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.
Netflix’s latest limited series, Adolescence, has taken the platform by storm, racking up 96.7 million views in just 17 days. This unexpected success has pushed Stranger Things 3 down to the tenth spot on Netflix’s all-time most popular English-language TV series list, while Bridgerton Season 2 has dropped off completely.
Released on March 13, Adolescence follows the gripping story of 13-year-old Jamie Miller, played by Owen Cooper, who finds himself charged with the murder of a classmate. The series, directed by Philip Barantini and starring Stephen Graham, has connected with viewers worldwide, making its way into the Top 10 charts in all 93 countries where Netflix rankings are available.
Netflix measures its most-watched series over a 91-day period, meaning Adolescence still has over two months to climb even higher in the rankings. At the moment, the most-watched show on the platform remains Squid Game, while Wednesday leads the English-language category.
From March 24 to 30, Adolescence continued its strong run, adding 30.4 million more views to its total. It outperformed all other series that week, including The Residence, which placed second with 8.8 million views, and reality series Million Dollar Secret, which took third with 3.7 million.
In the film category, The Life List led with 24.4 million views, while The Electric State followed with 7.6 million.
What makes Adolescence’s success particularly big is that it became a global phenomenon without a massive marketing push. Much like previous surprise hits, such as Baby Reindeer, the series gained traction through word-of-mouth and social media buzz.
British Prime Minister Keir Starmer even weighed in on the show’s impact, announcing plans to make Adolescence available for free in UK secondary schools. The initiative, supported by the Into Film+ streaming service and the charity Tender, aims to use the series as an educational tool to explore its themes.
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With 72 days left in its premiere window, Adolescence has a strong chance of climbing further in Netflix’s rankings. If its momentum continues, it could surpass The Night Agent and Fool Me Once, both of which sit at around 98 million views. Whether it can break into the 100 million club remains to be seen, but one thing is clear: this four-part series has certainly left a lasting mark on Netflix’s streaming history.
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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