Arthur

As one century gives way to another, a child is born in Mumbai. “The millennium’s gift,” Chandni Contractor, is a source of joy to her parents. When Chandni turns 4 and reveals herself to be a musical prodigy, she becomes a source of wonder. At the age of 13, she dazzles audiences across India with her piano and sitar performances. Five years later, she enthralls Majnoo, the playboy son of billionaire parents, and the pair go on to have a spectacular wedding. But their marriage sours and her in-laws turn overbearing. Eventually Chandni snaps and wreaks havoc by playing a different kind of music, one that has the power to destroy livelihoods and lives.

“The Musician of Kahani” is one of five stories in a new collection by Salman Rushdie. “The Eleventh Hour” sees the acclaimed Indian-born British American author exploring the weighty matters of life and death. That he should choose to craft tales around these twin themes is hardly surprising. In 2022, he was nearly killed in a frenzied attack at an event in upstate New York. Two years later, in his up-close-and-personal memoir, “Knife,” he recounted his ordeal and told how he had come to embrace what he called “my second-chance life.” Rushdie’s brush with death and new lease on life renders his latest stories — his first fiction since the attack — all the more potent and poignant.

The collection’s opener, “In the South,” gets underway both innocently and ominously: “The day Junior fell down began like any other day.” What follows is a chronicle of a death foretold. Senior and Junior are two octogenarian neighbors in Chennai, India, who spend their time together arguing. The former has had a rich and fulfilling life, but as so many of his friends and family have died — or “gone to their fiery rest” — he now longs for death. The latter, afflicted by “the incurable disease of mediocrity,” has led a disappointing life yet still possesses a lust for it.

When a tsunami hits the city, it kills Junior. At first Senior is angry (“Why not me?” he rages), but his dominant emotion turns to sadness after he realizes he has lost a man who was his “shadow.” Or so he believes. For Junior’s passing is not the end. Senior continues to see, and quarrel with, his fallen friend. As Rushdie puts it: “Death and life were just adjacent verandas.”

One of the finest stories here, “Late,” involves another apparition. English academic S. M. Arthur wakes up in his university college (an unnamed King’s College, Cambridge) and discovers he is dead. Feeling like “a broken entity trapped in a kind of prison,” he finds peace by communing with the one person who can see him, Indian student and fellow lonely soul, Rosa.

The pair form a bond in the empty college over the Christmas holidays. Despite their affinity, Arthur harbors secrets. When Rosa is tasked with sorting his papers, she comes across a mysteriously locked box file, the contents of which he refuses to disclose. Then Arthur takes stock of his situation and decides he can’t rest until Rosa helps him get even with a past persecutor. What is in the box and why the need for revenge?

Weighing in at over 70 pages, “Late” constitutes more a novella than a story, as does “The Musician of Kahani” and the equally substantial “Oklahoma.” This last offering about writers, writing and elaborate vanishing acts is artfully structured and formally daring, made up of multiple layers, diverse references, literary ventriloquy and slick twists and turns. In a lesser writer’s hands, this novella might have been too clever for its own good; however, Rushdie, a seasoned pro, achieves the perfect balance.

He hasn’t done so in recent years in his long-form fiction. “The Golden House” (2017), “Quichotte” (2019) and his last novel, “Victory City” (2023), were blighted in places by digressive riffs and monologues, bottomless subplots, “humorous” character names (Evel Cent, Thimma the Almost as Huge) and excessive magic-realist high jinks comprising talking revolvers, ferocious mastodons, an Italian-speaking cricket and a demigoddess who grows a city from seeds and lives for 247 years. Sometimes this hocus-pocus worked wonders; at other times it felt like cheap tricks.

