Woman Testifies Cosby Forcibly Kissed Her When She Was 14

Plaintiff Judy Huth arrives for opening statements in the civil suit against Bill Cosby at Santa Monica courthouse, California, US, June 1, 2022. (Reuters)
Plaintiff Judy Huth arrives for opening statements in the civil suit against Bill Cosby at Santa Monica courthouse, California, US, June 1, 2022. (Reuters)
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Woman Testifies Cosby Forcibly Kissed Her When She Was 14

Plaintiff Judy Huth arrives for opening statements in the civil suit against Bill Cosby at Santa Monica courthouse, California, US, June 1, 2022. (Reuters)
Plaintiff Judy Huth arrives for opening statements in the civil suit against Bill Cosby at Santa Monica courthouse, California, US, June 1, 2022. (Reuters)

A woman testified Friday that she was 14 when Bill Cosby took her into a trailer on a movie set in 1975, grabbed her so she couldn't move her arms, and kissed her.

"I was struggling to get away," she said. "It was very shocking."

The woman, now 61, told her story in a public venue for the first time during a Los Angeles County civil trial over the lawsuit of Judy Huth, who alleges Cosby sexually assaulted her at the Playboy Mansion when she was 16 at around the same time, in the spring of 1975.

The woman testified that she, her mother, and other family and friends were on the Los Angeles set of the film "Let's Do It Again," starring Cosby and Sidney Poitier, where Cosby had invited them to act as extras after meeting them at a tennis tournament a few months earlier.

She said Cosby invited her alone into his trailer to help him straighten the bow tie he was wearing for a scene.

"He immediately grabbed me," she said. "He started kissing me, all over my face, tongue down my throat."

Asked by Huth’s attorney Nathan Goldberg how tightly Cosby was holding her, she replied, "enough that I couldn’t get away."

After about 30 seconds she pulled free and left.

Pictures were shown in court of Cosby and the 14-year-old together at the tennis tournament, with him smiling and his arms around her. Other photos were shown of Cosby and the girl with her family on the set of the film. Huth would later meet Cosby on a different set of the same film.

Old photos from the mid-1970s have loomed large at the trial, one of the last remaining legal claims against Cosby after his Pennsylvania criminal conviction was thrown out and other lawsuits were settled by his insurer. Two photos of Cosby and Huth at the Playboy Mansion were shown during earlier testimony. Cosby has denied sexually assaulting Huth, and his attorney says the case is about her attempt to cash in on the pictures.

The woman who testified Friday said after leaving the trailer, she did not tell anyone she was with what happened with Cosby, who is not attending the trial.

"It was a once-in-a-lifetime opportunity," she said. "I didn't want to ruin everything for everyone."

They went about the rest of their day, appearing in a boxing scene for the film shot at the Grand Olympic Auditorium.

In her cross-examination of the woman, Cosby attorney Jennifer Bonjean showed a still from the film of the girl and her brother cheering in the front row next to the boxing ring.

Bonjean asked whether she had been distraught at the time.

"I probably was," the woman said.

"Probably?" Bonjean asked.

"I was distraught when I was in there," she said.

The woman said she did not speak of the incident until telling her husband years later, and telling her teenage daughter years after that.

Bonjean asked whether multiple media reports with allegations in 2015 about Cosby caused her to come forward and tell her story to Gloria Allred, who along with Goldberg represents both her and Huth.

The woman said one brief Allred clip prompted her to do this after she heard Cosby's denial, but said she had no intention of filing a lawsuit when she sought out Allred.

The woman is not a party to the lawsuit, but is being allowed to testify along with one other woman about her experiences for Huth’s case.

Bonjean gave serious challenges to the other witness, Margie Shapiro, who has told her story several times before to media outlets and in a news conference with Allred.

Shapiro testified that when she was 19 in November of 1975, she was at the Playboy Mansion with Cosby when he gave her a pill, which she took voluntarily. She said she later woke from unconsciousness to find him raping her.

Bonjean produced a document that showed Shapiro was supposed to be in court as a defendant on the day she said she met Cosby when she was working at a donut shop near the set of another film he was making.

"I might have gone," Shapiro said. "If I needed to I would have taken a short break.”

Bonjean also grilled Shapiro over a matchbook that was produced in court that Shapiro said she got at Cosby's house when they stopped there briefly before going to the mansion.

Written on the matchbook was "11/18/1975, my evening at Bill Cosby's house."

"After this drugging and raping you kept a memento?" Bonjean asked.

"It was important, whether it was good or bad," Shapiro answered.

Bonjean also challenged Shapiro over her testimony that she knew the pill Cosby gave her was not a Quaalude, a depressant popular in the 1970s, because of the coding etched on it.

