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    Russell Brand’s Alternate Reality

    On Sept. 12, four days before he was expected at the Troubadour Wembley Park Theater for another sold-out show, Russell Brand asked his fans for a favor. “I’ve always struggled with authority and being told what to do,” he wrote to ticketholders, attaching a questionnaire for a planned bit with his audience. “Even when it comes to something small like being offered a seat by a doctor, I’ll purposefully refuse rather than comply. Tell me about your relationship with authority — whether you tend to yield to authority or fight it.”Listen to This ArticleOpen this article in the New York Times Audio app on iOS.At the time, Brand’s more-than-two-decade quest for lasting attention had been proceeding apace along two tracks. In mainstream entertainment circles, at home and abroad, he remained the fading but still bankable British comedian whose selectively confessional accounts of heroin addiction and promiscuity made him an avatar of a very mid-aughts sort of fame — the guy who played a rocker version of himself in the 2008 film “Forgetting Sarah Marshall” and would later marry Katy Perry (it was brief). But for those partial to Brand’s midlife canon, he had come to resemble something more like a political sage.With Jesus-length hair, multidenominational tattoos and promises of unspecified revolution, Brand, 48, had in recent years been reaching millions daily across a media and wellness empire, fusing the downward-facing dogmatism of a proper guru with the cold efficiency of the YouTube algorithm. His remit was nothing less than “a social-political-spiritual movement,” he told listeners. His prime offering was a trove of foreboding and regularly misleading videos from his flagship series, “Stay Free with Russell Brand,” lobbed at a cumulative social media following of more than 20 million. His episode titles charted the ideological swerve of a man who once used his celebrity to elevate progressive causes: “STATE OF FEAR! COVID Propaganda EXPOSED!” “Leaked Audio PROVES Trump Right!”For the past year, Brand’s recording studio in the Oxfordshire countryside has been blessed as an emerging nerve center of the American right, or at least the anti-anti-right, with a procession of presidential candidates beaming in. In July alone, Brand interviewed Ron DeSantis, who compared Brand favorably to loathsome “corporate journalists”; hyped a pull-up contest with Robert F. Kennedy Jr., conservative media’s favorite lapsed Democrat and Covid conspiracy theorist; and scored the first sit-down with Tucker Carlson after the host’s dismissal from Fox News. “Maybe I’ve just been called a right-wing crazy for so long that I thought I was,” Carlson told me recently. “But if I agree with pretty much everything Russell Brand says, I don’t know what I am.”In July, Brand scored the first sit-down with Tucker Carlson after the host’s dismissal from Fox News.Screenshot from RumbleLike Joe Rogan, the carnivorous pooh-bah of this intellectual space, Brand appeared interested in teaching a certain kind of man how to be a certain kind of man, mining the tension between think-for-yourself riffs and listen-to-me conclusions. (Brand has been a repeat guest on Rogan’s podcast.) Unlike Rogan, he appeared to model a more expansive vision of manhood — vegan, sober, Aldous Huxley-quoting. The event in Wembley, part of a tour scheduled for late summer and early fall, seemed designed to accentuate Brand’s overlapping profiles: electric live performer and terminally online click-hunter. As with much of his output lately, the marketplace would help dictate his direction. The tour was called “Bipolarisation” for two reasons, he joked: because people would be polled and “because I’m severely mentally ill.” His September email to attendees requested answers to several related prompts. “What’s the strangest way you’ve yielded to or gone against authority?” the first question read. “What’s the weirdest/naughtiest/most embarrassing thing you’ve done in reaction to being told what to do?” another asked.Three days later, Brand’s followers received a less whimsical communication. In a prebuttal video posted across his social media, Brand said he was about to face “very serious allegations that I absolutely refute,” without detailing them. He insisted that all past relationships were consensual. He darkly suggested that “another agenda” might be at play, noting that supporters had long warned him about “getting too close to the truth.” The next day, Sept. 16, The Sunday Times, The Times of London and Channel 4 Dispatches published a yearslong joint investigation in which four women accused Brand of sexual assault between 2006 and 2013. The accounts were specific, revolting and, in some cases, bolstered by medical records and other contemporaneous evidence. The accusers included a woman who was 16, the British age of consent, during her relationship with Brand, who was in his early 30s. She said Brand once forced her to perform oral sex as she strained to push him off, stopping only after she punched him in the stomach. There was a time, as recently as a few years ago, when this sort of reputational earthquake almost certainly would have followed the dutiful rhythms of celebrity crisis management: performative introspection, nominal contrition (often paired with a narrow denial of the most grievous offenses), a pledge to disappear for a while. Instead, Brand’s story quickly became a self-evident data point in two divergent realities. In the first, the one still tethered at least somewhat to traditional notions of scandal and consequence, Brand was an overnight pariah and criminal suspect. The police in London opened investigations. More women came forward, including an extra on Brand’s 2011 film “Arthur,” who filed a civil suit in New York claiming that Brand assaulted her in a bathroom on set. Brand’s management company almost immediately dropped him. YouTube suspended him from making money from his channel, which has more than six million subscribers. A parliamentary committee chairwoman wrote to Rumble, the video platform that caters to the right and exclusively carries Brand’s full episodes (shorter clips still appear on YouTube), expressing concern that he might continue to profit there and “undermine the welfare of victims.”In the second reality, the victim was Brand, and his welfare was suddenly the concern of many, from the powerful new friends he has made to the “awakening wonders” (as he addresses his flock) refusing to abandon him. His example has become a repentance-free case study in a very 2023 template for public survival, a post-post-#MeToo lesson in the spoils and fortifications available to those who are thought to be scorned by the right people. “Criticize the drug companies, question the war in Ukraine, and you can be pretty sure this is going to happen,” Carlson said of Brand on X (formerly Twitter), to which Elon Musk, the site’s reply-guy owner, responded: “Sure seems that way!” Rumble also posted on X, calling the parliamentary letter a “deeply inappropriate” intrusion of the state. Already, for those who support Brand and those who do not, his fate is being processed as a kind of referendum — on who gets to decide what happens to the accused; on what a preternaturally charismatic figure can talk himself into or out of; on the limits, or limitlessness, of tribal loyalty.Brand leaving the Troubadour Wembley Park theater in London in September. He performed just hours after sexual assault allegations were made public.James Manning/Press Association, via Associated PressThough the balance of his live tour was scrapped within days, Brand kept one last date, Sept. 16 in Wembley, hours after the allegations landed. “You came,” he said to a crowd of about 2,000, according to the BBC, walking out to “You Don’t Own Me,” the feminist standard performed by Lesley Gore. He told his guests he loved them and talked about teaching his young children to be skeptical. One fan held a sign reading, “We stand by you.” Another threatened to kick down a ladder carrying paparazzi outside. And by the end of the night, the room had a new answer to Brand’s preshow queries.How had they most memorably snubbed authority? How had they responded when told what to do and think?With a standing ovation for a freshly accused predator.More than a week after the allegations, “Stay Free” returned, unbowed but discernibly altered. Brand appeared alone, his bare chest visible beneath a largely unbuttoned white button-down. The show credits, which once ran about 20 names deep, were gone — not necessarily because Brand’s whole team was but perhaps because associating with him had become more complicated. “The corporatist state and global media war against free speech is in full swing!” Brand told his listeners. “How do I know? Take a guess.”Seated at a desk, with a “Daily Show”-style prosecutorial montage of videos and text, Brand blamed the “collusion between big tech and government” and a “centralist state and globalist