Ronit Roy warns fans about online impostor using his name to target women and asking for money; says, “Cops are coming for you”

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Actor Ronit Roy has issued a strong public warning after discovering that an unidentified individual has allegedly been misusing his identity online to contact people, particularly women, and asking for money. The actor took to social media to alert fans and followers about the scam while also sharing screenshots and details connected to the alleged impostor. In a detailed note posted online, Ronit Roy revealed that the individual had allegedly been reaching out to people using his name and even attempting to take bookings fraudulently. Sharing specifics about the accounts involved, the actor wrote, “WARNING!!!! It has come to my notice that someone has been using my name and reaching out to people, especially girls and asking for money. This person has been trying to take bookings in my name. The number involved is a Zangi number 3318085685 The email id being used is ronitroybookings@hotmail.com. Everyone be careful. As for the perpetrator....."cops are coming for you”.” The act...
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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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