Diddy On Trial Jury sent out to decide Diddy verdict
Just an hour into deliberations, the jury sent a note to the judge saying they were concerned one of their fellow jurors could not follow the court's instructions.
A few hours later, they sent a second note with a question about drug distribution. The jury went home for the day without a verdict.
Anoushka Mutanda-Dougherty speaks to the BBC's New York digital reporter Sakshi Venkatraman about the day in court.
Sean 'Diddy' Combs is on trial in New York, facing federal charges of sex trafficking, racketeering with conspiracy and transportation for prostitution. He denies all the charges.
The Diddy on Trial podcast is here to investigate the rumours, confront the theories, and give you the answers that you need.
We also want YOU to be part of the conversation. Have you any questions about the case? Heard a theory that doesn't sit right with you? Get in touch now via WhatsApp: 0330 123 555 1.
Details of organisations in the UK offering information and support with some of the issues raised are available at bbc.co.uk/actionline
Presenter: Anoushka Mutanda-Dougherty
Series Producer: Laura Jones
Sound Design: Mark Burrows
Exec Producer: Nik Sindle
Senior Producer: Chrystal Genesis
Senior Digital Producer: Matthew Pintus
Video Producer: Dan Raza
Production Coordinators: Hattie Valentine and Tammy Snow
Editor: Clare Fordham
Commissioning Editor: Rhian Roberts
Assistant Commissioner: Will Drysdale
Commissioning Producer: Adam Eland
Commissioning Assistant Producer: Rechmial Miller
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Telegraph
25 minutes ago
- Telegraph
Wimbledon 2025 explained: Dates, how to watch, prize money and odds
The world's best tennis players have very much arrived at Wimbledon, with the Championships getting under way under glorious sunshine at SW19. Skip to: Draw details How to watch How to buy Wimbledon tickets Prize money When do the Wimbledon finals take place? New to 2025 British players at Wimbledon Latest odds Draw details How to watch Wimbledon on TV and streaming in the UK The BBC is broadcasting the event on BBC One, BBC Two and iPlayer. Isa Guha (in the morning) and Clare Balding (in the afternoon) will lead the presenting team. They will be joined by John McEnroe, Martina Navratilova, Billie Jean King, Pat Cash, Tracy Austin, Tim Henman and Annabel Croft. Every match is available to stream live on the iPlayer. The popular highlights show, Today at Wimbledon, has been moved to a graveyard slot on BBC2 – at 11.55pm on day one and a similar time thereafter. For viewers who want to watch the highlights show earlier, it will still be available at 8pm or 9pm on the iPlayer. Nick Kyrgios will not be returning as a BBC pundit at Wimbledon this year after being hired in 2024. The corporation caused outrage 12 months ago by hiring the 'bad boy' of tennis just over a year after he admitted assaulting an ex-girlfriend. Kyrgios said the BBC's decision not to include him is ' their loss more than mine '. By UK law, Wimbledon is a 'Category B' television event, meaning that although the men's and women's finals must always remain free-to-air, there is no guarantee that the rest of the tournament will not one day be shown on pay-TV. TNT Sports has the rights to show the men's and women's finals as well as a nightly highlights show at 10pm every day of the tournament. How to watch Wimbledon on TV in the US ESPN has the rights to show 140-plus hours of coverage from Wimbledon in the United States. In 2021, ESPN signed a 12-year agreement to broadcast the event. Coverage begins each day at 6am Eastern Time. Where is Wimbledon held? The tournament takes place, as ever, at the All England Lawn Tennis Club on Church Road, Wimbledon. The competition has been held on this site since 1922, when The Championships were moved from their previous location on Worple Road. How to buy Wimbledon tickets The public