India captain Virat Kohli said his spinners could have been more effective in the drawn third test against Australia but for the softness of the ball used in the contest.
Having reduced Australia to 63-4 in the final morning after taking a 152-run first inning lead,India looked in a great position to register their second successive victory in the four-test series. But a wicketless afternoon session scuppered their hopes.
Peter Handscomb and Shaun Marsh collaborated for almost four hours to frustrate the hosts with a dour fifth wicket stand of 124 runs.
Kohli reckoned it could have been different had the balls used in the match retained their hardness.
"I think the hardness of the ball was a big factor," the 28-year-old told reporters at the Jharkhand State Cricket Association Stadium.
"When the ball was new last night, it spun well off the rough. Even this morning, it was spinning well. But in the middle session, the ball was not hard, so could not generate that kind of pace from the wicket."
After Kohli took the new ball, Ravindra Jadeja dismissed Marsh for 53, while spin partner Ravichandran Ashwin sent back Glenn Maxwell but Australia had reached safety by then.
"On day five, wicket slows down anyway. We took the new ball and got a couple of wickets. But the hardness of the ball in the middle session was a factor," added Kohli.
His counterpart Steve Smith was rather amused when asked about his opinion.
"I haven't really thought about it. We both use the same ball, you just got to do what you can with it," he said.
Kohli dismissed suggestion that he underbowled off-spinner Ashwin, currently the top ranked test bowler, while persisting with Jadeja, who claimed nine wickets in the match.
"The fast bowlers were more effective from the far end the spinners from the commentary end," Kohli explained.
"Whenever Jadeja came to bowl, he picked up a wicket or two every three-four overs. It was very difficult to change him at that stage because he was bowling in good momentum. That was one of the factors."
Kohli said Jadeja's second innings figures of 44-18-54-4 was the most economical he had seen and the left-arm spinner outperformed everyone on a pitch which did not offer much assistance to them.
"You can leave aside Jadeja, because he really stood apart among the bowlers. But I think generally bowlers found it difficult to make things happen from the centre of the wicket," he said.
India captain Virat Kohli said his spinners could have been more effective in the drawn third test against Australia but for the softness of the ball used in the contest.
Having reduced Australia to 63-4 in the final morning after taking a 152-run first inning lead,India looked in a great position to register their second successive victory in the four-test series. But a wicketless afternoon session scuppered their hopes.
Peter Handscomb and Shaun Marsh collaborated for almost four hours to frustrate the hosts with a dour fifth wicket stand of 124 runs.
Kohli reckoned it could have been different had the balls used in the match retained their hardness.
"I think the hardness of the ball was a big factor," the 28-year-old told reporters at the Jharkhand State Cricket Association Stadium.
"When the ball was new last night, it spun well off the rough. Even this morning, it was spinning well. But in the middle session, the ball was not hard, so could not generate that kind of pace from the wicket."
After Kohli took the new ball, Ravindra Jadeja dismissed Marsh for 53, while spin partner Ravichandran Ashwin sent back Glenn Maxwell but Australia had reached safety by then.
"On day five, wicket slows down anyway. We took the new ball and got a couple of wickets. But the hardness of the ball in the middle session was a factor," added Kohli.
His counterpart Steve Smith was rather amused when asked about his opinion.
"I haven't really thought about it. We both use the same ball, you just got to do what you can with it," he said.
Kohli dismissed suggestion that he underbowled off-spinner Ashwin, currently the top ranked test bowler, while persisting with Jadeja, who claimed nine wickets in the match.
"The fast bowlers were more effective from the far end the spinners from the commentary end," Kohli explained.
"Whenever Jadeja came to bowl, he picked up a wicket or two every three-four overs. It was very difficult to change him at that stage because he was bowling in good momentum. That was one of the factors."
Kohli said Jadeja's second innings figures of 44-18-54-4 was the most economical he had seen and the left-arm spinner outperformed everyone on a pitch which did not offer much assistance to them.
"You can leave aside Jadeja, because he really stood apart among the bowlers. But I think generally bowlers found it difficult to make things happen from the centre of the wicket," he said.
Netflix confirms first use of generative AI in visual effects for Argentine sci-fi series The Eternaut.
AI helped complete a key building collapse scene 10 times faster than traditional methods.
Co-CEO Ted Sarandos says AI is a tool to enhance creativity, not replace artists.
Move comes amid ongoing debate in the industry over AI’s role and job implications.
