Joe Root's run out by opposing captain Virat Kohli sparked an England collapse against India on the opening day of the first Test at Edgbaston on Wednesday (1) and may have set the tone for the series after the tourists' skipper gave him a colourful and controversial send-off.
At stumps, England were 285 for nine in what is their 1,000th Test.
However, the action may yet be overshadowed by suggestions Kohli swore at Root and mocked the home skipper's 'mic drop' celebration in a one-day clash between the two sides last month.
England had been well-placed at 216 for three, with Root seemingly on course to score a first Test century since his 136 against the West Indies during last year's day/night clash at Edgbaston.
But his 11th Test fifty without a hundred since that innings ended in frustrating fashion after a run out involving Yorkshire team-mate Jonny Bairstow.
Wicket-keeper Bairstow played the ball to midwicket for a single and then set off for what always looked a tight second, with Root comfortably run out by Kohli's agile direct hit on the turn to end a 156-ball innings including nine fours.
It was also the finish of a fourth-wicket stand worth 104.
However, Kohli rubbed salt into the wound by blowing kisses in the direction of Root and putting his finger to his lips.
He also did the 'mic drop' gesture in imitation of Root's celebration of his one-day series-clinching hundred against India at the batsman's Headingley home ground and the words Kohli appeared to utter in the batsman's direction could attract the attention of match referee Jeff Crowe, the former New Zealand captain.
- Celebrate how you want to -
England's Keaton Jennings tried to defuse any potential bad feeling by saying: "Everybody is entitled to celebrate how they want to.
"He (Kohli) celebrated, and that's cool," the opening batsman added.
As has often been the case, a needless dismissal was also the spark for a collapse, with England losing three wickets for eight runs in 25 balls as they squandered a promising position.
One way Bairstow could have atoned for his part in denying Root a 14th Test century was to have gone to three figures himself.
But a brisk innings of 70 in 88 balls, featuring nine fours, was terminated when Bairstow played on to paceman Umesh Yadav as he tried to cut a ball that was too close to him.
Jos Buttler was then lbw for a second-ball duck to off-spinner Ravichandran Ashwin, who took four wickets for 60 runs in 25 overs, as he played across the line.
And when Ben Stokes (21) chipped a gentle return catch to Ashwin, England were 243 for seven.
England would have been all out a ball before the close if diving wicket-keeper Dinesh Karthik had not dropped Sam Curran (24 not out) off Mohammed Shami when an edged chance was heading straight to Shikhar Dhawan at first slip.
Nevertheless, it was England who had the most regrets come the close after Root won the toss on a typically good Edgbaston pitch.
Ashwin, brought on as soon as the seventh over by Kohli, struck with his 11th delivery when he bowled Alastair Cook (13), England's all-time leading Test run-scorer, with an excellent ball that pitched on middle and hit the top of off stump.
Just prior to Cook's dismissal, fellow left-handed opener Jennings was dropped on nine off Ishant Sharma when Ajinkya Rahane, diving across from fourth slip, failed to hold a tough chance.
At lunch, England were 83 for one.
Shami was eventually rewarded for his persistent accuracy when Jennings played on for 42. He then had Dawid Malan lbw for eight.
After taking two for 64 in 19 overs, Shami was pleased by the way India's seamers had bowled with Ashwin and he insisted they had not been hampered by the absence of a second specialist slow bowler.
"Overall, the fast bowlers bowled well too, and we combined well with him," said Shami.
"Ashwin bowled well, while runs were stopped from the other end to create pressure and the wickets came in the end."
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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