Mrunal Thakur joins EBG Group as ambassador for Carlton Wellness platform

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EBG Group, a fast-growing Indian conglomerate with diversified interests spanning mobility, health, realty, lifestyle, food, services, technology, and education, today announced the onboarding of acclaimed Indian actor Mrunal Thakur as brand ambassador for its project, Carlton Wellness. The association marks a key milestone in EBG Group’s vision to build India’s most credible, regulated, and premium wellness-hospitality ecosystem. Effective from FY 2025–26, the partnership will see Mrunal Thakur headline Carlton Wellness’s brand films, digital storytelling initiatives, experiential wellness campaigns, flagship property launches, and brand programs, to be rolled out in a phased manner across India. Commenting on the announcement, Dr Irfan Khan, Chairman & Founder, EBG Group, said, “Mrunal Thakur was chosen for her authentic alignment with wellness, balance, and mindful living. Known for her modern grace, discipline, emotional strength, and understated luxury, she embodies values th...
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The Virgin Suicides review – Sofia Coppola’s debut rereleased with solemn trigger-warning

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Sunlit suburban calm masks the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie

Nearly a quarter of a century ago, Sofia Coppola made her feature directing debut with this adaptation of the literary sensation of its day: Jeffrey Eugenides’s novel about five teen sisters in 70s suburban Michigan who take their own lives. Now it is rereleased with a solemn trigger-warning disclaimer at the beginning about certain historic attitudes which might now cause offence; these are unspecified, but appears to mean the entire premise of the film, up there in the title, but which is treated more circumspectly nowadays in the context of new ideas around self-harm and “suicidal ideation”.

This was a movie which mystified as many as it entranced, and it would be honest of me to admit that I didn’t quite understand it back in 2000, and maybe don’t quite now. But I can perhaps appreciate with more clarity its artistry and poise and the confident way Coppola allows her film to be serenely mysterious and almost affectless in its sunlit suburban calm, a reticence which appears to mask the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie.

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