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 American Music Awards 2025 proved to be a night of both breakout triumphs and nostalgic reunions. The event, held in Las Vegas, saw Billie Eilish take a clean sweep with seven wins, including the top honours: ‘Artist of the Year’ and ‘Album of the Year’ for Hit Me Hard and Soft. Her track Birds of a Feather also won ‘Song of the Year’ and ‘Favourite Pop Song’, reinforcing her impact on pop music this year.
Eilish won all seven categories she was nominated for, including Artist of the Year and Album of the YearGetty Images
Eilish wasn’t the only familiar face back in the spotlight. Eminem returned with his first AMAs win in 15 years, bagging ‘Favourite Male Hip-Hop Artist’ and ‘Favourite Hip-Hop Album’ for The Death of Slim Shady (Coup De Grâce). Beyoncé also made history, winning ‘Favourite Female Country Artist’ and ‘Favourite Country Album’ for Cowboy Carter, making it a rare crossover success.
The rapper bagged two awards after a 15-year AMAs gap, proving his staying power with The Death of Slim ShadyGetty Images
Pop veterans also had their moment. Bruno Mars won ‘Favourite Male Pop Artist’ and shared the ‘Collaboration of the Year’ and ‘Favourite Music Video’ wins with Lady Gaga for Die With a Smile. Gaga separately picked up ‘Favourite Dance/Electronic Artist’. Gracie Abrams was named ‘New Artist of the Year’, while Post Malone earned his first country award, winning ‘Favourite Male Country Artist’.
Lady Gaga and Bruno Mars’ triple win as their song Die With a Smile swept up three major awards, including Collaboration of the YearGetty Images
The ceremony was hosted by Jennifer Lopez, who returned to the role after ten years. She opened the night with a medley of 23 chart-toppers from the past year. One of the evening's most emotional moments came when Janet Jackson took the stage to accept the ‘Icon Award’. Dressed in a white jacket and jeans, she performed after a seven-year hiatus and spoke about her family's humble beginnings and their shared love for music.
JLo returned as host after a decade and danced through 23 hit songs to kick off the showGetty Images
Veteran rocker Rod Stewart closed the ceremony after receiving the ‘Lifetime Achievement Award’ from his children. Overwhelmed by their surprise presence, he spoke about his six-decade-long journey that began with nothing but a passion for singing.
Rod Stewart's family presented him with the Lifetime Achievement Award, bringing tears and nostalgiaGetty images
The night was filled with performances, from Blake Shelton and Lainey Wilson's country ballads to Gloria Estefan’s Latin medley and Benson Boone’s acrobatic pop number. Gwen Stefani, Renée Rapp, Becky G, and more delivered high-energy sets, making the night a celebration of both fresh voices and iconic stars.
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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