Rushdie has far more success in “The Eleventh Hour.” His narratives are more streamlined. His flights of fancy— malevolent music, undead scholars, imaginary brothers, a cult led by a guru with 93 Ferraris in an “experimental township” called the Moon — are more controlled and add subtle strokes of color. Some groan-inducing puns aside, Rushdie’s comic touches are deftly managed, appearing as sharp satirical swipes or witty repartee. “You look like a man who is only waiting to die,” says Junior to Senior, who in turn retorts: “That is better than looking, as you do, like a man who is still waiting to live.”

Rushdie exhibits further playfulness by scattering clues and inviting his reader to trace connections. Arthur is in part a crafty composite of the writer E.M. Forster and the computer scientist Alan Turing — all three being, like their creator, King’s College alumni. “And at midnight, the approved hour for miraculous births in our part of the world, a baby was born to a Breach Candy family,” Rushdie writes of Chandni, with a knowing nod to the key time, place and circumstances in his 1981 masterpiece “Midnight’s Children.”

The book’s last and shortest entry, the fabular “The Old Man in the Piazza,” makes for a somewhat slight coda. Otherwise, this is an inventive and engrossing collection of stories which, though death-tinged, are never doom-laden. With luck this master writer has more tales to tell.

Malcolm Forbes is a freelance writer and critic from Edinburgh, Scotland, who writes for the Economist, the Washington Post and other publications.

World number 204 Valentin Vacherot upset his cousin Arthur Rinderknech to win his first ATP title at the Shanghai Masters.

Monaco’s Vacherot fought back from a set down to win 4-6 6-3 6-3 against the world number 54 to become the lowest-ranked ATP Masters 1000 champion since the series began in 1990.

The 26-year-old sealed the success with a searing forehand down the line and, after hugging Rinderknech at the net, sprinted off court and up to one of the boxes to celebrate with his coach and family.

Vacherot then continued the winner’s tradition of writing a message on one of the courtside cameras, writing “Grandpa and Grandma would be proud”.

Both players struggled to hold back tears during their post-match speeches on court.

“It is unreal what just happened – I have no idea what is happening right now. I am not even dreaming, it is just crazy,” said Vacherot.

“There has to be one loser but I think there are two winners today. One family that won and I think for the sport of tennis, the story is unreal.

Frenchman Rinderknech added: “Valentin, you gave everything I am so happy for you. Two cousins are stronger than one.”

Great Britain’s Cameron Norrie claimed a first win since September’s US Open, beating Frenchman Arthur Cazaux in a third-set tie-break at the Shanghai Masters.

The British number two was beaten by Novak Djokovic in the third round at Flushing Meadows and has since tasted back-to-back defeats in Chengdu and Beijing.

But it proved to be third-time lucky in China for Norrie as the five-time winner on the ATP Tour clinched a rollercoaster 6-3 0-6 7-6 (7-5) win over the world number 70.

Norrie, the 30th seed and ranked 33rd in the world, showed all his experience as he breezed through the opening set courtesy of two breaks, making just four unforced errors and barely dropping a point on serve.

Yet 23-year-old Cazaux came out firing in the second set, claiming a first break of serve in the opening game before going on to inflict just a seventh bagel – 6-0 defeat – of Norrie’s career.

The Briton did well to regroup in the third, once again showing too much guile for his younger opponent, outfoxing him with his left-hand serve to regain a measure of control.

Neither player was able to make a dent on their opponent’s serve, as they struggled through hot and humid conditions, but a double fault from Cazaux in the third point of the tie-break ultimately proved the difference in a match that lasted two hours.

After being given a bye in the first round, Norrie’s first win at a Masters 1000 event since May, when he won on the clay in Rome, set up a third-round match against 19-year-old American Learner Tien.

“House of Guinness,” as in the famous Dublin brewery, begins with the disclaimer “inspired by true facts,” which is another way of saying, “Don’t believe everything you’ll see.” Or, in “Dragnet”-speak, “Names have not been changed, and we have no desire or obligation to protect the innocent. This is a drama, and anyway, you can’t libel the dead.” The framing may be sound, but the portraits are imaginary.

