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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Springsteen: Deliver Me from Nowhere review – solid biopic both embraces and avoids cliche

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New York film festival: Jeremy Allen White is a convincingly tortured rock star in this smartly narrow and specific look at a particular chapter of music history

The genre of the musical biopic is one that, as Timothée Chalamet acknowledged while accepting a Sag award for playing Bob Dylan earlier this year, “could be perhaps tired”. The beats of the genre – the initial obstacles, the double-edged sword of success, the actors’ pursuit of industry awards for spirited impersonation – are by now so familiar that you’re almost expected to enter with more than a bit of skepticism, even when the artist at hand is one as widely beloved as Bruce Springsteen.

Like A Complete Unknown, in which Chalamet portrayed Dylan from 1961 until his pivot to electric in 1965, Deliver Me from Nowhere, Springsteen’s authorized biopic starring Jeremy Allen White, tries to thread a difficult needle between offering the standard treats and subverting expectations, between narrativizing genius and resisting hagiography. This may be an impossible task, given that the magic and cliches of popular music often go hand in hand, and Deliver Me from Nowhere certainly has its spoof-worthy moments. I went in braced for success montages, leaden flashbacks and capital-R Realizations, and at times met them. (Though to be clear, the expected treat of watching White, of the Bear and Calvin Klein underwear ad fame, tear up the stage as The Boss is still exactly that.) But more often I was won over by its diversions in form – its specificities, its smallness and its portrait of mental fragility.

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