Alia Bhatt’s former assistant accused of leaking confidential production house data to foreign entity

The investigation into the financial fraud case involving Alia Bhatt’s former personal assistant, Archana Shetty, has taken a serious turn with fresh allegations surfacing. Sources within the Juhu Police have confirmed that Shetty allegedly leaked confidential information related to Bhatt’s production house, Eternal Sunshine Productions, to an unidentified individual based in the United States. According to officers familiar with the probe, the data leak is believed to have involved sensitive business documents, financial reports, and potentially unreleased project details. The motive behind the leak is currently being examined, with authorities suspecting it may be linked to financial gains or the exploitation of proprietary content. In parallel, Shetty is also accused of transferring large sums of money from Alia Bhatt’s personal and company-linked accounts into those belonging to multiple individuals. Among the recipients named in the preliminary investigation are Satvik Sahu, Sim...

Tod Browning: the film-maker who brought the carnival to Hollywood

A new retrospective offers another chance to appreciate the daring and often deranged films made by a director who was once the centre of a moral panic

When a kid threatens to run away and join the circus, perhaps upon being forced to eat broccoli or go to bed, they’re fantasizing about more than just independence. The traveling carnival offered an alternative way of life that appealed specifically to those uninvested in the politenesses of the grownup world. No one can make a carny shower, wear a tie or go to church. This liberation from the strictures of civilized society was a must for an ethically spotty line of work reliant on a mix of trickery, hucksterism, prurience and morbid fascination, a low art form that attracted a certain kind of scuzzy personality. The tents of the sideshow provided a home to thieves, oddballs, creeps, chiselers, dope fiends, conmen, women of ill repute, leches, lushes and any other species of degenerate in need of a paycheck. If vaudevillians were the rock stars of the pre-cinema era, then circus folk were van-dweller punks cutting a swath of blithe misbehavior from gig to gig.

Just before the turn of the 20th century, at the ripe age of 16, a bricklayer’s son named Charles Albert Browning Jr decided that these were his people and abandoned his well-heeled family to join their grubby ranks. He would spend 10 years cutting his teeth as a barker, song-and-dance man, clown and contortionist before rechristening himself Tod, the German word for “death”, conferring a ghastly gravitas. Three years later, he’d take leave of the stage with sights set on the burgeoning silent film industry, but he’d carry the lurid spirit of the big top with him through the rest of an illustrious, disreputable career.

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