elite” that he suggested was persecuting him. He discussed the letter from Parliament, alleging ties between its author and Google (“a competitor to Rumble”). He welcomed Jimmy Dore, another conspiracy-theory-minded comedian-podcaster, for a remote interview, thanking him for a mood lift “at a time where I plainly need it.” “Stay strong,” Dore said. This booking choice was notable. Dore, who has himself been accused of sexual harassment, is among a cluster of high-profile Brand supporters who seem particularly invested in the idea that false or agenda-led accusations are an occupational hazard for their lot. Andrew Tate, the misogynist mega-influencer awaiting trial on rape and human-trafficking charges in Romania, tagged Brand on X: “Welcome to the club.” Donald Trump Jr., whose father has been serially accused, posted a meme on Instagram showing the former president, Brand, Tate and Julian Assange, the WikiLeaks founder, who was accused of rape. “Notice a pattern?” the meme read, alongside Trump Jr.’s caption: “One day they’ll be coming for you. I don’t believe in this much coincidence and neither should you.” For Brand’s audience, long encouraged to consider his voice too dangerous for entrenched interests to abide, the allegations stand as proof of concept, only making him more credible. “Enough of us know what’s going on here,” one commenter assured him upon his return. “No wonder they’re trying to silence you,” another posted on an October video that criticized President Biden.“It’s almost like cancel capital,” Nick Marx, a professor of film and media studies at Colorado State University and the co-author of a book on right-wing comedy, told me. “It’s something he recognizes as having a value distinct from money.” With Trumpian verve, Brand has reframed accusations against him as an act of war against everyone who backs him. “They’re out to get you,” he told his audience in November, citing “censorial forces” like YouTube and quoting from Kafka’s “The Trial.” “I’m just in the way.” And like the former president, Brand has channeled lessons from his early rise, betting on his basest self — and on the accommodations and calculations that those around him have always made.Since his public beginnings, Brand has derived his power from appearing to get away with something, from saying and doing what others never would. His fame was entwined with an almost ostentatious misogyny, a sizzle reel of mistreated women and gleefully poor taste for which he was broadly celebrated. His best-selling 2007 memoir relayed such rollicking tales as breaking the phone of a Turkish sex worker mid-encounter because the ringing bothered him. The British tabloid The Sun saluted him as its Shagger of the Year from 2006 to 2008. A breezy 2008 GQ profile winked at the “souvenir” that Brand acquired at a photo shoot (“her name is Penny”) and shared an anecdote from another romantic partner who claimed he told her, “I’m Russell Brand — I can do anything I like.” Brand denied this, semantically. “That may be the informing attitude,” he told the magazine, “but that’s never explicitly stated.”Brand with the singer Katy Perry, to whom he was briefly married, at the premiere of “Get Him to the Greek” in 2010. Kevin Winter/Getty ImagesEven scandal generally served Brand’s ends. In 2008, he and a co-host set off a national uproar after broadcasting on Brand’s BBC radio show the prankish voice messages they left for Andrew Sachs, a beloved former actor on “Fawlty Towers.” Sachs’s granddaughter Georgina Baillie was in a relationship with Brand in her early 20s. The messages to Sachs included singsongy Brand lyrics: “It was consensual/and she wasn’t menstrual.” Suspensions followed. Gordon Brown, the sitting prime minister, scolded him. Brand eventually resigned. His cad-for-the-masses legend grew anyway. “He was being very much rewarded,” Baillie, now 38, told me. “It didn’t even occur to me that I deserved an apology.”In interviews, people who know Brand described him to me as someone almost pathologically incapable of not having an audience and willing to do virtually anything to keep it. He has often admitted as much, joking that he could be whatever his followers wanted. “Are you unapologetically yourself?” he asked in August. “Because I’m not. I’m apologetically myself. ‘Hello, I’m me. Is this OK with everyone? I can change it if you want.’” (Brand and a longtime associate did not respond to an interview request or fact-checking queries.)In the 2008 GQ piece, Brand identified one clear gift (“attracting attention”) and warned playfully that his wider influence should be curbed. “I don’t think for a minute that I should be the person that comes up with how we organize a new postapocalyptic order,” he said, “because I think I’d exploit it to get girls.”When Brand speaks now about forging a new social order, he attributes his rise as a media force, accurately enough, to a collapse of faith in traditional institutions. Left unsaid is that Brand himself was a creation of legacy gatekeepers and their customers — the media companies that employed him, the outlets that toasted him, the viewers who couldn’t resist — and a leering testament to their priorities. What has lingered for some lately is not how so many people missed the signs about him but why they seemed so eager to ignore them. In recent months, two former employers, the BBC and Channel 4, announced internal inquiries into Brand’s past workplace behavior. Channel 4, where Brand was accused of flashing a female colleague, aired the investigative documentary about him in September. Its title: “In Plain Sight.”“It was this wash of devil-may-care, it’s-exciting-to-push-boundaries-or-just-have-no-boundaries, and women were less than,” Shaparak Khorsandi, an early peer of Brand’s on the comedy circuit, told me of the era that made him. “Yet a man behaving absolutely appallingly was given endless television and radio contracts.”The subject of the day in December 2014 was immigration, and the lineup for a BBC political panel was suitably formidable: a Conservative member of Parliament, another from Labour, a Sunday Times columnist. But two combatants stood out: Nigel Farage, then the leader of the U.K. Independence Party, reprising his argument that new entrants to Britain were a dangerous resource drain, and Brand.“There is a corrupt group in our country using our resources, taking away our jobs, taking away our housing, not paying taxes,” Brand agreed. But it was “the economic elite” funding Farage’s party. “His mates in the city farted,” Brand continued; Farage was “pointing at immigrants” and “holding his nose.” The studio audience roared.Raised as a working-class “bloke” in his frequent telling, Brand had long angled to amplify his voice on the left, infusing early appearances with sometimes deliberately shocking allusions to global affairs. He has delighted in claiming that on Sept. 12, 2001, while employed as a presenter at British MTV, he showed up at work dressed as Osama bin Laden. The following spring, he was detained by the police after fully disrobing at a protest in Piccadilly Circus, “explaining himself by mentioning ‘ecological,’ ‘Armageddon’ and ‘culture’ without making a great deal of sense,’” according to a news report from the time. (“Oh, God,” an MTV spokeswoman said then. “That sounds like Russell.”)Brand speaking in Parliament Square in London during a protest against the Conservative Party’s austerity policies in 2015.Tim Ireland/Associated Press“Even before he was famous, he sort of fancied himself a bit of a Che Guevara,” Khorsandi told me. After he was famous, Brand expanded his political footprint proportionally. In 2012, he was invited to testify before a parliamentary committee on drug policy, walking the halls in a black tank top and bolero hat. The same year, he developed a short-lived talk show for American TV, FX’s “Brand X With Russell Brand,” appearing with Matt Stoller, a liberal policy researcher. (The men met while Brand was shooting “Forgetting Sarah Marshall,” which Stoller’s brother, Nicholas, directed; they reconnected in 2011 at the Occupy Wall Street protest at Zuccotti Park in New York.) “They wanted to do a more radical version of ‘The Daily Show,’” Stoller told me of “Brand X” in August. “It was a bad show.”Brand’s political breakthrough came in a viral BBC interview in 2013 with Jeremy Paxman, one of Britain’s most fearsome questioners. Paxman appraised Brand as a “trivial man” whose calls for revolution and apathy about voting gave him away. “You’ve spent your whole career berating and haranguing politicians,” Brand responded. “Then when someone like me, a comedian, goes, ‘Yeah, they’re all worthless — what’s the point in engaging with any of them?’ you sort of have a go at me because I’m not poor anymore.” The exchange enshrined Brand as perhaps the nation’s foremost lefty. “It had a massive impact,” George Monbiot, a well-known environmentalist and writer, told me. “It galvanized people. It galvanized me.”In short order, Brand was hailed as a kind of crossover