
Watch the moment Nadine Coyle misses out on huge £50k Celebrity Catchphrase prize – but would you have got it right?
The Girls Aloud singer took part in the hit ITV show's most recent series, alongside presenter Rick Edwards and EastEnders actor Jake Wood.
4
4
Nadine, 40, made it all the way to the Super Catchphrase in the hope of winning as much money as possible for her chosen charity.
And it had a special place in her heart as it was the Sarah Harding Breast Cancer Appeal, with The Christie Charity.
Nadine grew emotional as she spoke about her late band mate - who died from breast cancer in 2021 aged just 39 - and how the charity had helped her.
But she managed to pull herself together to steam through the Super Catchphrase's first four puzzles.
She even managed to lock in the number 11 catchphrase, which meant she doubled the money Rick and Jake had won during the show.
However, she hit a stumbling block with the fifth, and final catchphrase behind number 15.
It showed a number of cars lined up on a piece of road, which was running along an athletics track before Mr. Chips over took.
The arrow then pointed at Mr. Chips as he crossed the line and won.
Nadine tried to guess a few different options but couldn't get it and ran out of time.
But would you have known it?
All Saints' Mel Blatt struggles with £5k riddle on Celebrity Catchphrase - but could you have got it right?
However, host Stephen Mulhern was quick to tell the singer that she had won a very respectable £25,000 for her charity.
Nadine was delighted, before he then went on to tell her what the catchphrase was for the final one.
He said: "He's beating the traffic."
They didn't dwell on it though, as Stephen the reminded her of the £5,000 she had won earlier in the game, meaning her total was an incredible £30,000 for charity.
4
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


The Guardian
23 minutes ago
- The Guardian
Summer loving: how America fell head over heels for Love Island
On the surface, there wasn't anything particularly different about this season of Love Island USA. It's another hot idiot parade. The villa is the same, overly lit and filled with dumb neon signs, looking like it was exclusively decorated by Target (the contestants are still obliged to call it beautiful as they enter, leaving audiences wondering if they are told by producers to do so). There is the same introduction of personalities that at first seem complex and different, only for everyone to fall into a high school trance once they start vying to be chosen. There is the same suspension of any kind of reality for the most part, in which the contestants rarely discuss the real-world implications of their lives, such as their jobs and living situations. But this summer saw Love Island USA truly take off, breaking ratings records and storming social media (new viewers reportedly made up 39% of the season 7 audience). Peacock, the NBC-owned streamer, boasted that the show was the most talked about TV event of the season with 623m video views on TikTok. Yet in the UK, the original has been struggling, with ratings lows. Perhaps it's down to fatigue, with the show having been around almost twice as long overseas. At the same time the US equivalent has been boosted by an overall rise in interest for live event TV (the past year has also seen awards shows receive an uplift in viewers) and the past weeks have seen Love Island watch parties crop up in bars across the country. But why now? It has all of the same horny plot twists we expect, but this season somehow grew a heart. The antics are still as naughty, but the sexy singles of the villa are honest about what they want (at least until they start coupling up). And what they want is genuine intimacy fueled by emotional vulnerability and availability. People seem to be actually looking for real love, long-term commitment, seeking people with real partner potential, and even discussing having children in a deep way. Add on the complexity of one of the contestants Huda having a daughter, and the fearful way she navigates the topic, and you have people being real for once on a very unreal show. Part of the allure of this season is that gen Z has finally taken the torch of what millennials started (and I say that as a very exhausted millennial). These contestants are fluent in gen Z-speak. They say 'dead ass', 'type shit', 'be so for real', 'hits different', and 'tea' as if no one didn't ever know what those words meant. They are covered in tattoos and piercings, and no one bats an eye. These people grew up with social media, and it shows – and somehow, instead of being entirely off-putting, it's more relatable than the millennials who came before them, who were constantly angling for the camera's attention while overthinking how they were coming off in the public eye. There's an effortlessness of this new young generation who came of age so filmed by their own phone cameras that they don't seem as concerned with the production crew's POV, or even the fact that they're being watched. The ennui and cultural frustration of millennials is eclipsed by gen Z women who don't feel the need to go so high glam with their style, and men who are excited to talk about their feelings. It's a refreshing energy. It all translates into a collective self-awareness that while they could become famous just by being there, and especially by staying on as long as possible, showing any interest in that is off-putting and will get them kicked off and also disowned by the public. This is probably informed by watching online backlash against other reality dating show contestants in the last few years who were exposed for being there just for fame, but also feels like a generational shift. This generation is also far more mental-health aware, and watched as the early seasons of the UK show were tragically plagued by suicide and mental health crises, and it has helped to create islanders who avoid the pitfalls that they can trip into in approaching the game for fame or by being emotionally ugly (getting cliquey, being blatantly disloyal, trying to pull focus, being overtly manipulative). They have become smarter about how they come off on camera by not playing into it at all. Authenticity is king in this generation. No one is pretending to be smarter or hotter than they are. And they don't necessarily seem to be comparing themselves to one another, more just not wanting to feel rejected. It helps that the format of Love Island is almost real-time, with just a 24-48 hour delay from filming to air. It reduces the noxious vibes of over-produced reality TV that everyone at this point knows is anything but real. This season has also seen some controversy with contestants being kicked off. Yulissa Escobar was axed unceremoniously in the first week after an old podcast episode resurfaced in which she had used the N-word. She apologized for the comment on her social media accounts, but also critiqued the online backlash against her as 'cancel culture'. Cierra Ortega left last week with narrator Iain Stirling saying she 'left the villa due to a personal