Netflix has confirmed using artificial intelligence to generate final visual effects footage for the first time in one of its original shows. The streaming giant revealed that generative AI was used to create a dramatic building collapse in the upcoming Argentine sci-fi series The Eternaut, enabling the scene to be completed significantly faster and more cost-effectively than with traditional VFX tools.
The Eternaut brings Argentina’s legendary sci-fi comic to life using new AI toolsInstagram/theeternaut.netflix
Why did Netflix use AI for The Eternaut?
Netflix turned to generative AI to tackle budget limitations while producing the ambitious sci-fi series The Eternaut, which follows survivors of a toxic snowfall in Buenos Aires. According to Netflix co-CEO Ted Sarandos, the AI-powered tools enabled the VFX team to complete a complex building collapse sequence at a fraction of the usual time and cost.
Speaking during the company’s second-quarter earnings call, Sarandos said the scene was finished “10 times faster than it could have been completed with traditional workflows.” He added, “The cost just wouldn’t have been feasible for a show in that budget.” Netflix collaborated with Eyeline Studios, its in-house production team, to deliver the final footage.
The use of AI in The Eternaut marks a pivotal shift in how streaming platforms may approach content creation. While AI has already been used in pre-visualisation and shot planning, this is the first instance where Netflix deployed it for final VFX output in a show.
Sarandos described the AI tools as an “incredible opportunity to help creators make films and series better, not just cheaper.” He emphasised that real people were still behind the work, using AI to enhance, not replace their craft. “This is real people doing real work with better tools,” he said.
The successful integration of generative AI could open doors for smaller productions to achieve high-end visuals without blockbuster budgets, levelling the playing field in an increasingly competitive market.
Netflix’s announcement comes amid ongoing industry concerns about the role of AI in filmmaking. In 2023, both Hollywood writers and actors went on strike, with AI being a central issue. Unions demanded protections to ensure that AI would not be used to replace human talent or exploit existing creative works without consent.
While Netflix presents its use of AI as a creative aid, many in the industry remain sceptical. Critics argue that relying on AI could devalue craftsmanship and threaten jobs in areas like screenwriting, visual effects, and animation.
The backlash has already had real-world effects. Filmmaker Tyler Perry famously paused a £634 million (₹6,700 crore) studio expansion due to uncertainty over AI’s long-term impact on jobs and creative processes.
Beyond production, Netflix is exploring how AI can improve the user experience. Co-CEO Greg Peters hinted at future developments, suggesting that AI could enhance content discovery through more natural, conversational search queries. For instance, users could soon find shows by describing mood, genre, or era.
Additionally, Peters mentioned that generative AI could be used to streamline ad creation, potentially reducing costs for advertisers while maintaining relevance for viewers.
Netflix’s decision to embrace AI in production, particularly in a high-visibility series like The Eternaut, signals that the technology is here to stay. But as the platform moves forward, it faces growing pressure to balance innovation with ethical responsibility.
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Tourist Family beat Chhaava to become India’s most profitable film of 2025
Made on a modest £665,000 (₹7 crore) budget, Tourist Family earned £9.3 million (₹98 crore) worldwide.
Directed by Abishan Jeevinth, the Tamil comedy-drama gained traction through strong word-of-mouth.
The film achieved a 1200% return on investment, the highest in Indian cinema for 2025.
Bollywood biggies like Chhaava and Sitaare Zameen Par recorded lower profit margins despite larger grosses.
A small Tamil film with no big promotions has quietly taken over 2025’s box office success story, not by being the highest grosser, but by delivering the highest profit. Tourist Family, a slice-of-life comedy directed by Abishan Jeevinth, became India’s most profitable film of the year with an unprecedented 1200% return on investment.
Released on 29 April 2025, Tourist Family was made on a modest budget of £665,000 (₹7 crore). With strong reviews and positive audience feedback, it surpassed all expectations, earning £9.3 million (₹98 crore) globally, £6.4 million (₹67 crore) of which came from domestic collections. In contrast, the year’s top-grossing film Chhaava, starring Vicky Kaushal, managed an 800% profit on a £8.5 million (₹89.6 crore) budget.
Regional films like Tourist Family outpacing big-budget Bollywood in profitsInstagram/millionoffl
How did Tourist Family achieve such high profitability?
Unlike typical commercial hits, Tourist Family relied on a grassroots-level build-up. The film earned £2.38 million (₹25 crore) in its first week, a respectable figure for a film with minimal marketing and no major stars. However, the second week saw an even stronger showing with £3 million (₹31.6 crore) added to its tally, fuelled purely by word-of-mouth.
