Gayathri Kallukaran is a Junior Journalist with Eastern Eye. She has a Master’s degree in Journalism and Mass Communication from St. Paul’s College, Bengaluru, and brings over five years of experience in content creation, including two years in digital journalism. She covers stories across culture, lifestyle, travel, health, and technology, with a creative yet fact-driven approach to reporting. Known for her sensitivity towards human interest narratives, Gayathri’s storytelling often aims to inform, inspire, and empower. Her journey began as a layout designer and reporter for her college’s daily newsletter, where she also contributed short films and editorial features. Since then, she has worked with platforms like FWD Media, Pepper Content, and Petrons.com, where several of her interviews and features have gained spotlight recognition. Fluent in English, Malayalam, Tamil, and Hindi, she writes in English and Malayalam, continuing to explore inclusive, people-focused storytelling in the digital space.
A model of The Grand Budapest Hotel will be among more than 600 objects featured in a major new Wes Anderson exhibition opening at the Design Museum in London later this year.
Titled Wes Anderson: The Archives, the retrospective has been developed by the museum in collaboration with the acclaimed American filmmaker and La Cinémathèque française. It is set to open on 21 November 2025 and will explore Anderson’s distinctive visual style, detailed craftsmanship, and storytelling across his career.
Wes Anderson, who turns 56 this year, is known for films such as The Royal Tenenbaums, Fantastic Mr Fox, Moonrise Kingdom, The French Dispatch and the Oscar-winning The Grand Budapest Hotel. The latter, released in 2014, received Academy Awards for Best Production Design and Best Costume Design.
The exhibition will present a chronological journey through Anderson’s work, with each section dedicated to one of his films. Central to the display is a candy-pink model of The Grand Budapest Hotel, which served as a key element in the film’s production. The story follows M. Gustave, played by Ralph Fiennes, a concierge at a luxury hotel in a fictional European country during the early 20th century.
Among the other featured items are the vending machines seen in Asteroid City, the Fendi coat worn by Gwyneth Paltrow’s character in The Royal Tenenbaums, and the original stop-motion puppets used to depict underwater creatures in The Life Aquatic with Steve Zissou.
Costumes worn by cast members across various Wes Anderson films will also be on display. These include Benicio del Toro’s outfit as Moses Rosenthaler in The French Dispatch, as well as costumes worn by Ralph Fiennes, Scarlett Johansson, Jason Schwartzman, Ben Stiller, Tilda Swinton and Owen Wilson.
A section of the retrospective will focus specifically on Anderson’s work in stop-motion animation, including Fantastic Mr Fox and Isle of Dogs. Visitors will also be able to see unfinished props, set pieces, and other materials that reveal Anderson’s methods and collaborative process.
In addition, a selection of Wes Anderson’s handwritten notebooks will be included. These documents offer insights into the inspirations, character development, and storyboarding behind his films.
Tim Marlow, director and chief executive of the Design Museum, said: “Wes Anderson has created some of the most visually distinctive and emotionally resonant films of the last two decades — from the melancholic charm of The Royal Tenenbaums to the youthful adventurism of Moonrise Kingdom. He’s an utterly compelling creator of cinematic worlds, whose singular vision and attention to detail are underpinned by an acute understanding of design and craftsmanship, which is why the Design Museum is the perfect location for this landmark retrospective.”
The museum previously hosted a successful exhibition on Tim Burton in 2024, which included notable costumes such as Jenna Ortega’s Wednesday dress and Michelle Pfeiffer’s Catwoman suit.
Wes Anderson: The Archives will be on display from 21 November 2025 at the Design Museum in Kensington, London.
At a time when more and more of us are feeling the overload of restlessness, stress, and anxiety – caused by work, family, and mass media – Rishab Sharma’s Sitar for Mental Health is just what is needed.
His show isn’t just a performance – independent of the audience – but an interactive movement that explores the intersection of sound, consciousness, and wellbeing. From the outset, the audience become part of the music and its hypnotic qualities.
To create this effect, Sharma draws upon the ancient raga system to tap into the therapeutic essence of Indian music, using tone, rhythm, and resonance to restore balance to the audience’s psyche.
In effect, the concert is – in parts - a trace-like meditation to the inner consciousness, a dialogue between the body and the soul. In other parts, it’s a raucous fusion of classic ragas and hits from popular culture – there’s even a quick nod to The Game of Thrones. It’s this modern fusion with just the right mix of spirituality and pop that makes the show an extraordinary blend that is soothing, serene, and tranquil.
Glimpses from Rishab Sharma's concert
The show opens with a short biographical film that highlights Sharma’s own battle with anxiety and depression, and the way the sitar has helped him to fight those mental demons. Sharma (a fourth generation of satarists) refers to his music guru, the late Ravi Shanker, his isolation during the lockdown, and the numerous international accolades he has received over the last few years (he’s still only 27).
After a light-hearted introduction, Sharma begins with a short pranayama (breathing exercise) to prepare the audience for the transcendental experience. The show is clearly a focus on mental health and wellbeing aspects which in recent years, have highlighted in social policies.
It’s no hyperbole to say that Sharma’s ragas unfold with astonishing grace and artistry. Though they are all beautifully composed, some of the pieces are particularly moving. For instance, Kailashon Ke Vaasiis a powerful work inspired by Lord Shiva’s cosmic abode. The slow-burning tune is spiritually rich, and as the other instruments joined in, the performance lifted into another realm. Every pluck and pause of the sitar is measured as if Sharma knows what the audience is feeling. With some members brimming with tears, the auditorium becomes a collective experience of shared memory. It’s as if the music and his strumming of the sitar is like a wormhole into our deep consciousness.
Other pieces seem more delicately composed – quiet and personal. Roslyn for instance, has a certain restraint, melancholy, and vulnerability. The silence between the notes speak as loudly as the notes themselves.
The sitar, with its shimmering overtones and elastic glides, becomes a tool for emotional release. The interplay between sitar and tabla creates a pulsating energy that gently realigns the listener’s attention inward, offering an experience that is simultaneously grounding and transcendent.
Glimpses from Rishab Sharma's concert
The finale ShivTaandav is, of course, a beautiful and emotional tribute to Sharma’s Hindu roots and the audience – all standing – felt a certain religious and cultural pride in seeing the passion with which this was delivered. Sheer poetry in motion.
In the end, Sharma’s performance leaves the listener not just musically enriched, but spiritually and emotionally renewed. This is entertainment and therapy at its finest – a rare and beautiful gift in our restless age of modernity and cacophony of life. If you are to see one classical performance this year, this is it.
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