Judge Scolds Diddy for ‘Nodding Vigorously' to the Jury, Threatens to Remove Him From Courtroom
Sean 'Diddy' Combs was put on warning during his sex trafficking trial, as the judge overseeing the courtroom scolded him for making facial expressions at the jurors.
'I was very clear there should be no facial expressions to the jury, and I could not have been clearer,' Judge Arun Subramanian told Combs' attorneys during the lunch break on Thursday. 'There was a line of questioning where your client was nodding vigorously and looking at the jury,' he said, adding that it was 'absolutely unacceptable.'
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'There should be no efforts to have any interactions with this jury,' said Subramanian, asking Combs' attorney Marc Agnifilo if it would happen again. 'No, your honor, it's not going to happen again,' Agnifilo replied.
The judge said if Combs could not comply with his order, 'I will give an instruction to the jury or it could result in the exclusion of your client from the courtroom.'
Combs has often appeared stoic during the court proceedings, but there have been certain testimonies (including that of his former assistant George Kaplan) during which he has peered over at the jurors and nodded. Combs also tends to look at the members of the public and press seated behind him, often giving a gesture of gratitude to those in the friends and family section.
On Thursday, the court heard testimony from Bryana Bongolan, a woman who claims Combs held her over a 17th-floor balcony, and a former romantic partner of Combs' who is using the pseudonym 'Jane.'
Combs is charged with sex trafficking and racketeering. If he's convicted, he could spend the rest of his life behind bars.
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Cosmopolitan
26 minutes ago
- Cosmopolitan
What did Nick tell Paul in episode 3 of Ginny & Georgia season 3?
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Business Insider
an hour ago
- Business Insider
How each Diddy victim testified and how it could sway the trial's outcome
At his ongoing trial, Sean Combs has been accused of physical or sexual violence by seven women. His lawyers call them bitter opportunists. Prosecutors call them victims of Combs' criminal racket. Here's what each of these seven women told the jury, and why it matters legally. Over the past month, seven women have taken the stand at the Manhattan trial of rap mogul Sean "Diddy" Combs to tell chilling personal stories of physical and sexual violence. Two are Combs' ex-girlfriends, three are his former employees, and two were on the periphery of his multimillion-dollar media, entertainment, and lifestyle empire. Defense lawyers call them jealous, or bitter, or greedy. They say all seven women were with Combs by choice and are now out for what one attorney termed "a 'Me Too' money grab." Prosecutors call them victims and say their stories are the heart of the trial. Here's how the testimony of these seven accusers has turned the tables on Combs, building a case for federal racketeering and sex trafficking charges that could imprison him for anywhere from 15 years to life. Cassie Ventura, his first sex-trafficking accuser R&B singer Cassie Ventura was celebrating her 21st birthday in Las Vegas when Combs, who had signed her to his Bad Boy Records label the year before, surprised her with the kiss that started their relationship. She told the jury that hundreds of times over the next decade, from 2008 until 2018, Combs forced her to meet him at luxury hotels, to dress up in wigs, heels, and lingerie, to take handfuls of drugs, and to have sex with male escorts as Combs filmed and masturbated to the dayslong performances. "I want you to be glistening," she said Combs would tell her as he watched, ordering Ventura and sex workers with names like "Jewels" and "The Punisher" to apply ever more baby oil. These so-called "freak off" performances were first revealed in Ventura's quickly settled 2023 lawsuit. (Combs paid Ventura $20 million.) Ventura's allegations have since been corroborated at trial by freak off videos she'd saved over the years, by hotel records, and by testimony from eye-witnesses, including sex workers. One exotic dancer told jurors he witnessed Combs beating Ventura twice during freak offs in Manhattan between 2012 and 2014. "Bitch, when I tell you to come here, come now, not later," the dancer recalled Combs saying during one of more than a dozen beatings recounted at trial by witnesses and Ventura herself. Proof of sex trafficking Prosecutors say Ventura was sex-trafficked, meaning coerced into crossing state lines to participate in commercial sex acts (commercial because