She pointed out that in a 2016 interview with police she had said the pill had looked like a Quaalude and that Cosby told her it was one.

"Either I got it wrong or the detective got it wrong," Shapiro said.

One of the jurors, many of whom were not born in the 1970s, raised a hand and asked the judge for clarification on what a Quaalude was. Shapiro compared it to Valium.

Shapiro said she angrily went looking for Cosby's house days later but couldn't find it.

Bonjean asked whether it was true that she was upset because Cosby had declined to take her to the Playboy Mansion, and that she and Cosby had consensual sex at his house and she didn't like the way he treated her afterward.

"I was upset because he raped me," she said.

The Associated Press does not normally name people who say they have been sexually abused, unless they come forward publicly, as Huth and Shapiro have several times.



Movie Review: Stephen Curry's Animated Basketball Movie 'GOAT' Is a Disappointing Air Ball

 Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
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Movie Review: Stephen Curry's Animated Basketball Movie 'GOAT' Is a Disappointing Air Ball

 Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)

You'd expect an animated basketball movie with four-time NBA champion Stephen Curry in the producer's chair to be an easy lay-up. So why is “GOAT” such a brick?

Despite a wondrously textured, kinetic world and some interesting oddball characters, the movie is undone by a predictable, saccharine script. It’s as easy to see the steps coming as a Curry three-pointer arching into the net.

The movie has the kind of lazy, thin writing that feels like it all could have derived from a Hollywood happy hour gettogether: “Bro, bro. Wait. What if the GOAT was an actual goat?”

It centers on Will Harris, a goat with dreams of becoming a great baller, voiced by “Stranger Things” star Caleb McLaughlin. Undersized and an orphan — again with the orphans, guys? — Will is a delivery driver for a diner and late on his rent. He's a great outside shooter but a liability in the paint, unless he learns, that is.

He lives in Vineland — a hectic urban landscape with graffiti and living vines that choke the playgrounds — and is a rabid supporter of the local franchise, the Thorns. His idol is veteran Jett Fillmore, a leopard who's the league's all-time leading scorer, nicely voiced by Gabrielle Union. The Thorns are a bit of a mess, despite Jett's brilliance.

The game here is called roarball, a high-intensity, co-ed, multi-animal, full-contact sport derived from basketball with a hollow ball that has small holes. It's a “Mad Max” sport — ultraviolent, unofficiated and the dangers lurk not just from the beefy opponents but from the arena itself. The championship award is called the Claw.

The best part of the movie may be the environments for the other arenas — lava in one, a swamp with stalagmites and stalactites in another, plus an ice-bound one and another with desert sandstorms and rocks. Homefield advantage is a big thing in this league.

There seem to be only two kinds of points scored here — blazing windmills, cutting tomahawks and spectacular alley-oop dunks or slow-mo threes from so far downtown they might as well be in a different zip code. No mid-range jumpers, bro.

This universe is divided into “bigs” and “smalls” — rhinos, bears and giraffes on one side, gerbils and capybara on the other — and Will is deemed a small. “Smalls can’t ball,” he is told, condescendingly.

But Will — thanks to a viral video — improbably gets signed to the Thorns by the team's owner (a cynical warthog voiced wonderfully by Jenifer Lewis). It's seen as a shameless publicity stunt that no one wants, especially Jett, who needs a winning season after being taunted by “All stats, no Claw.”

Now, predictably, in Aaron Buchsbaum and Teddy Riley script, comes the bulk of the movie, giving a steady “The Karate Kid” or “Air Bud” vibe as it charts Will's steady rise to honored teammate and franchise future, despite Jett insisting she's not ready to go: “I’m the GOAT. I’m not passing the torch.”

The lessons are good — the importance of teamwork and believing in yourself — but the testosterone-fueled violence on the courts is WWE extreme. There are unnecessary plugs for Mercedes and Under Armor, and hollow slogans like “Dream big” and “Roots run deep.”

Some of the most interesting characters end up on the Thorns, a fragile, somewhat broken team that includes a rhino (voiced by David Harbour), a delicate ostrich (Nicola Coughlan), a gonzo Komodo dragon (Nick Kroll) and a desultory giraffe (Curry).

The Komodo dragon, named Modo, is the best of the bunch, an insane, unpredictable creature full of electricity. “If Modo was any more of a snack, he’d eat himself,” he declares. Could he get his own movie?

Directed by “Bob’s Burgers” veteran Tyree Dillihay and Adam Rosette, “GOAT” is targeted to Gen Alpha, leveraging cellphone screens and online likes, virality and diss tracks. It's not as funny as it thinks it is and tiresome in its overly familiar redemption arc.

