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.
A British Asian man has taken legal action against Liverpool FC, accusing the club of racial discrimination in the handling of his job application, The Guardian reported.
The lawsuit alleged that Liverpool rejected Asad Farooq's (25) application, favouring a less experienced candidate for the position.
According to Farooq, he has a degree in stadium and event management, boasts a commendable professional background, having worked for Tottenham Hotspur and at the Qatar World Cup.
However, Liverpool did not extend an invitation for an interview despite his application for an administrative role in November last year.
The advertised position explicitly sought candidates with experience in an elite sporting environment. A message subsequently received by Farooq stated that the experience demonstrated in his application was not as robust as that of the candidates selected for interviews.
Unwilling to accept this decision without scrutiny, Farooq, a Liverpool supporter residing in Birmingham, took the legal action.
Yunus Lunat, a lawyer known for being the first Muslim to sit on the Football Association (FA) council, and the ethnic minority representative on Liverpool’s official supporters’ committee, took up Farooq's case.
Farooq expressed his frustration with the apparent discrepancy between Liverpool's public commitment to diversity and their recruitment practices. He pointed out that as a South Asian, he had faced challenges breaking into the football industry, despite being highly qualified and capable.
"I’m more than capable of doing the [Liverpool] job. I’m not going to drop this because they’re claiming that they are all about diversity, they’re claiming that they want South Asians to come into the football industry, but then they do these bad recruitment practices and don’t give us these opportunities. They’re talking about how they want to break down barriers, but this is not breaking down barriers," Farooq was quoted as saying by The Guardian.
The situation took a turn when Farooq discovered that the individual appointed to the role – based on their LinkedIn profile – lacked football experience and had only held one full-time job since graduation.
Farooq, who also holds over 500 hours of volunteering experience with the FA as a team liaison officer, questioned the club's commitment to diversity and inclusion. He asserted that Liverpool's purported dedication to breaking down barriers did not align with their recruitment practices, emphasising the need for transparency.
Despite Farooq's request for the club's diversity statistics, Liverpool has refused to disclose this information. The only publicly available figures are in the FA’s 2022-23 Football Leadership Diversity Code report, where Liverpool fell short of the targets set for new hires in senior leadership and team operations roles.
Liverpool's website prominently declares the club's commitment to leading in equality, diversity, and inclusion (EDI), and the club holds the Premier League's highest honour for EDI.
The club declined to comment on Farooq’s case, citing ongoing legal proceedings, and has not provided diversity data to The Guardian. It is expected that the club will seek to contest the case during an employment tribunal hearing scheduled for March.
Lunat, who is representing Farooq in this case, emphasized the broader implications of such incidents in the football industry. He highlighted the lack of improvement in race demographics over the past two decades and called for a fundamental shift in attitudes and increased transparency.
"It is a sad indictment of the football workforce that there has been little if any improvement in its race demographics in the last 20 years, and I am still churning out the same comments and statements," Lunat was quoted as saying.
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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