they involved paid sex workers). They say the violent, 2016 InterContinental hotel hallway video is unavoidable proof that she was sex-trafficked by force. They will likely argue that other evidence, including her unprofitable record deal and Combs' threats to publicize her freak-off tapes, proves she was sex-trafficked by means of fraud and coercion as well. They will likely also argue that from Ventura's vantage point at the center of the Combs empire, she also witnessed multiple crimes that support the racketeering charge. These include not just sex trafficking, but narcotics sales, forced labor (she was never compensated for her mixtape, a producer testified), extortion (she says Combs threatened to release freak off videos) and kidnapping (she says that when she was 22, he forced her to stay at an LA hotel until the bruises on her battered face healed enough to be hidden by makeup.) The defense has challenged Ventura's credibility by pointing to her lawsuit windfall, to the many times she left the Combs relationship only to freely return, and to the years of texts and emails in which she expresses her love of Combs and the freak offs. But Ventura described being trapped in a cycle of drug addiction, financial and emotional dependency, and fear. And yes, also love. "I would do absolutely anything for him," she told the jury, explaining why she agreed to the first freak off at age 22. "And it never stopped, our whole relationship." "Jane," his second sex-trafficking accuser "Jane," a recent ex-girlfriend of Combs, testified that on their first date at a Miami hotel in 2010, she fell "pretty head-over-heels for Sean." The date lasted five days, she told the jury. Over the next four months, she said, Combs slowly introduced her to his sexual preferences. He loved baby oil and drugs that kept them up day and night. He loved it when she dressed in lingerie and "high stripper heels." He'd play pornography and tell her to fantasize about the men on screen. "Do you like what you see there?" she said he'd ask her of these men. "Do you want that?" Then one night in 2021 at his Miami mansion, as the pornography rolled, he told her, "I can make this fantasy a reality if you'd like that." She loved him, she explained, and agreeing made him so happy. So she said yes. Jane said she soon realized she'd opened up "Pandora's box." Gone were the romantic trips and dinner dates of their first four months. Combs wanted freak offs — by now he was calling them "hotel nights" — nearly every time they saw each other over the next three years, up until his arrest in 2024. "It was just a door I was unable to shut," she told the jury. Jane must show force, fraud, or coercion Jane's testimony has so far described some of the elements of sex trafficking. She said she reluctantly crossed state lines, traveling from the East Coast to Miami to Los Angeles, to engage with paid sex workers. But her testimony, which continues next week, has yet to show that Combs sex trafficked her using force, fraud, or coercion, as the indictment requires. She instead described intensive psychological and financial pressure. She said she agreed to hotel nights because she loved him, and because he'd moved her to Los Angeles from the East Coast and was paying rent and other costs for her and her child. And when she told him she no longer wanted to do hotel nights, he would brush her off, or make what may or may not rise to the level of a coercive threat to withdraw that financial support. "If you want to break up, that's fine," she testified he'd tell her. "Do you need, like, what, three more months in the house? Because I'm not about to be paying for a woman's rent that I'm not even seeing." Prosecutors have said Combs defrauded Jane by promising romantic dinners and trips, only to renege and persuade her into another hotel night. They have also said Combs was brutally violent with Jane, though it's unclear how they plan to draw a link between that violence and sex trafficking by force. Meanwhile, the defense will likely use hundreds of affectionate and erotic texts between Jane and Combs to argue that she is a bitter ex who willingly suffered any demands and violence, and who continues to have her expenses paid by Combs in return. Asked late Friday who is currently paying her rent, Jane answered, "Sean is." Jane pushes back Prosecutors have also hinted that Jane is a witness to obstruction of justice, one of the underlying crimes they can use to prove the racketeering charge. "You will hear him try to manipulate Jane into saying she wanted freak offs," Emily Johnson, an assistant US attorney, told the jury during May 12 opening statements, describing a phone call