Pramod Thomas is a senior correspondent with Asian Media Group since 2020, bringing 19 years of journalism experience across business, politics, sports, communities, and international relations. His career spans both traditional and digital media platforms, with eight years specifically focused on digital journalism. This blend of experience positions him well to navigate the evolving media landscape and deliver content across various formats. He has worked with national and international media organisations, giving him a broad perspective on global news trends and reporting standards.
INDIAN wrestler Vinesh Phogat, who helped lead protests demanding the sport's national chief step down over sexual harassment allegations, has pulled out of next month's Asian Games with a knee injury.
Phogat, who won gold in the women's 50kg freestyle in the last edition of the Asian Games, injured herself during training and will undergo surgery on Thursday.
"It was my dream to retain my Asian Games gold medal for India which I won in 2018 in Jakarta," Phogat, 28, wrote in a post on social media.
"But unfortunately, this injury has ruled out my participation now."
Phogat and other wrestlers accused Wrestling Federation of India (WFI) chief Brij Bhushan Singh of sexual misconduct in January and led a long sit-in demanding he step down.
Police broke up the New Delhi protest camp in May after demonstrators attempted to march on parliament, and Phogat was briefly detained after scuffling with officers.
Singh, 66, also a lawmaker for the ruling Bharatiya Janata Party (BJP), denies all charges and has said he is a victim of a "conspiracy".
Phogat's injury also rules her out of the World Championships in Belgrade next month.
An election for Singh's replacement at the WFI was due to be held on the weekend but was postponed indefinitely after a last-minute court challenge.
Rising star Antim Phangal will join India's wrestling squad for the Asian Games, starting September 23 in Hangzhou, China, after winning selection trials in the 53 kg category.
Royal Challengers Bengaluru's Virat Kohli (C), along with his teammates, celebrates with the trophy after winning the Indian Premier League (IPL) Twenty20 final cricket match against Punjab Kings at the Narendra Modi Stadium in Ahmedabad on June 4, 2025. (Photo by ARUN SANKAR/AFP via Getty Images)
THE Indian Premier League's business value has been estimated at $18.5 billion (£13.5bn) with reigning champions Royal Challengers Bengaluru its wealthiest franchise, according to a report by an investment bank.
The world's richest cricket tournament has been a top revenue earner for the Board of Control for Cricket in India (BCCI) and in 2020 was estimated to generate more than $11bn (£8bn) a year for the Indian economy.
According to US investment bank Houlihan Lokey, which has valued several sports franchises around the world, the brand value of the 10-team T20 franchise tournament has seen a sharp rise of 13.8 per cent to $3.9bn (£2.8bn) over the past year.
Bengaluru, who along with star player Virat Kohli won their first IPL title this year, have overtaken five-time winners Chennai Super Kings and Mumbai Indians to achieve a brand value of $269 million (£196m). Mumbai is second with $242m (£176m), followed by Chennai at $235m (£171m).
The Houlihan Lokey report called the IPL "a global phenomenon" that has become more than just a cricket league.
"The IPL continues to set benchmarks in sports business. Franchise valuations have soared, media rights deals have reached record highs, and brand partnerships have diversified across sectors," Harsh Talikoti from Houlihan Lokey, said in a statement.
"The league's ability to attract global investors and sponsors reflects its status as a premier sports property with enduring appeal."
Bengaluru beat Punjab Kings for the title at the world's biggest cricket stadium in Ahmedabad in June to conclude the 18th edition of the league.
The report said the 2025 final had more than 678 million views on the official streaming platform JioHotstar, surpassing the India-Pakistan clash during the Champions Trophy in February this year.
The IPL, which is broadcast around the world and features top international stars such as Australia's Pat Cummins and England's Jos Buttler, mixes sport and showbusiness in a glitzy format, with a number of teams fronted by Bollywood movie superstars.
Since it launched in 2008 it has inspired a range of other franchise-based leagues in India in sports as diverse as boxing, badminton, poker and kabaddi, and spawned copycat cricket tournaments elsewhere.
