As the highly anticipated second season of D.I. Ray approaches, fans are eager to see what lies ahead for Detective Inspector Rachita Ray, played by the talented Parminder Nagra.
The British crime drama, which captivated audiences with its gripping first season, is set to delve deeper into complex narratives and character arcs.
Nagra, known for her roles in Bend It Like Beckham and ER, shared her excitement and insights about the upcoming season in a recent interview.
Talking about her character, she tells TV Insider, “She wasn’t left in good shape by the end of first season after the amount of betrayal that she went through, especially with her partner and the fact that we pick up so quickly after the shooting of Tony, [Martyn] going to prison, and then Rachita being suspended—which in my mind, I’m like, ‘For what reason really? I mean, for doing my job?’ But I think she’s probably a little bit reluctant honestly to go back to work because she’s still going back to the same workplace and still dealing with the same people,” Nagra tells TV Insider.
When asked if DI Ray has another homicide to investigate, the actress says, “It’s obviously another sensitive case, and being who she is, if she’s going to go and do it, she’s going to go and do it to the best of her ability. And that’s what I actually love about Rachita, is she just sort of goes for it,” Nagra continues. “She’s just thrust back into it, and it’s a race against time trying to, as with all these crime dramas, get to what is happening, who’s involved, unpicking and unpacking everything one step at a time.”
The actress adds “I think Rachita’s suspicious of everybody. At this point, there’s no one she can trust. The one person she thought she could trust was her partner and he turned out to be not so great. So, I think she’s going into Season 2 from that place actually, not a lot of trust but wanting to do her work.”
Sharing her excitement about the new season, Nagra says, “The way that Season 2 has been shot, it’s very noir, it’s a lot grittier. There’s a lot more edge to it, which I just love. I love the whole look of this season.”
D.I. Ray picks up with a second season on PBS on June 16.
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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