If reports are to be believed, Balaji Telefilms is gearing up to resume production on three of their most popular television shows – Kasautii Zindagii Kay, Kumkum Bhagya and Naagin 4 – in a couple of days, after all shooting activities came to a grinding halt in March due to the ongoing Coronavirus pandemic.
If we talk about Kasautii Zindagii Kay in particular, buzz has it that the show is in for a casting overhaul. Actor Karan Singh Grover, who plays the character of Mr Bajaj on the show, will not be returning to reprise his character after the makers roll the camera post-lockdown with strict COVID-19 protocols in place as mandated by the state government.
Reportedly, Grover has quit the show and the makers have approached well-known television actor Gaurav Chopra to replace him. Yes, you read that right! Chopra is currently in talks with the makers and he is expected to sign the show on the dotted line soon.
According to reports, Grover expressed his desire to leave Kasautii Zindagii Kay and thus the role has been offered to Chopra. Chopra was last seen on Star Plus’ medical drama series Sanjivani. Talking to an online publication, Chopra said, “I cannot comment right now as things are still under discussion. Let things come from Balaji Telefilms. Then, me giving out a statement will make sense.”
Kasautii Zindagi Kay, which features Erica Fernandes and Parth Samthan as the lead pair, is one of the top-rated shows on Indian television. It is a reboot of the 2001 series of the same name, which also was produced by Ekta Kapoor under her production house, Balaji Telefilms, for Star Plus.
Keep visiting this space for more updates from the world of Indian television.
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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