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Dramatic Video Shows People Scrambling After Gunman Enters Thai School
Thai police shot and arrested a gunman who opened fire Wednesday at a school in southernThailand, police and other authorities said.
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Shanaya Kapoor: I Am Working for The Audiences Acceptance – Exclusive
Shanaya Kapoor is all set for her second theatrical release, Tu Yaa Main. Starring opposite Adarsh Gourav, the actress plays the role of a high-spirited influencer, Avani Shah, aka Miss Vanity. In an exclusive conversation with Filmfare, the actress opens up about her character and reveals what she has learnt from her. Shanaya, who has grown up in the public eye, talks about the similarities she has with her character and says, “Whenever I read a character, it is important for me to find a little bit of myself in there, or some truth I can connect to. With Avani, I found that. At the same time, she’s also very different from me, and that made me learn a lot from the character. Understanding both the similarities and the differences, and then finding a middle ground, is important. Just because something feels familiar doesn’t mean I should stay in my comfort zone. I try to discover something new within that familiarity, while holding on to the truth.”
She continues, “That’s how I approach my scenes and characters. Avani is very confident and calm. These two things are very difficult to find in a person, and I’m still learning to figure that out. I try not to overthink, trust my decision and trust what I want and not listen to anyone else. My character taught me that.”
This is the actress’ second film after Aankhon Ki Gustaakhiyan. While her debut did not succeed in leaving a mark at the box office, her performance earned her praise. Asked whether she feels she needs to put in extra efforts to prove herself at this point, Shanaya shares, “I don’t take it as pressure. This is what I owe to the audience. I’m working for their acceptance, and I’m here to earn that. That will only happen if I work hard. I have to earn my place here. I don’t take it as a load. This is what I’ve chosen to do, and I have to prove why I’m here.”
Tu Yaa Main, directed by Bejoy Nambiar, will be released theatrically on February 13.
Watch the full interview here:
Also Read: Exclusive: Bejoy Nambiar Called Sanjay Kapoor After Shooting With Shanaya Kapoor, Here’s Why!
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Margot Robbieâs Victorian style book for Wuthering Heights is a master class in method dressing
In modern red carpets, a press tour is no longer just a series of interviews; it is a performance. If 2023 was the year Margot Robbie turned the world pink, 2026 is the year she draped it in shadows. For the promotional trail of Emerald Fennell’s Wuthering Heights, Robbie and her longtime collaborator Andrew Mukamal have orchestrated a visual symphony of “Method Dressing” that transcends mere costume. By blending Victorian mourning rituals, Baroque opulence, and the “witchy occult,” Robbie has effectively brought the Yorkshire moors to the global stage.
The tour’s aesthetic foundation is built on a “noir fairytale” sensibility. Rather than literal period costumes, Robbie has utilised “theatrical alchemy,” mixing historical silhouettes like the bustle and the corset with a modern, subversive edge. This is not just dressing for a role; it is an immersive extension of Emily Brontë’s dark, obsessive world.
The masterclass began with a deep dive into fashion’s most “surreal and morose” archives. Early in the tour, Robbie signalled her stylistic shift by wearing a Vivienne Westwood Autumn/Winter 1988 ensemble, followed by a hauntingly beautiful John Galliano Spring/Summer ’97/’98 piece. These selections established the “marvellously macabre” tone, proving that the duo wasn’t just looking for pretty dresses, but for garments that carried the weight of history and the “frenzy” of the novel’s protagonist, Catherine Earnshaw.
At the London premiere on February 5, 2026, Robbie delivered what may be the tour’s most intellectually dense look. She wore a custom Dilara Findikoglu boned corset dress that pushed the “naked dressing” trend into the realm of the gothic. The translucent slip was accented with braided synthetic hair, a chilling reference to Victorian mourning jewelry where the hair of the deceased was woven into keepsakes. To drive the point home, she wore a replica of Charlotte Brontë’s mourning bracelet, originally made to honour her sisters Emily and Anne. It was a sentimental, albeit morbid, nod to the author herself.
The journey continued to Paris, where the “City of Lights” saw a darker side of the actor. For the premiere on February 2, 2026, Robbie appeared in a custom Chanel couture look by Matthieu Blazy. Crafted from burgundy silk, velvet, and faille, the dress featured a hand-draped bustle, the definitive silhouette of the late 19th century. The deep wine hue was a deliberate choice, symbolising the blood-deep passion of Catherine and Heathcliff and the memento mori that hangs over their union.
While in Paris, the tour’s versatility was on full display. Robbie rotated through a series of “monastic-chic” and avant-garde looks, including a structured Maison Margiela piece and a precision-tailored Thom Browne ensemble. She also reached back into the archives for a John Galliano Spring/Summer ’92/’93 look, reinforcing the idea that the “Method” requires a knowledge of fashion’s most rebellious eras.
The crescendo of the tour arrived at the Los Angeles premiere on January 31, 2026. Robbie stepped out in a custom Schiaparelli couture gown by Daniel Roseberry. While the original runway version was electric blue, Robbie’s version was reimagined in a visceral velvet red. The Chantilly lace bustier was breathtaking, but the true “theatrical alchemy” lay in the jewellery. Around her neck sat the late Elizabeth Taylor’s Taj Mahal diamond necklace. A 400-year-old relic gifted by Richard Burton to Taylor, the heart-shaped diamond is inscribed with “Love is Everlasting” in ancient Parsi. By wearing a piece of jewellery with such a volatile, epic history of love, Robbie didn’t just play Catherine, she inhabited the very idea of an eternal, haunting romance.
Mukamal’s styling didn’t just rely on high-glamour premieres; it found its way into the smaller details of the press junkets. One standout was a red snakeskin Dilara Findikoglu corseted mini dress. The look was a direct “Easter egg” for fans of the novel, referencing an insult hurled at Catherine Linton: “I’d rather be hugged by a snake.” It is this level of literary literacy that elevates Robbie’s style book from a wardrobe to a thesis.
As the tour progressed, the “Style Book” grew into a comprehensive anthology of dark romanticism, with a diverse array of designers each contributing a distinct chapter to the gothic narrative. Margot Robbie balanced sharp, contemporary interpretations of the aesthetic from Mark Gong with the sleek, “boudoir” sensibilities of Victoria Beckham, whose pieces reimagined Victorian lines for a modern audience. The collection was further grounded in the macabre by the inclusion of Alexander McQueen, a house whose history of haunting beauty felt like a natural fit for the Brontë spirit, while Roberto Cavalli provided a wilder, more primal energy with textures that seemed to evoke the untamed, windswept nature of the Yorkshire moors.
Margot Robbie’s Wuthering Heights press tour is a definitive moment in fashion history. It proves that the red carpet can be a space for literary analysis and emotional storytelling. By choosing “substance over spectacle” and “morbidly grotesque” details over safe glamour, Robbie has set the gold standard for how an actor can honour a classic work of art.
Also Read: Margot Robbie and Jacob Elordi serve Gothic Glam at Wuthering Heights Premiere