Shah Rukh Khan, Aryan Khan, and Nikhil Kamath join forces with Radico Khaitan to launch luxury spirits’ venture

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Radico Khaitan Limited has announced a landmark partnership with Bollywood superstar Shah Rukh Khan, his son Aryan Khan’s D’YAVOL Luxury Collective, and entrepreneur Nikhil Kamath, co-founder of Zerodha, to introduce a new premium alcoholic beverages venture under D’YAVOL Spirits. This collaboration seeks to develop some of the finest spirits in the world, targeting discerning consumers both within India and in international markets, focusing on globally sourced products that celebrate rich regional heritage through bottled-in-origin offerings. The board of directors at Radico Khaitan has given the green light for a strategic investment and collaboration with D’YAVOL Spirits B.V. and D’YAVOL Spirits Private Limited. Under this agreement, Radico Khaitan will acquire a 47.5% equity stake in each company, with a total investment valued at up to Rs. 40 crore. The partnership agreements, signed with D’YAVOL B.V., D’YAVOL India, Aryan Khan, Harprit Singh, NK Enterprises Holding Limited, an...
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The Gallery review – bloody interactive treatise on post-Brexit Britain

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Viewers can choose the outcome of the characters in this cleverly assembled art-world thriller available on PC, console and your local screen

Interactive cinema has existed since the 1967 Czech film Kinoautomat, but remains niche, despite a brief flare-up of interest around Charlie Brooker’s choose-your-own-adventure Black Mirror episode Bandersnatch. British director Paul Raschid – ambitiously for a 30-year-old – specialises in tending these mind-boggling gardens of forking paths. His latest The Gallery is a trenchant and thoughtful post-Brexit treatise that can be played on PCs and consoles, but it’s also doing the rounds in cinemas, where the group experience – including voting by glowstick – could work something like a referendum on modern Britain, given the film’s state-of-the-nation bent.

The Gallery has two separate but symmetrical timelines in 1981 and 2021. Plus ça change: both spotlight a reeling and fractured Britain in which the Argyle Manor gallery, about to put on a portrait exhibition, becomes a microcosm for their respective social tensions. In the 1981 timeline, Morgan (Anna Popplewell), a young gallerist in a twinset, is taken hostage by bitter northern painter and would-be revolutionary Dorian (George Blagden). In 2021, Popplewell and Blagden switch roles, but the dilemma is the same: cede to the hostage-taker’s demands to hand over a prize portrait (of Thatcher in the first timeline; of a social-media influencer in the second), or get “Jackson Pollocked” by the bomb under their chair.

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