Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
The production house behind the breakout Netflix hit Adolescence is diving into darker territory with its next project: a modern-day television reboot of Threads, the harrowing 1984 film that imagined the aftermath of a nuclear attack on the UK.
Warp Films, based in Sheffield, the same city where Threads was originally set and filmed has secured the rights to rework the infamous BBC drama into a new episodic format. The original, written by Kes author Barry Hines and directed by Mick Jackson, left an impact for its stark, documentary-style look at how everyday life collapses after a nuclear strike.
Unlike most disaster fiction, Threads didn’t focus on heroism or survival tactics, and it zoomed in on ordinary people, especially a young Sheffield couple, and followed them as their lives unravelled. As the country’s infrastructure crumbled and nuclear winter descended, the tone only got bleaker. Actor Reece Dinsdale, who played lead character Jimmy Kemp, once recalled a silent, tearful screening of the film in Sheffield, with viewers visibly shaken.
Now, four decades later, Warp Films sees an opportunity to revisit this story for a new generation. Mark Herbert, the company’s founder, believes the original film’s brutal honesty still resonates. “It showed the true human cost of nuclear war, without gloss or fantasy,” he said. “That message hasn’t aged, and in some ways, it feels more urgent now.”
Official poster of Adolescence, Warp Films’ breakout drama that became a streaming sensation with its gripping single-shot storytellingNetflix
While the upcoming series will stay rooted in South Yorkshire, it will look at today’s world where global tensions, misinformation, and fragile systems create their own kind of unease. Executive producer Emily Feller hinted that the new take on Threads won’t just dwell on despair. “We also want to reflect the resilience people show, even in the worst situations,” she said. “There’s space here for both devastation and connection.”
Warp Films is riding high on the massive success of Adolescence, which broke viewership records in the UK with its raw portrayal of a teenage boy accused of murder. With Threads, the company aims to keep telling stories that hit hard and stick with audiences long after the credits roll.
No casting or release details have been confirmed yet, but one thing is clear: Warp isn’t afraid to ask difficult questions and make us sit with the answers.
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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