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.
In a world where beauty standards often favour youth, Elizabeth Hurley is turning the tide. The 59-year-old model and actress recently claimed the title of the world’s sexiest woman, topping Maxim's Hot 100 list and outshining younger stars like Sydney Sweeney, Zendaya, Margot Robbie, and Rihanna. This win is not just about her timeless appeal but also about challenging conventional ideas about beauty and age.
Maxim’s Hot 100 list, which began crowning the top spot as the “world’s sexiest woman” in 2021, has typically featured younger celebrities. However, Elizabeth Hurley took the title, proving that style and charisma don’t come with an expiration date. As the oldest to ever hold the title, she made waves for defying stereotypes about age and attractiveness.
Timeless beauty and confidence define Elizabeth Hurley’s careerGetty Images
Elizabeth Hurley first made headlines in the late 1980s with small roles in British films, but her big break came in 1994 when she appeared at the London premiere of Four Weddings and a Funeral in a daring black Versace dress. The bold look made her a global sensation, and she continued to make a mark with roles in films like Austin Powers and Bedazzled.
Beyond her on-screen presence, Hurley’s journey as a model and entrepreneur has been remarkable. She launched her swimwear line, Elizabeth Hurley Beach, nearly two decades ago, emphasising creative control and maintaining a niche appeal. Despite offers to expand, she chose to keep the brand small and personal, a decision that kept it both profitable and fulfilling.
Elizabeth Hurley champions self-confidence and breast cancer awarenessGetty Images
Even as trends changed, Hurley remained unapologetically herself, focusing on what made her feel good rather than chasing industry standards. She often speaks about the importance of self-acceptance and confidence, emphasising that women of any age should feel comfortable wearing what they love.
Hurley’s advocacy goes beyond fashion. As a long-time global ambassador for Estée Lauder’s Breast Cancer Campaign, she’s dedicated to raising awareness and supporting those affected. Her commitment to staying relevant while giving back makes her success all the more inspiring.
Elizabeth Hurley attends the 2025 Breast Cancer Research Foundation's 'Hot Pink Party'Getty Images
Elizabeth Hurley’s recognition as Maxim’s sexiest woman isn’t just a win for her but a win for women everywhere who refuse to be defined by age.
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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