Krushna Abhishek, Kashmera Shah, Sunita Ahuja reunite on sets of comedy cooking reality show signalling end of family rift

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In a heartwarming turn of events, Krushna Abhishek and his wife Kashmera Shah have officially ended their long-standing feud with his uncle Govinda and aunt Sunita Ahuja. The reconciliation came as a pleasant surprise when Sunita Ahuja made an appearance on the reality comedy-cooking show Laughter Chefs, marking the first public reunion of the family in years. Speaking to the paparazzi after the shoot, Krushna expressed his happiness over the unexpected development and acknowledged how significant the moment was for him and Kashmera. He said, “Mami coming was a very big surprise. Both of us had no idea. Thanks to her for agreeing. All the spice that the media has created over the last 10–12 years—we set it on fire and ended it by coming together today.” Sunita Ahuja, in an emotional and candid statement, reflected on letting go of past grievances and embracing family bonds. She shared, “How long can I stay upset… after all, he is my son and she is my daughter-in-law… now they even ha...
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The Virgin Suicides review – Sofia Coppola’s debut rereleased with solemn trigger-warning

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Sunlit suburban calm masks the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie

Nearly a quarter of a century ago, Sofia Coppola made her feature directing debut with this adaptation of the literary sensation of its day: Jeffrey Eugenides’s novel about five teen sisters in 70s suburban Michigan who take their own lives. Now it is rereleased with a solemn trigger-warning disclaimer at the beginning about certain historic attitudes which might now cause offence; these are unspecified, but appears to mean the entire premise of the film, up there in the title, but which is treated more circumspectly nowadays in the context of new ideas around self-harm and “suicidal ideation”.

This was a movie which mystified as many as it entranced, and it would be honest of me to admit that I didn’t quite understand it back in 2000, and maybe don’t quite now. But I can perhaps appreciate with more clarity its artistry and poise and the confident way Coppola allows her film to be serenely mysterious and almost affectless in its sunlit suburban calm, a reticence which appears to mask the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie.

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