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.
More than three decades after Home Alone 2: Lost in New York hit cinemas, director Chris Columbus is still dealing with the fallout of a seven-second scene that’s aged badly in his eyes. In a recent chat with the San Francisco Chronicle, Columbus opened up about how he regrets including Donald Trump’s blink-and-miss-it appearance in the holiday sequel. “It’s become a curse,” he admitted. “An albatross.”
The cameo in question features Macaulay Culkin’s Kevin McCallister walking into the Plaza Hotel and asking Trump who owned the hotel at the time for directions. That brief exchange has become one of the most talked-about moments from the film, but not for the reasons Columbus would’ve hoped.
Columbus has shared before that the production team wanted to shoot in the Plaza and were told the only way they could do that was if Trump got to be in the movie. They agreed, filmed the scene, and initially thought nothing more of it. But during a test screening in Chicago, the audience’s loud reaction convinced Columbus to keep it in. “They cheered. They loved it. I thought, okay, maybe it works as a moment,” he recalled.
Fast forward to today, and the director can’t shake off the regret. “I wish it wasn’t there,” he said. “It’s become something I don’t want to be associated with.”
Director Chris Columbus reflects on the lasting impact of a seven-second cameo he never wanted to keepGetty Images
Trump, on the other hand, has claimed that Columbus and his team were practically “begging” him to appear. Posting on Truth Social last year, he dismissed Columbus’s version of events and insisted the cameo helped boost the film’s success.
Columbus, not amused, denied ever asking Trump to be part of the film for artistic reasons. “There’s no version of this story where I’m begging a non-actor to be in my movie,” he said. “We just needed the hotel.”
The original poster for Home Alone 2Getty Images
While Trump’s fans still celebrate the moment, others including Culkin himself have shown support for the idea of digitally removing the scene altogether. In fact, when a fan suggested replacing Trump with an older version of Culkin, the actor replied simply: “Sold.”
For Columbus, it’s not just about politics. It’s about a brief moment that’s come to define more than it should. “I just wish it was gone.”
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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