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From Bollywood blockbusters to global collabs, the actor’s music videos continue to shape dance trends and digital culture
Jacqueline Fernandez has quietly built one of the most consistent records in the Indian entertainment industry when it comes to delivering chart-topping music videos. From high-voltage Bollywood dance numbers to independent cross-cultural hits, her music collaborations have repeatedly gone viral, not just for their sound but also for their styling, choreography, and screen presence.
Her latest track, Dum Dum, is currently trending across platforms, with fans and creators picking up on its hook steps and fashion cues. The song adds to a growing list of viral hits led by Fernandez, each one helping cement her image as one of the most recognisable music video stars in Indian pop culture today.
With viral choreography, bold styling, and mass appeal, Jacqueline’s music video appearances have become internet staples
Here’s a look at 12 of Jacqueline Fernandez’s most talked-about music videos, songs that continue to feature in playlists, dance reels, and party sets:
Yimmy Yimmy
One of 2024’s biggest global hits, this trilingual track featuring Shreya Ghoshal and Tayc made waves on both Indian and international charts. Jacqueline stood out for her statement styling, seamless transitions, and effortlessly catchy dance moves.
Jumme ki raat
A standout number from Kick, this collaboration with Salman Khan became a dance floor staple. Fernandez’s energetic performance and signature step made it one of the most replayed tracks of that year.
Ek do teen
Reinterpreting a classic is no small feat, but Jacqueline’s edgy rework of Madhuri Dixit’s iconic number drew both attention and debate. Her modern visual treatment and stylised choreography gave the song a new identity.
Genda phool
Pairing folk melodies with rap elements, this Badshah collaboration saw Jacqueline in a bold, traditional look. The visual contrast contributed to its mainstream appeal and high replay value.
Beat pe booty
In A Flying Jatt, her duet with Tiger Shroff introduced unconventional choreography that went on to spark a viral dance challenge. The light-hearted tone and quirky synchronisation became a hit among younger audiences.
Jadoo ki jhappi
One of her earlier tracks from Ramaiya Vastavaiya, this song featured Jacqueline in a more playful, bubbly avatar. Her expressive performance and dance energy were among the highlights.
Money money
From Raid 2, this high-energy track with Yo Yo Honey Singh featured Jacqueline in a glamorous, high-octane avatar. The visuals combined luxury aesthetics with fast-paced dance routines.
Chittiyaan kalaiyaan
A commercial success, this peppy number cemented Jacqueline’s place in Bollywood’s dance music scene. Her playful charm matched perfectly with the catchy hook, making it a long-running favourite.
Paani paani
Another successful team-up with Badshah, this song was visually driven, combining Rajasthani aesthetics with urban cool. Jacqueline’s look and screen presence added to the song’s viral momentum.
Mud mud ke
Paired opposite Italian actor Michele Morrone, this song expanded Jacqueline’s appeal beyond Indian borders. The music video leaned into sleek production and international styling, giving it strong crossover appeal.
Tik tik
A recent track with Dystinct and Vishal Mishra, Tik Tik brought together global sounds with Indian flair. Jacqueline’s performance showed her versatility in adapting to different musical and visual styles.
Dum dum
Currently dominating reels and dance challenges, Dum Dum taps into Fernandez’s strengths like vibrant choreography, bold styling, and magnetic on-screen energy. The track further reinforces her ability to tap into internet trends and mass appeal simultaneously.
These 12 songs reflect how Jacqueline Fernandez has turned dance numbers into viral cultural moments
With each of these tracks, Jacqueline Fernandez has managed to stay relevant in a fast-evolving music landscape. Her song choices often blur the lines between Bollywood glamour and global pop aesthetics, a combination that continues to resonate widely. From stage-ready choreography to viral fashion moments, she has become a reliable fixture in India’s music video culture.
And with Dum Dum now taking over timelines, that streak shows no signs of slowing down.
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Italian-born French fashion designer Elsa Schiaparelli
“In difficult times fashion is always outrageous.” – Elsa Schiaparelli.
