50 Cent savagely trolls Diddy again with wild AI baby oil video after rap mogul's shock verdict
Ever since Diddy's dramatic downfall amid allegations of sex crime - which he has denied - 50 has been giddily trolling him on social media.
Early this month, the public was left in shock when Diddy was acquitted of the most serious charges against him, sex trafficking and racketeering.
However he was found guilty of two lesser charges of transportation to engage in prostitution, and is currently in prison awaiting sentencing on October 3.
As the date crept nearer, 50 fired up his Instagram page this weekend to post a wild AI-generated video that took a sly dig at the stash of baby oil the authorities discovered during a raid of Diddy's Los Angeles home.
In the clip - which 50 credited to the Instagram account @Geisha305 - a glistening Diddy is seen walking a fashion show runway, modeling a pink dress with a Johnson & Johnson baby oil logo splashed across the front.
The video was set to rapper Jody2Good's song Baby Oil Freak Off Party, a track about Diddy that was released last year after his arrest.
In his caption, 50 Cent wrote: 'I didn't know Diddy walked in the Michael Amiri show, when did he make Bond!' - prompting the fashion designer to leap into the comments and quip: 'Cmon 50, don't include me in this.'
His new post comes after another online wag issued an apology for an irreverent stunt that also made reference to Diddy's baby oil.
Content creator Armon Wiggins has apologized after footage showed him dancing shirtless and being sprayed with baby oil outside the courthouse following the Diddy trial verdict.
In an interview with the Mail's The Trial of Diddy podcast, the self-described 'independent media personality' insisted his actions were not in support of the disgraced rap mogul.
Wiggins told podcast host Kayla Brantley that he was 'misrepresented by the media', adding that fans of his reporting know he believes Diddy was fortunate to escape the most serious charges.
'In reporting the case, I was trying to take a very eerie, grim situation and turn it into something digestible for people', the YouTuber argued.
'I wasn't making light of the victims or poking fun at them. What ended up happening on the final day was that we were just having a good time.
Diddy was convicted earlier this month of two counts of transportation to engage in prostitution but acquitted of sex trafficking and racketeering
'We had been there at the trial from start to finish – we were tired and wanted to celebrate making it to the end.
'I was just vibing with another YouTuber, to be honest with you, and before I knew it, there was a crowd of people with television cameras and lights that circled around me.'
Wiggins claimed he didn't profit from the viral video and said his intention was to mock Diddy, not his victims.
'I got a lot of hate and lost followers', he said.
'I said to myself afterwards: I've got to grow up and learn to control the narrative because it was irresponsible.
'Even if my fans knew the intent behind it, that doesn't matter when you have 150 cameras out there in a heightened situation. You've got to be smarter than that.
'The amount of baby oil involved in the trial became ridiculous. You can't even say baby oil now without laughing. Really, I was making fun of Diddy – he came across as crazy.
'How many bottles of baby oil does one person need?
'In hindsight, I regret it for the simple fact that people were hurting, and it taught me never to be above reproach.
'If you make a mistake, you have to be humble enough to say, I didn't mean that and I apologise.'
Despite his apology, Wiggins shared his belief that traditional media wanted a reason to target him.
He argued that the press feels intimidated by the 'realness and relatability' of creators like him, who can deliver news in a more entertaining way.
'A lot of the press didn't think we deserved to be there', Wiggins told the podcast.
'It was so easy for them to slap a headline on me – they knew who I was. The story about me came from them.
'Us YouTubers had to fight for respect – because the journalists went to school and have got all these degrees.
'News doesn't travel like that anymore. Traditional media is still necessary, but there's something to be said for the people that can go out and reach their audience.
'There's a rawness, a realness, a relatability – they come to me to have a good time.'
