
Comedian Russell Brand arrives at UK court to face rape and sex assault charges
Brand, once one of Britain's most high-profile broadcasters and former husband of U.S. pop singer Katy Perry, has consistently denied having non-consensual sex since allegations about him were first aired two years ago.
The 49-year-old comedian, wearing sunglasses and a dark shirt unbuttoned to his chest, slowly picked his way through a throng of reporters and cameramen into Westminster Magistrates' Court without speaking.
London police charged Brand on April 4 with rape, oral rape, indecent assault and two counts of sexual assault involving the four women between 1999 and 2005.
After the charges were announced, Brand said that in his younger days, before getting married and having children, he had been a fool and a sex addict but 'what I never was, was a rapist'.
'I have never engaged in non-consensual activity,' he said in a video statement. 'I'm now going to have the opportunity to defend these charges in court and I'm incredibly grateful for that.'
In the 2000s, Brand was a regular on British screens, known for his flamboyant style and appearance. He worked for the BBC and starred in a number of films including 'Get Him to the Greek' before marrying Perry in 2010. They divorced 14 months later.
By the early 2020s he had faded from mainstream culture, appearing primarily on his internet channel where he airs his views on U.S. politics and free speech.
In September 2023, the Sunday Times newspaper and Channel 4 TV's documentary show 'Dispatches' reported allegations of sex offences against him, and London police opened an investigation some weeks later.
Brand, who said last year he had become a Christian, rejected those accusations.
'These allegations pertain to the time when I was working in the mainstream, when I was in the newspapers all the time, when I was in the movies. And as I've written about extensively in my books, I was very, very promiscuous,' he said.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

TimesLIVE
a day ago
- TimesLIVE
‘Ketamine queen' to plead guilty to supplying dose that killed actor Matthew Perry
The accused Los Angeles drug dealer known as the 'ketamine queen' has agreed to plead guilty to charges that she supplied the dose of the prescription anaesthetic that killed Friends star Matthew Perry, prosecutors said on Monday. Jasveen Sangha, 42, who authorities said ran an illegal narcotics 'stash house' in the North Hollywood district of LA and is due to stand trial in September, will plead guilty to five charges under a deal with federal prosecutors, according to the US justice department. Four co-defendants in the case — two physicians, Perry's personal assistant and a man who admitted acting as an intermediary in selling ketamine to the actor — have pleaded guilty to charges, though none has been sentenced. All five were charged in the case a year ago. Prosecutors said Sangha agreed to plead guilty to one count of maintaining a drug-involved premises, three counts of illegal distribution of ketamine, and one count of distribution of ketamine resulting in death. Sangha, a dual US-British citizen, is expected to formally enter her plea in the coming weeks, the justice department said.

IOL News
2 days ago
- IOL News
Wrestler Joshua Chetty's desire to inspire future generations
Wrestler Joshua Chetty, known as 'Joshua The Bull' said he wants to motivate and urge young people to pursue their dreams. Image: Supplied When Joshua Jesse Chetty, better known in the ring as 'Joshua The Bull' stepped into professional wrestling, he carried more than his own ambitions. He carried the weight of proving that someone from Chatsworth, Durban could make history in a sport that had never seen an athlete like him at its highest levels. "I wasn't just fighting for myself. I was representing every kid from Chatsworth who was told their dream was too different," Chetty said, reflecting on the driving force behind his career. Chetty's athletic journey began in his childhood. Born in Chatsworth, his family moved to Winkelspruit, where he played rugby, soccer, and athletics. He excelled in discus and sprinting but wanted to be a wrestler. 'My goal was always to become a professional wrestler, but it seemed like a far-fetched dream, and a lot of people told me it was impossible. I had to keep my focus and trust in God,' he said. His fascination with wrestling grew as he watched wrestling on TV. He attended every local show he could, often volunteering to help set up rings, immersing himself in the sport. Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Next Stay Close ✕ Ad loading Eventually, he found a wrestling school and began formal training. He debuted at the age of 18 at the Chatsworth Youth Center on 13 November 2010. Wrestling legend Tiger Ellappan was present at the event, marking it as a historic start for Chetty. In 2016, Chetty broke one of South African wrestling's longest-standing ceilings when he became the first Indian wrestler to win the World Wrestling Professionals (WWP) Tag Team Championship, alongside his partner Shadow. Chetty's cultural heritage remains central to his persona. He often enters the ring to traditional Indian music, a deliberate choice to honour his Telugu roots and demonstrate that heritage can be celebrated in professional wrestling. He credits his strong Christian upbringing for giving him resilience. Chetty also draws inspiration from Indian wrestling legends including Ellappan, Tiger Singh, and Richie "Lionheart" Govender, while forging his own path. His achievements include holding the inaugural WAWSA Arnold's Champion title for two years. Even in 2025, Chetty continues to compete. He recently wrestled at Wrestle Monster, WAWSA's largest African wrestling event, winning a three-way match in Durban.

