Veteran all-rounder Mohammad Nabi has been named Afghanistan skipper for the upcoming T20 World Cup after star spinner Rashid Khan stepped down from captaincy protesting the selection of the national squad without his inputs.
The Afghanistan Cricket Board (ACB) is yet to officially announce Nabi's appointment as captain but the 36-year-old all-rounder tweeted that he has been chosen to lead the team.
"At this critical stage, I admire the decision of ACB for the announcement of leading the National Cricket Team in T20 Format," the 36-year-old Nabi tweeted.
"We will present a great picture of the Nation in the upcoming T20 World Cup," said the spin-bowling all-rounder who plays for Sunrisers Hyderabad in the Indian Premier League.
Rashid on Thursday stepped down as the captain of the team, saying that his opinion was not sought before finalising the national squad for the T20 World Cup.
Rashid's stepping down came immediately after the ACB named him as the captain of the 15-member squad for the showpiece event.
"As the captain and responsible person for the nation I reserve the right to be part of the selection of the team," the 22-year-old spinner said in a post shared on his twitter handle.
"The selection committee and ACB has not obtained my consent for the team which has been announced by ACB media," said Rashid.
"I am taking the decision of stepping down from the role as the captain of Afghanistan T20 side effective immediately. It's always my proud playing for Afghanistan."
The T20 World Cup is scheduled to be held in the UAE and Oman from October 17 to November 14.
Afghanistan has been in turmoil following the takeover of the country by Taliban.
Soon after forming the interim government, the Taliban banned women from playing cricket or any others sports, casting doubts over Afghanistan men's team Test status.
As per ICC rules, all Test playing nations must have a women's team as well.
Cricket Australia (CA) all but confirmed on Thursday that its men's team's season-opening Test against Afghanistan, slated to start on November 27, will be scrapped due to the Taliban''s order.
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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