To listen to the full bonus episode, search for the The Trial of Diddy now, wherever you get your podcasts.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
BreakingNews.ie
33 minutes ago
- BreakingNews.ie
Colin Farrell, Sharon Horgan and Ruth Negga receive Emmy nominations
Irish stars Colin Farrell, Sharon Horgan and Ruth Negga have all been nominated for Emmy Awards. Sharon Horgan was nominated for outstanding lead actress in a drama series for Bad Sisters. Advertisement Farrell received his nomination for his leading role in The Penguin. Ruth Negga has been nominated for her performances in Presumed Innocent in the Outstanding Supporting Actress In A Limited Or Anthology Series Or Movie category. The Penguin was a huge hit for HBO and it received 24 nominations. Along with Farrell, lead actress Cristin Milioti was also nominated. British crime drama Adolescence has received 13 Emmy nominations, including for its young star, 15-year-old Owen Cooper, for best supporting actor in a limited series. Advertisement Its lead, fellow Briton Stephen Graham, was nominated for outstanding actor in a limited or anthology series or movie, while the Netflix hit is also in the running for outstanding limited series. The latest series of Black Mirror was nominated for outstanding limited series, with American actress Rashida Jones in the running for outstanding actress in a limited or anthology series or movie for her role in it. The nominations for the 77th Emmy awards were revealed on Tuesday. Scottish actor Alan Cumming was nominated for outstanding host on a reality or reality competition programme for his presenting work on the US version of The Traitors, which has also been nominated as the best reality competition show. US thriller Severance received the most nominations, with 27, while The Studio led comedy nominees with 23. The awards ceremony will be held in September in Los Angeles. - Additional reporting from Press Association
The Guardian
33 minutes ago
- The Guardian
Meet the unstoppable Octowoman! LensCulture's greatest portraits
'While exploring my husband's childhood farm in Virginia, we came across his dad's dusty ' 67 Mustang stored in a barn. It was a hot day and my three grandsons climbed inside, pretending to go for a drive. I captured this moment as the light from the open barn door cast a dramatic glow on the scene, framed perfectly by the car door.' See the full list of winners from the LensCulture portrait awards 2025 here Photograph: Emily Neville Fisher 'This series captures girls in the summer before they start secondary school, that fleeting stage between childhood and adolescence. The images reflect the mix of anticipation, vulnerability and subtle shifts in identity as they prepare for a new chapter in their lives' Photograph: Kat Green 'This portrait is part of a long-term project that shows our daughter's growth from birth to adulthood. We began it when she was born and completed it when she turned 18. We used studio cameras, so each session required stillness and patience. Over the years, the project became more than just documentation. It was a way for us to maintain communication, develop mutual understanding, and practise patience, both as parents and as artists' Photograph: Anna Hayat & Slava Pirsky 'In the early 1970s, it was rare for women in Korea to have careers. My mother had to take care of not only my grandparents but also my younger uncles and aunts, as well as my older sister and me, while managing all the household chores. One day I asked my mum: 'If reincarnation exists, what would you want to be in your next life?' She answered: 'I don't want to be born again'' Photograph: Daesung Lee 'This project shows the struggles of women in traditional Korean society. Korean women silently endured the everyday discrimination ingrained in society. They were not called by their names, referred to rather as whoever's wife or mother. Growing up watching my mother's life, I sincerely hope that in her next one, she can have a happier life or perhaps even attain Nirvana. I aim to tell their lives in humorous and playful ways, turning their hardships into something positive' Photograph: Dasung Lee Marianna Nyirantgorama, 58, a survivor, with the murderer of her sister. She fled with her family to a church when the genocide began. Most of them were killed there. She and one sister survived by hiding among the bodies, and later escaped to Bisesero, where many Tutsis died after being abandoned by French peacekeeping forces. In 2018, Marianna joined a CBS Rwanda therapy group, where she encountered Marc Nyandekwe, 60, the neighbour who killed her sister. During therapy, she forgave him Photograph: Jan Banning (Courtesy Galerie Fontana) 'After moving to Maine, I developed a new interest in farming and rural life. It began to feel like my true home. This is Ray, who sells