IOL News
2 days ago
- IOL News
Understanding the Emissary Syndrome: Redi Tlhabi and Fanon's Warning
Gillian Schutte writes Fanon's warning about the colonised intellectual rings true today as Redi Tlhabi navigates her role in South Africa's media landscape, embodying the complex relationship between power, recognition, and betrayal. Image: Supplied Fanon warned that the colonised intellectual, intoxicated by proximity to power, becomes emissary of the coloniser in her own land. She is rewarded abroad, adorned with credentials, and sent back to discipline her own people in the master's idiom. The tragedy is not simply betrayal but the psychic disavowal that makes betrayal feel like virtue. Redi Tlhabi now embodies this role with unsettling clarity. She entered the national consciousness as Redi Direko, working in SABC current affairs between 2002 and 2005, reporting on the fragile birth of the African Union, Sierra Leone's demilitarisation and Rwanda's post-genocide transition. By 2005 she had become the voice of Talk Radio 702, hosting a daily show for more than a decade. She chastised politicians and soothed liberal donors, embodying a modern African professionalism that looked critical yet reassured capital. In 2008 she fronted ENCA's 24-hour launch, becoming the first face to greet viewers on South Africa's new rolling news channel. The decisive crucible came in 2009 with The Big Debate. The show carried the hallmarks of artifice: it looked urgent, staged conflict, but was framed for international broadcasters and the donor gaze. Produced by Ben Cashdan, a British-born man who arrived in South Africa in the mid-1990s, attached himself to Mandela's presidency and whose earlier history remains conspicuously absent, the programme became the perfect grooming ground. Direko, who became Tlhabi after marrying Johannesburg gynaecologist Brian Tlhabi in 2010, mastered the skill of performing defiance while knowing the parameters were fixed. It is the gallant effort of pretending one is resisting when one is already repeating the master's script. From there she was export-ready. Al Jazeera gave her South2North. The BBC placed her at Newsday in 2022. National Geographic made her the face of Women of Impact. She moderated for the UN General Assembly, COP summits, World Bank meetings and The Elders. She shared stages with Oprah, Kofi Annan and John Kerry. Her CV accumulated the honours of donor royalty: Section27, Women in Cities International, the Atlantic Fellows for Racial Equity at Columbia and the Nelson Mandela Foundation, the UN Global Journalists Corps. She became living proof that empire rewards its interpreters. Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Next Stay Close ✕ Ad loading By September 2023 she was summoned to Washington to testify before the U.S. House Foreign Affairs Subcommittee on Africa. She warned of South Africa's democratic fragility, invoked Russian interference and pleaded with Congress to keep PEPFAR and AGOA intact. These invitations do not arrive from nowhere. They are brokered by Atlantic Council, CSIS, Wilson Center and the donor-contractor nexus of Brussels, Google, Gates and Soros. The prize was her reach: a polished Black South African voice who could reassure Washington that its story would echo back into African homes. When criticism mounted, Chris Roper came to her defence. Roper, once Mail & Guardian editor and now Deputy CEO of Code for Africa, inhabits the same donor ecosystem. Code thrives on EU, NED, Google and Gates funding. His move was predictable: protect the operator, protect the network. In this system, emissaries are never left exposed. Her current pulpit is The Readiness Report, a Daily Maverick podcast — the most overtly donor-aligned outlet in South Africa. And it was here, just this week, that her role became unmistakable. She used General Rudzani Maphwanya's visit to Tehran, where he met Iran's army chief and condemned the bloodletting in Gaza, as a pretext for imperial ventriloquism. Her tone grew urgent, verging on hysterical. 'I want you to hear this. I need you to listen.' She repeated her nausea, threatened to vomit, as though retching could substitute for analysis. Here the psychoanalytic symptom revealed itself. The nausea, the bodily threat to expel, is the mark of disavowal. She cannot admit that she speaks for empire, so her body stages the denial. It is the unconscious saying what the polished voice cannot: that the script she repeats is indigestible, that it sickens even her, that to carry the coloniser's message requires constant repression. But rather than confront that truth, she projects the sickness outward, onto DIRCO, onto Iran, onto Russia, onto those who defy Washington. She warned South Africans against even imagining that Iran could be an ally, or that Russia and China could be trusted partners. BRICS was permitted only 'within reason.' Iran was reduced to a caricature of women-killers, erasing the complex reality of a society where women are highly educated and publicly visible. Russia was cast as rogue. The disciplining was unmistakable. South Africans were told to abandon their own agency, to accept the master's map of the world. And they have rejected her. Black South Africans have seen through the artifice and turned away. They denounce her with the bitterness reserved for betrayal. They call her an Uncle Ruckus in high heels, a ventriloquist's doll for empire. They say her words drip with contempt for African intelligence, that her voice no longer belongs to them. Her nausea, her insistence on being heard, her sanctimony — all of it is read as the arrogance of someone who has crossed over. She is mocked, derided, cast out of the circle of respect. In the townships and the streets, in the comment threads and the conversations, the verdict repeats itself: she is no longer one of us. Fanon warned that colonialism would implant in the colonised a desire for the coloniser's recognition, and Lacan would call this the ego-ideal: the subject lives through the gaze of the Other. Tlhabi's entire trajectory bears this mark. She speaks less to South Africans than to Washington and Brussels, performing Africanness for their applause. The contradiction tears her in two — an African body carrying a European superego. Zizek might call this the perversion of ideology: the subject knows the system is violent, knows it erases her people's sovereignty, yet clings to it all the more because her status depends on it. History will not absolve her. Redi Tlhabi may remain adored on donor stages, but at home she has become the mirror of Fanon's most dire warning — the colonised intellectual who betrays her people while convincing herself she is saving them, trapped in a psychic knot where empire is both her master and her mirror. Fanon's warning about the colonised intellectual rings true today as Redi Tlhabi navigates her role in South Africa's media landscape, embodying the complex relationship between power, recognition, and betrayal. Image: IOL