Early blood tests can predict women’s cardio risks over 30 years: Study
The study demonstrated for the first time that simple blood tests can estimate a woman’s cardiovascular disease risk over the next 30 years. (Representational image: iStock)
By EasternEyeSep 02, 2024
WOMEN should begin evaluating their heart disease risks and consider preventive medications in their 30s, rather than waiting until after menopause, according to researchers who published a new study on Saturday.
The study, presented at the European Society of Cardiology annual meeting in London, demonstrated for the first time that simple blood tests can estimate a woman’s cardiovascular disease risk over the next 30 years.
"This is good for patients first and foremost, but it is also important information for (manufacturers of) cholesterol-lowering drugs, anti-inflammatory drugs, and lipoprotein(a)-lowering drugs – the implications for therapy are broad," said Dr Paul Ridker of Brigham and Women’s Hospital in Boston, who led the study.
Current guidelines generally recommend that women not be considered for preventive therapies until their 60s or 70s. However, Ridker emphasised that the new data clearly indicate the need for a change in these guidelines, saying, “We must move beyond discussions of 5 or 10 year risk."
The study involved 27,939 participants from the long-term Women’s Health Initiative study, who had blood tests between 1992 and 1995 for low-density lipoprotein cholesterol (LDL-C or “bad cholesterol”), which are commonly part of routine care.
They were also tested for high-sensitivity C-reactive protein (hsCRP) – a marker of blood vessel inflammation – and lipoprotein(a), a genetically determined type of fat.
The findings revealed that women with the highest levels of LDL-C had a 36 per cent higher risk of major cardiovascular events over the next 30 years, compared to those with the lowest levels. Similarly, women with the highest levels of hsCRP had a 70 per cent higher risk, and those with the highest levels of lipoprotein(a) had a 33 per cent higher risk.
Women with all three markers in the highest range were found to be 2.6 times more likely to experience a major cardiovascular event and 3.7 times more likely to suffer a stroke over the next three decades, as reported in The New England Journal of Medicine, published alongside the presentation at the meeting.
“The three biomarkers are fully independent of each other and tell us about different biologic issues each individual woman faces,” Ridker said. He added, “The therapies we might use in response to an elevation in each biomarker are markedly different, and physicians can now specifically target the individual person’s biologic problem.”
While drugs to lower LDL-C and hsCRP are widely available, such as statins and certain medications for high blood pressure and heart failure, drugs to reduce lipoprotein(a) levels are still under development by companies like Novartis, Amgen, Eli Lilly, and London-based Silence Therapeutics.
In some cases, lifestyle changes like exercising and quitting smoking can also be beneficial.
Most of the women in the study were white Americans, but Ridker noted that the findings could have an even greater impact among Black and Hispanic women, who have a higher prevalence of undetected and untreated inflammation.
“This is a global problem,” he said, calling for universal screening for hsCRP and lipoprotein(a), similar to the existing universal screening for cholesterol.
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 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,” 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? 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. It’s 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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