Star Bharat’s flagship show RadhaKrishn has completed a glorious run of 500 episodes. Produced by Siddharth Kumar Tewary under Swastik Productions, the mythological show hit the small screen on 1st October, 2018 and has been doing well ever since. Powered by great performances, magnificent sets, and strong visual effects, the show has gained immense popularity amongst the audiences across all age groups.
Talking about the milestone, Sumedh Mudgalkar, who plays the character of Krishn on RadhaKrishn, says, “Being a part of the show and now completing the milestone of 500 episodes gives me immense pleasure and joy to celebrate even more. It was all only possible because of the constant support and appreciation. I got to essay an array of roles along with being Krishn. The most recent one being Paundraka Vasudev. I feel blessed to have been a part of this journey of 500 episodes.”
Mallika Singh, who portrays the role of Radha, shares, “From being nervous during the auditions to almost losing hopes for bagging the role and finally getting it was all a rollercoaster ride for me. If someone told me then, that our show would win million hearts and I would get such a warm welcome from the audience for essaying an elegant role of Radha, I would have not believed it then. I feel I have grown as an actor and a performer and this journey of 500 episodes has been more than a pleasant one.”
Kinshuk Vaidya, who joined the cast a couple of months ago, is also ecstatic about the feat the show has achieved. “I have been a part of this show for a few months now but the happiness that I feel today as the show completes 500 episodes’ mark is beyond anything. It has been really great to be a part of a show of this caliber and I would thank Swastik Productions and Star Bharat channel to trust me with an iconic character like Arjun’s,” he says.
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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