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 Lion King review – Disney’s Broadway juggernaut roars to life in Sydney

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Capitol theatre, Sydney
With breathtaking aesthetics and joyous performances, the audacious adaptation – now almost 30 years old – is greater than the sum of its parts

The opening of The Lion King is a bona fide five-star moment that reminds you why this musical still rules the theatrical savannah. Forgoing the sentimentality of the 1994 film and the razzle-dazzle of its Broadway peers at the time, it taps into more primal, powerful delights. From its first incantation (translated as “All hail the king” – or “Look, a lion, oh my god”, depending on who you ask), it builds with a chant, a gathering of human bodies, and finally a procession of animals that leaves the stage to come into the audience, enveloping you in a kind of choreographed ritual. (This is a good moment to check in on your date; if they’re not Having Feelings, they may be some kind of joyless ghoul.)

This sequence encapsulates the best of the show: director Julie Taymor’s breathtaking puppets, costumes and sense of ceremony, Lebo M’s choral music and Garth Fagan’s choreography. It still feels surprising and electric; something so pure and sincere, you can almost forget the bedazzled branded water flasks on sale in the foyer, the fascistic and royalist undertones of the story – and the succession of three- and four-star moments trailing in its wake.

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