eggs and vegetables every day to the locals. It comes from my series Searching for the Same Light, inspired by the poem The Unbearable Weight of Staying by Warsan Shire: 'Growing to and from one another, searching for the same light.' It reflects the idea that, regardless of our politics or beliefs, we're all searching for love, family, health and a good life – with a bit of light shining on us' Photograph: Barbara Peacock In these photographs, the girls wear vintage dresses, surrounded by antique cups and/or furniture, evoking a sense of nostalgia. However, this nostalgia is tinged with discomfort, as it highlights the persistence of outdated stereotypes. The fish and water in the cups adds a surrealistic touch, hinting at the need to challenge these stereotypes Photograph: Stefanie Langenhoven 'It's quiet in the dormitory. Ida turns in her bed. She's dreaming. Suddenly, she wakes up, sits upright, looks straight into my camera. Two attendants rush over and press her back down again. The moment – did I capture it? She sits there on the bed, the light, the sharpness in her gaze – so fragile, so beautiful, so alone' Photograph: Magnus Laupa 'Every time I meet a client as their doula, they want to know my story. I tend to see birth and death as beautiful and part of the spectrum of life. My angel babies – no matter how brief their lives were, they were still so important. Marise is the mom of Stokely, who died when she was 19 weeks pregnant and Ellison, who died when she was 29 weeks pregnant. She now works as a birth and postpartum doula, supporting others the way she wasn't during pregnancy and afterwards' Photograph: Nancy Borowick 'This is a tribute to my parents, capturing their lives and their final moments through a series of black and white photographs. From quiet moments together at home to the stillness of their final farewell, I see grief as having two faces: finding peace in endings, and dreaming of a journey beyond. Rooted in Japanese cultural traditions, these photographs weave together the fragility of life, the weight of memory and the enduring love for those we've lost' Photograph: Shin Ono 'This image was taken with an analogue camera on my daughter Maya's birthday, which she celebrated in Georgia. The city of Mtskheta became her second home for two months' Photograph: Yuliya Germanovich Merle finds the rise in anti-trans policy 'really scary and disappointing. I remember feeling when I was younger like there was progress being made, and there still is, but in today's political climate I can no longer hold on to the feeling that I have a steady progression towards a brighter future. I think the rise in violence and fear towards queer and trans people, fascism and hatred are growing at the moment, and it means that we need to be brave and support each other' Photograph: Hannah Mittelstaedt In 2021, after witnessing a friend with hyperemesis – severe vomiting from pregnancy – I started looking at the world of maternity portraits and wondering: do pregnant people feel seen by these?' Photograph: Eliza Bell Schweizbach 'A street portrait from New York City in 2024. These photographs are not just portraits; they tell stories. Each image shows the gap between how people want to be seen and how they really are – the raw truth in a world where we carefully craft our online personas' Photograph: Kevin Smith 'This project documents scenes of girlhood through eight subjects I found living in my home town in suburban New Jersey. As a woman, I often find myself revisiting my experience of being a girl: hanging out with friends by the creek, lounging in the summer sun with the comfort of knowing I have time to figure it all out. What I found most special about this project is that although I haven't been a girl in many years, girlhood hasn't changed all that much. The tucked-away creek beds and spots that once held my secrets now hold theirs' Photograph: Sabrina Santiago Andrea works on a farm and is an expert in makeup and special effects in the field of film. He has been practising cosplay since 2012. Here, he plays Amphibian Man, the main character in Guillermo Del Toro's film The Shape of Water Photograph: Niccolo Rastrelli This series creates surreal worlds that challenge our visual perception. The images don't document reality as captured directly by the camera, but use photography to deconstruct, and ultimately create, new realities through layering and image manipulation Photograph: Sander Vos
The Guardian
an hour ago
- The Guardian
Pan by Michael Clune review – a stunning debut of teen psychosis