intellectual, validated by authors and thinkers who schlepped to his East London home to appear on his popular YouTube series, “The Trews,” a portmanteau of “true” and “news.” Academics said they could become entranced by Brand’s free-associative conviction on their subjects, even when he sounded only semi-sensical — absorbing the quick-draw wit and baroque vocabulary of a host liable to deploy “perspicacity” or “effulgent” off the cuff. “I actually remember thinking at the time, Oh, this is how a new religion would start,” Edward Slingerland, an expert on ancient Chinese thought now teaching at the University of British Columbia, told me of their interview.For activists, Brand became a treasured ally, showing up at rallies — to oppose austerity, protect tenants, support firefighters — and invariably attracting cameras. He also began ingratiating himself with more mainstream politicos, at one point initiating a correspondence with Bill de Blasio, whose 2013 mayoral victory in New York had briefly stirred the left. “I do remember thinking of him as a fellow traveler,” de Blasio told me. In 2015, Ed Miliband, then the Labour Party’s leader, made a pilgrimage to Brand’s home for the web series, hoping to reach younger voters within its seven-figure following. Both men came to rue their choices. “Obviously knowing what I know now, I regret doing it,” Miliband said after the assault allegations. Brand’s second thoughts arrived sooner, when his imprimatur could not prevent a Conservative election triumph. “My only regret,” he said afterward, “is I thought I could be involved.”If Brand felt disillusioned, he was not alone on the British left. “They used Russell,” Monbiot said of Labour. “But they never embraced him.” Brand has since resolved to live “beyond all political systems.”Among onetime admirers, the most generous interpretation for Brand’s political transformation is bleak but straightforward: Today’s version of him is the logical upshot of social media incentives, boundless ego and a bespoke personal radicalism that was always a little ominously amorphous. (“I don’t know how to describe Russell’s politics,” Marianne Williamson told me in August, warmly recounting the fund-raiser he helped host for her during the 2020 Democratic presidential primary.) In this reading, Brand is simply who we told him to be — or at least what the algorithm did. He has been known to track his trend lines on social media obsessively, staying apprised of follower counts and video performance. A job posting on Brand’s website earlier this year for a “YouTube Optimiser” was bracingly explicit: The task was to juice viewership and propose topics “based upon topics covered by similar channels and those that our audience watch.” This is the path from interviewing favored commentators of the right, like Ben Shapiro or Jordan Peterson, to having those videos recommended to fans of Ben Shapiro and Jordan Peterson, to sounding increasingly like Ben Shapiro and Jordan Peterson.“You can either try to drive the masses or be driven by them,” Faiz Shakir, the 2020 campaign manager for Bernie Sanders, told me after appearing on Brand’s show in August to push his labor-supporting nonprofit. “He’s more driven by them. It’s ‘Here’s where I think they already are.’”Brand has said that at least half his viewers are in the United States. After he interviewed DeSantis last summer, a person close to the campaign’s decision-making told me the host was seen as a conduit to men under 45, especially those who were not lifelong Republicans. On air, Brand can sound occasionally uncomfortable with his new constituency. Last year, he pressed Peterson to “prioritize compassion” rather than antagonize trans people. In the otherwise slobbering session with DeSantis, Brand almost begged him to agree that imposing an ideology on others was illiberal. “What about the freedom of those opposed?” Brand asked. But such flashes have been rare. In 2015, Brand called Trump a joke whose “punchline is a worse world for everyone”; by this February, he was posing with Trump Jr. at a Rumble event in Florida. He once quoted Gandhi on nonviolent protest; now he mocks those “clutching their pearls over Jan. 6.” Jeff Krasno, a former manager of Brand’s, suggested on his own podcast in September that Brand has by now “likely drunk his own kombucha,” adding, “there’s a clear business rationale for the content that Russell generates.”The Republican presidential candidate Ron DeSantis appeared on “Stay Free With Russell Brand” in July.Screenshot from RumbleOnstage, Brand has prided himself on a thrill-seeking gameness. “You have to be truthful and honest,” he has said of his comedy, “self-aware and willing to take risks.” Yet in many ways, Brand’s reinvention was exceedingly safe. He would be rewarded for playing the hits, for doing the expected. He would be cancel-proofed, if it came to it, with an army of backers primed to distrust anyone who attacked him.This is the less charitable read on Brand’s evolution: His alt-rightward drift — and his escalating insistence that mainstream outlets were corrupt agents of the status quo — has coincided roughly with the investigative journalism of mainstream outlets he now calls corrupt agents of the status quo. According to The Times of London, the reporting began in 2019, and Brand’s team was made aware of one assault allegation in 2020. In the years since, Brand has been “setting himself up more and more as the lone voice of truth,” Monbiot, Brand’s former progressive ally, told me. “It would definitely align with an attempt then to exonerate himself using the same argument.”Even privately, though, Brand’s orbit seems increasingly paranoid. After the allegations were made public, Brand’s father, Ron, wrote to Monbiot, who previously criticized Brand’s political shifts, to suggest that no one was safe from whatever plot had ensnared his son. “Do you think you could be next?” Ron Brand asked, according to messages Monbiot shared with me. The elder Brand later sent a conspiracy video about the World Health Organization and the World Economic Forum, two favorite targets for Brand and others who use “globalist” unironically. Tucker Carlson, who said that he and Brand have been speaking often, told me the allegations against Brand were “inevitable,” suspicious and cynically engineered to play on the debauched past of a man who is now remarried with children. “We’re leaving the part of history where people try to persuade each other in good faith,” Carlson said. “We’re entering the part where we just throw our opponents in jail or accuse them of crimes.”So far, Brand’s podcast guests have likewise stayed loyal. In an industry rife with voices insisting they are about to be silenced, loudly saying the things they swear you can’t say anymore, Brand represents a rousing spectacle, Staying Free despite the designs of a sinister “they.” “The cancelers of the world seem with each passing week to become more and more crap at their jobs,” the writer Matt Taibbi said on Substack in October, promoting his interview with the “conspicuously still-breathing Russell Brand.” Teasing an interview in November with Alex Jones of Infowars, who has described the assault allegations against Brand as a vast conspiracy, Brand suggested a kinship: “Have you noticed,” he said, raising two fingers for scare quotes, “how many of the wild Alex Jones ‘conspiracy theories’ have come to pass?”More than anything else, Brand is testing a tantalizing kind of liberty before a group that reveres the word. He has hinted about a financial crunch since YouTube began blocking his profits, telling viewers on Rumble that he is “plainly in a position where your direct support is going to be incredibly valuable.” But if Brand’s strategy is successful — if he can subsist without the institutions that long sustained him, the collaborators who abandoned him, the former fans who might wince through his movie scenes now — there is a new kind of power in that freedom, and a new kind of freedom in that power.“We’re planning a movement so that we can form new communities as the apocalypse apparently unfolds before our very eyes,” he told listeners on Oct. 26. “Without you, we are nothing.” The episode turned moments later to another aspiring movement leader: Vivek Ramaswamy, a returning guest and the first presidential candidate to appear with Brand after the allegations. Speaking from Iowa, midcampaign, Ramaswamy called for a “great uprising” against establishment forces. “It’s when they tell you to shut up that you have to actually grow the spine to be more vocal than ever,” Ramaswamy said.“I can see why there would be an appetite to censor you,” Brand replied admiringly. The host thanked his guest for “elevating the caliber of the conversation” in his “stream of freedom.” He previewed future episode subjects: the Covid lab-leak theory, another chat with Jordan Peterson, “the necessity for radicalism in politics.” Then he made a promise.“Next week,” Brand vowed, raising his open hands, “the revolution will grow a little stronger.” More

