Bill Cosby Accuser Files New Lawsuit under Expiring New York Survivors Law

Bill Cosby reacts outside his home in Elkins Park, Pa., Wednesday, June 30, 2021, after being released from prison. (AP)
Bill Cosby reacts outside his home in Elkins Park, Pa., Wednesday, June 30, 2021, after being released from prison. (AP)
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Bill Cosby Accuser Files New Lawsuit under Expiring New York Survivors Law

Bill Cosby reacts outside his home in Elkins Park, Pa., Wednesday, June 30, 2021, after being released from prison. (AP)
Bill Cosby reacts outside his home in Elkins Park, Pa., Wednesday, June 30, 2021, after being released from prison. (AP)

A woman who said Bill Cosby sexually assaulted her when she was a young comedy writer more than 50 years ago filed a lawsuit against the actor Thursday under a soon-to-expire New York law that gave victims of sexual abuse a one-year window for claims that would otherwise be barred by time limits.

Joan Tarshis initially came forward with allegations against Cosby in 2014 that are repeated in the new lawsuit. Tarshis said Cosby drugged her and forced her to perform oral sex on him in 1969 or 1970, and then drugged and raped her during another encounter a year or two later.

The New York resident was living in California at the time of the first assault and had met Cosby through a mutual friend while he was starring in "The Bill Cosby Show," according to the lawsuit, filed in state Supreme Court in New York City.

A spokesperson for Cosby did not address the specifics of Tarshis's claims.

"Diddy, LA Reid, Steven Tyler, and now they circle back to this," spokesperson Andrew Wyatt said, referring to others recently sued under New York's Adult Survivors Act. "When is it going to stop?"

Cosby, 86, has been accused of rape, sexual assault and sexual harassment by more than 60 women. He has denied all allegations involving sex crimes. He was the first celebrity tried and convicted in the #MeToo era and spent nearly three years at a state prison near Philadelphia before a higher court overturned the conviction and released him in 2021.

Tarshis was among the first accusers to speak publicly about Cosby, whom she met when she was 19 and just breaking into comedy writing. An interview she did with CNN newsman Don Lemon soon after she came forward drew a flurry of attention on social media, and an apology from Lemon.

Tarshis previously sued Cosby in Massachusetts, where Cosby had a home. She was among seven women who filed defamation claims after Cosby branded them liars. The cases were settled in 2019.

The new lawsuit alleges assault, battery, intentional infliction of emotional distress and false imprisonment. It seeks unspecified damages.

In it, Tarshis said Cosby invited her to meet with him at the studio lot where he was filming his show, under the pretense of working on a skit she was writing. Once in his bungalow, Tarshis said she fell unconscious after accepting a drink from Cosby and awoke to find him undressing her before forcing her to perform oral sex.

"Ms. Tarshis was mortified and feared for her life," and returned to New York without telling anyone what happened, according to the lawsuit.

She next heard from Cosby in 1971, when he called her home, spoke with her mother, and invited her to his show at Westbury Music Fair, the lawsuit said.

"Though Ms. Tarshis was fearful at the prospect of seeing Cosby again, she had not yet told anyone, including her mother, of the prior sexual assault and she reluctantly agreed to meet with Cosby at the insistence of her mother," according to the lawsuit.

She said she lost consciousness in a limousine Cosby had arranged for them and awoke the next morning in a bed next to Cosby, who she said had undressed and raped her.

The Adult Survivors Act is set to expire next week.

Antonio "L.A." Reid, a music executive, was sued last week by an executive who alleges that Reid sexually assaulted her twice in 2001. Email and telephone messages left for Joel Katz, an attorney who represented Reid when the allegations surfaced in 2017, weren’t immediately returned Friday night.

Sean "Diddy" Combs has denied allegations of rape and abuse brought by a former girlfriend earlier this week.

Aerosmith frontman Steven Tyler has not publicly responded to a lawsuit filed earlier this month.



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.