Another potential basketball GOAT — Michael Jordan — gave us a clunker of a live-action- animated basketball movie in “Space Jam” exactly 30 years ago and “GOAT,” while not as bad as that mess, is an air ball none the same.


Music World Mourns Ghana's Ebo Taylor, Founding Father of Highlife

Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
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Music World Mourns Ghana's Ebo Taylor, Founding Father of Highlife

Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP

Tributes have been pouring in from across Ghana and the world since the death of Ghanaian highlife legend Ebo Taylor.

A guitarist, composer and bandleader who died on Saturday, Taylor's six-decade career played a key role in shaping modern popular music in West Africa, said AFP.

Often described as one of the founding fathers of contemporary highlife, Taylor died a day after the launch of a music festival bearing his name in the capital, Accra, and just a month after celebrating his 90th birthday.

Highlife, a genre blending traditional African rhythms with jazz and Caribbean influences, was recently added to UNESCO's Intangible Cultural Heritage list.

"The world has lost a giant. A colossus of African music," a statement shared on his official page said. "Your light will never fade."

The Los Angeles-based collective Jazz Is Dead called him a pioneer of highlife and Afrobeat, while Ghanaian dancehall star Stonebwoy and American producer Adrian Younge, who his worked with Jay Z and Kendrick Lamar, also paid tribute to his legacy.

Nigerian writer and poet Dami Ajayi described him as a "highlife maestro" and a "fantastic guitarist".

- 'Uncle Ebo' -

Taylor's influence extended far beyond Ghana, with elements of his music appearing in the soul, jazz, hip-hop and Afrobeat genres that dominate the African and global charts today.

Born Deroy Taylor in Cape Coast in 1936, he began performing in the 1950s, as highlife was establishing itself as the dominant sound in Ghana in the years following independence.

Known for intricate guitar lines and rich horn arrangements, he played with leading bands including the Stargazers and the Broadway Dance Band.

In the early 1960s, he travelled to London to study music, where he worked alongside other African musicians, including Nigerian Afrobeat pioneer Fela Kuti.

The exchange of ideas between the two would later be seen as formative to the development of Afrobeat, a political cocktail blending highlife with funk, jazz and soul.

Back in Ghana, Taylor became one of the country's most sought-after arrangers and producers, working with stars such as Pat Thomas and CK Mann while leading his own bands.

His compositions -- including "Love & Death", "Heaven", "Odofo Nyi Akyiri Biara" and "Appia Kwa Bridge" -- gained renewed international attention decades later as DJs, collectors and record labels reissued his music. His grooves were sampled by hip-hop and R&B artists and helped introduce new global audiences to Ghanaian highlife.

Taylor continued touring into his 70s and 80s, performing across Europe and the United States as part of a late-career renaissance that cemented his status as a cult figure among younger musicians.

Many fans affectionately referred to him as "Uncle Ebo", reflecting both his longevity and mentorship of younger artists.

For many, he remained a symbol of highlife's golden era and of a generation that carried Ghanaian music onto the world stage.


'Send Help' Repeats as N.America Box Office Champ

Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
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'Send Help' Repeats as N.America Box Office Champ

Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)

Horror flick "Send Help" showed staying power, leading the North American box office for a second straight week with $10 million in ticket sales, industry estimates showed Sunday.

The 20th Century flick stars Rachel McAdams and Dylan O'Brien as a woman and her boss trying to survive on a deserted island after their plane crashes.
It marks a return to the genre for director Sam Raimi, who first made his name in the 1980s with the "Evil Dead" films.

Debuting in second place at $7.2 million was rom-com "Solo Mio" starring comedian Kevin James as a groom left at the altar in Italy, Exhibitor Relations reported.

"This is an excellent opening for a romantic comedy made on a micro-budget of $4 million," said analyst David A. Gross of Franchise Entertainment Research, noting that critics and audiences have embraced the Angel Studios film.

Post-apocalyptic Sci-fi thriller "Iron Lung" -- a video game adaptation written, directed and financed by YouTube star Mark Fischbach, known by his pseudonym Markiplier -- finished in third place at $6.7 million, AFP reported.

"Stray Kids: The Dominate Experience," a concert film for the K-pop boy band Stray Kids filmed at SoFi Stadium in Los Angeles, opened in fourth place at $5.6 million.

And in fifth place at $4.5 million was Luc Besson's English-language adaptation of "Dracula," which was released in select countries outside the United States last year.

Gross called it a "weak opening for a horror remake," noting the film's total production cost of $50 million and its modest $30 million take abroad so far.

Rounding out the top 10 are:
"Zootopia 2" ($4 million)
"The Strangers: Chapter 3" ($3.5 million)
"Avatar: Fire and Ash" ($3.5 million)
"Shelter" ($2.4 million)
"Melania" ($2.38 million)