Critics praised its grounded humour, family-centric storytelling, and authentic performances from leads M. Sasikumar, Simran, Mithun Jai Sankar, and Kamalesh Jagan. The film’s appeal to Tamil-speaking families and audiences looking for relatable, light-hearted content ensured sustained theatre footfalls.
What made Tourist Family more profitable than Chhaava and other blockbusters?
While Chhaava topped the box office in terms of total earnings with £83.4 million (₹885 crore) worldwide, its high production cost of £8.5 million (₹89.6 crore) meant its profit margin was lower. Akshay Kumar’s Housefull 5, despite earning £30.9 million (₹328 crore), struggled to break even due to a bloated budget. Similarly, Sikandar starring Salman Khan failed to deliver a strong profit.
Even Aamir Khan’s Sitaare Zameen Par, a mid-budget film made for £6 million (₹63 crore), clocked only a 300% profit despite a £26.8 million (₹284 crore) gross. In comparison, Tourist Family’s lean budget and sustained collections allowed it to quietly beat these high-profile films in sheer profitability.
How did regional films perform at the Indian box office in 2025?
If Tourist Family proved one thing, it’s that regional cinema, especially Tamil and Malayalam films, dominated profitability charts in 2025. Malayalam superstar Mohanlal’s Thudarum recorded a 720% profit margin. Tamil fantasy-action flick Dragon and Telugu crowd-pleaser Sankranthiki Vasthunam each secured around 300% profit.
These films, with modest budgets and focused storytelling, appealed to regional audiences and performed steadily without the pressure of pan-India expectations. Their success underscores the growing strength of non-Hindi cinema in India’s entertainment landscape.
Tourist Family’s success is not just a one-off anomaly; it signals a shift in what audiences value: content, relatability, and honesty over star power and spectacle. With changing viewing habits and increasing cinema literacy among the public, low-budget films with strong emotional cores are increasingly holding their own against Bollywood’s big-budget behemoths.
The 2025 box office has shown that profitability doesn’t always follow the loudest buzz or the biggest names. Sometimes, all it takes is a good story, smart budgeting, and genuine audience connection.
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A logo is pictured outside a Jaguar Land Rover new car show room in Tonbridge, south east England.
JAGUAR LAND ROVER (JLR) has delayed the launch of its new electric Range Rover and electric Jaguar models, citing the need for further testing and to allow market demand to grow.
Customers waiting for the Range Rover Electric have been informed that deliveries will now begin next year, instead of the previously planned late 2025. Two sources told The Guardian that the launches of two Jaguar electric models may also be delayed by several months.
JLR recently reported a 15.1 per cent drop in quarterly sales after a pause in exports to the US due to Donald Trump’s tariffs. A voluntary redundancy scheme for up to 500 managers has also been introduced to cut costs.
Despite this, JLR has recorded 10 consecutive quarters of profit and expects a sales boost following a UK-US trade deal that reduced tariffs on the first 100,000 exports to 10 per cent.
JLR, owned by Tata, had been under pressure to meet UK electric vehicle targets, but that eased after the government weakened the zero emission vehicle mandate.
A JLR spokesperson said: “By 2030 JLR will sell electric versions of all its luxury brands... we will launch our new models at the right time for our clients, our business and individual markets.”
Sources told The Guardian the delays stem from extended testing of models being directly built by JLR for the first time. The first rebranded electric Jaguar, the Type 00, is set for production in August 2026, with a second model likely in December 2027. The Range Rover Velar EV could begin production in April 2026, and an electric Defender sub-brand model in early 2027.
Tata’s Agratas battery factory in Somerset is now expected to begin production in late 2027, a year later than originally planned.
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Kate Beckinsale shared a heartfelt tribute to her late mother Judy Loe on Instagram
British actress Kate Beckinsale confirmed the death of her mother Judy Loe, aged 78, on 15 July.
Judy Loe had been diagnosed with stage 4 cancer in July 2024.
Beckinsale shared an emotional tribute on Instagram, revealing her mother passed away in her arms.
Judy Loe was a well-known British television actress with roles in General Hospital, Edward the Seventh, and Monty Python’s The Meaning of Life.
Kate Beckinsale has announced the death of her mother, British actress Judy Loe, who passed away on the night of 15 July after a year-long struggle with stage 4 cancer. The Underworld star confirmed the heartbreaking news through an emotional Instagram post on 17 July, revealing that her 78-year-old mother died in her arms.
In the deeply personal post, Beckinsale explained that she had to register her mother’s death certificate, prompting her to share the news publicly. She described Loe as her “guiding star” and “soulmate,” and expressed the devastation of losing both her parents—her father, actor Richard Beckinsale, died when she was just five.
