Krishnan-Guru Murthy admits he did ‘Strictly’ to keep up with ‘hot wife’
Over the weekend, Krishnan and his dance partner Lauren Oakley took on the Foxtrot, performing to the Billy Ocean classic “Love Really Hurts Without You� on Strictly Come Dancing.
Channel 4 broadcaster Krishna Guru-Murthy has revealed that he accepted the offer to participate in the widely popular celebrity dance reality show Strictly Come Dancing to keep up with his ‘hot wife’ Lisa after he realised that he was “overweight and unattractive” on his 53rd birthday back in April.
He said his wife was “looking hot” after transforming herself by running ten miles every other day and joining a rowing club.
His wife’s fitness journey motivated Krishnan and, having signed up for the latest edition of Strictly Come Dancing, he eventually lost two-and-a-half stone over the course of a few months, dropping from 15 stone to 12st 7lbs.
Asked if he felt insecure about his appearance, he told a publication, “Yes, definitely. And I think that's not necessarily a bad thing if men pull themselves together because their wives are looking hotter than they are – if you get in that situation where all the women are looking good and all the men are overweight and beer bellies.”
He continued, “My wife is enjoying that I am a little bit lighter than I was. In a way, I have been trying to keep up with her. She is amazing and so I think she is pleased I have started catching and pulling myself together, getting fitter and looking a bit more presentable. I am a bit obsessed with being overweight and unattractive. My wife has never talked in those terms but she has always talked about me being healthy. I think you get yourself into a position where you give up and think it's fine. I just reached that stage.”
Over the weekend, Krishnan and his dance partner Lauren Oakley took on the Foxtrot, performing to the Billy Ocean classic “Love Really Hurts Without You” on Strictly Come Dancing.
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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