Thomas Partey denies two further rape charges at Southwark Crown Court

At a recent court session in Southwark, former footballer Thomas Partey had two further allegations of sexual assault dismissed. The goal of prosecution efforts is to combine each charge into one legal proceeding. The proceedings are now expected to proceed beyond its original deadline. A consolidated case appears unlikely before early 2027. Appearing before a London court, Partey, aged 32, denied charges relating to two rape incidents that took place in December 2020. The charges, filed in July last year, outline five separate allegations of rape, as well as one incident of sexual assault, which allegedly occurred between 2021 and 2022. Every claim has been rejected by them without exception. Under the approval of Judge Tony Baumgartner, the proceedings will be consolidated, combining the charges into a single hearing for streamlined coordination. Originally eyed on November, the hearing is now pointing towards January 2027 due to calendar constraints by the legal teams. Due to scheduling constraints that caused delays, the timelines were reshaped without changing the essence of the case. According to court documents, four men appear as complainants. Over the course of several years, prosecutors have described the events as occurring repeatedly. Yet the accused continues to deny any involvement. Partey, who had come prepared for court, gave his name accurately when asked. Although absent during an earlier session at Westminster Magistrates’ Court, where his legal representative had outlined the intended response, he was now present. After confirmation of who he was, formal statements were made regarding the allegations. Standard protocol was followed throughout the courtroom. Fairness was said to be essential within the testing procedures. Comments by those experienced in the law suggest that joint trials can repeatedly limit witness accounts, enabling the jury to weigh claims more harmoniously through a broader perspective. Suddenly, Partey’s rise in football exposed an emerging situation. Coming from Atlético Madrid, he arrived at Arsenal FC in 2020 in a deal worth around £45 million. Then, last summer, his path shifted to Villarreal CF. As things are still going through the channels, football officials are silent on the penalty at the moment.The investigation is actively monitored by the Metropolitan Police, which maintains regular communication with prosecuting authorities. Reporters are assured of assistance at every stage of the proceedings. The participation of people holding details is considered valuable for progress. On May 14, the parties will reappear in court for a pre-trial session, during which lawyers will sort out logistical details and set future dates.

Aditya Uppal, who plays Omar Hamid in Dhurandhar: The Revenge, calls himself a lifelong fan of Sanjay Dutt since the VCR days. Scared but charmed by Dutt’s support on the set – from the first Amritsar meeting to the freedom to improvise – he dreams of his next co-star.

Aditya Uppal, who recently shared screen space Sanjay Dutt In ‘Dhurandhar: The Revenge’ he has named the actor with whom he would like to work next time. In a recent interview, the actor opened up about his time working with Dutt.

Aditya Uppal speaks on working with Sanjay Dutt

Speaking to India Today, Uppal reflected on working with Sanjay and the natural pressure of sharing the screen with such a legendary personality. He said, “Obviously you feel intimidated. He is a senior actor, a name we have all grown up watching. But the beauty of Sanjay sir is that he makes everything very comfortable. He brings with him a certain charm that instantly lightens the atmosphere on the set.” According to Uppal, Dutt’s liveliness enhanced his performance. He added, “He creates a space where you can live in character, play and even improvise. He really lets you be.”

A family from Leeds and more than 100 others missed their EasyJet flight from Milan due to massive delays at passport control caused by the EU’s new entry-exit system. Despite arriving early, she faced biometric checks and slow processing, forcing her to spend £1,600 on an alternative journey. EasyJet cited border control issues, while passengers expressed frustration.