Wimbledon ballot is closed, meaning that most tickets for the show courts are unavailable. However, one of the traditions of Wimbledon is 'the Queue'. Every day fans can queue for a ticket to one of the show courts or for a grounds pass, depending on what is available by the time they reach the front of the queue. Each day 500 tickets for Centre Court (excluding the last four days), No 1 Court, and No 2 Court are sold. A grounds pass entitles fans to access all courts apart from the show courts. Resale tickets for Centre Court, No 1 Court and No 2 Court are available from 3pm each day, from the ticket resale kiosk north of Court 18. For more ticket information, click here. What is the Wimbledon prize money? In 2025, total prize money is £53.5 million, up 7 per cent from last year and is double the figure awarded 10 years ago. The men's and women's singles champions will take home £3 million each. First-round losers in the singles will receive £66,000. When do the Wimbledon finals take place? The women's final takes place on Saturday, July 12, and the men's final the following day, Sunday July 13. New for 2025 No line judges In a major break from history for the Championships, an automated electronic line calling (ELC) system will be adopted this year, consigning line judges to the past. The technology will be in place across all Championships and qualifying match courts, with more than 450 cameras installed across the two venues to facilitate its operation. A contingent of the former line umpires will return to the tournament in the new role of match assistants. Change to finals weekend The men's and women's singles finals will start at 4pm, two hours later than usual, to appeal to global broadcasters, with both matches now beginning on the west coast of the United States at the more generous time of 8am, rather than 6am. The All England Club said the decision to move the singles finals to later slots, with doubles showpieces starting at 1pm 'makes for a better conclusion to the Championships'. Wimbledon court and stadium guide Wimbledon has six show courts: Centre Court, No 1 Court, No 2 Court, No 3 Court, Court 12 and Court 18. Centre is the largest court at the All England Club and features the famous Royal Box. The court capacity on Centre is 14,974 while Court No 1 can hold 12,345. There are 12 other grass courts in use throughout the tournament. Court 8 was where an 18-year-old John McEnroe made his SW19 bow against Egypt's Ismail El Shafei in 1977. In 1995, on Court 14, Tim Henman became the first player to be disqualified from Wimbledon when playing in a doubles match with Jeremy Bates against the United States' Jeff Tarango and Sweden's Henrik Holm. Henman was punished for whacking a ball in anger, accidentally hitting 16-year-old ball girl Caroline Hall in the head. British players at Wimbledon Men's singles Qualified automatically Jack Draper Cameron Norrie Jacob Fearnley Billy Harris Wild cards Dan Evans Jay Clarke Oliver Crawford George Loffhagen Johannus Monday Jack Pinnington Jones Henry Searle Arthur Fery Qualified Oliver Tarvet Women's singles Qualified automatically Emma Raducanu Katie Boulter Sonay Kartal Wild cards Hannah Klugman Mika Stojsavlevic Mimi Xu Heather Watson Jodie Burrage Harriet Dart Fran Jones Who are the defending champions? Carlos Alcaraz retained his title last year, beating Novak Djokovic in straight sets 6-2, 6-2, 7-6. Barbora Krejcikova claimed her second grand slam singles title when she beat Jasmine Paolini 6-2, 2-6, 6-4. Past Wimbledon winners The Wimbledon trophies The men play for the Gentlemen's Singles Trophy, which is 18 inches high and has a diameter of 7.5 inches. The women play for the Venus Rosewater Dish, which is a silver salver with mythological decoration. The champion at the end of the tournament receives a three-quarter size replica of their respective trophy, which bears the names of all past winners.