The Victoria & Albert Museum has announced its first ever UK exhibition dedicated to Elsa Schiaparelli, the visionary designer who blurred the boundaries between fashion, art and performance. Titled Schiaparelli: Fashion Becomes Art, it runs from 21 March to 1 November 2026 in the Sainsbury Gallery and will draw on the V&A’s status as home to Britain’s National Collection of Dress and its foremost collection of Schiaparelli garments.
Vogue 1940; Designer Elsa Schiaparelli wearing black silk dress with crocheted collar of her own design and a turbanFredrich Baker/Condé Nast via Getty Images
Exhibition scope and highlights
Over 200 objects across media: garments, accessories, jewellery, perfume bottles, paintings, photographs, sculpture, furniture and archival sketches.
Iconic pieces on display:
The ‘Skeleton’ dress (with Salvador Dalí)
The ‘Tears’ dress and the surreal shoe hat (with Jean Cocteau)
Archive objects from Schiaparelli’s London branch, highlighting her dynamic UK clientele
Accompanying artworks by Pablo Picasso, Jean Cocteau and Man Ray
A survey of the brand’s modern era under creative director Daniel Roseberry, whose sculptural gowns have dressed Zendaya, Beyoncé, Lady Gaga and Doja Cat
“Schiaparelli’s collaboration with artists and the world of performance makes her an ideal subject,” said V&A Director Tristram Hunt, calling the show “a celebration of one of fashion’s most daring innovators.”
Delphine Bellini, CEO of Schiaparelli, adds: “Elsa Schiaparelli’s fearless imagination and radical vision redefined the boundaries between fashion and art.”
'Tears' Evening dress and head veil, designed by Elsa Schiaparelli, February 1938 for Circus Collection, summer 1938. Fabric designed by Salvador Dali Victoria and Albert Museum, London
From Paris salons to the Met Gala red carpet
Long before the V&A’s announcement, Natasha Poonawalla brought Schiaparelli’s surrealist drama to global attention. In 2022, she paired a gold Schiaparelli corset with a Sabyasachi sari, styled by Anaita Shroff Adajania. A year later, she returned to the Met Gala in a futuristic silver Schiaparelli gown, both moments underlining how Indian influencers are shaping today’s couture conversation.
Natasha Poonawalla attends The 2022 Met GalaGetty Images
Curators, press details and what’s next
Curated by Sonnet Stanfill, Lydia Caston and Rosalind McKever, the show is the first UK retrospective focusing on Schiaparelli’s output from the 1920s to 1954 and its present day revival.
Tickets on sale autumn 2025
Accompanied by a fully illustrated V&A catalogue, available autumn 2026
Part of the V&A’s major fashion exhibition series following Christian Dior: Designer of Dreams and Naomi: In Fashion
Vogue 1936; Two models, standing in a white room with arrows painted on walls and wearing dresses by Schiaparelli;Cecil Beaton/Condé Nast via Getty Images
What it means for South Asian style
This isn’t just a show for fashion students and couture fans. It’s a chance to see how a radical female designer redefined beauty and power, and how that legacy continues through Indian influencers like Poonawalla, who proudly bring together cultural identity with high fashion on the world stage.
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The article in question described Sabalenka’s recent practice sessions
Maria Sharapova criticises WSJ coverage of Aryna Sabalenka's Wimbledon practice
WSJ article suggested Sabalenka hits so hard she must train with men
Sharapova says the practice is standard in women’s tennis
Sabalenka says sessions with Djokovic and Sinner have improved her game
Sharapova challenges headline on Sabalenka
Maria Sharapova has called out the Wall Street Journal (WSJ) over its portrayal of world No. 1 Aryna Sabalenka’s Wimbledon preparations, urging the publication to “do better”.
The 2004 Wimbledon champion took issue with an Instagram post by WSJ featuring a smiling Sabalenka under the caption: “The world No. 1 who hits so hard she practises against men.”
The caption was based on an article by reporter Joshua Robinson, which included the line: “The 27-year-old Sabalenka now crushes the ball so forcefully that she needs new practice partners. And, as it turns out, the right players for the job happen to be people she could never face in singles competition… That’s because they’re men.”
