EXCLUSIVE: Harvey Weinstein’s troubles continue at an alarming pace after it has emerged that Scotland Yard has received more allegations of sexual assault. Deadline has learned that the UK authorities have received two new formal assault complaints from another woman, bringing the total number of complaints to police in the UK to 14 allegations from nine women. This has emerged hours after Uma Thurman detailed sexual assault at the hands of the Weinstein Company honcho in an incredibly revealing article in TheNew York Times.
The latest allegations were made to UK police on November 13, although they have only just become public. Scotland Yard told Deadline: “On 13 November an allegation was received that the man sexually assaulted a woman (Victim 9) in Westminster in 2011 and outside the jurisdiction of the UK in 2010. The second allegation will be passed to the relevant police force in due course.”
The victim has not been named.
In all, the 14 allegations made to the UK police represent nine women, and four of the alleged incidents happened outside of the UK. The allegations are being investigated by Scotland Yard’s Child Abuse and Sexual Offences unit, using the Operation Kaguyak codename.
Police are looking into allegations from women ranging from the early 1980s to 2015. However, the authorities have stated that no arrests have been made, and Weinstein has denied all allegations of non-consensual sex.
It compounds an already heavy day for Weinstein accusations after Thurman detailed her assault. She said the first attack happened at the Savoy Hotel in London.
“It was such a bat to the head. He pushed me down. He tried to shove himself on me. He tried to expose himself. He did all kinds of unpleasant things. But he didn’t actually put his back into it and force me. You’re like an animal wriggling away, like a lizard. I was doing anything I could to get the train back on the track. My track. Not his track,” she said.
It’s not clear whether Thurman has made a formal complaint to the UK police and the Times article does not state what year the assault took place in, although she suggested it took place after 1994’s Pulp Fiction.
All allegations of non-consensual sex have been denied by Weinstein.
‘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.