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.
Jennifer Love Hewitt recently reflected on her early years in Hollywood, revealing how she was sexualised as a teenager without fully understanding it at the time. In a candid conversation on Mayim Bialik’s 'Breakdown' podcast, the 45-year-old actress shared that at just 16, she was subjected to inappropriate comments from grown men about her body, particularly her breasts. These remarks were often made openly in interviews, which Hewitt now finds disturbing, given the context of her age.
Hewitt, who became famous after starring in I Know What You Did Last Summer in 1997, recalled how the attention on her physical appearance increased after she appeared on the cover of 'Maxim' in 1999. Men would approach her, mentioning how they took her magazine on trips, but at the time, she didn’t fully grasp the sexual undertones of these comments. “I didn’t know what that meant,” she admitted, adding that it felt strange to be labelled a sex symbol before even knowing what being "sexy" meant.
Jennifer Love Hewitt recalls the unsettling experience of becoming a sex symbol before she even understood what it meantGetty Images
As her career progressed, jokes about her body became normalised, especially after the release of 'I Know What You Did Last Summer'. Hewitt recalled how uncomfortable jokes about her body were common during interviews, with people laughing along as if it was a joke. “It didn’t register with me that this is a grown man talking to me and passing inappropriate comments about my body on national television,” she reflected. While she doesn’t blame anyone for the comments made at the time, she acknowledged that it was a period where such behaviour was accepted as the norm in Hollywood.
Looking back as an adult, Hewitt explained that when she reached her 30s, she began to evaluate her teenage years more critically. The environment back then made it difficult for her to recognise the inappropriateness of the sexualisation she faced. She also shared that watching the Britney Spears documentary helped her realise how deeply such experiences can affect someone.Today, Hewitt is grateful she didn’t internalise the objectification and expressed appreciation for how society’s views on body image have evolved. She hopes future generations won’t face the same level of sexualisation and that the industry continues to prioritise respect and awareness.
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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