‘I don’t need approval from racists, sexists, bigots and homophobes’: Maitreyi
The actress, who plays the role of college-going young girl Devi Vishwakarma on Never Have I Ever, added that her character helped her embrace her emotions.
Maitreyi Ramakrishnan, who shot to global fame with the success of her Netflix show Never Have I Ever and is currently seen in its fourth and final season, has spoken about how social media can be “very stressful and anxiety-inducing” and her decision to stop seeking validation from the virtual world.
Acknowledging the great stress and anxiety that social media can bring, Ramakrishnan said during an interview, “Social media can be very stressful and anxiety-inducing. It allows people to make opinions all the time and be very cruel because we forget that there’s a real human being behind the screen. People on social media like to misinterpret things, make fake stories and just judge others.”
She also added that social media is replete with racists, sexists, and homophobes and she does not need approval from them. “Racists are online. I don’t need their approval. I’m okay. There are absolute sexist and bigots online. I’m totally okay without the approval of the homophobes. So, I take that all with a grain of salt.”
The 21-year-old actress continued, “I don’t put my validation in social media. I just treat it like a fun thing, by posting cool stuff such as video game stuff, or photo shoots to keep it real. And then I go to my friends and my loved ones to tell and remind me of the person I am.”
The Tamil-Canadian actress, who plays the role of college-going young girl Devi Vishwakarma on Never Have I Ever, added that her character helped her embrace her emotions. “My character of Devi has helped me embrace my emotions -- be it good emotions or bad emotions. She has definitely made me feel that it’s okay to feel things, feel upset and feel really happy and get excited about things. It’s not cringe or stupid or naive. She has brought the more emotional side out of me over these past four years,” she signed off.
Stay tuned to this space for more updates and reveals.
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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