Preity Zinta approaches Bombay High Court to take down AI deepfake content; next hearing scheduled on July 6

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Actor Preity Zinta has approached the Bombay High Court seeking the removal of AI-generated deepfake videos, morphed images and other unauthorised content featuring her from social media and online platforms. The actress has also sought an injunction to prevent the publication and circulation of such content in the future. The matter came up for hearing before a single bench of Justice Madhav Jamdar on Friday. After hearing preliminary submissions, the court directed the parties, including the online platforms concerned, to work out a mechanism for taking down the allegedly offending material. The matter has now been listed for further hearing on July 6. Preity Zinta seeks removal of AI-generated content In her civil suit, Preity Zinta has referred to multiple instances of AI-generated deepfakes, morphed visuals and chatbot-style interactions that allegedly use her likeness without authorisation. According to the plea, the actress has sought urgent directions from the Bombay High Cour...
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The Parenting review – supernatural caper is a so-so comedy and a lousy horror

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A gay couple are trapped in a haunted Airbnb with their parents in an initially amusing but progressively exasperating genre mishmash

Writer-director Craig Johnson broke out with 2014’s spiky comedy drama The Skeleton Twins, a film that hit familiar Sundance indie beats but hit them better than most. He has struggled a little since, from annoying Woody Harrelson-led comedy Wilson to ho-hum gay high school romance Alex Strangelove, and so one can understand why Johnson might feel like a big swing in a different direction might make most sense.

It has led him to a script by Saturday Night Live writer Kent Sublette called The Parenting, a throwback supernatural comedy horror that tries to remind us of a time when these rambunctious concoctions were far more common. Think Beetlejuice in the 80s or The Frighteners in the 90s or the deeply underrated Housebound more recently, a high-energy rush of scares and laughs that should feel effortless but too often doesn’t, the difficulty of such a balance perhaps serving to explain why so few are made these days. It might also explain why backers New Line didn’t quite know what to do with this one, the film gathering dust on the shelf for almost three years and now landing on Max with a suitably concerning trailer released less than two weeks prior.

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