Indian movie star Shah Rukh Khan added a third Twenty20 franchise team to his collection when he was named as one of the owners in the new eight-team South African Global League on Monday.
The Bollywood leading man expanded his established Knight Riders Brand with the purchase of the Cape Town franchise to add to the teams he already owns in Kolkata and Trinidad.
There was a further link to the Indian Premier League, the lucrative Twenty20 competition that has sparked similar tournaments in the Caribbean, Australia, Bangladesh and Pakistan too.
GMR Sports, the holding company that controls the IPL Delhi Daredevils, purchased the Johannesburg franchise.
Two Pakistan Super League owners, Fawad Rana of the Lahore Qalandar and Javed Afridi of the Peshawar Zalmi, have bought franchises in Durban and Benoni respectively.
Meanwhile Hong Kong businessman Sushil Kumar bought the Bloemfontein franchise, with Dubai's Ajay Sethi taking up the Port Elizabeth franchise.
Two of the franchises will be South African owned, with businessman Osman Osman now in charge of the Pretoria franchise and Brimstone, an investment company, now having the Stellenbosch franchise as part of its portfolio.
Shah Rukh himself was not present at the launch in London, a location that meant the South Africa marquee players attached to each of the eight teams could attend, with the Proteas currently on tour in England.
"We are thrilled by the international mix of owners and the passion and excitement that was clearly demonstrated during the bidding process by them and the marquee players," said Cricket South Africa chief executive Haroon Lorgat.
The South Africa marquee players are Hashim Amla (Durban), Quinton de Kock (Benoni), AB de Villiers (Pretoria), Faf du Plessis (Stellenbosch), JP Duminy (Cape Town), David Miller (Bloemfontein), Kagiso Rabada (Johannesburg) and Imran Tahir (Port Elizabeth).
Meanwhile the likes of South Africa-born England batsman Kevin Pietersen and former New Zealand captain Brendon McCullum are also set to be two of the eight 'international marquee' players involved.
They, together with the current England 'white-ball' captain Eoin Morgan and fellow batsman Jason Roy, as well as Dwayne Bravo, Chris Gayle and Kieron Pollard (all West Indies) plus Sri Lanka paceman Lasith Malinga are all set to enter into a mini-draft with the highest bidding franchise owner having first pick and the rest following the same process.
McCullum caused an unintentional moment of humour at the launch when he described himself as a "T20 mercenary", with event host Alan Wilkins, the cricket broadcaster, jumping in to say "ambassador".
The November-December timeframe for the tournament means leading Australian players are likely to be unavailable because of a clash with their home season, although that could change if there's no resolution to their bitter pay dispute with Cricket Australia.
No India players are expected to take part either but more than 400 cricketers have registered their interest, with a draft scheduled for August.
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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