recorded after Ventura's lawsuit was filed. "You will hear him interrupt Jane when she pushes back," Johnson said. Prosecutors have also said he made a point of paying for Jane's housing — even after his arrest. "Mia," his rape accuser "Mia," a former Combs employee, told the jury about a night 15 years ago, when she slept in the employee bedroom at his Los Angeles mansion. She woke up with Combs on top of her, she said, telling her, "Be quiet." "It was very quick, but it felt like forever," she said, her voice breaking into quiet, gasping sobs. Mia, like Jane, testified under a pseudonym to protect her privacy. She told the jury that Combs raped or sexually assaulted her at least four times throughout her eight years working as his personal assistant and as an executive for his short-lived movie company, Revolt Films. As with Jane and Cassie, Mia described in dozens of texts and social media posts struggling with her financial dependence on Combs and her fear of his violent nature, even as she spoke warmly of him. Mia supported the Ventura sex-trafficking claim. She said she saw Combs throw Ventura to the ground and "crack her head open." But Mia was not herself sex-trafficked, according to prosecutors — she is instead a racketeering witness. Forced labor, bribery, obstruction of justice Mia's testimony may be used to support an underlying racketeering crime of forced labor. She told the jury that Combs made her work as many as five days in a row with little or no sleep. Combs was a volatile boss who stole her phone and passport during arguments that turned violent, she said. Her testimony may also support an underlying crime of bribery and obstruction of justice. Mia told the jury that Combs' bodyguard, Damion "D-Roc" Butler, called and texted her repeatedly in the weeks after Ventura's lawsuit, spinning the "Puff and Cass" relationship as normal, and offering her "a gift." Capricorn Clark, his kidnapping accuser In her testimony, Capricorn Clark, Combs' former personal assistant and marketing exec, supported the Ventura sex-trafficking charge, describing Ventura as docile, trapped, and frequently subjected to beatings. During one beating, Clark said, Combs stopped briefly to warn her, "If I jumped in he was going to fuck me up, too." Kid Cudi, kidnapping, and extortion Clark is primarily a racketeering witness. Her testimony supports the underlying crimes of kidnapping and extortion. Clark said Combs was so enraged by Ventura's brief 2011 romance with rival rapper Kid Cudi that he forced Clark at gunpoint to ride with him and a bodyguard to Cudi's nearby house in Hollywood Hills. "He just said get dressed, we're going to go kill this —" and here he used the N-word. Cudi — whose given name is Scott Mescudi — told the jury that he arrived home to find his dog locked in the bathroom and a table full of Christmas presents unwrapped and rifled through. Clark also corroborated trial testimony by Ventura and her mom, Regina Ventura, concerning what prosecutors call a $20,000 extortion threat. The mom said she wired Combs the money after he threatened to release explicit sex tapes of her daughter. Dawn Richard, death-threat witness Former Danity Kane singer Dawn Richard testified to a brutal 2009 beating at Combs' rented Los Angeles mansion that supports both the Ventura sex-trafficking-by-force allegation and racketeering. Combs punched, kicked, and dragged Ventura during a fight over her not cooking him breakfast quickly enough, both Ventura and Richard told the jury. The next day, Combs called Ventura and Richard into his studio and locked the door. Inside, he tried to explain the incident, gave them some flowers, and what Richard said she considered to be a death threat. "He said that what we saw was passion," Richard testified. He told them, "he was trying to take us to the top, and that, where he comes from, people go missing," if they talk to the police, she said. "And then he gave us flowers." Prosecutors may call what happened next inside the studio extortion, witness tampering, and obstruction of justice, all underlying racketeering crimes. Kerry Morgan In her testimony, Kerry Morgan supported the Ventura sex-trafficking charge, describing two times she saw Combs beat Ventura, whom she called her best friend from their teenage modeling years. Once was when Ventura took too long in the bathroom during a 2013 Jamaica vacation. Morgan said Combs dragged a screaming Ventura outside by the hair and flung her down onto some paving bricks. For about 30 seconds, "I thought she was knocked out," Morgan testified. Morgan also supported the racketeering count by describing a $30,000 hush-money payment she received from Combs. In