Pooja Bhatt hits out at trolls questioning Jr NTR’s accent at Golden Globes 2023: ‘People can’t digest others’ happiness’
For those not in the know, Bhatt has worked with MM Keeravaani on some unforgettable songs in Hindi, including “Gali Mein Aaj Chand Nikla� and “Jaadu Hai Nasha Hai.�
Headlined by Jr. NTR and Ram Charan, the Telugu-language Indian film RRR (2022) is on a winning spree at various prestigious award ceremonies across the world. The latest historic win that the film scored came on Wednesday when it bagged the Golden Globes Awards for its super energetic song “Naatu Naatu” featuring NTR and Charan and composed by veteran composer MM Keeravaani.
While a lot of people felt extremely proud of the triumph, there was a section of naysayers who felt the song was too average to win Best Original Song at the Golden Globes. They are also trolling actor Jr NTR for his accent in the English language when he was interacting with the media at the award function.
Now, Bollywood star Pooja Bhatt has come to the defense of the film and Jr. NTR and said that some people just cannot digest others’ happiness. Giving a befitting reply to those mocking the film behind, Bhatt tweeted that it is a human tendency to bear own’s sorrow but not be able to digest others’ happiness.
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Well, this is not the first time a Bollywood celebrity has been called out for their accent when speaking to the press in the West. In the past, actresses like Aishwarya Rai Bachchan and Priyanka Chopra have also been mocked for the change in their accents when working in Hollywood.
For those not in the know, Pooja Bhatt and her father Mukesh Bhatt have worked with MM Keeravaani on some unforgettable songs in Hindi, including “Gali Mein Aaj Chand Nikla” and “Jaadu Hai Nasha Hai.”
On Wednesday, she had even tweeted after Keeravaani’s win at the Golden Globes. “Privileged that five of these musical gems are from films produced by moi. Music made from the heart reaches the heart,” she tweeted.
Keep visiting this space over and again for more updates and reveals from the world of entertainment.
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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