Tatiana Maslany, who first rose to prominence with her power-packed performance in the successful Canadian series Orphan Black, is currently winning raves for her title role in Marvel Studios’ latest show She-Hulk: Attorney At Law, set at Disney +. The show introduces the female Hulk.
In a press conference for She-Hulk, Maslany and her co-star Ginger Gonzaga were asked which superhero she would personally love to see Jennifer Walters go on a date with.
Speaking about the superhero she would set up her character on a date, Maslany said it would be Adam West’s Batman character from the 1960s. “I keep saying Batman from the Adam West series. Cause I love that show and I want to do scenes with him,” she said.
While Tatiana chose Batman instead of a fellow MCU superhero, her co-star Ginger Gonzaga, who essays the character of Walter’s best friend on the show, had a rather out-of-the-box choice. “If I were to imagine, which I should have done on the show. No, I would obviously, Groot. I would normally say Baby Groot, but I think he is too young. So, you know, Groot seems like he needs a little bit of love.”
Aside from Tatiana Maslany and Ginger Gonzaga, She-Hulk: Attorney At Law also stars Mark Ruffalo, who reprises his role as Bruce Banner, and Jameela Jamil as Titania on the ensemble cast.
Created by Jessica Gao, She-Hulk: Attorney at Law revolves around Maslany’s Jennifer Walters who is living a normal life as an attorney. However, soon her life turns upside down when she turns into the female version of Hulk. She then receives training from her cousin Bruce Banner to hone her powers.
The show premieres on August 18 on Disney+, with new episodes available to stream every Thursday.
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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