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.
Ncuti Gatwa, best known as the latest face of Doctor Who, is stepping into the shoes of Christopher Marlowe in an upcoming West End production titled Born With Teeth. The play imagines a fiery and dangerous partnership between Marlowe and a young William Shakespeare, set in the shadows of Elizabethan England.
Opening at Wyndham’s Theatre in August, the show will run for 11 weeks. It explores a fictional series of late-night meetings between Marlowe and Shakespeare in the winter of 159, a time marked by political tension, artistic risk, and widespread paranoia. With spies lurking and reputations at stake, the two literary giants are forced to collaborate, navigating envy, ego, and the constant threat of betrayal.
Gatwa stars alongside Edward Bluemel, known for Killing Eve and Sex Education, who will take on the role of Shakespeare. Their characters clash and connect over three tense and intimate encounters, turning the stage into both a battleground and a playground for their deeper vulnerabilities.
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The script, written by Liz Duffy Adams, brings a fresh and modern energy to the story without losing the essence of the time period. It doesn't stick to dry historical facts but dives into what could have been layering in rivalry, admiration, and even flirtation. There's also a strong undercurrent of tension, both creative and personal, as the two men wrestle with their ambitions and each other.
Daniel Evans, co-artistic director of the Royal Shakespeare Company, is directing the production. He sees the play as more than just a biographical reimagining and more as a study of power shifts, clashing egos, and the fragile line between collaboration and competition.
Ncuti Gatwa takes on the iconic role of Christopher Marlowe in a daring new play that explores the rivalry with Shakespeare in a turbulent 1590s EnglandGetty Images
The play first premiered in the U.S. in 2022 and received praise for its fast-paced, sharp dialogue and stripped-down, intimate staging. This West End debut marks the first UK staging of the piece, and anticipation is already high.
Tickets go on sale April 16, with priority access beginning April 11. For fans of history, theatre, or simply sharp writing and stronger performances, Born With Teeth promises to be a must-see.
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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