Few journalists in Nepal evoke as strong a reaction as Kishor Shrestha, whose more than three decades in journalism have been marked by influence, controversy and scrutiny.

Days after a bribery controversy involving him came out, a more than two-decade-old episode has resurfaced, once again putting the spotlight on Shrestha’s style of journalism.

Last Tuesday, veteran film actor Basundhara Bhusal, in an interview with Desh Sanchar, spoke about the pain late actor Shreesha Karki endured before her death and claimed that she had been blackmailed and subjected to emotional torture 23 years ago.

Bhusal said Karki’s death was not simply a suicide but, in her view, the result of a grave injustice.

Twenty-three years ago, Karki’s nude photographs were published in Jana Aastha Weekly, edited by Shrestha. Four days later, she died by suicide, an episode that has remained the subject of debate and criticism ever since.

Bhusal said Karki had been taken somewhere with promises of film roles, made to remove her clothes, and photographed. She said she still has the copy of the newspaper from that time and believes the images showed Karki crying and trying to cover herself, suggesting that she had not posed willingly.

Bhusal also said Karki was about to get married and had pleaded with people not to publish the photographs.

“Those events still upset me today,” she said.

Bhusal’s interview quickly sparked reactions on social media.

Writer Seema Abhas shared the interview and questioned whether those responsible for publishing Karki’s nude photographs had ever faced punishment. She also asked whether people would listen to voices demanding justice.

Another social media user, Sarala Gautam, posted a video criticising both the publication of the photographs and those defending it. The criticism appeared aimed at journalists’ organisations that came to Shrestha’s defence following a recent controversy.

Earlier, reports that journalist Shrestha could be arrested over allegations that he had accepted money in exchange for publishing news stories drew criticism from media organisations.

Federation of Nepali Journalists, Press Chautari Nepal and Press Centre Nepal, among others, issued statements expressing concern over the reported move. The organisations called for any investigation into the allegations to be conducted in a fair and transparent manner, while stressing the need to uphold press freedom and due process.

The renewed scrutiny comes days after Shrestha found himself at the centre of another controversy.

On May 24, a 3-minute 3-second audio clip was posted by the Facebook page ‘Youth of Birgunj-YOB’, alleging that Shrestha was offered money and gifts in connection with coverage of former home minister Sudan Gurung.

In the recording, a voice speaking in English is heard praising Shrestha’s journalism and urging him to continue his work. The conversation refers to Gurung as a “dangerous person,” discusses sending “gifts,” mentions the receipt of cash and alcohol, and references further communication through the Signal messaging app. The clip also alleged Chinese involvement, a claim that was swiftly rejected by the Chinese Embassy in Kathmandu.

Shrestha later responded on Facebook, acknowledging that the voice was his but claiming that the audio had been selectively edited. He denied any wrongdoing.

Before the controversy had faded from social media, Bhusal’s interview was broadcast on Desh Sanchar’s YouTube channel.

Karki’s death following the publication of her photographs in Jana Aastha remains one of the most controversial episodes in Nepali journalism, raising enduring questions about media ethics, privacy, accountability and the treatment of women in the media.

Bhusal’s interview reignited debate over why some journalists and organisations continue to defend those involved.

Meanwhile, another video featuring Shrestha resurfaced on social media. In it, he explains how Karki’s photographs came to be published.

In the video, Shrestha says Jana Aastha had possessed the photographs for six or seven months before publishing them.

He explains that during the Dashain and Tihar festival season there was often a shortage of major news stories. The publication was also facing business and advertising challenges while preparing magazine content.

According to Shrestha, the decision was made to publish a story using the photographs. He said that had parts of the image, particularly the chest area, been covered before publication, the public backlash might not have been as severe.

Although the clip resurfaced amid the latest controversy, it was originally recorded in February and uploaded to the Naya Page YouTube channel.

After it spread online, Abhas called on bodies including the Human Rights Commission, women’s rights organisations, the National Women Commission, journalists’ associations, film organisations and civil society groups to decide whether they would speak for justice or continue defending what happened as journalism.

Another social media user, Chena Thapa, criticised Shrestha’s explanation, saying that publishing a nude photograph because there was no news was a strange form of journalism.

As criticism mounted, Shrestha defended himself on social media.

He said many false claims were being circulated and urged people to hear Bhusal’s actual words before passing judgment. He also accused some critics of seeking attention and online engagement by attacking him.

Jana Aastha later published an audio clip of Bhusal.

In the audio, Bhusal says she had spoken in a hurry and under pressure, adding that much of what she described was based on accounts she had heard from others at the time rather than first-hand knowledge.

She said she was recalling stories that Karki had been lured with promises of film work, blackmailed, taken somewhere privately and photographed without proper consent.

The incident dates back to October 9, 2002, when Jana Aastha published a front-page story titled “Film Nagari Ko Rangin Raat” (Colorful Night of the Film Industry).

The cover featured a semi-nude photograph of actor and model Shreesha Karki.

The article was written by journalists Bishwamani Subedi and Yadav Prasad Pandey.

Four days later, on October 13, 2002, Karki died by suicide.

Since then, Jana Aastha and its editor have faced persistent criticism and accusations that the publication of the story and photograph contributed to the death of a promising young actor.

Shrestha and Jana Aastha have long been known for publishing material that stirs controversy. Most recently, the weekly dominated headlines after publishing in full the Gauri Bahadur Karki commission report, once again placing itself at the centre of a national debate.

Yet the current controversy differs in one important respect. This time, the story is not what Shrestha published, but Shrestha himself.

With the bribery allegations and the resurfacing of the Shreesha Karki case, questions of media ethics, privacy and accountability have once again come to the fore. Journalists are often told they should report the news rather than become part of it. Shrestha, for better or worse, remains one of the few Nepali journalists who repeatedly finds himself at the centre of the news.