time in a million different ways.' Her childhood was marred by the worry and dread following her father's suicide attempt when she was five; she went on to study psychology in what she describes as 'an attempt to cure' her father. She was married for 20 years and raised two children, writing as much as possible. When pressed for her strategy there she replies, 'I had no social life and my house was a mess.' In 2011, she published her first story collection, Baby; her second, Inside Madeleine, followed in 2014. All were warmly received, but her moment of success around the publication of Inside Madeleine could not take hold fully because, in her words, she 'disappeared'. Her father had killed himself not long before, and her mother was in the last stages of a long illness. 'My father's death was horrific and violent. My mother's was slow. There was no way to process. People don't want to be around you when you're suffering.' Bomer was divorced 10 years ago, and describes The Stalker as a sort of divorce book, 'but not divorcing a particular man, it's divorcing men – a kind of man,' she says, before instantly discluding her two sons and her many friends. After our meeting, she emails me to clarify some of her comments and concludes: 'We don't believe people the first time they hurt us, or the second, or the third – until we do. Because we want to have compassion and believe that if we show love and kindness … we will reap it back. And that is where we are wrong. Many, many people are ciphers. They will add nothing to your life, and they will leave with so much of you.' It's difficult to reconcile the blunt fatalism of a statement like that one, or indeed the exhilaratingly ghastly novel she has written, with the generous and joyful woman I met. But perhaps the exorcism she has performed with this marvel – a divorce book with no divorce; a book called The Stalker with not that much stalking in it; a book by a middle-aged woman that, following five others, looks set to become her breakthrough hit – has made her so. Not bitter, as she says, but free. The Stalker by Paula Bomer is published by Soho Press. To support the Guardian, order your copy at Delivery charges may apply.

Sean 'Diddy' Combs gets standing ovation from inmates after court victory, his lawyer says
Sean 'Diddy' Combs gets standing ovation from inmates after court victory, his lawyer says

The Independent

time38 minutes ago

  • The Independent

Sean 'Diddy' Combs gets standing ovation from inmates after court victory, his lawyer says

Sean 'Diddy' Combs got a standing ovation from fellow inmates when the music mogul returned to jail after winning acquittals on potential life-in-prison charges, providing what his lawyer says might have been the best thing he could do for Black incarcerated men in America. 'They all said: 'We never get to see anyone who beats the government,'' attorney Marc Agnifilo said in a weekend interview days after a jury acquitted Combs of sex trafficking and racketeering conspiracy charges. Combs, 55, remains jailed after his Wednesday conviction on prostitution-related charges and could still face several years in prison at an upcoming sentencing after being credited for 10 months already served. After federal agents raided his homes in Los Angeles and Miami in March 2024, the lawyer said he told Combs to expect arrest on sex trafficking charges. 'I said: 'Maybe it's your fate in life to be the guy who wins,'' he recalled during a telephone interview briefly interrupted by a jailhouse call from Combs. 'They need to see that someone can win. I think he took that to heart.' Blunt trial strategy works The verdict came after a veteran team of eight defense lawyers led by Agnifilo executed a trial strategy that resonated with jurors. Combs passed lawyers notes during effective cross examinations of nearly three dozen witnesses over two months, including Combs' ex-employees. The lawyers told jurors Combs was a jealous domestic abuser with a drug problem who participated in the swinger lifestyle through threesomes involving Combs, his girlfriends and another man. 'You may think to yourself, wow, he is a really bad boyfriend,' Combs' lawyer Teny Geragos told jurors in her May opening statement. But that, she said, 'is simply not sex trafficking.' Agnifilo said the blunt talk was a 'no brainer." 'The violence was so clear and up front and we knew the government was going to try to confuse the jury into thinking it was part of a sex trafficking effort. So we had to tell the jury what it was so they wouldn't think it was something it wasn't,' he said. Combs and his lawyers seemed deflated Tuesday when jurors said they were deadlocked on the racketeering count but reached a verdict on sex trafficking and lesser prostitution-related charges. A judge ordered them back to deliberate Wednesday. 'No one knows what to think,' Agnifilo said. Then he slept on it. Morning surprise awakes lawyer 'I wake up at three in the morning and I text Teny and say: 'We have to get a bail application together," he recalled. 'It's going to be a good verdict for us but I think he went down on the prostitution counts so let's try to get him out.' He said he 'kind of whipped everybody into feeling better' after concluding jurors would have convicted him of racketeering if they had convicted him of sex trafficking because trafficking was an alleged component of racketeering. Agnifilo met with Combs before court and Combs entered the courtroom rejuvenated. Smiling, the onetime Catholic schoolboy prayed with family. In less than an hour, the jury matched Agnifilo's prediction. The seemingly chastened Combs mouthed 'thank you' to jurors and smiled as family and supporters applauded. After he was escorted from the room, spectators cheered the defense team, a few chanting: 'Dream Team! Dream Team!' Several lawyers, including Geragos, cried. 'This was a major victory for the defense and a major loss for the prosecution,' said Mitchell Epner, a lawyer who worked with Agnifilo as a federal prosecutor in New Jersey over two decades ago. He credited 'a dream team of defense lawyers' against prosecutors who almost always win. Agnifilo showcased what would become his trial strategy — belittling the charges and mocking the investigation that led to them — last September in arguing unsuccessfully for bail. The case against Combs was what happens when the 'federal government comes into our bedrooms,' he said. Lawyers gently questioned most witnesses During an eight-week trial, Combs' lawyers picked apart the prosecution case with mostly gentle but firm cross-examinations. Combs never testified and his lawyers called no witnesses. Sarah Krissoff, a federal prosecutor in Manhattan from 2008 to 2021, said Combs' defense team 'had a narrative from the beginning and they did all of it without putting on any witnesses. That's masterful.' Ironically, Agnifilo expanded the use of racketeering laws as a federal prosecutor on an organized crime task force in New Jersey two decades ago, using them often to indict street gangs in violence-torn cities. 'I knew the weak points in the statute,' he said. 'The statute is very mechanical. If you know how the car works, you know where the fail points are.' He said prosecutors had 'dozens of fail points.' 'They didn't have a conspiracy, they just didn't,' he said. 'They basically had Combs' personal life and tried to build racketeering around personal assistants.' Some personal assistants, even after viewing videos of Combs beating his longtime girlfriend, Casandra 'Cassie' Ventura, had glowing things to say about Combs on cross examination. Once freed, Combs likely to re-enter domestic abusers program For Combs, Agnifilo sees a long road ahead once he is freed as he works on personal demons, likely re-entering a program for domestic batterers that he had just started before his arrest. 'He's doing OK,' said Agnifilo, who speaks with him four or five times daily. He said Combs genuinely desires improvement and 'realizes he has flaws like everyone else that he never worked on.' 'He burns hot in all matters. I think what he has come to see is that he has these flaws and there's no amount of fame and no amount of fortune' that can erase them," he said. 'You can't cover them up." For Agnifilo, a final surprise awaited him after Combs' bail was rejected when a man collapsed into violent seizures at the elevators outside the courtroom. 'I'm like: 'What the hell?'' recalled the lawyer schooled in treating seizures. Agnifilo straddled him, pulling him onto his side and using a foot to prevent him from rolling backward while a law partner, Jacob Kaplan, put a backpack under the man's head and Agnifilo's daughter took his pulse. 'We made sure he didn't choke on vomit. It was crazy. I was worried about him,' he said. The man was eventually taken away conscious by rescue workers, leaving Agnifilo to ponder a tumultuous day. 'It was like I was getting punked by God,' he said.