return for the money, Morgan said, she signed a non-disclosure agreement that barred her from talking about a 2018 assault she said happened earlier that year in Ventura's Hollywood Hills house. Combs was desperate to learn "who Cassie was cheating on him with," she testified. Combs let himself into Ventura's apartment, she said. "He came up behind me, and choked me when I got away, he boomeranged a wooden hanger at my head," giving her a concussion, Morgan said. Bryana "Bana" Bongolan, who says Combs dangled her over a balcony Bryana "Bana" Bongolan, a marketing director, told jurors she and Ventura are longtime friends. They shared a lot of drugs over the years, she said — including cocaine, ketamine, and GHB. They also shared trauma, she told the jury. She once saw Combs throw a knife at Ventura, who she said threw it back. "I'm the devil and I could kill you," she testified Combs told her in 2016, seemingly at random, when she and Ventura were with him on a Malibu beach. Combs, she said, gave no explanation for the threat. A violent, criminal racket Bongolan's most important testimony — feeding the prosecution's argument that Combs stood at the head of a violent, criminal "racket" — described him picking her up and holding her over the railing of a 17th-story balcony in September 2016. "You know what the fuck you did!" she said Combs kept shouting as he hoisted her into the air. Asked if she knew what he meant, she testified, "I still have no idea." On cross-examination, defense attorney Nicole Westmoreland highlighted inconsistencies between what Bongolan has said in a $10 million lawsuit, in her interviews with prosecutors, and in her testimony. The defense lawyer also leaned into the defense contention that Combs' accusers have financial reasons to falsely implicate him. Westmoreland questioned Bongolan hard about her and Ventura's lawsuits against Combs. In one example, Bongolan's ongoing lawsuit accuses Combs of violent sexual assault, an allegation not made in her June 4 testimony — though Bongolan did tell jurors that Combs' hands cupped her breasts before he hoisted her up from under her arms.

Business Insider
2 hours ago
- Business Insider
Addison Rae and the art of the rebrand
The business of being Addison Rae was booming. It was March 2021, and the then-20-year-old had recently become the world's top-earning TikTok star, dancing and lip-syncing her way to nearly 80 million followers and a vast portfolio of brand deals. She'd dropped out of school at Louisiana State University to sign with an agent and move to LA, was preparing to launch her own cosmetics line, and had already secured a second season of her Spotify-exclusive podcast. That summer, she'd make her film debut in Netflix's "He's All That," a role that would lead to a multimillion-dollar deal with the streamer. There was only one thing left to do: Become a pop star. But when the single and music video for Rae's debut single " Obsessed" dropped that month, listeners were anything but. The song was panned as phoned-in influencer slop. "This is proof that nowadays it's so easy to get into the music industry by using the clout you have," one YouTube commenter wrote. Critics weren't much kinder. "'Obsessed' proves she should stick to lip syncing," Langa Chinyoka wrote for entertainment blog Popdust. While the song's reception was almost unanimously negative, the real inciting factor was Rae's audacity to release original music at all: How dare an influencer best known as a purveyor of corny TikTok dance trends envision herself as an actual artist worthy of any stage bigger than an iPhone? Back then, no one could have predicted Rae's debut album, "Addison," would arrive Friday amid a flurry of praise from pop heads and critics alike. Four years after "Obsessed" became a spectacular flop, Rae has masterfully rebranded as the music industry's newest "It" Girl. This time, her strategy is working: her face is back on major magazine covers, she's collaborating and associating with pioneering pop stars like Charli XCX and Rosalía, and is being anointed " the new pop princess" by fans on social media. Against all odds, Rae has pulled off a rare pivot, trading a massive but unenthusiastic audience of passive social media scrollers for critical acclaim and a passionate niche of die-hard fans. As Walden Green wrote for Pitchfork, "Addison Rae has achieved something arguably more impressive than success: coolness." How did she do it? Act I: Flipping the script Rae is hardly the first celebrity to switch lanes, but the transition from TikToker to bona fide celebrity is particularly difficult — just ask Charli D'Amelio or Bella Poarch, both of whom boasted more