The unchanged names in the series, which premieres Thursday on Netflix, belong to the four children of Benjamin Lee Guinness, whose grandfather created the signature porter in 1778. They are Arthur (Anthony Boyle), Edward (Louis Partridge), Anne (Emily Fairn) and Benjamin (Fionn O’Shea). As we begin, it is 1868 and Benjamin Lee, just deceased, has left the brewery in equal shares to Arthur, who has been away in London for five years losing his accent and finding peace, and Edward, who has been pretty much running the place. Anne, only a woman, and a married one, is basically skipped over; and Benjamin, who has problems with drink and gambling, is given a small allowance, because, as expressed in his late father’s will, “I feel it wise not to burden Benjamin with the temptations that come with fortune.”

As seen here, neither Arthur nor Edward, whose professional expertise is mostly represented by signing papers and occasionally walking around his factory — you won’t learn anything about how Guinness is made — seems capable of running a brewery. But all that really matters to the show is that each is a tortured romantic and will have to find a way to thrive in their uneasy, unasked-for partnership.

Indeed, as a viewer in search of entertainment rather than enlightenment, it’s best to treat these characters, however much attached they are to the real people whose names they bear, as entirely fictional. There are also, of course, characters mixed up in this business who have no factual counterparts, and by virtue of their fates not being written in books or Wikipedia pages, are subject to the whims of series creator Steven Knight (“Peaky Blinders,” “A Thousand Blows,”), creating opportunities for suspense that might otherwise be lacking.

Prime among these creations are Sean Rafferty (James Norton), the Guinness family fixer, a handsome brute whom the ladies like, and the beautiful, brilliant Ellen Cochrane (Niamh McCormack), a Catholic firebrand who sees a better way toward Irish independence than throwing rocks at old man Guinness’ hearse or setting beer barrels on fire; for some reason, the Fenians, epitomized by Ellen’s “bonehead” brother Patrick (Seamus O’Hara), a grating presence and no advertisement for the movement, have decided that targeting Guinness (rich, Protestant) is going to get them somewhere.

James Norton as Sean Rafferty in “House of Guinness.”

(Ben Blackall / Netflix)

Apart from the politics, the family squabbles and the not particularly worrying fortunes of the family business — I mean, you can still order a Guinness — the main concerns of this historical melodrama, this stout opera, if you will, are beating hearts and heaving breasts. Skeptically accepting a meeting with Edward in the spirit of detente, Ellen feels electricity sparking between them, and vice versa. (More acceptably, Edward also has eyes for his cousin Adelaide Guinness, played by Ann Skelly, who has none for him.) Ben, meanwhile, is beloved by Lady Christine O’Madden (Jessica Reynolds), who foolishly believes she can reform him. Well, we’ve all seen that story.

But wait, there’s more! In this telling, at least, Arthur is gay, which is a problem for him as a person living in a super-religious country in the late 19th century and as a representative of the family and their eponymous product. If his orientation becomes known, it is suggested, the world will cease drinking his beer, and the family will be forced to subsist on the millions of pounds they have in the bank and whatever they can scrape off the several estates they own around the country. (Whenever contemporary figures are mentioned, screen-filling subtitles translate the sum into its 2025 equivalent, just so you realize how freaking rich these people were. The budget of the series is not sufficient to make that readily apparent.)

Arthur’s “complication,” which is no secret among his nonjudgmental siblings, has made him A) a target for blackmail, and B) a person in immediate need of a wife, especially as he’s about to stand for his late father’s seat in parliament. Enter Aunt Agnes Guinness (Dervla Kirwan), the story’s yenta, and marriage prospect Lady Olivia Hedges (Danielle Galligan), who is quite happy to settle for a maximum of freedom and a modicum of responsibility, and who curses in a most unladylike fashion. (But, really, the F-words and the Sh-words fly everywhere in this show.)

