When Velma, an animated series about Scooby-Doo’s Velma Dinkley, hit HBO Max a couple of weeks ago with much fanfare, nobody could have predicted the kind of backlash and trolling Mindy Kaling would go on to face from the die-hard fans of the classic Scooby-Doo franchise.
For those not in the know, Kaling did not only voice the titular character but also served as an executive producer on the show. Joining her in the voice cast were Constance Wu as Daphne, Jane Lynch as Donna, Sam Richardson as Shaggy, Glenn Howerton as Fred, Melissa Fumero as Sophie, Russell Peters as Aman, Wanda Sykes as Linda, Fortune Feimster as Olive, Sarayu Blue as Diya, Nicole Byer as Blythe, Kari Wahlgren as Evelyn, and Yvonne Orji as Gigi, among others.
Velma received disappointing reviews and an appalling 7% score on Rotten Tomatoes, with several critics calling it cringe-worthy, unsubtle, and unfunny. Fans accused the makers of deviating significantly from the original characters and core elements that made the Scooby-Doo franchise a hit among them. They also complained about how the show relied more on gore and violence.
It seems the unprecedented backlash has hit Kaling hard and she has decided to distance herself from the show. What makes us think so? Well, HBO Max aired the final episode of Velma on February 9, 2023, and Kaling has since deleted some of her tweets promoting the series, which received strong criticism from fans of the franchise.
On January 12, Kaling tweeted that she was excited to voice Velma. “So excited for you guys to see this tomorrow. Jinkies indeed!” read her tweet. The only remaining post about Velma on her Twitter handle seems to be the one from January 12.
Meanwhile, HBO Max has renewed Velma for season 2, despite the backlash against it. Yes, you read that absolutely right! Channing Dungey, the chairman, and CEO of Warner Television Group, has confirmed the news.
Keep visiting this space over and again for more updates and reveals from the world of entertainment.
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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