followers than Rae in 2020, but have so far failed to parlay social-media fame into traditional Hollywood prestige. Lili Colwell, the vice president of digital at Night, a talent representation platform for online creators, said her clients face greater stigma when transitioning into a new discipline, as skeptics often assume that influencers are lazy trend hoppers, not creative forces in their own right. "They don't give these people enough credit," Colwell said. "They're like, 'Oh, they have no talent.'" Growing an audience on TikTok demands a constant churn of content. Rae recently told The New York Times' Popcast she was posting "ridiculous amounts of videos" at her peak popularity, sometimes up to 12 videos per day. Meanwhile, carving a fruitful path in the music industry demands discernment and a distinct point of view. The biggest stars like Taylor Swift and Beyoncé deploy tightly controlled communications strategies to keep their brand identities compelling and consistent. Tara Goodwin, a PR expert and founder of Goodwin Consulting, said for Rae to be taken seriously beyond social media, it was essential that she rejected TikTok's ethos of oversaturation and began sharing with more intention. "On TikTok, she had random posts all the time, never any rhyme or reason," Goodwin said. "Now, it's very curated, it's very strategic." In May 2025, Rae only shared 12 videos on TikTok for the entire month, mostly to promote music videos that were painstakingly styled, shot, and edited — a far cry from the off-the-cuff, low-effort clips that defined her early days on the app. Now, if she's going to lip sync or dance, it's to her own songs. Taking a step back from algorithmic ubiquity not only gave Rae more control over her narrative but also added a crucial layer of mystique to her persona — a key element in transforming her reputation from regular Louisiana girl with a knack for nailing TikTok dances to an aspirational, slightly unknowable celebrity and artist. "She's releasing bits and pieces to intrigue the audience and make them want more," Goodwin said of Rae's current social media strategy. "She's actually now creating a story." Online and in interviews, Rae has managed to sell her rebrand as an earnest progression in her creative coming-of-age. She told The New York Times that, after her TikToker days of hustling for mass appeal and millions of followers, she can finally afford to take risks. "I have this luxury now to be able to play and explore," she said. The fact that it's taken four years for Rae to re-emerge with a different, more adventurous musical persona only makes this arc more convincing. Her evolution didn't happen overnight; instead, Rae's dogged commitment to her new vision is a selling point. "She's no longer just an influencer making music — she's a pop artist who happens to come from an influencer background." Sara Andréasson, PR expert Rae has proudly told news outlets about how she convinced Columbia Records to give her another chance after the failure of "Obsessed" by presenting an elaborate mood board that laid out her new sound and aesthetic in buzzwords ("intense," "glitter"), colors (aquamarine, hot pink), and iconic pop performances. She has been working to personify that character ever since, with every carefully selected public appearance, red carpet look, and new song revealing another layer of her new self-mythology. Sara Andréasson, cofounder of Michele Marie PR, told Business Insider that this strategy has created demand and curiosity. "She's no longer just an influencer making music — she's a pop artist who happens to come from an influencer background." Act II: Finding a backer During her TikTok reign, Rae told BI, "You are who you hang out with." Though she was speaking at the time about how close she was with her family, the statement has become a key tenet of the Rae Rebrand. Rae's music earned its first major stamp of approval from the alt-pop star Charli XCX, who, after hitting it off with Rae in a studio session, asked to contribute a verse to "2 Die 4," a ringtone-era throwback track that was included on Rae's 2023 EP "AR." Before Charli XCX had her major crossover moment in the summer of last year with the ubiquitous acid-green rollout of her album "Brat," the British singer was known as a platinum-selling songwriter for other artists and an ahead-of-the-curve pop prophet in her own right. Her interest in supporting and collaborating with Rae, whom she'd also recruit for the remix of her "Brat" single, "Von Dutch," around the same time, legitimized Rae's artistic pursuits. DJ Louie XIV, a music critic and host of the Pop Pantheon podcast, said he's "keen to ascribe agency" to