Judy Loe passed away at 78 after a year-long battle with stage 4 cancerInstagram/katebeckinsale
What did Kate Beckinsale say in her tribute to Judy Loe?
Beckinsale’s Instagram post included several photos and videos of her late mother, though she admitted she couldn’t bring herself to go through her full camera roll yet. She apologised to Loe’s friends who might have learned the news through the press, saying she was “paralysed” with grief and unable to go through her mother’s phone to inform people personally.
“Jude was the compass of my life, the love of my life, and my dearest friend,” she wrote. “She died after immeasurable suffering. This has been my greatest fear since finding my father dead at five, and now I’m here. Oh my mum… I’m so sorry.”
Her tribute highlighted Judy’s kindness, strength, and unshakable belief in the good in others. Kate also thanked her mother’s lifelong friends for their love and support, revealing that Judy remained deeply connected to her childhood friendships throughout her life.
Judy Loe had a distinguished career in British television that spanned decades. She starred as Dr Helen Sanders in the final two series of General Hospital and played Princess May in Edward the Seventh. She also made memorable guest appearances in several TV series, including The Chief and Singles.
Loe also had roles in films like Monty Python’s The Meaning of Life and appeared in the cult-favourite series Ace of Wands. Despite her fame, she lived a relatively private life and was especially known for her deep bond with her daughter Kate.
Kate Beckinsale mourns death of mother Judy Loe after stage 4 cancer battleGetty Images
What support did Kate Beckinsale receive during her mother’s illness?
In February 2025, Kate made a rare appearance on Instagram after deleting all her posts, asking fans to send “prayers, magic or miracles” for her mother. Earlier this month, she posted a heartfelt video singing Bye Bye Love to Judy in hospital, a song that held nostalgic value from a group they were part of during Kate’s teenage years.
Through it all, Kate credited her mother’s friends and fans for their unwavering support. She also acknowledged the hospital staff, jokingly apologising for subjecting them to her singing.
The death of Judy Loe marks another devastating personal loss for Beckinsale, who has often spoken about the trauma of losing her father as a child. She described this recent loss as “nearly impossible to bear,” saying the world feels “so dim” without her mum.
The mother-daughter duo shared a lifelong bond both on and off screenInstagram/katebeckinsale
Kate’s post has prompted an outpouring of support from fans and fellow celebrities alike, many offering condolences and sharing memories of Loe’s warmth and grace.
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The Prithvi-II missile has a range of around 350 kms and can carry a payload of up to 500 kgs.
INDIA on Thursday successfully test-fired nuclear-capable short-range ballistic missiles Prithvi-II and Agni-I from the Integrated Test Range in Chandipur, off the Odisha coast.
The launches were carried out by the Strategic Forces Command and demonstrated India's strategic deterrence capability, the defence ministry said.
"The short-range ballistic missiles -- Prithvi-II and Agni-I -- were successfully test-fired from the Integrated Test Range in Chandipur, Odisha on July 17," the ministry said. "These tests were conducted under the aegis of the Strategic Forces Command." The launches validated all operational and technical parameters, it added.
On Wednesday, India had successfully test-fired the Akash Prime missile in Ladakh. The missile, developed indigenously, has been customised to operate at an altitude above 4,500 metres.
The Prithvi-II missile has a range of around 350 kms and can carry a payload of up to 500 kgs. It is capable of carrying both conventional and nuclear warheads. The Agni-I missile has a range of 700–900 kms and can carry a payload of 1,000 kgs. Both missiles have been key components of India's nuclear deterrence.
The defence ministry said the test of the Akash Prime missile followed the "exceptional performance" of India’s indigenously developed air defence systems during Operation Sindoor. Akash Prime is an upgraded version of the Akash weapon system developed for the Indian Army.
The test in Ladakh, near the Line of Actual Control (LAC), involved successfully destroying two high-speed unmanned aerial targets at high altitude.
"India on July 16 achieved a significant milestone by successfully destroying two aerial high speed unmanned targets at high-altitude in Ladakh by Akash Prime, the upgraded variant of Akash weapon system for the Indian Army," the ministry said in a separate statement.
The ministry said Akash Prime is customised to operate at altitudes above 4,500 metres and includes upgrades such as an indigenously developed radio frequency seeker.
"Based on the operational feedbacks from users, various upgrades are made to improve the operational effectiveness, demonstrating the advantage of the ecosystem created for the indigenous weapon system," it said.
India's defence minister Rajnath Singh congratulated the Indian Army, the Defence Research and Development Organisation (DRDO), and the industry on the achievement, the ministry said.