And what about Anne, saddled with a degenerative disease and a less-than-sexy cleric husband? She’ll sublimate her own romantic heartache in urban renewal and other good works. (Factually, the family had a philanthropic bent, and the company was so far ahead of its time in treating its workers well, including pensions beginning in the 1880s — that gets a moment here — and providing medical care to staff and their families, that much of this country still hasn’t caught up. They were less evolved, however, for many years, when it came to hiring Catholics.)

What else? There’s a curious Hobbit of a character named Byron Hedges (Jack Gleeson), an illegitimate cousin who arrives to sell himself as the man to represent their interests in America, into which Edward is keen to expand; we get some scenes set in New York. There’s Potter (Michael McElhatton), the droll, dry butler, who looks askance upon the younger Guinnesses but stays loyal, like butlers do. And Bonnie Champion (David Wilmot), a charismatic crime lord who’s also involved in the company’s export business.

There’s nothing subtle about “House of Guinness,” which makes its points in declarative sentences — sometimes gussied up with Irish-y prose — and gives its characters hardly a moment to relax and enjoy their porter, swelling the soundtrack with aggressive modern Irish rock and rap to make it exciting to the people of 2025. The show can border on the cornball; the characters are the sort you might have seen in the sort of dramas popular in 1868. But the actors inhabit their roles with commitment, so that even the bad company is good company. Good craic, as they say over there.

At a time when its leadership is in question and its mission challenged, the Library of Congress has named a new U.S. poet laureate, the much-honored author and translator Arthur Sze.

The library announced Monday that the 74-year-old Sze had been appointed to a one-year term, starting this fall. The author of 12 poetry collections and recipient last year of a lifetime achievement award from the library, he succeeds Ada Limón, who had served for three years. Previous laureates also include Joy Harjo, Louise Glück and Billy Collins.

Speaking during a recent Zoom interview with the Associated Press, Sze acknowledged some misgivings when Rob Casper, who heads the library’s poetry and literature center, called him in June about becoming the next laureate.

He wondered about the level of responsibilities and worried about the upheaval since President Trump fired Librarian of Congress Carla Hayden in May. After thinking about it overnight, he called Casper back and happily accepted.

“I think it was the opportunity to give something back to poetry, to something that I’ve spent my life doing,” he explained, speaking from his home in Santa Fe, N.M. “So many people have helped me along the way. Poetry has just helped me grow so much, in every way.”

Sze’s new job begins during a tumultuous year for the library, a 200-year-old, nonpartisan institution that holds a massive archive of books published in the United States. Trump abruptly fired Hayden after conservative activists accused her of imposing a “woke” agenda, criticism that Trump has expressed often as he seeks sweeping changes at the Kennedy Center, the Smithsonian museums and other cultural institutions.

Hayden’s ouster was sharply criticized by congressional Democrats, leaders in the library and scholarly community and such former laureates as Limón and Harjo.

Although the White House announced that it had named Deputy Atty. Gen. Todd Blanche as the acting librarian, daily operations are being run by a longtime official at the library, Robert Randolph Newlen. Events such as the annual National Book Festival have continued without interruption or revision.

Laureates are forbidden to take political positions, although the tradition was breached in 2003 when Collins publicly stated his objections to President George W. Bush’s push for war against Iraq.

Newlen is identified in Monday’s announcement as acting librarian, a position he was in line for according to the institution’s guidelines. He praised Sze, whose influences range from ancient Chinese poets to Wallace Stevens, for his “distinctly American” portraits of the Southwest landscapes and for his “great formal innovation.”

“Like Emily Dickinson and Walt Whitman, Sze forges something new from a range of traditions and influences — and the result is a poetry that moves freely throughout time and space,” his statement reads in part.

Sze’s official title is poet laureate consultant in poetry, a 1985 renaming of a position established in 1937 as consultant in poetry to the Library of Congress. The mission is loosely defined as a kind of literary ambassador, to “raise the national consciousness to a greater appreciation of the reading and writing of poetry.”

