American singer and songwriter Billie Eilish, in her latest song, condemned the Internet for caring more about Johnny Depp and Amber Heard's defamation trial than the Supreme Court's recent abortion verdict.
The song lyrics of Eilish's 'TV' goes by "The internet's gone wild watching movie stars on trial / While they're overturning Roe v. Wade", reported Variety. The 20-year-old singer premiered this song at the Manchester concert.
Through the song 'TV', Eilish was referring to the heavily publicized defamation trial of actors Johnny Depp and his ex-wife Amber Heard. The trial became an Internet sensation for weeks and people seemed to care more about the verdict of these celebrities than the US Supreme Court's overturning of Roe v. Wade.
According to Eilish, while she was concerned with "losing her own body rights," the netizens were giving their opinion on the trial, reported Variety.
"I was in this state of depression, losing my own rights to my own body, and then I'd go on the internet and it would be people giving their take on this trial. Women are losing rights to their bodies, so why are we talking about celebrities' divorce trials? Let them figure it out on their own. The Internet bothers the shit out of me sometimes," the singer said in an interview with the New Musical Express(NME).
Eilish's interview was published on June 24, the same day the US Supreme Court gave its verdict overturning Roe v. Wade which eliminated the nearly 50-year-old constitutional right to abortion and ruled that states may regulate the practice of it.
Despite the announcement, Eilish found out that netizens were more concerned with the defamation trial of the celebrities, reported Variety. The 'Lovely' singer admitted that she "wanted to go back to her roots."
"I just wanted to go back to my roots: to put a little guitar song back out, and feel like how I used to. I was just missing that feeling and missed doing a song that no one had heard yet," said Eilish.
Meanwhile, on the work front, Eilish would be lending her voice to Disney and Pixar's manga comic adaptation titled 'Turning Red: 4*Town 4*Real: The Manga'
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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