The Sun
29 minutes ago
- The Sun
Jessie J gives health update after breast cancer surgery and reveals why she's stopped taking pain medication
JESSIE J has given fans a health update after her breast cancer surgery, revealing why she's stopped taking pain medication. Singer Jessie, 37, took to her Instagram Story today, sharing how she's feeling 11 days after the operation. 7 She wrote: 'For those asking for a health update. I am 11 days post surgery. I'm good. Missing being an active Mum / human the most. "But it's been nice to slow down and Sky is having a blast with Nanny and Grandad.' She admitted the process hasn't been pain-free, adding, 'It's still uncomfortable / a little painful but I can handle that. I'm doing my exercises and taking all the healthy things. I have been trying to eat super clean. In a surprising move, the Price Tag hitmaker revealed she's stopped taking all painkillers. Jessie - who became a mum last year to son Sky with basketball player Chanan Colman - continued: 'I have stopped all pain meds. Just not my thing. Also like to feel how it feels so I don't overdo it. I have now done a [poo emoji]." "Still have my drain. Anyone else who has had this, did you feel like you are walking around one of those dog / duck toys?' 'I carry mine on the floor when I'm home so the gravity can help the drain. Hoping it's out by the end of the week. Despite the obvious challenges of recovery, Jessie said she's trying to stay in a grateful mindset, saying: 'I am feeling positive and grateful.' She also had a message for anyone who might bump into her out and about. Jessie said: 'If you do see me out, sitting in a park or coming out of a doctor's appointment or eating or walking or anything, and I seem a little out of it. I am. It's not personal. 'I don't have what I usually have to give energy wise, understandably. I will get there. It's a slow road. For now I am taking it easy. Enjoying the slow vibes and staying positive. Lots of love.' Last week, Jessie revealed she doesn't yet know if she's cancer free after her mastectomy. The musician had the operation earlier this week in a bid to beat her breast cancer, and some fans misinterpreted a post that stated: "Cancer has all gone." Jessie said her words had been "misunderstood" and that her statement was a "positive affirmation". She wrote: "I posted a list of pros and cons of having breast cancer surgery. The first pro I put was... the cancer has all gone'. 7 "This was a positive affirmation NOT a fact. I don't have my results yet. I added the [fingers crossed emoji] in thinking people would understand and clearly a lot didn't. "A weird situation," she continued. "My fault for not being clearer. But for now I do not have my results after surgery which was only 6 nights ago. I pray it will be true soon but the journey of cancer isn't that simple unfortunately." Jessie is now taking a break from social media as she continues her recovery. "Tapping off socials for a week," she said. "Healthy and needed reset. To focus on my recovery and saying stuff that gets twisted of misread. "My head and boob hurts. Lol, Bye. Always loveeeee." After her operation, Jessie admitted she was struggling not being able to pick up her two-year-old son, Sky. She then outlined the 'pros' of the procedure, writing: "Cancer is all gone. "My nipple is where it used to be, I can watch Love Island with no guilt. "I am getting to rest and talk to friends more than ever. "My mum lives with us. Sky just being Sky. Chanan making me feel safe and the messages are 10/10. "Connecting with other people who are going through a similar time and being able to support each other." The list was then followed by a "cons" equivalent. "Not being the mum I'm used to being and picking Sky up," she typed. "The fear of not knowing if the cancer is all gone - the mental with this is... "The pain and discomfort is ok and expected but a d******d when I'm trying to sleep." Jessie explained how the only painkillers she was allowed to take were paracetamol and ibuprofen due to having low blood pressure. She did try and clear up her post at the time, warning she hadn't meant for the statement to be read as "fact" and that she is still awaiting her results. The BRIT winner added: "I'm getting a lot of messages. Saying so happy all the cancer has gone. To be clear I added the [fingers crossed] emoji as it's a hope not a fact. "I only had my surgery 4 days ago. I was just saying the pros of surgery and this situation and being positive. But I will get my results soon. "And hopefully I can post that as a fact. But for now I don't know. But I will stay positive and talk what l want into the universe." Earlier this month, Jessie revealed she had been diagnosed with breast cancer. Incredibly, she went ahead and performed at this year's Capital Summertime Ball in London on June 15. Jessie held back tears as she told the crowd at Wembley Stadium that she was taking a break to "beat breast cancer". 7 7 7
The Guardian
29 minutes ago
- The Guardian
Flashlight by Susan Choi review – big, bold and surprising
