After three successive failures at major tournaments, including group stage exits at the 2018 and 2022 World Cups, Germany made a strong statement of intent.
Vivek Mishra works as an Assistant Editor with Eastern Eye and has over 13 years of experience in journalism. His areas of interest include politics, international affairs, current events, and sports. With a background in newsroom operations and editorial planning, he has reported and edited stories on major national and global developments.
Germany thrashed 10-man Scotland 5-1 as the Euro 2024 hosts launched the tournament in Munich on Friday, starting their journey toward a potential fourth continental title.
Florian Wirtz scored the first goal 10 minutes in, followed by Jamal Musiala doubling Germany's lead with a decisive finish.
"We couldn't have had a better start. We've seen the atmosphere in the country, and we need that," Musiala said about Germany's quick start.
Scotland's night worsened before halftime when Ryan Porteous was sent off for a two-footed challenge on Ilkay Gundogan, with Kai Havertz scoring the resulting penalty.
Niclas Fuellkrug added a fourth goal midway through the second half after coming on as a substitute. A late own goal by Antonio Ruediger did not spoil Germany's strong start, and Emre Can added a fifth goal with the final kick of the game.
Scotland's disappointing beginning means they must quickly regroup for upcoming Group A games against Switzerland and Hungary.
"Today was hugely disappointing but you're playing against the host nation and it's the first game... things don't get much tougher than that," said Scotland captain Andy Robertson.
After three successive failures at major tournaments, including group stage exits at the 2018 and 2022 World Cups, Germany made a strong statement of intent. This is Germany's first men's major tournament as hosts since the 2006 World Cup, aiming to recreate the national team's passion from then.
Germany coach Julian Nagelsmann spoke of his players' desire to overcome recent shortcomings, with optimism increasing since his appointment in September. Scotland coach Steve Clarke urged his team to "fear no one" going into their second consecutive Euros after a long absence from major tournaments.
Germany immediately took control against a Scotland side with only one win from their past nine matches, an unimpressive 2-0 victory over Gibraltar last week.
Scotland goalkeeper Angus Gunn blocked an offside Wirtz, but Germany soon took control. Toni Kroos, who came out of retirement earlier this year, set up Wirtz to score from the edge of the area.
Kroos, set to retire after the tournament, and Gundogan provided experience in Germany's midfield. Gundogan assisted Musiala, who created space to score Germany's second goal.
Initially awarded a penalty for a foul on Musiala, referee Clement Turpin changed the decision after a review. However, another VAR review led to Porteous being sent off, and Havertz converted the penalty, deflating Scotland's traveling supporters.
Scotland tried to limit further damage in the second half, but Fuellkrug's powerful drive added a fourth goal. Ruediger's own goal gave Scotland a brief respite, but Can's late goal sealed a dominant win for Germany.
Reigning European champions Italy, who missed the last World Cup, begin their title defense on Saturday against Albania in Dortmund. Spain faces Croatia in Berlin, while Hungary plays Switzerland in Cologne in the day's first match.
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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