Pace bowler Mohammed Shami was hailed on Monday (19) as the hero of bottom-of-the-table Kings XI Punjab's sensational super over win over Indian Premier League champions Mumbai Indians.
The match which finished after midnight for Indian fans, was the first in the IPL's 12-year history to go to two super overs after both sides finished on 176-6 from their 20 overs.
Shami gave away just five runs in the first six-ball eliminator after his own batsmen were pegged back by Jasprit Bumrah.
Punjab's England bowler Chris Jordan then gave away 11 runs in the second super over but Chris Gayle and Mayank Agarwal smashed boundaries off Mumbai's Trent Boult to seal the game in four balls for the underdogs.
"You can never prepare for Super Overs. No team does. So you have to trust your bowler's gut," Punjab skipper KL Rahul said of Shami who returned match figures of 2-30.
"You trust your bowler, and let them believe their instinct and gut. He was very clear he wanted to go six yorkers. He has been phenomenal, and keeps getting better every game," added the captain who also played a key role earlier with his 77 off 51 deliveries.
The 30-year-old Shami cramped Mumbai batsmen Rohit Sharma and Quinton de Kock for room as he bowled six variations of yorkers.
"Shami matched Bumrah yorker for yorker. Never easy bowling in a Super Over but it's even more difficult to defend a non-defendable total. Well bowled master," former India batsman Aakash Chopra posted on Twitter.
Kieron Pollard and Hardik Pandya helped Mumbai to 11 runs in the second super before Gayle and Agarwal hit a six, a single and two fours.
"Shami is the man of the match for me," said Gayle. "To defend six runs against Rohit and de Kock, that's fantastic. That's a great job."
"This kind of a match will go down in history," declared Agarwal.
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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