Rae, even if it could seem like her fame has been propelled by her shrewd choice of collaborators. It's not that he believes Charli is pulling the strings — it's that he trusts her eye for talent. "Maybe I'm buying the hype," he told BI, "but I think if Charli sees something in her, that means something to me." Rae's connection to Charli introduced her to a wider audience, made her more chic by association, and staved off doubts about her staying power. As Brat Summer raged on, Rae took a page out of Charli's cool-girl playbook, crashing parties and smoking cigarettes with club kids, and winning respect from celebrated songwriters like Lorde and Lana Del Rey. To top it off, she generated buzz when she joined Charli onstage for surprise performances during the singer's tour stops at Madison Square Garden and Coachella, and cheekily announced her album release date via a pair of pink underwear while performing the "Aquamarine" remix with Arca at the festival. Act III: Dressing the part Having good style is relatively easy; making your fashion serve a narrative purpose is harder. Rae is largely focused on the latter, using her outfits to signal her new priorities. Gone are the Brandy Melville sweatpants and backward baseball caps that made her look laid-back and accessible, like the average girl at Erewhon. Instead, she's worked closely with Interview magazine fashion director Dara Allen to execute a series of looks that aren't simply pretty or well-fitted, but edgy, flamboyant, and evocative. Rae savvily uses her clothing to evoke movie stars and pop icons and project herself into that lineage, landing a series of indelible fashion moments, from her pap walk in a baby tee accessorized with Britney Spears' memoir to the white satin lingerie set she wore for her VMAs red carpet debut, which Vogue described as "'Swan Lake' meets Las Vegas showgirl." Andréasson, who has experience dressing A-list celebrities for events, said Rae's style evolution stands out for its use of surrealism and storytelling. Rae in 2021. Gotham/GC Images Rae in 2024. XNY/Star Max/GC Images "She does a great job avoiding the costumey elements of nostalgia and instead reinterprets it with modern tailoring and fresh beauty choices," Andréasson said. "Nostalgia only works when it's recontextualized, and Addison seems to understand that." In a media landscape where rewearing a historic Marilyn Monroe gown or recreating a memorable look from a '90s sitcom are easy ways to score headlines, Rae has avoided the plug-and-play approach. Her style may be full of references, but crucially, she doesn't mimic other celebrities or copy exact outfits. Instead, she prefers to arouse a broader feeling of familiarity. For example, Rae cited the 2006 friendship comedy "Aquamarine" as an inspiration for her song of the same name and her mermaid-inspired look for the 2024 CFDA Awards — not in terms of the movie's content or plot, but in how watching it made her feel. "I wanted to find what aquamarine meant to me," she said. Act IV: Living up to the hype Rae's flair for refracting nostalgia through her own original lens is evident in her new music as much as in her aesthetic. Her debut album "Addison" is full of dreamy, mid-tempo pop that flirts with its influences, from Madonna's "Ray of Light" and Björk's "Post" to Spears' "Blackout" and Del Rey's "Born to Die." As the tracklist dances between decades, genres, and moods, Rae's personal touch fills the gaps. This kaleidescopic technique isn't always radio-friendly, but Rae no longer seems to be aiming for immediate chart success (none of the album's five singles have yet cracked the Billboard Hot 100's top 40, with "Diet Pepsi" peaking the highest at No. 54). And why should she? If there's anyone who knows the drawbacks of an abrupt rise to fame without a sensible plan to sustain it, it's Rae. Instead, she and her team are executing a strategy that prioritizes artistic legitimacy and real staying power, something Rae hinted at in a recent interview with Elle. "I feel like I've surpassed Addison Rae," she said. "It's just Addison now." Going mononymous is a shorthand for prestige: think Madonna, Cher, Beyoncé. Rae hasn't earned that level of name recognition yet, but if her journey thus far is any indication, her ambition, marketing savvy, and willingness to play the long game are not to be underestimated — at least, not anymore. "Back in the '50s, people were discovered in Hollywood by sitting at a lunch counter on a stool. TikTok was her stool," Andréasson said. "It's going to fade away, and all of the new things that she's doing are what she's going to be known for. That's just going to be a postscript in the Addison story."