Star Indian tennis player Sania Mirza says she has achieved everything in her path-breaking career and has "nothing to prove" in her second innings, which is likely to begin by January 2020.
In her quest to make a comeback to competitive tennis after more than two years after becoming a mother, the 32-year-old Sania is training vigorously for about four hours a day and has shed 26 kilos in the process.
Before taking leave from the circuit to start a family, Sania won six doubles Grand Slam titles -- including three mixed -- achieved the number one rank, won medals at multi-disciplinary events apart from laying hands on a year-end WTA Finale title with Swiss great Martina Hingis.
"In my career, I have achieved everything which I could have dreamt of. And whatever happens next will be a bonus for me. I thought I will be able to comeback by August but probably by January, it looks like a possibility," Sania told PTI.
"Having (son) Izhan is the biggest blessing I could have. If I am able to come back, it will be amazing. He's (son) my inspiration to get back to being fit. If I do comeback, it will not be to prove anything. The only reason to comeback would be that I love playing and competing."
Byt why the "if"? has she still not made up her mind?
"I say so because I still have to see how my body reacts. The picture will be clear in the next two months. I don't want to compete when I am not ready. There is no point in coming back and getting injured."
Not many tennis players have enjoyed success after motherhood. Only Margaret Court, Evonne Goolagong and Kim Clijsters have won a singles major after giving birth to their children.
In the current generation, only a few figure in top-50 after becoming mothers. But American great Serena Williams remains a fierce competitor at number nine in the world after becoming a mother.
Then there is Victoria Azarenka, who figures in top-50 in both singles and doubles, after giving birth to baby boy Leo.
German player Tatjana Maria, ranked 100, is also a mother and won a doubles title last year with Britain's Heather Watson.
"There is enough self motivation to come back but it's nice to see people like Serena competing at Grand Slams after having a baby. It's obviously very inspiring," Sania said.
Elaborating on the time she has taken for planning her comeback, Sania said a past knee issue is still bothering her and she needs more time to compete in the physically demanding pro circuit.
"I have been able to get back to being as strong as I was before, which is great. But I still have a bit of knee issue. It has not gone away completely. I had this knee injury even when before I got pregnant that's why I had stopped playing at the end of 2017. It's not bad but still there, lingering."
However, she did not divulge what exactly is the injury.
"I don't want to get into what problems I have with my knee but I had surgery on the knee before."
Talking about her training and results, Sania said, "I train about three-four hours a day in two sessions with fitness and with tennis it's more than that. Initially the focus was on losing weight but now it's back to same rigorous sessions I was having before," she said.
"I did not know how the body was going to react. You can't actually anticipate after giving birth to a baby. I put on 23 kilos, I lost 26 kilos now. I am trying to become strong and to play at international level, I still need time."
Sania, who worked with her Australian trainer Robert for a few months in Dubai, further said she won't set any result-oriented goals for herself.
"There is no goal. Whatever happens in life hereon, regrading tennis, it will be just a plus. Once I make that comeback, I will see where I stand as an athlete. Right now I just want to make a comeback."
"Expectations are high as usual but I have not played tennis in the last two years. If I can make a comeback, Tokyo (Olympics) is something I am looking at.
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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