England all-rounder Moeen Ali has criticised the "rude" approach of several Australia teams he has played against, saying their "disrespect" for opponents makes them the only side he has "disliked".
The off-spinner and left-handed batsman first came up against the infamously aggressive Australians in 2015 before his struggles with both bat and ball played a key role in England's 4-0 Ashes defeat 'Down Under' in 2017/18, which led to him being dropped.
"Everyone you speak to...they are the only team I’ve played against my whole life that I’ve actually disliked,” Ali told The Times newspaper.
"Not because it’s Australia and they are the old enemy but because of the way they carry on and (their) disrespect of people and players," added the 31-year-old, who is known as a mild-mannered character on and off the field.
"The first game I ever played against them, in Sydney, just before the 2015 World Cup, they were not just going hard at you, they were almost abusing you," the Worcestershire stalwart explained.
"That was the first time it hit me. I gave them the benefit of the doubt, but the more I played against them they were just as bad, the Ashes here (in England in 2015) they were worse actually.
"Not intimidating, just rude. Individually they are fine and the Aussies we've had at Worcester have been fantastic, lovely guys."
Ali, who starred in England’s recent 4-1 Test series win over India after being recalled to the side, had no sympathy for the banned Australian trio of former captain Steve Smith, David Warner and Cameron Bancroft, all sent into international isolation for their roles in a ball-tampering scandal in South Africa in March.
"I'm someone who generally feels sorry for people when things go wrong but it’s difficult to feel sorry for them,” he said.
The fall-out from the scandal prompted a major review by Cricket Australia into the conduct of their players, while Tim Paine took over as captain and Justin Langer replaced Darren Lehmann as coach after his fellow former Australia batsman resigned.
England whitewashed Australia 5-0 in a home one-day international series in June and Ali said he had detected an improvement in their conduct.
"This ODI series they were very good actually," he added.
Reflecting on his struggles on the last Ashes tour, Moeen admitted: "I found it very difficult in Australia to switch off.
"It was my first Ashes tour and I was desperate to do well and was really looking forward to it.
"I worked so hard on the short ball before the series began, maybe too hard.
"Then (Nathan) Lyon kept getting me out. I found that very hard to deal with. I never thought that I was a poor player of spin but I really struggled against him.
"I wasn't getting any wickets either. Things just got tougher and tougher."
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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