Sze wants to focus on a passion going back more than a half-century to his undergraduate years at UC Berkeley — translation.

He remembers reading some English-language editions of Chinese poetry, finding the work “antiquated and dated” and deciding to translate some of it himself, writing out the Chinese characters and engaging with them “on a much deeper level” than he had expected. Besides his own poetry, he has published “The Silk Dragon: Translations From the Chinese.”

“I personally learned my own craft of writing poetry through translating poetry,” he says. “I often think that people think of poetry as intimidating, or difficult, which isn’t necessarily true. And I think one way to deepen the appreciation of poetry is to approach it through translation.”

Sze is a New York City native and son of Chinese immigrants who in such collections as “Sight Lines” and “Compass Rose” explores themes of cultural and environmental diversity and what he calls “coexisting.”

In a given poem, he might shift from rocks above a pond to people begging in a subway, from a firing squad in China to Thomas Jefferson’s plantation in Virginia. His many prizes include the National Book Award for “Sight Lines.”

He loves poetry from around the world but feels at home writing in English, if only for the “richness of the vocabulary” and the wonders of its origins.

“I was just looking at the word ‘ketchup,’ which started from southern China, went to Malaysia, was taken to England, where it became a tomato-based sauce, and then, of course, to America,” he says. “And I was just thinking days ago, that’s a word we use every day without recognizing its ancestry, how it’s crossed borders, how it’s entered into the English language and enriched it.”

Italie writes for the Associated Press.

Great Britain took a big step towards next year’s Davis Cup qualifiers as Cameron Norrie and Arthur Fery both won to give them a 2-0 lead over Poland.

World number 34 Norrie survived a scare against world number 545 Tomasz Berkieta to win his nation’s opening World Group 1 match 7-6 (11-9) 6-4 in Gdynia, Poland.

Fery, ranked 227 in the world, then battled to a 6-4 6-2 victory over Olaf Pieczkowski, ranked 484.

The 23-year-old was making his Davis Cup debut after British number three Jacob Fearnley pulled out with a rib injury.

Britain need one more win on Saturday to reach February’s first round and therefore have a shot at winning the title in 2026.

The world’s number one doubles pair, Lloyd Glasspool and Julian Cash, will make their debut in Saturday’s doubles, which will be followed by two reverse singles.

World number seven Jack Draper was unavailable for the tie because of an arm injury which has ruled him out of the remainder of the season.

Arthur Rinderknech collapsed on court in sweltering conditions before retiring from his Cincinnati Open third-round match with Felix Auger-Aliassime.

Rinderknech lost the first set 7-6 (7-4) but was level at 2-2 in the second before collapsing near the baseline as Canada’s Auger-Aliassime prepared to serve.

Auger-Aliassime and the umpire ran over to check on the Frenchman, before medical staff arrived on court.

The 30-year-old, who had been playing for nearly two hours, had a cooling break with ice packs on his neck and legs before declaring he was able to continue.

However, he lasted just two more games before retiring to send Auger-Aliassime through to the last 16.

Players have been struggling with the heat during the tournament, with temperatures regularly exceeding 30C.

British number two Cameron Norrie looked unwell and was often drenched in sweat during his second-round loss to veteran Roberto Bautista Agut on Sunday.

Wimbledon experienced its hottest opening day in June, with temperatures reaching 32.3C. Carlos Alcaraz’s five-set first-round win over Fabio Fognini was completed following a 15-minute pause in the deciding set, when a spectator sitting in the sun was taken ill.

January’s Australian Open also had sweltering temperatures approaching 34C.

Organisers introduced the Australian Open Heat Stress Scale in 2019 to monitor conditions and minimise risk to players’ health.

Fancy footwork won him Wimbledon.

Simple footwear won him everything since.

