Tension over the future of India's head coach Anil Kumble grew on Friday (2) after a top cricket administrator resigned slamming the Indian board for its handling of the controversy.
Amid a reported battle between team captain Virat Kohli and Kumble, a deadline for applications to become head coach passed this week without any announcement by the Board of Control for Cricket in India (BCCI).
Top names like Virender Sehwag and Australia's Tom Moody have reportedly applied for the job which comes vacant when Kumble's one-year term expires after the Champions Trophy. Kumble is also in the running.
Ramachandra Guha, who quit a Supreme Court-appointed four-member committee overseeing the BCCI, backed Kumble to be given an extension.
Guha, in a letter written to the committee of administrators (COA) chairman Vinod Rai, criticised the BCCI as he gave reasons for quitting the post that he only took on January 30.
"The Indian team's record this past season has been excellent; and even if the players garner the bulk of the credit, surely the head coach and his support staff also get some," Guha wrote.
Kumble helped India win all five Test series since his appointment in June last year, but the BCCI has insisted it has followed routine procedure by inviting applicants for the coach's job.
"In a system based on justice and merit, the head coach's term would have been extended. Instead, Kumble was left hanging, and then told the post would be re-advertised afresh.
"Clearly, the issue has been handled in an extremely insensitive and unprofessional manner by the BCCI CEO and the BCCI office-bearers, with the COA, by its silence and inaction, unfortunately being complicit in this regard," said Guha.
"Due process had to be followed since Kumble's original appointment was only for one year, why was this not done during April and May, when the IPL was on?," he added.
With India starting their defence of the Champions Trophy against Pakistan on Sunday (4), Guha's resignation has reinforced the reports of a rift between Kumble and Kohli over tactics and training.
"If indeed the captain and the Head Coach were not getting along, why was this not attended to as soon as the Australia series was over in late March?.
"Why was it left until the last minute, when a major international tournament was imminent, and when the uncertainty would undermine the morale and ability to focus of the coach, the captain and the team?," said Guha.
The 59-year-old academic came down heavily on Indian stars including Sunil Gavaskar and Mahendra Singh Dhoni as well as the preferential treatment accorded to them by the BCCI.
Guha slammed Gavaskar's role in heading a company involving Indian cricketers and commentating on them as a BCCI TV analyst. He blamed the COA for not taking action on such matters.
He also criticised the Grade A contract given to Dhoni despite the former captain having left Test cricket, saying the "superstar syndrome" is sending the "wrong message".
Guha along with Rai, banker Vikram Limaye and former Indian women's captain Diana Edulji were appointed to run the BCCI after the Supreme court sacked its top officials for failing to implement reforms.
Guha has said former Indian paceman and ICC match referee Javagal Srinath or any respected male cricketer should replace him on the panel.
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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