The millennium is back – not just in fast fashion or TikTok remixes, but in the mood of American fiction. Think peak Chabon and Eugenides; the intellectual gymnastics of Helen DeWitt; the last profane and puckish gasp of Tom Robbins. That brief window – before 9/11, smartphones and the chokehold of autofiction – when the novel felt as playful as it did expansive: bold and baggy as wide-legged jeans. Joyce Carol Oates channelling Marilyn Monroe. Jonathan Franzen snubbing Oprah. You can feel that early-00s energy jostling through a new crop of American novels: Lucas Schaefer's The Slip, Kaveh Akbar's Martyr! and Maggie Shipstead's Great Circle are top-shelf examples. They're big in all kinds of wonderful, infuriating ways: antic, overstuffed and richly peopled. While it's less hyperactive than some of its book-fellows, Susan Choi's Flashlight still has the wide-legged feel of turn-of-the-century fiction: domestically sprawling, geopolitically bold. Stretching from a strawberry farm in Indiana to the North Korean border, Choi's sixth novel reckons with the lies that undo families and underpin empires. Flashlight first appeared in the New Yorker as a short story – a standoff in a psychiatrist's office. The novel opens here too. It is the late 1970s: 10-year-old Louisa has been dragged in for a consultation, and she's not playing nice. She waits out the clock, evading, deflecting; a tight little knot of fury. 'This room is full of tricks to get children to talk, but you're too smart for them,' the doctor flatters her. 'I'm too smart for compliments,' Louisa snaps back. Louisa's father has drowned, and her mother has turned into a strange new invalid. What the girl feels defies grief or sympathy. This isn't mourning, it's mutiny; and it will take more than some avuncular desk jockey to tame her. While the doctor is distracted, she steals an emergency flashlight from his office and smuggles it home – a low-stakes theft with high-voltage meaning. The night Louisa's father disappeared into the water, he was holding a flashlight. Portentous torches will appear throughout these pages (it's not the subtlest of metaphors for a novel about absence and secrecy). There's one at a seance, its battery case loosened to summon some otherworldly flickering. Another at an archaeological dig in Paris. This is a story told in brief illuminations, like a child spinning a torch in a dark bedroom. Slices of light; slices of life. We begin with a flashback to Louisa's parents, meeting them before they meet each other. Her father, Serk, an ethnic Korean raised in Japan, is a child of postwar limbo. Caught between two nations, and claimed by neither, he trades his borderland life for a blank American slate – or so he thinks (America has other ideas). Louisa's father will be known by many names over the course of his life – Hiroshi, Seok, the Crab – but none of them will quite belong to him. Louisa will know him as Serk, an anglicised version of his Korean name. Louisa's mother, Anne, is an obstinate, spiky creature, allergic to expectation. Pregnant at 19, she gives birth to a child she's not permitted to keep, and her adult life shapes itself around her son's absence, like a house built around a locked room. Louisa will inherit her mother's bone-deep stubbornness – twin contrarians. They make an implacable, inscrutable pair, Serk and Anne; secret-keepers to the core, lonely apart and lonelier together ('Anne the odd white woman who had married the foreigner; Serk the odd foreigner who had married a white woman'). When Serk drowns, he leaves behind a silence so complete it swallows the past whole. And so Louisa is left with two absent parents: one right in front of her; the other near mythic. 'The sum of things she knew about her father could fit inside the sum of things she'll never know about him an infinite number of times,' Choi writes. 'The things she knows are as meagre as a pair of backgammon dice rattling in their cup.' Flashlight is a study of absence – absence of narrative, of inheritance, of place, of affection. Who are you, it asks, when there's no story to inherit, no history to claim? How might that void be filled, or inhabited or weaponised? It's a year for canon building, and as the best-of-the-century (so far) lists are tallied, Choi's previous novel, 2019's Trust Exercise, remains firmly on mine. It begins as a high-school drama, libidinous and gossipy, but midway through, Choi triggers a controlled implosion. From the wreckage, another story emerges: one about power, authorship and blame. Truth isn't fixed, Choi shows us here – it's framed. I love this novel's confident chaos, its metafictional brio. Flashlight delivers a comparable jolt – a truth-rattling rupture. We feel it building with a cruel inevitability, and when it arrives, it shifts the novel's moral (and political) terrain. To spoil the reveal would be churlish. The question is whether the novel can withstand the shock. It can – just. Choi is one of contemporary literature's great demolition artists, and her emotional foundations hold. She can build as well as she detonates. Choi gives her cast the room they need to live; to be more than vessels for political wrangling. The opening of Flashlight isn't the only set piece that could stand alone – and tall – as a short story. Sign up to Inside Saturday The only way to get a look behind the scenes of the Saturday magazine. Sign up to get the inside story from our top writers as well as all the must-read articles and columns, delivered to your inbox every weekend. after newsletter promotion Like the best of those early-00s novels, Flashlight is all kinds of big: capacious of intent and scope and language and swagger. Choi confronts a chapter of North Korean history that American fiction has barely touched. But there is something missing. That Y2K brand of irony – glib, evasive, laddish – is gone. Good riddance to it. It's hard to be flippant when you know which way the arc of the universe really bends. Flashlight by Susan Choi is published by Jonathan Cape (£20). To support the Guardian order your copy at Delivery charges may apply.
