Kanye West and Bianca Censori, the newly reconciled couple, have decided to sue the Beverly Hills dentist for supplying unnecessary amounts of nitrous gas and other illegal sedatives, making him addicted and ignoring the signs of the patient.
Dr. Thomas Connelly from Golden Law, who has been the official dentist of the couple for a couple of years, did specialised procedures, prosthodontic work, a custom titanium crown and other cosmetic treatments in 2024. During the period, the dentist allegedly supplied an unsupervised amount of nitrous gas and illegal sedatives, making the rapper suffer through neurological damages and physical harm during the procedures along with wignificant emotional trauma and stress, according to The Hollywood Reporter.
The doctor allegedly delivered a large ‘surgical’ size to the West’s residence to encourage him to inhale the nitrous gas (laughing gas) outside any medical setting or need. He also supplied the drug propofol on multiple occasions outside medical settings.
West was diagnosed with bipolar disorder in 2016; however, the erratic behaviour was displayed profoundly during the treatments done by Connelly, leading to making anti-semitic statements, appreciating Adolf Hitler, denouncing #MeToo movements, and more.
According to the press release obtained by Page Six, the rekindled couple went to Connelly on Wednesday to tell him that they will be suing him for medical malpractice, gross negligence, fraud, exploitation, reckless administration of controlled and uncontrolled substances, and more.
Connelly, who charged a whopping $50,000 per month for nitrous gas alone, will have 90 days before the couple can sue him. The crimes listed by the couple are “injuries and damages,” including “neurological and physical injury” to the ‘Gold Digger’ rapper, and “psychological and emotional trauma, chemical dependency, which required treatment, financial harm and economic losses, and loss of consortium.”
Connelly is also accused of abandoning West as a patient, failing to provide follow-up care, detoxification, in addition to dependency on nitrous gas.

A model in a creation by Anju Modi

For designer Anju Modi, every time she visits Chennai, it feels like homecoming. When she started her eponymous label in 1990, Madras was her “epicentre” for all things fabric-related. “This was my base when I used to go to nearby villages, towns and cities like Salem, Coimbatore, Kanchipuram, and Venkatagiri (Andhra Pradesh), and stay with weavers in their homes. Their culture, temples, and even things like the kolam that they draw every morning, reflect in the fabric they weave. And these have stayed with me,” says Modi, whose new collection Virasat is an ode to Chennai. Virasat, which translates to legacy, was launched, over the weekend, in collaboration with city-based legacy jewellery brand Vummidi Bangaru Jewellers, at an event at the Leela Palace Chennai.

“VBJ is a 125-year-old brand. For this collaboration, they were looking for a designer who understands the heritage of the South, especially Tamil Nadu. And I have been working with clusters of weavers in the region, so the whole thing vibed well with our ethos,” she says.

While Vummidi showcases the jewellery at their stores, Modi’s garments are on display at Evoluzione. “I have been coming to Evoluzione for 30 years. I am also very much in love with the people of Chennai. They are value- oriented and evolved. They don’t get influenced by the glam factor, they are classic in their choice,” she says.

The collection features saris, lehengas, anarkalis, jackets and lehenga saris (a fusion of the two) in Kanjeevaram silk, georgette, tussar, mashroo silk, Kota tissue, Chanderi, crinkle tissue, brocade, and velvet. Craftsmanship shines through in the form of zardozi embroidery, and traditional adda work. Vummidi does temple jewellery, and keeping that in mind, the designer has used intricate embroidery that draw inspiration from temples. Tones of emerald and gold have been used in the garments to match the temple jewellery pieces. There is bridal wear in red and gold, and rose colour drapes to go with rose cut diamonds. “They also designed the jewellery line with my colour scheme. So it was collaboration in the real sense and we took over two months to complete it,” says the doyenne of couture.

Anju Modi

Thirty five years in the industry and Modi is still passionate about her craft, and working with weavers. From Gujarat and Madhya Pradesh to Uttar Pradesh, she has been working with 25 clusters and in many cases with three generations. There is an endearing tone in her voice when she talks about the weaving communities. “You see, initially the weavers were disillusioned. People had forgotten about woven treasures and were going for mill-made fabric and clothes. I helped revive this handwoven legacy. Now consumers have started understanding the beauty of it,” she says.

After a prolonged episode of weavers’ children leaving their family business and moving to other cities in search of jobs, Modi says she is finally seeing a reversal happening. There is a certain pride about being self-employed and taking up a family business and this is what many of them have realised. “Now, the children of weavers are going to NIFT (National Institute of Fashion Technology) and learning fresh trends and getting equipped with the latest technology. Design inputs are coming from the younger generation. They work on computers, have email IDs, can work out the warp and weft on computers and implement them on looms. From Delhi I can email weavers in Bhuj and other cities and villages,” she smiles.

Even though these technological advancements were unthinkable in the 90s, Modi reminisces travelling back and forth on buses, trains, and cars to meet and work with weavers. “But that was another level of experience; I enjoyed it,” she says, adding, “That way, you could see a country at the ground level, people’s living habits, the rains, the heat…, and one needs to absorb it all to be part of that culture.”