Sharapova responded by sharing the post with her 4.7 million Instagram followers and writing: “What is this headline and what is this article. You can do better @WSJ.”
Practising with men is standard, says Sharapova
The article in question described Sabalenka’s recent practice sessions with ATP stars Jannik Sinner and Novak Djokovic, presenting them as a reflection of her unmatched power on court.
However, Maria Sharapova pointed out that using male hitting partners is routine practice for elite WTA players. Sabalenka has long worked with male practice partners, including her current coach Anton Dubrov, who originally joined her team in that role.
The same approach has been taken by top players including Serena Williams, Venus Williams, and Sharapova herself, especially during Grand Slam tournaments.
Sabalenka values strategic, not just physical, training
Speaking after her first-round win, Sabalenka clarified that her training sessions with Djokovic and Sinner were not just about handling power but understanding the strategic aspects of the game.
“You see the different approach to the balls. You’re learning,” she said. “I think it really helped my tennis, to be honest. Now there are some balls that I used to struggle a little [with]. Right now, I kind of understand a little bit better how to adjust to those balls.”
Sabalenka said the opportunity to speak with Djokovic, a 24-time Grand Slam winner, has been particularly valuable. Their conversations have focused on mental preparation and tactical decision-making during high-pressure moments.
“One of the conversations went to managing energy. Another one about the mental part of the game. Then we had another conversation about mentally approaching those big finals,” she revealed.
She added that Djokovic had given her useful advice on returning serve, which she has since incorporated into her game. “Now he’s always making fun of me copying his return. I’m like, ‘Man, it’s working! I’m copying the best.’”
Sabalenka continues strong Wimbledon run
Aryna Sabalenka is through to the Wimbledon semi-finals for the third time in her career, having dropped just one set so far. In her quarter-final victory over Laura Siegemund, she converted eight out of 13 break points to secure a 4-6, 6-2, 6-4 comeback win.
She will return to Centre Court on Thursday to face 13th seed Amanda Anisimova for a place in her first Wimbledon final.
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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) reported a 10.7 per cent drop in sales for the April–June quarter, as a temporary pause in shipments to the United States and the phase-out of Jaguar’s legacy models weighed on volumes.
The company, owned by India’s Tata Motors, sold 87,286 units to dealers worldwide during the quarter, compared to 97,755 units in the same period last year.
Retail sales dropped 15.1 per cent in the three months to the end of June, JLR said in a statement on Monday. The company cited a halt in exports to the US in April as one of the main reasons behind the decline. The pause followed the imposition of a 25 per cent duty by President Donald Trump on all foreign-made vehicles sold in the US, one of JLR's key markets.
JLR does not manufacture cars in the US. Its Range Rover lineup is produced in Britain, subject to a 10 per cent levy, while its top-selling Defender SUVs are built in Slovakia, which falls under the higher 25 per cent tariff.
North America, which accounts for around one-third of JLR’s global sales, saw a 12.2 per cent drop in volumes in the first quarter. Jaguar’s luxury sedans, SUVs and sports cars saw a 72 per cent decline in sales, falling to 2,339 units, as part of a planned wind-down of legacy models. Jaguar is set to become a fully electric brand by 2026.
Excluding Jaguar’s performance, JLR’s overall sales declined by 5.1 per cent.
In the UK, Jaguar’s sales were also affected by the phase-out of older models in preparation for its electric vehicle line-up. According to automotive trade body SMMT, British car exports to the US dropped by over 50 per cent in May. However, a new trade agreement between the UK and US is expected to support future sales. The agreement reduces tariffs on UK car exports to 10 per cent from 27.5 per cent, up to an annual limit of 100,000 vehicles.
JLR is among the top car exporters from Britain and contributes about two-thirds of Tata Motors' revenue. Both JLR and Tata Motors are expected to announce their first-quarter earnings in August.
In June, JLR revised its forecast for earnings margin before interest and taxes for the fiscal year 2026 to 5–7 per cent, down from the earlier target of 10 per cent, citing global uncertainty triggered by US tariffs.