Stranger Things star David Harbour and Game of Thrones fame Pedro Pascal to headline crime series My Dentist's Murder Trial
My Dentist’s Murder Trial is inspired by James Lasdun’s 2017 New Yorker article My Dentist’s Murder Trial: Adultery, false identities, and a lethal sedation.
David Harbour of Stranger Things fame and Pedro Pascal of Game of Thrones will be seen sharing screen space in a new crime series titled My Dentist's Murder Trial.
Written by Steve Conrad, who is set to direct the pilot episode, My Dentist's Murder Trial is inspired by James Lasdun's 2017 New Yorker article My Dentist's Murder Trial: Adultery, false identities, and a lethal sedation, Deadline reported.
The true crime story chronicled in the article centers on Dr. Gilberto Nunez who in 2015 was indicted for killing his friend Thomas Kolman by getting him "to ingest a substance that caused his death."
There were also two forgery counts, including Nunez posing as a C.I.A. agent. Nunez, who had had an affair with Kolman's wife Linda, stood trial in 2018 where he was found not guilty of murder but guilty of fraud charges, which led to a prison sentence.
As per the publication, Pascal will play Dr. Nunez. Details regarding Harbour's character have not been disclosed yet.
Conrad, Harbour, and Pascal executive produce with Bruce Terris, Todd Black, Jason Blumenthal, and Steve Tisch for Escape Artists as well as Molly Allen, MGM Television, and James Lasdun. Escape Artists' Taylor Latham co-executive produces.
Meanwhile, Pascal is also set to star in the HBO series adaptation of the video game The Last of Us in the lead role of Joel. He is also known for his starring role in the title role in the hit Disney+ Star Wars series The Mandalorian, which will return for its third season in early 2023.
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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