situation', after two social media posts circulated in which she'd used a slur against people of Asian dissent. As opposed to Escobar, Ortega has apologized profusely, with her family even putting out a statement before she returned home about the harm they were afraid the mass, vocal backlash against their daughter could cause to her mental health. As the season comes to a close this weekend, producers were also reportedly upset with OG islander Huda, who is in the finale to potentially win the prize, for posting a TikTok lip-syncing to a Elijah The Boy's Over You, for a portion that includes the N-word. She will apparently not be kicked off ahead of the finale, but was pulled aside by producers and admonished and asked not to cause any more controversy for the brand or herself. The lack of self-awareness certainly has a downside for these gen Z'ers who have lived their youths sometimes regrettably too online. But at the same time, it's part of what stokes viewers. With the rise of shows like The Traitors, also reaching a record audience in the US, it seems people are wanting a return to a messier brand of reality TV. Where does the present-day Love Island obsession come from? Is it just wanting to get away from the crushing reality of the geopolitical climate? There's no longer a layer of disdain for young TV dummies grinding on each other just to get internet famous. Love Island isn't just a guilty pleasure or a hate watch anymore. Now we are rooting for them. We want them to win. We wish we could be them, or be there for them. When they say they're there for 'girls girls and soul connections', we believe them. A day after talking about how the show was a salve for our chaotic times with a friend, I saw a meme of the 2023 Barbenheimer summer box office moment, with an image of Margot Robbie's Barbie looking out over Barbieland next to an image of Cillian Murphy's Oppenheimer looking out over an atomic wasteland with the text overlay 'Watching Love Island while simultaneously watching WWIII start.' It's how we all feel, like a meme of the world wrapped into a person who just wants to live. The biggest appeal of Love Island has always been the quickness with which these people will couple up and catch feelings for each other after mere hours together, and then turn around and transmute that into the same thing with someone new whom they just met. There's something wildly delulu about it, but also kind of how we all want to be loved – for it to be instant. For someone to pick us. For someone not to want to take it too slow. For someone to make us feel easily chosen for the long haul. The bonding exists entirely in this neon, sexed up faux paradise where the pressures of the real world don't exist (what we all wish we could return to). It's a sleepaway camp for adults with the promise of global attention, and the joint potential for a soul mate and a cash prize. Take that original recipe and add in this new gen Z natural charisma and lack of anxiety around being vulnerable, garnish with universal trauma around the state of the world, and you have the perfect storm to lose months of your life watching a single season of this show. Happily ever after for us all.


The Guardian
38 minutes ago
- The Guardian
Artist or activist? For Juliet Stevenson and her husband, Gaza leaves them with no choice
Read any celebrity-signed open letter advocating for social justice over the past few years and you'll probably spot Juliet Stevenson's name. When the veteran actor is not gracing screens or on a stage somewhere, she's out on the streets brandishing a placard or giving speeches about human rights, gender equality and the Palestinian right to self-determination. Just last month, she wrote in the Guardian about the British government's 'complicity' in the Gaza atrocities and what she called an attempt to repress civil liberties by proscribing Palestine Action as a terrorist group. Critics may – and they do – disparage Stevenson as a 'luvvie' engaging in typical performative liberal politics, but spend just a few minutes with the actor and her husband – the anthropologist, film-maker and writer Hugh Brody – and you quickly discover that the roots of their activism run far deeper than that. In fact, the fight for peace and justice in Palestine is something that has defined the couple's relationship for 32 years, particularly because Brody is Jewish and the son of a Holocaust survivor. 'We've both been very concerned with issues around Palestine for a very long time,' Stevenson tells me from her kitchen table in north London, where she's sitting with her husband. 'We were both absolutely horrified by what happened on 7 October. But as the onslaught on Gaza began, and the numbers of dead quickly rose, we became increasingly upset, angry and anxious about it.' 'Israel and Palestine has been a huge issue for me for the entirety of my adult life, and it was inevitably something I brought to the conversation with Juliet when we met,' Brody says. Listening to him as he delves into his family history, it's not difficult to see why. 'My mother, Gertrude Schaefer, was brought up with a sense of enormous tragedy and death, which she passed on to me. She came from an Austro-Polish family in Vienna, and was a part of the city's highly assimilated, sophisticated and cultured Jewish community. Her mother had been a student of Adler, my mother knew the Freuds.' But, after the Anschluss in 1938, when it 'became evident that it was very dangerous to be a Jew under the German occupation', Gertrude – a mere 18-year-old at the time – fled Austria for the UK with the help of some Quakers. 'She was transferred to Sheffield to work at the hospitals as a junior nurse.' Brody's grandmother eventually managed to join her daughter and her daughter's new husband (a Jewish doctor) in Sheffield. 'But by the end of the war, she discovered that almost everybody else in her family was dead.' All of this contributes towards the couple's commitment to the Palestinian cause. Stevenson and Brody have never given an interview together, but the escalating crisis in the Middle East has compelled them to move beyond artistic power couple and into the far more risky territory of campaigning. The couple are confident that Gertrude would have entirely supported their stance. 'She was a woman with a very strong sense of social justice,' Brody says. 'She was appalled by what she saw in Palestine in the last years of her life.' Stevenson talks of how much she adored her mother-in-law, whom she calls an 'absolutely brilliant' woman. 'She could have done anything, but her whole life was marked by the Holocaust. I know that she would be absolutely horrified by what's gone on in the last 21 months in Gaza, as have many of our Jewish friends. There have been some very difficult conversations around this kitchen table.' Stevenson and Brody met at a mutual friend's dinner party in 1993. She is unbelievably glad that she didn't give in to her impulse to cancel that night, she says. 