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    ‘How to Have Sex’ Considers Assault Survivors

    In new films, including “How to Have Sex,” female British directors emphasize the impact of sexual trauma, rather than portraying the act itself.When Molly Manning-Walker was a teenager, her favorite film was Gaspar Noé’s “Irreversible.” In a recent interview, she remembered being impressed by the film’s infamously brutal, nine-minute rape scene, and how “immersive” it was.But now 30, and a director herself, she questions Noé’s approach to that scene. With such graphic — and prolonged — violence onscreen, she said, “you’re almost abusing the audience.” When it came to depicting sexual assault in her debut feature, “How to Have Sex,” which won the Un Certain Regard prize at this year’s Cannes Film Festival, Manning-Walker resolved to do things differently.“How to Have Sex,” which opens in theaters in Britain and Ireland on Nov. 3 and in the United States in February, follows three British teenagers on a party vacation in Greece. Manning-Walker said that, like Tara, the film’s protagonist, she was sexually assaulted when she was 16 (though in a different scenario), and that she wanted the audience to understand what was happening “through Tara’s face and her reaction,” rather than putting the act onscreen.Manning-Walker’s debut is one of several new films directed by British women that offer fresh perspectives on sexual assault by focusing on its varied impacts. Adura Onashile’s “Girl,” which opens in theaters in Britain later this month, asks what happens when women don’t talk about their experiences. And in the documentary “The Taste of Mango,” which recently played at the London Film Festival, Chloe Abrahams discovers her family’s buried history of sexual abuse and domestic violence, which triggers a revelation about herself.These movies arrive as violence toward women and girls continues making headlines in Britain. Recently, the comedian Russell Brand denied accusations of sexual assault from four women. In January, a London police officer admitted to 49 charges of sexual abuse. Around a quarter of women in England and Wales have experienced sexual assault since the age of 16, according to the Office for National Statistics.Déborah Lukumuena as Grace, and Le’Shantey Bonsu as her daughter, Ama, in “Girl.”via Studio SohoIn an interview, Onashile described this climate of violence against women as “an epidemic.” Her film, “Girl,” centers on a young immigrant mother, Grace (Déborah Lukumuena), and her 11 year-old daughter, who live in a Glasgow tower block. Grace’s erratic behavior implies a traumatic past, but Onashile doesn’t make this explicit. As part of her research for the film, Onashile said she learned from social workers that you can spot sexual assault survivors by their body language, which gives the “sense that something is held, and tight, and wound up.” In the film, Lukumuena plays Grace with stooped shoulders and a downcast gaze.Abrahams said that the act of recording her family members gave her the courage to ask difficult questions about long-hidden abuse. With “The Taste of Mango,” she was seeking to heal divisions between her mother, Rozana, in England, and her maternal grandmother, Jean, in Sri Lanka, but along the way she learned that Rozana is suspected to have suffered at the hands of her stepfather.The movie pairs audio of her mother’s testimony with poetic images, including the moon and a road rushing by, glimpsed from a car window. Its meditative pacing was designed to allow the audience “to breathe, and not get sucked down by the heaviness of it,” Abrahams said.But equally, she added, she wanted to show how her mother “finds joy in life” — including in country music and manicures — so Rozana isn’t defined by the things that were done to her.In the documentary “The Taste of Mango,” Chloe Abrahams, right, discovers her own family’s history of sexual abuse and domestic violence.Chloe AbrahamsAll three filmmakers considered the impact of the subject matter on the people making their movies and had support on hand from therapists during production. Manning-Walker, who also works as a cinematographer, recalled filming an assault scene for someone else’s film, in which there was no acknowledgment of the toll it might take on the person behind the camera. On her film, she said, her team could stop filming if they felt uncomfortable, which they did several times.Manning-Walker said she didn’t want the character of Tara, who goes on vacation intending to lose her virginity and flirts her way into an unwanted scenario, to be a helpless victim. At the end of “How to Have Sex,” she picks herself up and carries on. But that doesn’t mean she’s not affected by what happened, Manning-Walker added.Sexual assault “happens everywhere, and in all situations,” she said. By making a film that confronted it, she said she hoped to challenge a culture of shame and silence around a common experience. All three filmmakers described tearful, post-screening encounters with male and female audience members who saw elements of their lives reflected onscreen.After one screening, Manning-Walker recalled, a woman in her 70s had told her that watching “How to Have Sex” had made her reconsider a teenage sexual encounter: “‘I just realized that I’ve been assaulted, from watching your film,’” Manning-Walker remembered the woman saying.There was “a lack of conversation around female pleasure and what sex is for women,” Manning-Walker said, which also meant a lack of education about consent. If people aren’t taught that sex is an act of negotiation, she said, “of course it’s going to go horribly wrong.” More

