MAM
IRS Q2: Top newspapers post growth
MUMBAI: Dainik Jagran and The Times of India are holding on to their top spots as the most read publications in the Hindi and English language dailies respectively, according to the IRS (Indian Readership Survey) second-quarter report released by the Media Research Users Council (MRUC) and Hansa Research.
Among the Hindi dailies, Dainik Jagran’s average issue readership (AIR), which had seen a drop in the previous survey, has gone up.
The top four players have seen surge in AIR, while Rajasthan Patrika and Punjab Kesari have seen marginal fall.
Dainik Jagran’s AIR has risen in Q2 to 16.39 million, from 15.91 million in the trailing quarter. Dainik Bhaskar (AIR of 14.17 million), Hindustan (11.98 million) and Amar Ujala (8.89 million) follow.
Navbharat, which was pushed out of the top 10 Hindi dailies by Hari Bhoomi in previous report, has still not managed to get back.
Among the English dailies, the Times of India continues to hold its numero uno position.
TOI has garnered a total AIR of 7.47 million, slightly higher than the trailing quarter report (7.44 million). It is followed by Hindustan Times (AIR of 3.74 million) which also saw a marginal growth as compared to Q1. The Hindu (AIR of 2.28 million), saw a dip from AIR of 2.09 million in the Q1.
Interestingly, The Economic Times, which was pushed to eighth place behind DNA and Mumbai Mirror in Q1, managed to outnumber Mumbai Mirror. However, it is still behind DNA.
Meanwhile, the pecking order of the regional dailies has remained same as of Q1. Malayalam Manorama has once again topped the chart with 9.96 million AIR, up from 9.94 million in Q1.
The list includes Lokmat (Marathi) (AIR of 7.59 million) and Daily Thanthi (Tamil) with an AIR of 7.29 million.
Brands
Netflix acquires Ben Affleck’s AI film-tech firm InterPositive
Streaming giant picks up production startup to streamline digital filmmaking
LOS ANGELES: Netflix has officially acquired InterPositive, an AI film-technology startup founded by actor and director Ben Affleck. The move marks a significant investment by the streaming service into assistive AI tools designed to support the technical side of movie production. While many AI companies focus on generating new images or scripts, InterPositive focuses on the logistical challenges of filmmaking. The firm’s technology is designed to handle technical tasks that often delay post-production, such as correcting lighting inconsistencies and ensuring visual continuity across different takes.
The acquisition is not about replacing human actors or writers. Instead, Netflix intends to use the technology as a digital assistant for directors. The software understands cinematic logic, meaning it can automatically adjust background elements or environmental effects to ensure a film looks polished and consistent without months of manual editing.
In a Netflix post on Thursday, Affleck emphasised that the project was born out of a desire to support the craft rather than automate it. “I knew I had a responsibility to my peers and our industry, to protect the power of human creativity and the people behind it. In creating InterPositive, I sought to do just that,” Affleck wrote. “From the invention of the moving image to the transition to digital, from motion capture to virtual production, technology has evolved alongside the artists who use it. Our shared commitment to continuing this legacy makes joining together a natural next step.”
Netflix chief product and technology officer Elizabeth Stone said, “Our approach to AI has always been focused on meaningfully serving the needs of the creative community. InterPositive’s technology is purpose-built for filmmakers and showrunners to naturally support their visions. We’re excited to welcome the team to Netflix and continue building a future where technology enhances storytelling, while people remain at the core.”
Netflix chief content officer Bela Bajaria added, “New tools should expand creative freedom, not constrain it. Ben and his team are part of a long tradition of artists leading innovation in storytelling. Their work gives filmmakers more choices, control, and protection for their vision.”
The deal coincides with a broader partnership between Netflix and Artists Equity, the production company led by Affleck and Matt Damon. Following the success of their recent projects on the platform, this acquisition cements Affleck’s role as both a creative and technical advisor to the streamer. Affleck noted that the partnership was a logical fit due to “Netflix’s decades of experience applying and scaling technology responsibly.” He will serve as a senioradvisor for the integration of the technology, ensuring the tools remain focused on helping filmmakers.
For the film industry, this acquisition signals a shift in strategy. Rather than just buying finished movies, Netflix is now owning the specialized technology used to build them. By bringing these tools in-house, the company aims to reduce the rising costs and lengthy timelines associated with high-budget original films while giving their productions a technical edge in speed and visual quality.
