Television megastar Ronit Bose Roy and the vivacious Soundarya Sharma took to the ramp as the showstoppers for Libas. Saundarya was seen wearing a floral pink lehanga from the collection Mastana while Ronit wore an ivory white bandhgala trench coat handcrafted with cut dana work

The collection personified all things bridal and trousseau. The collection transcends through a palette of pristine whites, softened blacks, and muted gold undertones. The show was a poetic journey of transformation and rediscovery.

Master pieces from the BTFW collection will be on display at the Libas stores at Pedder Road, Mumbai and in Dubai.

The finale walk became the talk of the town as the father son designer duo – Riyaz & Aman Gangji stole hearts as they broken into a groovy dance number with Ronit and Soundarya.

The set of the show was well appreciated by all guests including top bureacrats, bussiness heads, industrial tycoons and socialites from various walks of life.

The VIP lounge saw Aman Gangji play gracious host as it buzzing it with dignitaries and guests enjoying the peppy music and fun vibes. Aman is all set to take the reigns of the multiple businesses that Reshma & Riyaz Gangji have built in the past 3 decades.

All in all the evening was an amazing display of youthful energy by both Father and Son.

The Global Fashion Parade, magnificently organized by Archunaa Jaiin of IBB Chronicles, was held at St. Regis Hotel in Mumbai. Presented by Art Media Ads Private Limited, the event was graced by several celebrities, including Shaina NC, Seema Singh, Anil Kashi Murarka, Shyam Singhania, Mahesh Patil, and Archana Jain, who together inaugurated the event by lighting the ceremonial lamp. Well-known figures such as Priyanshu Chatterjee, Bigg Boss fame Archana Gautam, Monalisa, Anusmriti Sarkar, Vishwajeet Pradhan, Daksh Sethi, Harry Anand, Khalid Siddiqui, Umesh Pherwani, and Ekta Jain were also in attendance. The event was hosted by anchor Simran Ahuja, directed by Shie Lobo .

The Global Fashion Parade 2024 featured four shows, with the first being for Style Castey (Vamika Luthia Jewelry), where Monalisa, Daksh Sethi, and Vishwajeet Pradhan were the showstoppers. The second show was presented by Meet and Greet Foundation by Lubdha Ritesh Porwal, with Veeri’s Lifestyle Studio’s Veeri and Neelima as presenters. Divya Porwal opened this show, and Archana Gautam, Anusmriti Sarkar, and Daksh Sethi were the showstoppers. The third show was for Oishi Diamonds, opened by Simran Ahuja and Daksh Sethi, with Umesh Pherwani, Divya Porwal, Anuradha Gupta, Tarun Khanna, and Smriti Khanna as the showstoppers. The grand finale was by Bobby K, where the openers were Nadya and Daksh Sethi, and the showstoppers were Priyanshu Chatterjee and Anupama Kuvar.

Shaina NC congratulated Archunaa Jaiin and emphasized the importance of women empowerment, commending her for this remarkable initiative. The presence of Seema Singh, Anil Kashi Murarka, Pratap Sarnaik, and Shyam Singhania spoke volumes about the significance of the event.

Seema Singh of Meghashrey Foundation praised the event for being held during Navratri, emphasizing Archunaa’s dedication to women empowerment and environmental protection. She also expressed her gratitude to Shaina NC for consistently encouraging women.

Industrialist Shyam Singhania, who has known Archunaa for years, lauded her hard work, evident in her projects, and expressed his admiration for her efforts, along with saluting her mother’s presence at the event.

Philanthropist Anil Kashi Murarka described Archunaa Jaiin as a “rock star” for her outstanding work in the field of women empowerment, adding that the present and future belong to women.

Actress, model, and social media influencer Ekta Jain also impressed everyone with her ramp walk, as did Monalisa and Vishwajeet Pradhan, who praised Archunaa’s vision and initiative.

Archunaa Jaiin expressed her heartfelt gratitude to all the guests, including Shaina NC, Seema Singh, Priyanshu Chatterjee, and Archana Gautam, for supporting the cause by attending the event. She also hinted at announcing another grand show in the near future.

By Inderjit Badhwar

For those seeking the heart-pounding chaos of Gotham—the car chases, explosions, and violent mayhem that punctuated Joker: Folie à Deux’s 2019 predecessor—you’re bound to feel cheated. This film shuns the devilish spectacle, the apocalyptic laughter, and numbing bloodletting that made audiences reel last time. Instead, Joker takes a different path—one that draws you into a theatrical allegory, where sorrow lurks behind every scene like the unspoken melancholy of Busby Berkeley’s gals, whose smiles mask tears behind the brass and drums. It’s a film that will break your heart if you’re willing to look beneath the surface.

Most critics who have panned this work have utterly missed its genius. They’ve approached it as another instalment of the Batman universe or a Marvel spin-off, never realising they should have been viewing it through a Bergmanesque or Kafkaesque lens.

This is not a superhero movie; it is a meditation on despair. In fact, even with its colour palette, the film strikes the mind in grainy black and white, resonating with the heavy weight of reality and the tragedy that lies at its core.

Tragedy reigns in every frame. From the grimy, passionless prison where Joker awaits trial for his previous murders, to his imploding visage as he engages in cramped and joyless lovemaking with Harley Quinn in a dingy cell, the mood is one of relentless gloom. As the film unfolds, we understand one central truth: Joker is already dead. Joaquin Phoenix’s face in the opening shots tells us this immediately—the rest of the movie exists to prove why this is so. It’s not a question of fate; it’s an exploration of inevitability.

This film becomes a tug-of-war—not just between Joker and the world around him—but between director Todd Phillips, Joaquin Phoenix, and the audience. Phillips and Phoenix push a painful reality down the throats of viewers and characters alike, while the world around them begs for fantasy. It’s as though the cast itself, along with the audience, yearns for the Joker of old—the virile, immanent figure who once offered Gotham’s downtrodden an escape, a chance at vengeance, a wild ride through the storm. But that Joker is gone.

Fantasy, it turns out, is what many wanted—and critics, too, missed the film’s central theme of “fantasy as entertainment.” The repeated number, “That’s Entertainment,” becomes the leitmotif, a sardonic nod to an audience desperate to maintain illusion. The powerful Joker of the previous film offered this fantasy. He was an avenging angel, the ultimate escape hatch for Gotham’s wretched—their abused and neglected, whose collective pain he embodied. He thrilled the wealthy, the beautiful people, the theatre-going elite, who saw in him a Marvel comic made flesh.

Even Harley was captivated by this illusion, but unwittingly, she played the role of femme fatale. In love, Joker became Fleck once again, irreversibly human. And this was his fatal flaw. Joker could never survive as a human. His love for Harley shattered the very fantasy he had created, and in doing so, he signed his own death warrant. The human Fleck had to die, tried and convicted not only for his crimes but for betraying those who longed for him to remain the Joker—the untouchable, the fantastical. Even Harley, in the end, turns her back, revealing that she, too, was just another devotee of the illusion.

This film is an extraordinary piece of art, driven by Joaquin Phoenix’s near-flawless artistry and supported by brilliant character performances from an impassioned cast. It masterfully turns fantasy into reality, refusing to indulge the audience’s desire for escape.

Go see it. Joker is not entertainment for entertainment’s sake—it is art, designed to rip away our comforting illusions and force us into deeper reflection. This is not a film that indulges the tooth fairy; it crushes her underfoot, daring us to see the world as it truly is.