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    Second Woman Accuses Steven Tyler of Sexually Assaulting Her in the 1970s

    In a lawsuit, a woman says that the Aerosmith frontman groped and fondled her in a New York phone booth when she was about 17.For the second time in the past year, Steven Tyler has been accused in a lawsuit of sexually assaulting a teenage girl in the 1970s, when his band Aerosmith was rising to fame.In the new lawsuit, which was filed in New York on Thursday, Jeanne Bellino accuses Mr. Tyler of assaulting her twice in one day in approximately 1975, when she was about 17 years old and a model living in Queens. He would have been in his late 20s at the time.While Ms. Bellino was visiting Manhattan for work, the lawsuit says, a friend arranged for them to meet Aerosmith. As Ms. Bellino was walking down the street with Mr. Tyler and his entourage, which included his bandmates, he forced her into a phone booth, where he aggressively kissed, groped and fondled her, according to the lawsuit.“Others stood by outside the phone booth laughing and as passers-by watched and witnessed, nobody in the entourage intervened,” the lawsuit says.Because Ms. Bellino did not have money for transportation home, according to the suit, she was taken to the Warwick Hotel with Mr. Tyler and his entourage. The lawsuit says Mr. Tyler pinned her against a wall in a public area and again assaulted her. Shortly after, a doorman at the hotel helped her get into a cab and flee.“He never even asked me what my name was,” Ms. Bellino said of Mr. Tyler in a news conference on Thursday.A representative for Aerosmith did not immediately respond to a request for comment.Ms. Bellino’s lawsuit was filed under a New York City law that in March opened a two-year window for people to accuse someone of gender-motivated violence that would otherwise be beyond the statute of limitations.In a lawsuit filed in Los Angeles in December, Julia Misley accused Mr. Tyler of using his status and power to “groom, manipulate, exploit” and “sexually assault” her over the course of three years, starting in 1973, shortly after her 16th birthday. Ms. Misley said in her lawsuit that she had met Mr. Tyler at an Aerosmith concert in Portland, Ore., and that the musician had persuaded her mother to let him become her legal guardian.Mr. Tyler, who is now 75, wrote about sexual encounters with a teenager in his 2011 autobiography, “Does the Noise in My Head Bother You?,” saying that he gained custody of a person who nearly became his “teen bride.” More