'By that point I'd had to play a lot of characters in Shakespeare who fell in love at first sight, and I always thought it was ridiculous. But when I walked into the room and met Hugh, something really weird happened to me. Something shifted in my gut. All evening I sat and listened to his stories and thought: 'You are the most interesting and gorgeous man I've ever met.'' The actor's screen credits include a Bafta-nominated turn as a grieving wife in Anthony Minghella's 1990 film Truly, Madly, Deeply (opposite Alan Rickman), a hapless mother in Bend it Like Beckham, and a nurse in Mona Lisa Smile. On stage, she has been in productions including Measure for Measure, Les Liaisons Dangereuses, and Death and the Maiden – for which she received the Olivier award for best actress. Her calendar remains jam-packed: she recently starred in the Virginia Gilbert film Reawakening, the BBC series Wolf, and Robert Icke's play The Doctor (which was, ironically, about a doctor cancelled for standing up for her principles). But much of what has been occupying her recently is helping to organise a fundraising event with Health Workers 4 Palestine, a grassroots group of medical workers who came together to support colleagues in Gaza. Voices of Solidarity, an evening of music, comedy and spoken word taking place at the Troxy in London on 19 July, is billed as the UK's largest cultural fundraiser for Palestine and aims to raise £1m for medicines and medical equipment. Stevenson will also be doing a reading on the night, alongside a lineup that includes Bassem Youssef, Paloma Faith, Khalid Abdalla and Alexei Sayle. She says it is more important than ever for those with a platform to speak for the voiceless. Both she and Brody believe 'a fear of being branded as antisemitic' is a big factor in many people's silence. 'In my industry, every institution, every arts organisation who could and should be standing up is too frightened, because of the risk of losing money and sponsorship,' she says. 'It kind of makes you crazy, because you think: have you not seen the footage of Israelis in Israel sitting in the streets holding pictures of dead Palestinian children and saying, 'not in our name'? Have you not seen the hundreds of rabbis sitting down in Grand Central station in New York and saying, 'not in our name'? Have you not seen the Jewish bloc at the protests on Saturdays in London streets saying, 'not in our name'?' 'This equation of anti-Zionism and antisemitism has been a very difficult thing for me and many others,' Brody says. 'It's an absurdity and an ideological trap. It lays the foundation for a whole new kind of antisemitism. My view of Israel evolves, my relationship to Zionism changes, but my Jewishness hasn't changed. That's fixed.' The evolution Brody is talking about has taken place over the course of several decades, and was recorded in his 2022 book, Landscapes of Silence. He speaks at length about the months he spent as a 19-year-old living in a socialist kibbutz on the border of Israel and Gaza, and the 'extraordinary egalitarianism' that filled him with hope and excitement. 'As someone brought up in the shadow of the Holocaust, Israel represented to me, and to my family, a place of safety in a world that was deeply and chronically unsafe,' he says. But the events of the subsequent years seeded a dichotomy within him. With each conflict, he says, he was torn between a deep need for Israel and growing outrage over the actions of the Israeli state. 'It became a question in my mind: what has happened here? Whatever bit of idealism might have been there faded away.' Then came the horrifying events of 7 October and the Netanyahu government's subsequent war on Gaza. 'That war has grown into a genocide,' he says, 'and a point comes where the silence must be broken. The crimes have to be challenged. If we care for the safety and survival of Israel, all the more reason to protest as loudly as possible against its current regime.' The international court of justice is weighing the charge of genocide against Israel. According to the Gaza health ministry, more than 57,000 Palestinians have been killed by Israel's campaign in Gaza (a robust independent survey recently put the count at almost 84,000). The war was triggered in October 2023 when Hamas's attack killed 1,200 Israelis and took more than 250 hostage. Stevenson's anger extends to the UK government's 'moral bankruptcy' and what she describes as the mainstream media's 'shameful' coverage of the situation in Gaza. She mentions the selling of arms to Israel, the proscription of Palestine Action, attempts to ban Kneecap from Glastonbury, and the uproar over Bob Vylan's set. 'That weekend when Bob Vylan was on the front of every newspaper and the subject of every talkshow, something like 90 starving Palestinians were shot dead in Gaza while queueing for food. Nobody covered that at all,' she says. Stevenson and Brody have two children together – a son and a daughter – but Brody's first son from a previous relationship, Tomo, died suddenly in 2020 at the age of 37. The tragedy has given the couple first-hand experience of the grief that surrounds the loss of a child. I ask the actor what she thinks the connection is between art and activism, whether it's the case that both require you to communicate the entirety of the human experience, including its unbearable tragedies. 'I've been negotiating that myself,' she says. 'I've talked to Hugh so much about how exactly I can help. I always try to bring the human story to crowds, to appeal to the Jo Cox principle, that we have more in common than that which divides us.' 'Can I say something about the connection between Juliet's art and Juliet's activism?' Brody says. 'There are some words that come to mind to describe Juliet's qualities on stage and on screen. Words like clarity, integrity and seeking truth in the text. She is transcendently wonderful on stage because of these characteristics, but they are inseparable from her commitment to speaking truth.' At this point Stevenson tears up and begins rubbing her husband's back. 'That's making me cry,' she says. 'I'm not being soppy, but I find this concealing or manipulation of the truth unbearable. People's babies are being shot, children are being buried under rubble. Unspeakable trauma is being inflicted on children and parents.' Does she ever fear the repercussions of her activism on her career? Actors such as Melissa Barrera and Susan Sarandon were dropped by Hollywood companies for their comments on Israel and Palestine. 'I do, as do my kids. But I just don't feel like I've got a choice. Does my career really matter, alongside what's going on in Gaza? 'I look at younger actors, and I completely understand why they feel too frightened to speak. They have everything to lose. But I enjoy a lot of status in the industry. I've done a huge amount of work and I continue to work. What really matters to me is that when I get to the end, I can look back and know that I did what I thought was right at the time.' This article was amended on 13 July 2025. An earlier version said that the character Nina in Truly, Madly, Deeply was a cellist. In fact, her husband Jamie was the cellist.


