If you have been an avid watcher of Star Plus’ show Kullfi Kumarr Bajewala, there is a shocking piece of news for you! According to fresh media reports, the popular daily soap is facing the axe. The channel will beam its final episode in the month of February.
Kullfi Kumarr Bajewala has been under the scanner for a couple of weeks now. But now it is almost confirmed that it will bid adieu to audiences on Friday, 7th February. Produced by 4 Lions Films, the show hit the small screen on 19th March 2018. Powered by a strong storyline and power-packed performances from the lead cast, it caught viewers’ attention in no time and spring-boarded to one of the top-rated shows on Indian television.
A couple of months ago, Kullfi Kumarr Bajewala was moved out of the primetime schedule to make way for supernatural series Yehh Jadu Hai Jinn Ka. It was again shifted back to a primetime slot. The constant reshuffle in its timeslot affected its TRP, which led the channel to decide to bring the curtains down on it after completing 450 episodes.
News also had it recently that the makers were planning to introduce a generation leap in the show, which will pave the way for the exit of lead actor Mohit Malik. The actor had himself confirmed quitting the show post leap as he was not comfortable playing a father to two grown-up girls.
“I was fine with playing father to two small girls in the show. But I do not want to play a father to grown-up girls because I don’t think it will look convincing. I am still shooting, and so the feeling that I will no longer get to spend time with my on-screen daughters (Akriti Sharma and Myra Singh) is yet to sink in. I shot for the show like they were my real daughters and it’s going to be tough,” Malik had said.
According to reports, Mahesh Bhatt’s upcoming fiction show Jannat will replace Kullfi Kumarr Bajewala. The promo of the new show is expected to air from next week. More details are awaited.
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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