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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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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