The Guardian
an hour ago
- The Guardian
Jannik Sinner wins first Wimbledon title with four-set victory over Carlos Alcaraz
Update: Date: 2025-07-13T19:05:29.000Z Title: Otherwise, though, Tumaini Carayol's report is with us: Content: After suffering a heartbreaking defeat to Carlos Alcaraz in the French Open final, Jannik Sinner rebounds to beat him in the Wimbledon final, taking the title by three sets to one Daniel Harris Sun 13 Jul 2025 20.59 CEST First published on Sun 13 Jul 2025 15.30 CEST 8.59pm CEST 20:59 So all that remains is for me to wish you all peace and love. Peace and love! 8.57pm CEST 20:57 Before we say goodbye, though, look at what we're bringing you this evening! 8.56pm CEST 20:56 So that's Wimbledon done for another year and, as every year, what a year it's been, with upsets, epics and fun all over the show. If anyone's any idea what we can do tomorrow, let me know – OK, I don't mean that, we've got the Test to comfort us and assuage our grief – but otherwise we're almost done here. Updated at 9.05pm CEST 8.53pm CEST 20:53 Sinner poses for photos, enjoying the moment – though I wonder if relief is the predominant emotion. Either way, his victory is what the game needed – as Andy Roddick noted of his matches against Roger Federer, a rivalry is only a rivalry if both players win titles. I can't wait to see where this goes next, as both men contemplate how to improve themselves and how to pick apart the other. 8.48pm CEST 20:48 Sinner, the first Italian to win Wimbledon, begins with Alcaraz, praising an amazing tournament 'and for the player you are'. He too kvels in the joy of their friendship, adding that he'll win more of these and already has two. 'It's so special,' he says, seeing his parents, his brother and his team, adding that his brother is only in attendance because there's no F1 race this weekend. Asked about what he's put himself through to win this trophy, his admits that emotionally, it's been a lot, following his tough loss in Paris, but ultimately it doesn't matter how you win or lose, you have to accept the result and work out what you did wrong. He and his team did that, which is one of the reasons he's now holding the trophy. He's grateful that he's heatlhy and has great people around him. Otherwise, he says he served out the last game very well having survived tough moments in his previous service game, and he's very happy he held his nerve. Then, asked about the champagne cork that landed near him, he laughs that only at Wimbledon could that happen, which is why we all love it. Back in the days when he was young, he never thought he could get to this moment, 'the dream of the dream' – that's a lovely turn of phrase – and in conclusion, he again thanks his team and everyone who came out for this special occasion. They give him so any emotions and he keeps pushing, trying to become a better tennis player but mostly a better person.' Finally, he thanks the ball kids and the fans, then off he goes, the new Wimbledon champion. He and Alcara are very different characters and players, opposites in many way, and yet it's impossible not to love them both, united by the rare and inspiring quality of their absolute menschlichkeit. 8.40pm CEST 20:40 'It's hard to lose,' says Alcaraz, experiencing the aching desolation for the first time in a major final. So he congratulates Sinner with a huge smile, saying his opponent and team deserve it. He's happy for him, tells him to keep it going, and he's happy to build a great relationship off the court as well as on it, that pushes him to improve every day. Otherwise, he's really proud of everything he's doing. At the start of the season he struggled on the court but suddenly he rediscovered himself and the happiness he has on the court, thanking his family and pledging to 'keep bringing joy.' He loves playing at Wimbledon, he loves the 'insane' atmosphere, and he'll be back. Finally, he thanks the King of Spain for coming to support him, and off he goes. 8.35pm CEST 20:35 Alcaraz comes to collect his runners-up trophy, raising it to cheers from the crowd. He wins well, and he also loses well – his parents must be so proud of the boy they've raised. And now it's Sinner's go – he receives the trophy from Kate and of the seven billion people in the world, he ranks no 1 for current happiness. 8.32pm CEST 20:32 Alcaraz played poorly today, but I'm sure he'll acknowledge he was also out-played and out-thought. Sinner gave him less of what he wanted, taking away much of what he does best, and he couldn't work out how to combat him. Now it's the Spaniard's turn to re-evaluate and find a tweak; I can't wait to see what he comes back with. 8.29pm CEST 20:29 Sinner slumps on to his haunches, slapping the grass to let out all the pain and frustration that's lived with him every day since Paris. Now, it is part of the richness of his life – without that, would he have this? He races up to his box, sharing moments with his family and team – they'll have been with him through the suffering, will have sacrificed in the hope that one day, they might enjoy exactly what they're enjoying now. Sinner now knows he can win on grass, against Alcaraz; Alcaraz now knows he can lose finals, to Sinner; we've always known these two were going to give us many, many days like this. 8.25pm CEST 20:25 So far, this match has been a triumph for Sinner's mentality, strategy and execution; can he hold it down? Alcaraz shanks a forehand wide for 15-0, then