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    ‘To Kill a Tiger’ Review: The Survivor Who Refused to Be Shamed

    In this unflinching documentary, a young girl in rural India and her father fight an entrenched village culture to seek justice for her brutal rape.Nisha Pahuja’s documentary “To Kill a Tiger” opens with a startling image: a 13-year-old girl braids her hair in close-up as her father relates, in gutting voice-over, how she was raped by three men. Pahuja had planned to mask the girl’s face in post-production, but when Kiran (her pseudonym in the film) saw the footage at age 18, she chose to reveal herself in the film. It’s a defiant gesture on her part, to refuse the shroud of shame.“To Kill a Tiger” is a film bristling with such invigorating defiance. It follows Kiran and her parents, who live in a village in northeastern India, as they seek justice with the help of activists from Srijan Foundation, an advocacy organization. Interviews with other villagers reveal the tribalist, deeply patriarchal values that ensnare Kiran. Both men and women chastise her for her supposed irresponsibility and suggest brazenly that she marry one of her rapists to restore her “honor” and the village’s harmony.Kiran and her family are heroes, but this isn’t a simple tale of heroism. The film lays bare the uneasy and inadequate avenues available to survivors seeking justice. Is the long ordeal that pushes the family into debt and forces Kiran to repeatedly rehash her trauma making a difference? Is a fight that pits the family against their entire community worth it? Does the imprisonment of the perpetrators offer any real succor to the victim or upend the patriarchy?“To Kill a Tiger” doesn’t offer any easy answers. But in staying close to Kiran’s father, who refuses to let his daughter bow her head, and to the girl, who speaks with hope and flinty confidence, one thing is clear: The revolution begins at home.To Kill a TigerNot rated. In Hindi, with subtitles. Running time: 2 hours 5 minutes. In theaters. More

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    Actress Julia Ormond Accuses Harvey Weinstein of Battery in Lawsuit

    Ms. Ormond also sued Creative Artists Agency, which represented her at the time, and Disney, which owned Mr. Weinstein’s Miramax.The actress Julia Ormond, known for “Legends of the Fall” and “Sabrina,” accused Harvey Weinstein of sexual battery in a lawsuit filed on Wednesday in a New York court, claiming that the former film producer forced her to give him oral sex during a business meeting in 1995.Ms. Ormond also sued Creative Artists Agency, which represented her at the time, saying in the complaint that two of its senior agents cautioned her from speaking out — and informed her of the “going rate” for settlements paid to women who accused Mr. Weinstein of sex crimes. She said the sum was $100,000.Mr. Weinstein, now 71, was convicted in 2020 by a New York jury on charges of rape and criminal sexual assault and sentenced to 23 years in prison. He was later convicted of similar crimes in Los Angeles and sentenced to 16 years, to be served after his New York term. Mr. Weinstein has denied the claims against him, saying all encounters were consensual, and is appealing both convictions.“Harvey Weinstein categorically denies the allegations made against him by Julia Ormond, and he is prepared to vehemently defend himself,” Imran H. Ansari, a lawyer for Mr. Weinstein, said in a statement. Mr. Ansari added that her lawsuit was “yet another example of a complaint filed against Mr. Weinstein after the passing of decades.”CAA did not respond to requests for comment. Lawyers for Ms. Ormond said her complaint was the first to sue the powerful agency for what the suit claims was its role in covering up and enabling Mr. Weinstein’s behavior.Ms. Ormond’s complaint, filed in New York Supreme Court, also named the Walt Disney Company and Miramax, which Disney owned from 1993 to 2010. Ms. Ormond claimed the companies also knew about Mr. Weinstein’s predation and failed to protect her from him.Disney declined to comment. Miramax, now owned in part by Paramount Global, did not respond to requests for comment.According to the complaint, CAA secured a two-year production deal between Ms. Ormond and Miramax. She claims that Mr. Weinstein sexually assaulted her in 1995 after a business dinner. According to the suit, Mr. Weinstein said he would discuss a project she was interested in only at the apartment that Miramax had provided for Ms. Ormond as part of her deal.At the apartment, the suit said, Mr. Weinstein stripped naked and forced Ms. Ormond to give him oral sex.Afterward, Ms. Ormond told her agents, Bryan Lourd, now the chief executive of CAA, and Kevin Huvane, now a co-chairman of the agency, about what had occurred, according to the complaint.“Rather than take Ormond’s side and advocate for her interest, they suggested that if she reported Weinstein to the authorities, she would not be believed, and he would seriously damage her career,” the complaint said.Ms. Ormond did not pursue further action, the complaint said, but Mr. Weinstein terminated her contract at Miramax. CAA also transferred her to a younger, less experienced agent, diminishing her career potential, the lawsuit said.In a statement, Ms. Ormond said her lawsuit was a “way to shed light on how powerful people and institutions like my talent agents at CAA, Miramax and Disney enabled and provided cover for Weinstein to assault me and countless others.” More

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    Gérard Depardieu’s Art Collection Sells for $4.2 Million at Paris Auction