The narrator of American nonfiction author Michael Clune's first novel is the 15-year-old Nicholas, who lives with his father in a housing development so cheap and deracinated it inspires existential terror. It's a place exposed to 'the raw death of the endless future, which at night in the midwest in winter is sometimes bare inches above the roofs'. Just as frightening is Nicholas's sense that 'anything can come in'. One day in January, what comes into Nicholas is the god Pan – a possessing, deranging, life-threatening spirit. Or that, anyhow, is how Nicholas comes to interpret his increasingly disabling anxiety. Pan is remarkable for the honesty of its treatment of both mental illness and adolescence. It shows more successfully than any other book I've read how these can be experienced as black magic – indeed, it allows that they might be black magic. Nicholas successfully prophesies trivial events (the wind rising, someone saying the word 'diabetes') and is haunted by a dead mouse's squeak. Another boy finds a means of divination in a schlock fantasy novel. Even the pop anthem More Than a Feeling is a path to the uncanny; it's a song with 'a door in the middle of it … like the door on a UFO'. Nicholas becomes convinced that he is perpetually at risk of leaving his body – specifically, that his 'looking/thinking could pour or leap out' of his head – and his friends, also being 15 years old, are ready to believe it, too. They are easy prey for Ian, a college-age man who sets himself up as a small-time cult leader among these high-school kids. Ian particularly targets Nicholas, telling him that only they are capable of real thoughts; the others in the group are 'Hollows' who have 'Solid Mind', a deterministic mentality with no animating self. 'The sound of words from a Hollow mouth,' says Ian, 'contains an abyss.' Soon the group is staging rituals incorporating sex, drugs and animal sacrifice. Meanwhile, Nicholas loses his ability to sleep and spirals toward psychosis. Clune is brilliant on the loss of control and exaggeration of terror that follows. Falling out of your face can be transcendence, but can also represent extinction. When Nicholas sees a black-and-white photograph of a group of long-dead priests, he reflects: 'Now they'd all stepped out of their faces … The faces hung there like rows of empty sneakers in a shop window. The priests had stepped out.' At his hardware-store job, Nicholas sees the racks of garden tools and realises, 'These are animals too … These are the husks, the waiting bodies, the body traps of animals.' He knows that if he stares at the hand spades and rotary tillers long enough, he can inhabit them; even household objects now have a door in the middle of them. Nicholas's reality becomes fluid. Among his friends, he becomes the object of semi‑religious, semi-voyeuristic fascination. What is truly remarkable here is that the extravagance feels meticulously true to a certain state of altered consciousness. I doubt that anyone has had Nicholas's exact experiences, or even ones that resemble them in obvious ways. Still, anyone who has experienced mental illness – and many who have just been 15 years old – will find even Clune's most phantasmagoric pages uncannily familiar. There are trade-offs to fiction that strives to be honest. Here, one is that the other characters never fully become people. They're external experiences that inform the way Nicholas relates to his own mind, and it's often very credible that they are 'Hollows' with no real consciousness. This may be a truthful depiction of the isolation characteristic of extreme mental states. It also means the story is unrelentingly solipsistic. The plot centres on inner epiphanies. While these present themselves as life-saving answers, they all turn out to be brief respites, some evanescing so quickly that they're forgotten seconds later. It's no surprise that Sisyphus appears as a reference here. This is certainly true both of coping with mental illness and surviving adolescence. It also risks making the reader feel as if we're going nowhere. But this is not really to criticise the book: it's just to say what it is and isn't. A reader who approaches Pan expecting the usual rewards of a coming-of-age story will be sorely disappointed. It offers not answers but visions; not growth but lambent revelation; not closure but openings. 'Good writing,' Nicholas tells us, is 'the careful, painstaking replacement of each part of this world with a part that [looks] the same, but [is] deeper, more mysterious, richer.' This feels like a fair description of Clune's own process, with the proviso that he is not replacing but supplementing; not substituting for reality, but adding to it. Nicholas ends his inner journey without arriving at the cure he has been pursuing. But when we close the book, we find ourselves in a larger world. Pan by Michael Clune is published by Fern Press (£16.99). To support the Guardian, order your copy at Delivery charges may apply. In the UK, Samaritans can be contacted on 116 123 or email jo@ You can contact the mental health charity Mind by calling 0300 123 3393 or visiting
