Content queen Ekta Kapoor and her web-series Triple X recently ran into controversy when two complainants lodged police complaints against her for humiliating and disrespecting the Indian Army through a scene in the aforementioned ALTBalaji web-series.
For the unversed, the said scene in the recently launched web-series showed an army officer's wife having an illicit affair with another man. Also, in the scene, an Army uniform is torn, something which several people felt was an insult towards the armed forces and military personnel.
After a huge hue and cry on the internet, wherein Ekta Kapoor was subjected to cyberbullying and rape threats, the producer has finally reacted to the controversy and apologised for the objectionable scene in the web-show.
In a statement, she said, “I would like to reiterate the fact that as a responsible and law-abiding citizen, I have the highest regard for the Indian army. They not only risk their lives at the frontier towards protecting us but are also one of the most-disciplined and honourable organizations in the country. We, at ALTBalaji, have the deepest regard for our valiant soldiers and truly respect them and their families. I would once again make it loud and clear that we offer a sincere and unconditional apology to the army and army wives if we have unintentionally hurt their sentiments.”
She continued, 'Taking full ownership of the situation, we do agree that the objectionable scene shown in the episode was a slip at our end. We say that despite the show, that came out in March, not being produced by us. That said, with me holding a 30% stake in ALTBalaji, I would have certainly cut the scene had I seen the episode. We took action at the very earliest when this oversight was brought to our notice. Despite the first FIR lodged being dismissed by the police, we were proactive in our part and removed the content to not hurt any sentiments."
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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