A family from Leeds spent more than £1,600 to get home after easyJet took off from Milan without them and more than 100 other passengers who were stuck in passport control queues due to the newly launched EU entry-exit system.Max Hume, 56, his wife Lynsey, 46, and their 13-year-old son Archie arrived at Milan Linate Airport about three hours before the Sunday morning flight to Manchester. He had good reason to come early. On their way to Italy a week ago they had already spent more than an hour in passport control queues. This time he reached with much time but still missed his flight.Only 34 of the 156 passengers booked on easyJet flight 5420 to Manchester boarded. The remaining 122 remained in Italy.The trouble started when the family reached passport control at 9.15 am. Frontier officials refused entry to Manchester-bound passengers because their flight had not yet been allocated a gate. Passengers flying to London on British Airways and another easyJet service were waved away during the same period, while the Manchester group waited in a standing queue in the heat. Lynsey Hume almost fainted. Another passenger was ill.When processing finally began authorities demanded full biometric registration from each passenger, including fingerprint scans and facial recognition, despite the fact that the same data had already been collected upon arrival in Italy the previous week. EU rules state that once both biometrics are registered only one should be required at subsequent crossings. Two officers worked with a single machine while 16 nearby automatic machines remained idle.By the time the family cleared passport control the plane was gone. At the gate they were told that a bus would take them to their luggage and arrangements would be made for hotel accommodation. There was no employee waiting at baggage claim. When Lynsey Hume contacted the easyJet desk she was told the family had been logged as a no-show and nothing could be done.EasyJet’s live chat told Max Hume that what happens at passport control is not the responsibility of the airline. The only option offered was to pay £110 per person for the next available flight to Manchester, five days away.The family explored alternatives. Each train ticket cost £500 for an all-day journey. A one-way car fare came to £5,000. Ultimately they booked connecting flights via Luxembourg with an overnight hotel stay at a combined cost of around £1,600. Max Hume has a credit card reaching its limit to cover expenses.He said he felt disappointed, broken and very poor. He said about 100 stranded passengers have told him they will never use easyJet again.EasyJet said it advised passengers to allow extra time at the airport and staggered flights where possible to give people more time to clear the queues. It said affected passengers have been offered free transfers and described delays at the border as being beyond its control.The EU entry-exit system was launched on Friday. It requires non-EU travellers, including British citizens, to register biometric data at European borders. Airlines for Europe told border officials the same day to suspend the system entirely when queues reached unacceptable levels.The Association of British Insurers warned travelers that standard travel insurance is unlikely to cover losses caused by EES-related delays and advised anyone affected to first contact their airline.

Composer Leslie Lewis fondly recalls his collaboration with the great Asha Bhosle and highlights her unique versatility and enduring artistic spirit. He described them as “universes of expression” whose songs became timeless and deeply connected to the lives of listeners. Lewis also shared a personal connection, calling her “Ai” and emphasizing her tireless passion and innate talent in the studio.

As tributes are being paid to veterans Asha BhosleComposer, singer and producer Leslie Lewis offered a deeply personal recollection; One that went beyond music and into the realm of family, instinct and enduring artistic feeling. Having collaborated with Asha Bhosle on iconic projects such as Rahul & I (Personal Memories) (1996), a reimagining of classics by RD Burman and the chart-topping Jaanam Samjha Karo (1997), Lewis embarked on a creative partnership that left an indelible mark on Indian pop music. “Only a part of the music has become silent” Speaking about the loss, Lewis expressed the collective grief felt across the industry. “Today, it feels like a part of music has gone silent. Asha Bhosle ji was not just a voice, she was a universe of expression,” he said. Highlighting her unmatched versatility he said, “There was a fearlessness to her approach to music, a freedom that allowed her to transcend genres and emotions with unmatched ease, yet remain completely, distinctly herself.” For Lewis, like millions of listeners, his music was deeply connected with life’s moments. He said, “His songs lived with us. They played in our happiest moments, and they lived with us in our silences.” A voice that made songs eternal Reflecting on his artistry, Lewis emphasized his rare ability to transform music into something timeless. He said, “As a musician, I have always believed that very few singers can turn a song into something eternal. Asha ji did it every time.” He also talked about his continued growth as an artist. “She never stood still. She continues to evolve, experiment and surprise us. From the most playful to the most profound, she embraced every shade of music with grace and confidence. “I’ve always called her I.” Beyond the professional bond, Lewis shared a deep personal bond with the singer. He revealed the familial affection that defines their relationship, saying, “I have always called her Aayi. I still do. Aayi is there and will always be there for me.” He noted a unique coincidence that strengthened that bond: “His birthday falls on the same day as my mother’s and Mother Mary’s, so that bond always feels personal.” What mattered most to him was his unwavering passion. “What defines her is her energy. She never loses her hunger for music. Even in her 60s and 70s, she responds to new ideas like someone just starting out.” Instinct, generosity, and ownership Lewis highlighted his innate talent in the studio. He added, “She listens, understands the basics and then adds just enough to move forward without dominating.” Recalling her work in Jaanam Samjha Karo, he said, “It works because she has complete command over it. She doesn’t just sing, she becomes the song.” He also recalled a moment that reflected his generosity. “I remember the Channel V awards. She wins, calls me on stage, and says the song wouldn’t have been made without me. “That generosity is rare.” An era ends, a legacy lives on For Lewis, Asha Bhosle’s passing is more than the loss of an individual – it signals the end of an era. He said, “Today, we are not just mourning a legend, we are realizing the loss of an era that shaped Indian music in a way that cannot be fully expressed in words.” Yet, even in grief, he emphasized the permanence of his legacy. “But her voice will never truly leave us. It will continue to resonate, to inspire, to remind us what true artistry looks like.” Summarizing the sentiment, Lewis said, “Legends like Asha Ji don’t fade away…they become the soul of the music.”