AN ENTIRELY changed England side hammered Pakistan by nine wickets in the first one-day international at Cardiff on Thursday (8) to take a 1-0 lead in a three-match series.
Set just 142 for victory, a completely altered England team after a coronavirus outbreak within the originally selected squad, finished on 142-1 with more than 28 overs remaining.
Dawid Malan (68, not out) and Zak Crawley (58, not out) shared an unbroken stand of 120.
Earlier, Saqib Mahmood marked his return to England duty with his one-day international best of 4-42 as the hosts dismissed Pakistan for a meagre 141.
The 24-year-old Lancashire fast bowler, in just his fifth match at this level and first in nearly a year, took two wickets in three balls in the first over to leave Pakistan reeling after England stand-in captain Ben Stokes won the toss.
Only opening batsman Fakhar Zaman, with 47, and Shadab Khan (30) offered some resistance.
When Stokes caught Shaheen Shah Afridi to end the innings, Pakistan had more than 14 overs left to bat.
Such was England's command that Stokes, despite being the most experienced member of the attack, bowled just one over.
England fielded an entirely new team, including five debutants, after a coronavirus outbreak within their squad meant all 16 players originally selected to play against Pakistan were forced to self-isolate.
In addition, England were also missing fast bowlers Jofra Archer and Olly Stone and wicketkeeper-batsman Jos Buttler through injury.
But they still made a sensational start when Mahmood had Imam-ul-Haq leg before wicket with the first ball of the match after a review ordered by Stokes confirmed the delivery had pitched in line.
Two balls later, Mahmood had a prize wicket when Pakistan captain Babar Azam - the world's top-ranked ODI batsman - also fell for a duck after edging to Zak Crawley at second slip, with Pakistan yet to score a run.
Mohammad Rizwan had made 13 when he edged a superb, late-moving, delivery from Lewis Gregory to debutant wicketkeeper John Simpson.
And when Mahmood had Pakistan debutant Saud Shakeel out for five, the tourists were 26-4 from seven overs.
But Zaman, on a ground where he had made a fifty in Pakistan's 2017 Champions Trophy semi-final win over England, counter-attacked and brought some respectability to the score.
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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