    Over 230 pieces went under the hammer, including sculptures by Rodin. The French actor — now dogged by allegations of sexual misconduct — once played the artist in a movie.The near-entirety of an art collection belonging to Gérard Depardieu, the prolific French actor whose career was clouded in recent years by accusations of sexual assault and harassment, was sold at a two-day Paris auction this week that brought in 4 million euros, including fees, or about $4.2 million.Over 230 items went under the hammer on Tuesday and Wednesday at a sale organized at the Hôtel Drouot by the Ader auction house, including paintings by Alexander Calder and sculptures by Auguste Rodin, whom Depardieu played in the 1988 movie “Camille Claudel.”About 100 people crammed into the auction room on Tuesday night for the sale of the collection’s most prominent items, including a small oil painting of a flower vase by Odile Redon, which sold for €50,000, and the three small Rodin sculptures, which sold for €15,000 to €65,000.The star of the night seemed to be a 4.5-foot enlargement of “Walking Man,” a bronze sculpture originally made by Germaine Richier in 1945. The enlargement, which used to dominate Depardieu’s living room, was hammered up to €510,000 — but the auction house said in a statement Wednesday that the actor decided at the last minute not to sell the sculpture, and withdrew the lot.“This is a serious collection,” David Nordmann, one of the two auctioneers at Ader in charge of the sale, said in an interview. “This is not the collection of a celebrity who bought artwork just to show off.”“The Walking Man” by Germaine Richier, which once stood in Depardieu’s living room.Adagp, ParisNordmann had previously worked with Depardieu when the actor sold off the contents of a Parisian fine dining restaurant that he owned. The two men stayed in touch and discussed the sale his art collection. Depardieu gave the go-ahead in early 2023, and let the auctioneer pick the pieces and set the prices.“He loved to collect,” Nordmann said, recalling how Depardieu spent hours telling him about Matisse’s superiority to Picasso the first time he entered the actor’s home. But “at some point,” he added, “he reached the end of that process.”He has also faced a growing number of sexual abuse accusations. In interviews in April with Mediapart, an investigative news site, 13 women — actresses, makeup artists and production staff — accused Depardieu of making inappropriate sexual comments or gestures during the shooting of films released between 2004 and 2022. Two other women made similar accusations against him in interviews this summer with France Inter, a radio station. Depardieu declined to be interviewed for this article, but has always denied any criminal behavior.The turmoil in his personal life might have factored into his decision to sell, Nordmann said, “but not in the sense that he is trying to prove a point” or distract from the accusations.“He wants to move on,” he said.Some items sold at prices much higher than expected, including a 1928 portrait by Christian Jacques Bérard that sold for €55,000 euros, 11 times the low estimate, and a monochromatic ink composition by Jean Arp that sold for €20,000. But most pieces sold within the estimated range.The collection, which skews heavily toward postwar abstraction and contemporary art, includes widely recognizable names — a Duchamp collage; several pieces by Miró. Depardieu appears to have favored rugged compositions, bold colors, thick brushstrokes and raw materials, in keeping with his larger-than-life personality, Nordmann said.He refused to lend pieces for shows, Nordmann said, including the Richier sculpture, which was recently requested for a show at the Centre Pompidou.Depardieu in the Netflix TV show “Marseille.” The actor has appeared in over 250 movies.Anne-Christine Poujoulat/Agence France-Presse — Getty ImagesThe sale did not include any Depardieu memorabilia. But it attracted unusually large crowds, both during the sale and beforehand, as thousands of curious visitors crowded the Hôtel Drouot to get a peek at the actor’s collection before it was snapped up.Depardieu is one of France’s most prominent and prolific lead actors, an internationally recognized figure who has played in the last 50 years in more than 250 movies, including “Cyrano de Bergerac” and “The Man in the Iron Mask,” and in TV shows like “Marseille.”Over the past decade, though, Depardieu’s popularity has waned as personal scandals overtook his acting career. He became a Russian citizen in 2013 to avoid taxes in France, and has expressed a strong friendship with President Vladimir V. Putin of Russia, although last year he denounced the invasion of Ukraine.But the accusations of sexual abuse against Depardieu have been more damaging. He has not been convicted in connection with any of the accusations.But Depardieu has been charged with rape and sexual assault in a case involving Charlotte Arnould, a French actress who has accused him of sexually assaulting her in Paris in 2018, when she was 22, during informal rehearsals for a theater production. Prosecutors had initially dropped that investigation in 2019, citing of a lack of incriminating evidence, but it was reopened in 2020.The French movie industry has grappled with several high-profile accusations of sexual abuse in recent years and taken steps to address them. But mixed reactions to the #MeToo movement in France — which has also given a warm reception to artists accused of abuse — exposed sharp cultural divides between France and the United States.Juliette Guéron-Gabrielle More

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    Russell Brand Denies Accusations of ‘Egregious’ Sexual Assaults