big serve facilitates a backhand winner for 30-o; the world no 1 is two points away. He seizes the first with two terrific volleys in succession, Alcaraz sprinting and sliding in desperation, and Sinner has three match points; he's been here before! We've all been here before! Can he land a first serve? He cannot, and when he nets a backhand, he'll be feeling the weight of the desolation, past and future. But what counts is the moment; can he stay in it? YOU BET HE CAN! AN ACE DOWN THE T AND JANNIK SINNER WINS WIMBLEDON FOR THE FIRST TIME! WHAT A PERFORMANCE, AND WHAT A MOMENT AFTER EVERYTHING THAT HAPPENED IN PARIS! A beautiful affirming moment after who knows how many long nights of the soul! Sport! Updated at 8.43pm CEST 8.21pm CEST 20:21 Sinner 4-6 6-4 6-4 5-4 Alcaraz* Sinner won't want the pressure of serving for the championship if he can avoid it, and a gigantic forehand earns him 15-all, but another falls long; 30-15. But a battery of ferocious forehands takes him two points away from inexplicable, indescribable ecstasy at 30-all … then Alcaraz serves out his hold, noising up the crowd as he seeks to get himself in the frame of mind he needs to save himself with a break. The players sit down and Sinner has a few second to pretend the enormity of the situation is a lie. Good luck with that, old mate. 8.17pm CEST 20:17 *Sinner 4-6 6-4 6-4 5-3 Alcaraz Alcaraz has two more chances to save himself and his dream of joining Bjorn Borg, Pete Sampras, Roger Federer and Novak Djokovic as men who've won Wimbledon three times in a row. He'll know he may never get another go at this, or at least anyone normal would; on reflection, there's a pretty good chance he doesn't. Anyroad up, he makes 0-15 then, at 15-all,Sinner frames a forehand; in front of his eyes pass the words ROLAND GARROS, his world swimming just a touch. And when he goes long again, this time on the backhand, Alcaraz has two break-back points, suddenly back in the match, and I've no idea how Sinner can even raise his arms, the most desperate match of his life threatening to reincarnate. But a well-directed second serve, kicking out wide, surprises the champ, who can't control his return – the clarity of Sinner's thinking under pressure is perhaps the key difference in this final – and when Alcaraz strays long, we move to deuce. Was that his chance? Perhaps! Sinner steps inside the line, unloading the suitcase on a backhand that forces a long riposte, and a second serve down the T, high-kicking and just about unreturnable, ends a fantstic game. Sinner is an absolute brute, and he's a game away from the win of his life redeeming the loss of his life; what a life! Updated at 8.23pm CEST 8.10pm CEST 20:10 Sinner 4-6 6-4 6-4 4-3 Alcaraz* Sinner may be over what happened in Paris, but it seems unlikely it's on all of our minds, but totally absent from his. Nevertheless he's playing with such confidence now, like he knows he's going to win and, in the process, steal from us our five-set thriller; how dare he. And at 30-all on the Alcaraz serve, he's trying to get it done quickly, only to net a forehand when well in the rally; a beautiful serve-volley point from the champ secures the game, the crowd increasingly febrile. What is at stake is at stake, and for Sinner to win, he'll have to reconcile that fact with his sense of self: he should win, but he might lose. 8.06pm CEST 20:06 *Sinner 4-6 6-4 6-4 4-2 Alcaraz Sinner won't be thinking about much more than the next point, but if he could win here, he'd change the complexion of men's tennis and his career; currently, Alcaraz is 5-0 from finals, and until he loses one, no one will fully believe it to be possible. Shonuff, he makes 0-15 … only to wham a forehand into the tape after unleashing a decent return, a costly and unnecessary error in the circumstances that evidences the champ's state of mind and game. An ace follows, then a cunning body-serve on second delivery – at the moment, almost every decision he's making is the right decision – but he soon drops long on the backhand, then serves long, upping the tension … then, at 40-30, he sticks a forehand into the tape … and the ball clambers over and drops like a stone! Alcraaz feels the world is against him, and he's running out of opportunities to remind it who he is. Updated at 8.06pm CEST 8.00pm CEST 20:00 Sinner 4-6 6-4 6-4 3-2 Alcaraz* No one enjoys a tennis match more than Alcaraz, his game suffused with compelling, affirming, contagious joy. But he's not enjoying his performance today, apparently mystified by his inability to execute as he usually does. For that, though, he can only blame his opponent – Sinner has grown as the match has deepened, two terrific points turning 40-0 into 40-30; the champ can't work out what's going wrong, nor can he do the basics to his usual standard. A netted backhand underlines the problem, and at deuce momentum feels inexorable, regardless of who takes this game. And it's Sinner who's the protagonist in the next rally, hammering a forehand marginally long; from there, Alcaraz secures his hold, but he's having to fight for everything while the game is coming easily to the world no 1. But as long as he's only one break down, he's still in the match. 7.55pm CEST 19:55 *Sinner 4-6 6-4 6-4 3-1 Alcaraz Sinner, though, is under no illusions – Rasputaraz can come back from any position, and no one knows it better and more agonisingly than he does. But he's flying here, you so confident in his movements, thinking with clarity and executing with bravery, conviction and purpose. He consolidates his break for 3-1 … which means any subsequent loss wold sting even harder. The stakes area stratospheric, how will our players respond? 