“The shoe has had a life of its own,” said Stan Smith, 78, whose eponymous Adidas kicks, with their timeless lines and leather uppers, are the king of all tennis sneakers with more than 100 million sold. “People from all walks of life have embraced them.”

Not surprisingly, Smith has a head for business to match his feet for tennis.

With that in mind, he and longtime business partner Gary Niebur wrote the just-released “Winning Trust: How to Create Moments that Matter,” aimed at helping businesses develop stronger relationships with their clients, with tips that readers can apply to their personal relationships and to sports.

“The book is about developing relationships that can elevate the element of trust, which is a depreciating asset in today’s world,” Smith said this week in a call from the French Open.

Stan Smith and Gary Niebur’s book, “Winning Trust,” was released earlier this year.

(Courtesy of Stan Smith)

When it comes to building and maintaining high-stakes relationships, Smith and Niebur have distilled their process into five key elements they call SERVE, a recurring theme throughout the book. That’s an acronym for Strategize, Engage, Recreate, Volley and Elevate.

For instance, recreate — as in recreation — means to build bonds through fun shared experiences, and volley means to trade ideas back and forth to find solutions.

“When people realize that you care more about the relationship than the transaction,” Niebur said, “trust follows.”

A onetime standout at Pasadena High and USC, Smith was a close friend of the late Arthur Ashe, the UCLA legend whose name graces the main stadium court at Flushing Meadows, N.Y., home of the U.S. Open.

This year marks the 50th anniversary of Ashe’s victory at Wimbledon, when he beat the heavily favored Jimmy Connors in the 1975 final. Ashe remains the only Black man to win the singles title at that storied tournament.

“Arthur was a good friend,” Smith said. “He made a huge impact, and much more of an impact in the last few years of his life when he was fighting AIDS and the heart fund, and obviously for equal rights.”

Arthur Ashe celebrates after winning the Wimbledon men’s singles title in 1975.

(Associated Press)

Ashe, who contracted HIV from a blood transfusion he received during heart-bypass surgery, died in 1993. Although he was four years older than Smith, the two developed a close friendship when they traveled the globe as Davis Cup teammates and rising professionals.

Smith has vivid memories of traveling with him, Ashe in his “Citizen of the World” T-shirt with his nose forever buried in a newspaper or magazine. Smith was ranked No. 1 in the U.S. at the time, two spots ahead of his pal, yet the wildly popular Ashe always got top billing.

“When we went to Africa, I was the other guy who played against him in all these exhibitions,” Smith told The Times in 2018. “They would introduce him as Arthur Ashe, No. 1 player in the U.S., No. 1 in the world, one of the greatest players to ever play the game … and Stan Smith, his opponent.”

Smith laughs about that now, but it used to chafe him. Finally, he raised the issue with his buddy.

Recalled Smith in that 2018 interview: “Arthur came up to me and said, ‘I’m sorry about that. If we do a tour of Alabama, I’ll carry your rackets for you.’ He was in tune with everything.

“Arthur was a quiet leader walking a tightrope between a traditionally white sport and the black community.”

Smith will be at Wimbledon next month, where his UCLA friend will be honored.

As for his shoes, they’re everywhere, and have been since the 1970s. Adidas originally developed the shoe for French player Robert Haillet in the mid-1960s, and the sneakers were known as the “Haillet.”

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Tennis great Stan Smith talks about some of the ideas he hopes his new book will convey to readers.

In 1972, the company switched to Smith, naming the shoes in his honor and printing a tiny picture of his mustachioed face on them. There were subtle changes to the Haillet, including a notch in the tongue for laces to pass through and a heel better shaped to protect the Achilles tendon.

They sold like crazy. In 1988, Stan Smiths made the “Guinness Book of World Records” for the most pairs sold at 22 million. Yet that was only the beginning as sales surged with the release of the Stan Smith II and retro Stan Smith 80s. The most common ones were solid white with touch of green on the back.

