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...

My friend Billy: Mark Kermode remembers The Exorcist director William Friedkin

The Observer film critic on his hero, who died last week aged 87, a man dedicated to telling stories his way and who had a wicked sense of humour

In his excellent 1990 biography, Hurricane Billy: The Stormy Life and Films of William Friedkin, writer Nat Segaloff quotes the Oscar-winning film-maker as wryly observing: “You know what it’s going to say on my tombstone? It’s going to say ‘The Man Who Directed The Exorcist.’” As someone who has spent a lifetime declaring The Exorcist (1973) to be the greatest movie ever made, I understand how it might perhaps have overshadowed a career that was as long as it was varied.

Yet Friedkin, whom I first met back in the 1990s when I was a starstruck fan (which I remained), did so much more than helm the movie that changed my life – and the lives of many others. He proved himself one of the most fearless and inventive directors of his generation, working in a string of genres – from musical comedy to serious psychodrama; political satire to police thriller; stage play adaptations to tales of supernatural terror – with equal ease and enthusiasm.

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