7.51pm CEST 19:51 Sinner 4-6 6-4 6-4 2-1 Alcaraz* At 15-0, a double invites Sinner into the game while, in comms, they lament the disappearnace of his slice backhand, all the more so given how well it worked for Dimitrov when he played Sinner, the low bounce denying him the height he needs to unleash. And an error hands over 15-30, Alcaraz restoring parity with a booming forehand … but then the ball bounces up when he's forced to play with too much elevation, Sinner annihilating a backhand winner for break point and, offered a go at a second serve … HE CARESSES A GORGEOUS BACKHAND RETURN DOWN THE LINE! Jannik Sinner is out-thinking the champ here, denying him what he does well, and he's four holds away from the title! Updated at 8.02pm CEST 7.47pm CEST 19:47 *Sinner 4-6 6-4 6-4 1-1 Alcaraz Sinner quickly makes 30-0, and from there he holds to love. He's serving and hitting with authority now, executing his skills are planned; Alcaraz is still searching, the match not going as he planned. A third consecutive title feels a way away. 7.44pm CEST 19:44 Sinner 4-6 6-4 6-4 0-1 Alcaraz* How many more of these matches are we going to see over the next decade? We're trying to live in the moment, but in acknowledging the beauty of it, we're necessarily forced to consider its lasting significance, enjoyment uplifted by anticipation. At 15-all, Alcaraz outlasts Sinner from the back, moving him about as we discussed at the start but as has perhaps been forgetten in the maelstrom of the match – the champ has played as he likes, more than as is prudent. He secures his hold, and might it be that, down in the match, he is now dialled-in in a way he hasn't yet been today? Updated at 7.45pm CEST 7.41pm CEST 19:41 *Sinner 4-6 6-4 6-4 Alcaraz At 15-all, a double ratchets the tension up several more levels; an ace tamps it down a little. Another fine point – big serve, wide forehand, overhead – makes 40-15 and two set points, Sinner's even ultraer-aggressive approach paying dividends … and he closes out the set with a service winner! He's a set away from redeeming his French Open heart-devastation with Wimbledon glory! Updated at 7.55pm CEST 7.38pm CEST 19:38 Sinner 4-6 6-4 5-4 Alcaraz* An ace at 0-15 levels the game, but a return on to the baseline forces Alcaraz to balloon his riposte long; naturally, an ace restores parity at 30-all. But a fantastic return, backhand down the line, allows the clean-up backhand at net, and Sinner has break point; these are the days of his life … and he makes them his, nailing a return on second serve, then finishing into the space as Alcaraz drops his response short. Sinner has the break and after a little sit-down will serve for the third set! Sat in his seat, Alacraz chunters to himself – he's not playing well here. Welcome to under the pump, population You. 7.33pm CEST 19:33 *Sinner 4-6 6-4 4-4 Alcaraz Not if Sinner keeps playing points like this, directing Alcaraz about the court and this time dispatching his overhead. And though a netted backhand levels the game, Alcaraz then picks a drop with the point at his mercy, allowing sinner to clobber a forehand on to the outermost fibre of the sideline; sometimes, you can have too many options. And Alcaraz quickly forgets his oversight, a drop-lob combo-move making 30-all, and now he has a look at a second serve … for the all the good it does him, a swinger out wide leaping off the grass for an ace. This might be the aspect of the game that's improved most in the last year or two, and to underline the point, another ace, this time achieved in the more accustomed first-delivery manner, secures a vital hold. We're at the business end of set three, the tension near-sickening. 7.26pm CEST 19:26 Sinner 4-6 6-4 3-4 Alcaraz* Up 30-0, Alcaraz lands a serve on to the line and Sinner can't get it back; an ace curled on to the T follows, and that was exactly the kind of the hold the champ needed; can he convert the good vibes into the kind of streak that'll give him a breaking opportunity? 7.24pm CEST 19:24 *Sinner 4-6 6-4 3-3 Alcaraz After another partly-forced error gives Alcaraz 15-all, an ace restores Sinner's advantage … but he then bangs a forehand wide, upping the tension at 30-all. Then, at 40-30, the Italian finds himself caught at net after picking Alcaraz's side with a putaway; he responds with a tweener, up goes the lob … and he clouts his overhead unnecessarily hard and wide. That, mates, is pressure, doing too much to make sure … so Sinner gathers and, I short order, closes out his hold. The standard remains variable, the intensity stratospheric. 7.19pm CEST 19:19 Sinner 4-6 6-4 2-3 Alcaraz* A longer rally to open the game, Sinner netting a forehand for 0-15. But a drop into the net suggests Alcaraz is struggling for clarity as he sometimes he does; a forehand that falls wide for 30-all does too. Chance for Sinner, who then gets great depth on return … only to go long from the back when well in the rally. That's a missed opportunity, though it's worth noting that the athleticism and presence of Alcaraz on the other side of the net can make what, against anyone else, would be an unforced error, into one that's partially forced. From there, the champ closes out, and it feels like the next few games will decide this match. If Sinner takes the set, he's favourite; if Alcaraz does, you'd not bet on him losing two on the spin with the title at stake. 