    Three British media outlets published an investigation in which four women accused him of sexual assault in a series of incidents between 2006 and 2013.The comedian Russell Brand denied “serious criminal allegations” against him in a video he posted shortly before three British news organizations published an investigation Saturday in which four women accused him of sexual assault.The investigation was a collaboration by The Sunday Times and The Times of London newspapers, and Channel 4 Dispatches, a television program that broadcast a documentary about the allegations on Saturday. They reported that the women had accused him of sexual assault in a series of incidents between 2006 and 2013.Mr. Brand, an actor and former TV host who has more recently built a significant following on his YouTube channel, where he often opines on wellness and interviews prominent conservative figures, released a short video on social media on Friday in which he said he had received notes from media organizations listing “a litany of extremely egregious and aggressive attacks.”“Amidst this litany of astonishing, rather baroque attacks are some very serious allegations that I absolutely refute,” Mr. Brand said in the video, going on to say that while he has spoken previously about a “time of promiscuity” in his life, the encounters during that time were “always consensual.”His literary agency, Tavistock Wood, announced this weekend that it had cut ties with him, saying in a statement that it believed it had been “horribly misled” by him when he denied an allegation in 2020.The allegations were published as the comedian, 48, was on a short stand-up tour. At a show in northwest London on Saturday night, he opened the evening with an oblique reference to the accusations.“I’ve got a lot of things to talk to you about,” he said, according to news media reports. “There are obviously some things that I absolutely cannot talk about and I appreciate that you will understand.”In the investigation, one woman accused Mr. Brand of raping her against a wall in his Los Angeles home in 2012. The news organizations said that the woman had provided medical records confirming that she had been treated at a rape crisis center. Another woman accused him of forcing her to perform oral sex on him when she was 16, despite her pushing him away.In his video, Mr. Brand did not address the specifics of the accusations by the four women, three of whom were not identified in the reports. He said there were “witnesses whose evidence directly contradicts the narratives” that had been put forward to him by the news organizations, but according to the article, a lawyer for Mr. Brand did not respond to an inquiry about providing such evidence. A legal representative The New York Times contacted on Sunday did not respond to a request for comment on the specific allegations in the investigation.Known for raunchy, boundary-pushing humor that has gotten him in trouble at times, Mr. Brand’s fame grew in Britain in the 2000s with a one-man show about his heroin addiction, and then as a BBC radio and Channel 4 reality television host. He broke into American pop culture with a prominent role in the rom-com “Forgetting Sarah Marshall” in 2008 and a remake of “Arthur” in 2011, and was briefly married to the pop star Katy Perry.The investigation reported on Saturday also included complaints about Brand’s workplace behavior, including from unnamed production workers from Channel 4. They said that Brand would ask staff members to approach female audience members so he could arrange to meet them after filming, according to the reports.Channel 4 and BBC have said in statements that they are investigating allegations against Brand from the periods when he worked at their companies.The Metropolitan Police in London released a statement in response to the article saying that the department had been in touch with the journalists behind the story, and it encouraged any victims of sexual assault to report it to them.Brand did not address the workplace complaints in his video.Mr. Brand’s commentary on his YouTube channel, which has 6.6 million followers, tends to revolve around health, spirituality, so-called woke culture and free speech, and his guests have included Gov. Ron DeSantis of Florida, Tucker Carlson and the conservative commentator Candace Owens. In his video on Friday, he accused the “mainstream media” of launching what he called a “coordinated attack” against him. Elon Musk responded to Mr. Brand’s post on X, the platform formerly known as Twitter, writing: “Of course. They don’t like competition.”Mr. Brand has spoken about and written extensively about battling addictions to drugs, alcohol and sex, writing in his memoir that he was treated for a sex addiction in 2005.Alex Marshall More

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    Ashton Kutcher and Mila Kunis Explain Their Letters in Danny Masterson Rape Case

    The letters to a judge ahead of Masterson’s sentencing described their friendship with him and spoke glowingly of his character.Mila Kunis and Ashton Kutcher on Saturday spoke about letters they had written seeking leniency in the prison sentence of Danny Masterson, the actor best known for his role in the sitcom “That ’70s Show” who was found guilty of raping two women more than 20 years ago.Masterson was sentenced to the maximum, 30 years to life, on Thursday.The letters to the judge in the case, Charlaine F. Olmedo of Los Angeles Superior Court, which were published on Friday on Substacks of journalists who had covered the trial, described the couple’s friendship with Masterson.“I do not believe he is an ongoing harm to society,” Kutcher, who is married to Kunis, wrote of Masterson in a letter dated July 27, adding that “having his daughter raised without a present father” would be “a tertiary injustice in and of itself.”In her letter, Kunis vouched for Masterson’s “exceptional character and the tremendous positive influence he has had on me and the people around him.”Masterson, 47, co-starred on “That ’70s Show” with Kutcher and Kunis from 1998 to 2006. Debra Jo Rupp and Kurtwood Smith, two other co-stars from the show, also wrote letters to the judge in support of Masterson, praising their interactions with him while working together.Kunis and Kutcher defended their letters in support of Masterson in a recorded statement posted to Instagram on Saturday, saying they “were not written to question the legitimacy of the judicial system or the validity of the jury’s ruling.”“They were intended for the judge to read,” Kutcher said. “And not to undermine the testimony of the victims or re-traumatize them in any way. We would never want to do that and we’re sorry if that has taken place.”Comments were closed on the Instagram post addressing the letters, but other recent posts on the account were flooded with outrage and criticism, with many noting Kutcher’s longtime philanthropic efforts to combat sex trafficking.The letters from Kutcher and Kunis sought to portray Masterson as someone who was critical of drug use. Kutcher said he attributed “not falling into the typical Hollywood life of drugs directly to Danny.” Kunis said that “Danny played a pivotal role in guiding me away from such destructive paths.”Those statements appeared to be responding to specific allegations in the case.Prosecutors had accused Masterson of drugging and then raping three women at his home in the Hollywood Hills section of Los Angeles between 2001 and 2003. (The jury deadlocked on the charge that Masterson had raped a third woman.)In the video statement, Kutcher said that he and Kunis were “aware of the pain that has been caused” by the letters. Kunis added, “Our heart goes out to every single person who’s ever been a victim of sexual assault, sexual abuse or rape.”The couple said in the video on Instagram that Masterson’s family had asked them to write the letters “to represent the person that we knew for 25 years, so that the judge could take that into full consideration relative to the sentencing.”Tony Ortega, one of the journalists who published the letters on his Substack, “The Underground Bunker,” wrote that “these letter writers were probably aware that Judge Olmedo could really only choose between 15 to life and 30 to life.”“They knew they were not trying to convince her to let Danny walk out of prison,” he added. Another Substack, “Legal Affairs and Trials with Meghann Cuniff,” also published the letters.The case against Masterson drew widespread attention, in part because of accusations that the Church of Scientology, to which Masterson belonged, had pressured his accusers to keep quiet. The church denied that it pressured the victims.Kutcher and Kunis in their letters described deep connections to Masterson, with Kutcher saying that Masterson had been his friend and role model for 25 years.“We’ve traveled around the world together, raised our daughters together and shared countless family moments,” Kutcher said, adding “he is among few people that I would trust to be alone with my son and daughter.”Kunis added that Masterson’s “unwavering commitment to being an exceptional older brother figure to me has had a transformative impact on my life.”Masterson will be eligible for parole in 20 years, according to the Los Angeles County District Attorney’s Office. More