Actor Kitu Gidwani says she often misses the bygone era of the 1980s and '90s, regarded as the golden age of television, and believes the onus is now on streamers to reach the same level of "creativity and intelligence".
Gidwani, whose acting credits include popular serials such as Junoon, Swabhimaan, and Shaktimaan, said the decades preceding the 2000s were a creatively rich period for the small screen.
Asked if she looked back fondly on the memories of '80s and '90s shows, Gidwani told PTI in an interview over the phone: "There is definitely nostalgia for that time. It was a period of full creativity. You didn't have a channel to bow down to. The producers were given free reign for their creativity. All kinds of serials were produced whether it was by Doordarshan, DD Metro, or the first few (satellite) channels like Zee." There was Banegi Apni Baat, Ye Jo Hai Zindagi, and all kinds of nice comedies. You also had Tamas by Govind Nihalani, fun thrillers. It was amazing. We have to achieve that level of creativity and intelligence in our streamers," she said.
As someone who has worked in theatre, TV, films, and streaming platforms, the 55-year-old actor said today it's all about churning out good content in different genres.
She will next be seen in the second season of the web series Potluck, set to start streaming on SonyLIV from February 24.
"The whole point of (digital) platforms is to provide a wide variety of content. Otherwise, you might as well go back to the 2000s and 2010s and do the typical 'saas-bahu' serials. I would urge all producers and OTT platforms to give a wide variety of content and not follow the herd like television," she said.
Up till 2000, television was an "extremely diverse" medium, according to Gidwani.
"I played all kinds of roles for 15 years. I played a reporter, a college student, Mini Agarwal in 'Junoon', Svetlana in 'Swabhimaan', a detective, a cop, a mother, and a teacher. Just like Netflix (today), you would be able to do comedies, horror, suspense, crime thrillers, feel-good serials back then," she added.
Her first love, however, is theatre.
"You can't compare the magic of a stage with anything. You can't surpass that," she said.
The actor is looking forward to reprising the role of Pramila, the matriarch of the Shastri family in "Potluck" season two.
In the upcoming chapter, Pramila wants to participate in the 'Mrs Meadows' pageant, a decision that her family believes is the result of a midlife crisis.
"Pramila wants to do this all by herself, but the family is full of suggestions. They are not going to leave her alone. She just gets irritated. The purpose is lost as she wants to be independent. But in the end, it's a happy ending because she realises that family is family," she added.
While Gidwani said she knows many people who have experienced midlife crisis, she doesn't relate to the phenomenon.
"I am not a typical Indian woman who gets married, has children and suddenly realises that life has passed her by. I have always been very conscious that I'll never let life pass me by. So, it (midlife crisis) doesn't apply to me. By the grace of God, I've always followed my heart right from my 20s.
"There are so many people, women, I know who have faced that at some stage or the other. And then they suddenly start a business in their 40s or have an affair or join some baba in some ashram. But, I understand women like that," she added.
Another upcoming project for Gidwani is the Sony TV show "Hum", which is an official Indian adaptation of a Turkish soap opera. She plays Rani-sa, the matriarch of the family, a character she described as a strong woman.
"It's a big TV series for the Indian masses, so you have to be very mindful of that. Turkish dramas are very popular. The producer has already bought the rights to the show.
"It's a different world of acting, dressing. It's going to be another different experience after 22 years. I haven't done anything like that. It's more classy, and realistic. We are starting shooting next month," she added.
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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