T.J. Miller, the former star of HBO’s Silicon Valley, is now facing accusations that while in college he sexually assaulted and punched a woman, the Daily Beast reports.
“He just tried a lot of things without asking me, and at no point asked me if I was all right,” the woman told The Daily Beast. “He choke[d] me, and I kept staring at his face hoping he would see that I was afraid and [that he] would stop… I couldn’t say anything. … I was paralyzed.”
The alleged victim, who wants to remain anonymous, says she is speaking out now to add her voice to the “societal awakening” happening now in both left-wing Hollywood and the left-wing mainstream media. The Daily Beast further reports that the “accusations were eventually addressed by a student court at George Washington University and have been buzzed about in Hollywood and stand-up circles for years.”
On top of that, the Daily Beast says it has interviewed five people who say the alleged victim shared her story with them at the time. Apparently, there were two separate incidents.
The alleged victim admits that when the first alleged assault occurred, some 15 years ago, she was very drunk to the point where she does not remember much. What she says she does remember, though, is “that as they were ‘fooling around’ at her place, Miller began ‘shaking me violently'” and allegedly punched her in the mouth during sex.
She says she woke up with a bloody lip and fractured tooth.
During the second alleged incident a few weeks later, which she says lasted five hours, she claims she was sober.
“We started to fool around, and very early in that, he put his hands around my throat and closed them, and I couldn’t breathe,” she told the Daily Beast. “I was genuinely terrified and completely surprised. I understand now that this is for some people a kink, and I continue to believe it is [something] that should be entered into by consenting parties. But, as someone who had only begun having sexual encounters, like, about three months earlier, I had no awareness this was a kink, and I had certainly not entered into any agreement that I would be choked.”
After that, she claims he sodomized her without her consent and “penetrated” her with a bottle, again without her consent. She claims she told him “No.”
She says it took her a year before she could talk to the campus police. After a two-week process, she was told the situation was “resolved.” Citing privacy laws, the school would not comment further.
Miller denies any wrongdoing and supplied character witnesses from that time to speak on his behalf.
This is the second time Miller’s run-ins with the law have become public, In December of last year, he was arrested and cited after an altercation with an Uber driver.
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‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.