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.
TWO former umpires have accused the England and Wales Cricket Board (ECB) of institutional racism and called for an independent investigation by the UK Equality and Human Rights Commission (EHRC).
John Holder, who stood in 11 Tests and 19 one-day internationals in nearly 30 years as a professional umpire, and Ismail Dawood, who stood on the ECB reserve list and umpired first-class matches, said it was vital to have an inquiry "to challenge organisations like the ECB".
The last black, Asian and minority ethnic (BAME) umpire to be added to the ECB's first-class list was Vanburn Holder 28 years ago. There have been none since his retirement in 2010.
An ECB spokesman told the BBC it wanted a more diverse ethnic make-up on their umpires panel but it was some way off from happening.
"Today's group of professional umpires don't reflect the diverse ECB we are determined to be," he said.
"We want to see more BAME representation among our officials, and recognise we still have a long way to go as a game to achieve this."
Holder, who played county cricket for Hampshire from 1968-72, claimed people from minority ethnic backgrounds were not being given a chance when they put their name forward to be appointed to the first-class panel.
"I have no reason to doubt that there is," the 75-year-old Barbados-born Holder replied when asked if he believed there is institutionalised racism at the ECB.
"Several non-white umpires have made enquiries about going on the first-class umpires panel, or becoming a mentor or liaison officer, and none have progressed."
'No trust or confidence'
Dawood, who played first-class cricket for three counties including Yorkshire, said he had no faith in the ECB.
"I have absolutely no trust or confidence in the ECB," he said. "All the way down to the grassroots it is a complete mess and that is why we need it to be investigated.
"Do I want to be part of an organisation that is a complete mess? No.
"In one performance review, I was told: 'Fine judgements must be made about who best fits in'."
Dawood said the only way to spark reform within the ECB was for an independent investigation.
"We implore the EHRC to look into the structures of the ECB and put them under investigation," he said.
"They need to challenge organisations like the ECB to act, we don't want words, we have had lots of words, we want action."
The ECB said in a statement they were putting in place a review to see how they could increase BAME representation.
"The ECB has now commissioned a review, with board oversight, to look at how we can reform our approach to managing match officials," read the statement.
"This will set out actions as to how we can improve our systems and processes to increase the diversity of umpiring, inspire the next generation of umpires and match referees, have a world-class umpiring programme and ensure a culture of inclusivity and fairness throughout the umpiring system."
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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