The Guardian view on the BBC's future: the broadcaster's independence and funding face challenges
The Guardian view on the BBC's future: the broadcaster's independence and funding face challenges

The Guardian

timean hour ago

  • The Guardian

The Guardian view on the BBC's future: the broadcaster's independence and funding face challenges

The BBC will soon charge US users for full news access. In Britain, it may seem a distant prospect, but if universality can be dropped abroad, how long before it's tested at home? With the BBC's charter due for renewal in 2027, the funding debate is intensifying. What becomes of the licence fee will define the broadcaster's future. There is increased scrutiny of Auntie's independence and impartiality after political pressure was applied through censure, funding freezes and contentious board appointments. What the BBC should look like in a fragmented media landscape is uncertain. A big question is whether the licence fee levied on households should be replaced by subscription, limited advertising or public funding. The last option is surely a non-starter, opening the door to more direct political control. Carrying adverts would force the BBC to compete with other broadcasters for cash, and destabilise existing providers. A subscription-style BBC, even if technical hurdles were overcome, wouldn't be a national institution. Those most in need of public-service media – navigating disinformation, political alienation or regional marginalisation – would be left out. Once you charge, the question isn't how to inform, educate and entertain the public; it's who can afford to be included. Partial subscription might keep some core services – like news – free, while others are paywalled. This would entrench a two-tier public service. The BBC is a large organisation and not without its faults. But critics with vested interests often exaggerate them. What began as commercial pressure has been inflamed by culture wars. Success – from Peaky Blinders to Blue Planet – has not shielded it from attack. No wonder the director-general, Tim Davie, warned in May of a looming 'trust crisis'. It's now easier to list the political groups at war with BBC News than those who trust it. The row over Glastonbury – and the BBC's retreat – underscores the pressure on Mr Davie. But the broadcaster's fight isn't just with critics. It's also battling for attention in an ecosystem flooded by algorithmic noise. Since the last charter renewal in 2016, streamers, podcasts and AI have disrupted the landscape, collapsing trust in 'legacy' media. When outrage spreads faster than facts, and filter bubbles shape belief, the BBC's global stature as a respected public institution matters more than ever. Every government leans on the BBC – at a price. The BBC pulled a documentary, Gaza: Doctors Under Attack, citing vague concerns about 'partiality'. Channel 4 aired it instead. Meanwhile, Robbie Gibb, a controversial Johnson-era appointee, helps shape BBC editorial priorities as a board member. A former Tory spin doctor, he became the Jewish Chronicle's owner, appointing an editor who pushed a hardline pro-Israel stance and oversaw multiple scandals. He refused to reveal who was funding the paper. His role in guiding how the BBC reviews its Middle East coverage raises concerns about impartiality. More than 400 media figures last week called for his removal. His departure is long overdue. In 1977, the Annan committee reimagined broadcasting for a changing Britain. Channel 4 was the result. The culture secretary, Lisa Nandy, who has sensibly called for a modern Annan‑style review, is chary of backing Mr Davie. But broader reform is needed in a time of distrust and disruption. For the BBC, this could offer not just a funding fix but a democratic roadmap. The charter review must rebuild a trusted civic platform – a public good, not a private preserve.

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