Jay Bhanushali and Mahhi Vij confirm separation after weeks of rumours: “We choose peace over drama”

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After weeks of speculation surrounding their marriage, popular television actors Jay Bhanushali and Mahhi Vij have officially confirmed that they are going their separate ways. The couple, who tied the knot in 2011 and share three children, addressed the ongoing rumours by issuing a detailed and heartfelt note on social media, putting an end to conjecture around their relationship status. Taking to their Instagram Stories, Jay and Mahhi clarified that while they have decided to part ways as partners, they will continue to remain united as co-parents. Stressing that their decision is rooted in peace, maturity and mutual understanding, the duo urged fans and the media to refrain from attaching negativity or assigning blame to their separation. “Today, we choose to part ways on a journey called life, yet we continue to have each other's back. Peace, growth, kindness, and humanity have always been our guiding values. For the sake of our children Tara, Khushi, Rajveer, we commit to be...
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Donald Sutherland was an irreplaceable aristocrat of cinema

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The late actor was a commanding and versatile presence on the big screen, perfecting everything from villainy to sensuality in films such as Don’t Look Now and Klute

Donald Sutherland was an utterly unique actor and irreplacable star: possessed of a distinctive leonine handsomeness that the white beard of his latter years only made more majestic: watchful, cerebral, charismatic, with a refinement to his screen acting technique comparable perhaps only to Paul Scofield and his Canadian background (together with his early stage training and experience in England and Scotland) gave his American roles a certain touch of Anglo-international class. Sutherland was commanding and exacting, he gave each of his roles and films something special: he addressed his co-stars and the camera itself from a position of strength.

Even playing a weak or absurd character, as he did starring as the preposterous womaniser in Federico Fellini’s Casanova in 1976, finally reduced to the job of a librarian in a German count’s castle, brooding grotesquely over the phantoms of past lovers, Sutherland was still strong, still mesmeric, his intelligent face still sympathetic as Casanova, even though resembling a non-priapic gargoyle. For Bertolucci in his Italian epic 1900, he played an actual fascist, the gruesomely named Attila, and though certainly very far from sympathetic, he played the role with a sickeningly twinkle-eyed dynamism.

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