7.13pm CEST 19:13 *Sinner 4-6 6-4 2-2 Alcaraz An unreturned serve makes 15-0 and Sinner shakes racket at his box – he believes he can do this, and knows how important this set is. From there, he closes out a love hold, removing the pressure from himself and placing it upon Alcaraz in little more than a minute. 7.10pm CEST 19:10 Sinner 4-6 6-4 1-2 Alcaraz* A forehand cross, hit flat and wide, again turns Alcaraz's strength against him – he wants to be hitting his own forehand from the middle, not from out in the stands. But though the champ soon makes 30-15, a backhand drops long for 30-all, and this feels like Sinner's chance: he needs to cash in when in the ascendancy. But in this game, he cannot, Alcaraz securing his hold, and this match continues to stutter, of far lower standard than the final in Paris. But fear not, friends – we've time. 7.06pm CEST 19:06 *Sinner 4-6 6-4 1-1 Alcaraz If Alcaraz wins this set, you'll fancy him to close it out; if Sinner does, you still might, which would make no difference to anything save for the fact the players will probably understand things in the same way. My sense is that it's Sinner currently playing the better tennis, and he secures an impressive hold to 15, sealed with an ace then a terrifying forehand winner. 7.02pm CEST 19:02 Sinner 4-6 6-4 0-1 Alcaraz* Unusually for players this insanely driven and talented, we're not getting periods of one in the ascendancy, we're getting points. Which makes it so difficult to predict what's going to happen next, but why would we even want to when we can just enjoy? Meantime, Alcaraz – who, let's not forget was broken in the first game of set two, perhaps losing focus after the relief of winning it – finds himself down 0-30, and he'll be fearing a repeat performance. All the more so when, at 15-30, he sends down a tame double … then saves break point no 1 with an ace down the T … and no 2 when a Sinner forehand goes long; the Italian will be disappointed he didn't make more of the second serve offered him. From there, Alcaraz serves out the game, putting an exclamation mark on things with an ace; can he parlay his opponent's disappointment into something more tangible? Updated at 7.03pm CEST 6.56pm CEST 18:56 *Sinner 4-6 6-4 Alcaraz This is a proper test of nerve for Sinner, and we can be sure Alcaraz will look to exploit that by making him play. But just as it looks like the first point of the game is his, a backhand down the line forcing Sinner to stretch eveything just to get the ball back, the follow-up drop, when a whack into space would do,and allows the Italian to charge in and flick back a winner; fantastic behaviour. And though we're soon at 15-all, Sinner goes wide on the second serve then finds the thump he needs to force it home, and when Alcaraz turns up the volume with a forehand to the corner, Sinner responds with an absolute humdinger, cleansed hard and flat down the line! That is wondrous, but on 40-15 he's sent nashing off to the sideline … only to conjure a table-tennis winner cross-court to break the sideline! That is absolutely absurd conduct from Sinner; he didn't take that set, he seized it. Updated at 7.07pm CEST 6.49pm CEST 18:49 Sinner 4-6 5-4 Alcaraz* A high-kicker out wide … and ace. Alcaraz has so much variety on serve, so much that so another of the same genre, but on second delivery, also leaps away from Sinner for an ace. And though, at 40-0, a drop can't quite clamber over the tape, another ace, sent jumping out wide, forces the Italian to serve for the set. If he can manage it, he's in business; if he cannot, you'll fear for him. 6.46pm CEST 18:46 *Sinner 4-6 5-3 Alcaraz A love hold for Sinner, and he's a game away from the second set. 6.43pm CEST 18:43 Sinner 4-6 4-3 Alcaraz* Alcaraz is holding the easier now, but at 40-0 a poor drop allows Sinner in to feed a backhand pass into the corner. And when another ball catches the line expectedly, he forces the error for 40-30 and a double brings us to deuce. If this is Alcaraz losing concentration, as sometimes he does, this is Sinner's cue to jump on him, and when a double donates advantage he has a chance to near-enough secure the second set … only to net a backhand return when handed a second serve. And from there, an ace and a service winner box off the game; if the Italian wants to level the match, he'll have to do it himself, parity won't be presented to him. Updated at 6.44pm CEST 6.37pm CEST 18:37 *Sinner 4-6 4-2 Alcaraz A drop into the net hands Sinner 15-0, but at 15-all he runs around his backhand only to drop long. He does, though, soon make 30-all, a service winner raises game point, and a felicitous net cord turns a poor shot into a winner. The apology is moving in its sincerity. 'Since you're asking,' says Richard Hirst, '1969, a free concert in Parliament Hill Fields, with Soft Machine, Procul Harum, Yes (before even their first album) and others. Also the summer I went to Wimbledon (note the impressive linking) for the one and only time: Centre Court to see Pancho Gonzalez against Charlie Pasarell in what was at the time the longest match at Wimbledon.' My school sports day was there, the teachers grassed me to my parents for enjoying a Dunhill International in the bushes. 