On January 21, 2022, Priyanka Chopra and Nick Jonas announced the arrival of their first child through surrogacy. The couple, who married in India in December 2018 in a two-day event that included Christian and Hindu ceremonies, took to Instagram to share the good news with the world.
While PC and Jonas are busy taking care of their daughter and spending private time with her at their Los Angeles home, the Quantico star’s mother, Madhu Chopra, is yet to see her granddaughter.
Talking to an Indian media outlet, Madhu said that she has not met her granddaughter given the concerns around the baby's health and the coronavirus situation.
“I haven't seen her. I am here and she is in LA. We do Facetime once in a while. I think she is happy and joyous. This is all I can say for now. But maybe when I go and meet her in the middle of the year, I will be able to answer this better,” she said.
Madhu also said that she is waiting and hoping for her granddaughter to come to India. “I am always hoping. Never say never. It's her country, she could come," she added.
Sharing her joy of becoming a grandmother, Madhu said, “It is so joyful! I can't tell you how my heart just goes...I think it’s something that I have been waiting for, for a very long time. It has happened now and I cannot conceal my happiness. I don't even remember Priyanka and my son anymore. All I think about is the little one.”
While announcing the arrival of their child, Priyanka and Nick wrote on social media, “We are overjoyed to confirm that we have welcomed a baby via surrogate. We respectfully ask for privacy during these special times as we focus on our family. Thank you so much.”
While the couple did not reveal the gender of the child, Priyanka’s cousin Meera Chopra had confirmed that they had a baby girl.
On the work front, Priyanka Chopra has several exciting projects in her bag, including the Amazon Prime series Citadel and Farhan Akhtar’s next directorial Jee Le Zaraa.
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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