Salman Khan vs Neighbour: Bombay HC suggests removal of social media posts over Panvel property dispute

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The Bombay High Court on Thursday observed that access to social media does not give individuals the right to publish content that may defame others, whether they are private citizens or public figures. The observation came during the hearing of a dispute involving actor Salman Khan and his neighbour, Ketan Kakkad, over a property matter in Panvel. A single-judge bench of Justice Sharmila Deshmukh was hearing an appeal filed by Salman Khan. The actor has challenged a civil court order that refused to grant him interim relief in a defamation suit against Kakkad. During the proceedings, the Court indicated that parties should avoid taking their disputes to social media platforms and instead seek remedies through appropriate legal forums. The Court also suggested that Kakkad consider removing tweets and YouTube videos related to the dispute. The Bench expressed concern over the continued circulation of such content online. It observed that valuable judicial time should not be spent exami...
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American Graffiti at 50: a classic hangout comedy with a surprising melancholy

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George Lucas’s 60s-set tale of California teens offers some freewheeling fun but also a lingering sadness

Ninety-nine times out of 100, the postscripts that get tucked in before the closing credits, telling us where the characters’ lives have gone from there, are totally unnecessary, especially in a fictional story where their fates are better left to the viewer’s imagination. But in George Lucas’s American Graffiti, which turns 50 this week, they are the most important part of the film, not least because two of the four characters don’t have much longer to live. We can feel that darkness lingering around the edges of Lucas’ dusk-till-dawn nostalgia piece about the last night of summer vacation in 1962 Modesto, California, even while its teenagers are getting into mostly light-hearted forms of trouble. This night has to end, and when the sun comes up, their entire world turns back into a pumpkin.

From the opening shot of Mel’s Drive-In, set to Bill Haley and His Comets’ Rock Around the Clock, American Graffiti seems to unfold inside a snow globe, an idealized past with invisible borders that separate it not only from the outside world, but from the future itself. It’s one of those films, like its spiritual successor Dazed and Confused, that has the quality of a hangout comedy, loose-limbed and goofily episodic, but laced with an air of melancholy that’s so subtle you miss it entirely. (That’s why the postscript is such a slap in the face.) It aches for a scene that had passed just a decade earlier, before the tumult of the Vietnam war and counter-culture, but must have seemed, even then, like ancient history.

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