6.32pm CEST 18:32 Sinner 4-6 3-2 Alcaraz* Words we've not required for a while: a love hold. Alcaraz isn't playing especially well, but if the match is a longun, you get the sense he will at some point and in the meantime, he leads. 6.30pm CEST 18:30 *Sinner 4-6 3-1 Alcaraz There were signs of improvement but for now, it remains the case that neither man is at it, Sinner dominating a point before netting his putaway for 30-all; pressure. Alcaraz, though, relieves it for him by hitting long … but Sinner then butchers a forehand with the point all but won and ewe move to deuce. A break-back here would mean more than itself, the champ reminding the challenger that he can take him when not at his best, but Sinner makes advantage, after which a pause; 'Please do not pop a champagne cork just as the players are preparing to serve,' intones the umpire as one lands on the court; it reminds me of the time I asked a friend 'please don't be sick on my computer' in terms of things you never think you'll have to say. Anyway, though Alcaraz restores deuce, from there Sinner's serve takes over, and he remains in command of set two. 6.20pm CEST 18:20 Sinner 4-6 2-1 Alcaraz* So far, this match is more about unforced errors than brilliant shots; both players are some way off their best. Which is the time Sinner, as the man whose brilliant best is slightly less brilliant, needs to take advantage … and he makes 0-30, only to then lose a net exchange and botch a pass; 30-all. From there, Alcaraz holds courtesy of two gigantic serves, doing enough to stay in touch in the set. 6.16pm CEST 18:16 *Sinner 4-6 2-0 Alcaraz Have a look! At 15-all, Alcaraz breaks the wrists on a backhand as Sinner comes in, spiriting a winner cross-court; slowly, we might be hitting levels. As I type, though, at 30-all Sinner tries a wrong-footing backhand with plenty of space to hit, but looking for precision, he strays wide and must now face break-back point; he saves it via service winner and closes out from there, punching the air in celebration. He knows how important that was, for his state of mind as much as for the score. Updated at 6.19pm CEST 6.12pm CEST 18:12 Sinner 4-6 1-0 Alcaraz* Sinner will be feeling very, very poorly, his gizzard leaping and stomping through his throat. But he quickly makes 0-30, an error from Alcaraz hands him 0-40, and these are crucial moments coming up – if Sinner can't break, the hit to his confidence will feel immense, the champ allowing him a start then upping it beyond his reach when it becomes a problem. And Alcaraz saves the first, then the second when Sinner again slips in pursuit of a drop. But the Italian then goes after a 140mph serve, delivering a far better return than seemed possible and, into the rally, his opponent falters first, looping a forehand long. My days, Sinner needed that. Updated at 6.39pm CEST 6.08pm CEST 18:08 *Sinner 4-6 Alcaraz Between games, we're encouraged to turn the sound up and just listen to purity of the ball-striking; it's a gorgeous, hollow, percussive zing-thump. But Sinner then overhits a backhand … only for Alcaraz to do likewise, just. Right decision, imperfect execution. A service winner follows, making 30-15, but then coming in for a simple +1, Sinner hesitates, perhaps not expecting the ball to come back, and he loops a terrible effort long; the champ is two points away from the first set. And when Sinner slips trying to push off in search of a beautifully-disguised drop, the ball is tapped into the space and, at 30-40, he's set-point down. Can he respond? Er, just about, a body second-serve cramping Alcaraz, who nets a ball you nevertheless expect him to make; to deuce we go ... whereupon a double donates advantage, the challenger faltering at the crucial moment. But he plays a fantastic next point, dominating from the back, and though Alcaraz switches momentum with a forehand hooked to the corner, the response, down the line into the space, is decisive … NO IT IS NOT! Somehow, the ludicrous magician stretches, hangs out a racket, and controls what I suppose we must call a drop, zonimg over the net to secure the first set in a moment of magic so symbolic it feels made up. Alcaraz holds a hand to his ear, the crowd go wild, and it'll take something to come back from that. How is he even real? Updated at 6.15pm CEST 5.58pm CEST 17:58 Sinner 4-5 Alcaraz* Sinner marches in to dispatch a forehand winner for 15-all; again, he is not waiting to be asked, and the first double of the match ups the tension. But down 15-30, Alcaraz finds a service winner, nails his next delivery out wide then cleans up at net, and an ace seals a crucial hold. Again, Alcaraz does what he needs when he really needs to do it, and if he can get a few returns in or a look at a second delivery or two, he'll put Sinner under some pressure as he serves to stay in the set. 5.54pm CEST 17:54 *Sinner 4-4 Alcaraz Alcaraz is struggling to make an impression on return, Sinner's targeting of his forehand taking the backhand slice – which sets up so many of his best plays – out of the equation. At 15-0, a drop is followed by a gorgeous volley which levels the game, then we have the kind of rally of which we've not yet seen much but expect to see plenty, thrashing from the back until Sinner errs with the 18th stroke of the exchange; at 15-30, the chance has a sniff and when a backhand drops long, he has two chances to break back. And he only needs one, Sinner slapping a backhand into the net, and he'll be really disappointed with how easily he ceded the advantage. Updated at 6.36pm CEST