NHS doctor says pain relief for specific body parts is a ‘scam’
Buying pain relief tablets for specific body parts could be a waste of your money.
By Kimberly RodriguesJul 08, 2022
The next time you find yourself wanting only a specific pill to stop a throbbing headache, backache, or period pain – think again. A generic painkiller could be just as effective. According to an NHS surgical doctor, Dr Karan Rajan aka Dr Karan Raj on TikTok, painkillers for a specific body part like your head, or back or claiming to alleviate period pain are actually a waste of money and therefore, a "scam."
In a recent report posted on the Mirror, the doctor supposedly responded to a question posed to him by another user of Tik Tok – the question asked was, “What's a scam that's become so normalised we don't even realise it's a scam anymore?"
To which Dr Raj is quoted as saying, “So Nurofen which is basically ibuprofen and anti-inflammatory is selling a specific range for back pain, migraine, period pain. These companies are trying to sell body parts-specific pain relief, and that would be great. If it was true.
"All of these products contain the same ingredient. Ibuprofen is not a sentient being it just goes where the pain signals are. So, the back pain one will work just as well as this headache one if the dose is the same."
He went on to add, "The only specific effect it'll have is on your wallet. Same ingredient will have the same effect at the same dose/delivery method."
This clip quickly went viral and garnered thousands of likes and comments showing people’s shocked reactions. Some of Dr Raj’s viewers even admitted they already knew the truth and that is why they buy "generic ibuprofen."
So, what happens after you take a painkiller? According to information on the Johns Hopkins Medicine website, a pain reliever doesn't go directly to the pain site, even though that's the spot that hurts the most. Painkillers work with the body’s cells, nerve endings, the nervous system, and the brain to help block the pain out.
Our body has abundant nerve endings in our skin and tissues and some of these nerve endings can sense pain. When the body is damaged or injured in any way, chemicals called prostaglandins are released. When the prostaglandin chemical is released, the nerve endings in our body respond to it by picking up and transmitting the pain messages through the nervous system to our brain.
When a painkiller like ibuprofen is taken, it doesn’t allow the injured or damaged cells to release prostaglandin, thereby stopping the pain messages to be quickly received by the brain. So, the pain becomes bearable as long as the cells are not releasing the chemical, prostaglandin.
This is probably what Dr Raj means when he says that buying pain relief tablets for specific body parts could be a waste of your money and you might as well opt for a generic painkiller.
Commenting on the information shared by Dr Raj, one of the viewers wrote, “This is good to know. I will buy the cheapest one from now on."
In another video clip, Dr Raj also encouraged people to check the PL code on their tablets. PL stands for product licence number which is given exclusively to a particular medicine. He explained that if the codes are the same on a branded packet and on a generic one too, then the ingredients would be the same as well. Therefore, buying the costlier one could be avoided.
A spokesperson for Reckitt (producer of Nurofen) is reported to have told the Mirror, "The Nurofen specific-pain range exists with the intention to help consumers navigate their pain relief options, particularly within the grocery environment where there is no healthcare professional to assist decision making.
"All Nurofen products provide on the packaging and in the patient information leaflet details which clarifies appropriate use for a variety of pain indications. As with any medication, we recommend our consumers to carefully follow the instructions provided on the pack and in the leaflet and speak to their healthcare professional if they have any questions."
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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