“Hugh Grant turned around last year in the [Wimbledon] royal box and said, `First girl I ever kissed, I was wearing your shoes,’” Smith told The Times in 2022. “Another guy said he met this girl when he was wearing my shoes. It was so meaningful that they both wore the shoes for their wedding seven years later.

“It started off as a tennis shoe. Now it’s a fashion shoe.”

Tennis great Stan Smith with his namesake Adidas shoe.

(Sam Farmer / Los Angeles Times)

Smith’s personal collection has climbed to more than 100 size 13s in all sorts of colors, including his favorite pair in cardinal and black, an homage to his USC roots.

In 2022, to commemorate the 50th anniversary of Smith’s Wimbledon singles title, Adidas gave all of its sponsored players a pair of shoes with SW19 on the tongue — Wimbledon’s postcode — with the date of that match against Ilie Nastase inside the right shoe and the score of the match inside the left.

At Wimbledon this year, the spotlight swings to the other side of Los Angeles, to an unforgettable Bruin, a sports hero who impacted so many lives.

For Smith, his friendship with Ashe was an early example in his career of a relationship forged with trust.

The book, incidentally, is affixed with a unique and fitting page marker.

A shoelace.

British comedian Russell Brand remained firm this week in denying he sexually assaulted four women from 1999 to 2005.

The controversial “Get Him to the Greek” actor, 49, appeared in a London court on Friday and pleaded not guilty to two counts of rape, two counts of sexual assault and one count of indecent assault. Brand, who was charged in April, said “not guilty” after each count was read in Southwark Crown Court. A legal representative for Brand did not immediately respond to The Times’ request for comment on Friday.

Brand, who is best known for starring in raunchy comedies including “Forgetting Sarah Marshall,” “Rock of Ages” and “Arthur,” entered his not guilty plea months after U.K. authorities announced its counts against the comedian.

The charges stem from four separate alleged incidents involving different women. Prosecutors allege Brand raped a woman in the English seaside area of Bournemouth in 1999. He also allegedly indecently assaulted a second woman in 2001, orally raped and sexually assaulted a third woman in 2004 and sexually assaulted the fourth woman between 2004 to 2005. The final three allegations occurred in Westminster, according to U.K. officials.

At the time, Brand denied the allegations via social media.

“I was a fool before I lived in the light of the Lord. I was a drug addict, a sex addict and an imbecile. But what I never was was a rapist. I’ve never engaged in nonconsensual activities,” he said in a video shared to Instagram and X (formerly Twitter). “I pray you can tell that by looking in my eyes.”

Before he was charged, Brand faced previous allegations of rape and sexual assault in September 2023, when the Times of London published its joint investigation with “Dispatches,” a news program on Britain’s Channel 4. Several women came forward with allegations that Brand sexually assaulted them between 2006 and 2013. At the time, Brand refuted the “very, very serious criminal allegations” and claimed he was being targeted by the “mainstream media” because of his views. Since distancing himself from Hollywood, Brand in recent years has refashioned himself as an anti-establishment commentator and platformed conspiracy theories about vaccines and the 9/11 attacks.

In November 2023, the actor was sued for sexual assault in New York by a woman who said she worked as an extra in Brand’s 2011 film “Arthur.” That same month, the BBC said it received multiple complaints about the risqué comedian relating to his workplace conduct when he hosted radio programs from 2006 to 2008.

In recent years, Brand has also turned his focus to religion. In 2024, he doubled down on his commitment to Christianity and was baptized in the River Thames. At the time, he said it was “an opportunity to leave the past behind and be reborn in Christ’s name.”

As he arrived to court on Friday, Brand was seen clutching a copy of “The Valley of Vision,” a collection of Puritan prayers.

His trial is set to begin June 3, 2026, and is expected to last four to five weeks.

Times staff writer Meredith Blake and the Associated Press contributed to this report.