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.
Jade Thirlwall set Liverpool’s Sefton Park ablaze during her first solo headline at BBC Radio 1’s Big Weekend. From sly lyric switch-ups to nostalgic nods, Jade used her stage as a breadcrumb trail, and fans are gobbling up every clue pointing to a potential Little Mix reunion. Whether it’s instinct or intention, the signs feel too loud to ignore. Here's every cheeky, emotional, and strategic move Jade made that has the fandom whispering: the girls are coming back.
Jade Thirlwall drops major hints about Little Mix comeback at BBC Radio 1 Big Weekend
Instagram/bbcradio1
“It’s a hiatus!” — Jade rewrites the Wasabi script
During her electrifying take on Wasabi, Jade took a lyrical detour that sent shockwaves through the crowd. Just before the classic line, “I bet they gonna break up,” she interrupted herself and yelled, “It’s a hiatus!” The crowd erupted. It was playful, yes, but let’s be honest, that wasn’t just for laughs. That tiny rewrite was a blink-and-you’ll-miss-it reminder that Little Mix was never over. Just on pause. Intentional or instinctive, it hit like a mic drop.
Jade could’ve used the solo stage to focus purely on her own songs. But instead, she turned back the clock and delivered a medley of Touch, Shout Out to My Ex, Sweet Melody, and Woman Like Me. The energy screamed: “These songs still belong to us.” And every fan knew this wasn’t nostalgia. This was a reminder.
Midway through her set, Jade paused to thank the crowd, but it was the part where she looked straight into the camera and said, “I love the Little Mix girls with all my heart… I wouldn’t be here without them,” that really struck a chord. This wasn’t PR politeness or rehearsed humility. It was raw. It was real. It sounded like someone who’s been through the highs, the heartbreaks, and the healing and still holds the band as a cornerstone.
Long before the glitter and smoke of Sefton Park, Jade had already cracked the door open to a comeback. In a 2024 interview, she said, “I’d never close that door… A reunion will definitely happen at some point.” She even teased the idea of a North American tour. The way she talks about Little Mix isn’t in the past tense. It’s in ellipses. As if the sentence is still being written, just with a few solo side quests in between.
Jade’s upcoming album That’s Showbiz Baby! drops this September, with a tour to follow. It’s the exact kind of solo rollout that artists use to stretch their wings and then soar back home. Every strategic step she’s taken is like the classic pop playbook: slay your solo moment, then reunite at the height of your powers. With the spotlight hotter than ever, the smart money’s on a grand return just when no one expects it. Or better just when everyone hopes for it.
As the final confetti fell and the crowd chanted her name, something hung in the air. A feeling that this wasn’t a farewell to Little Mix, but a prelude. Jade Thirlwall may be standing on her own, but every move she made that night whispered one thing loud and clear: this story isn’t finished. It’s just waiting for the next beat to drop.
Telugu blockbusters like RRR and Pushpa are drawing UK crowds.
Bollywood flops have pushed audiences to look elsewhere.
British Asians connect with stronger, rooted Telugu heroes.
Pawan Kalyan’s They Call Him OG smashed overseas records.
More UK cinemas now screen Telugu films to meet demand.
The queue for a new Bollywood film was quiet. But around the corner, snaking down the street in a British city, a different queue was buzzing. It was not for a Hollywood blockbuster. The chatter was not in Hindi. It was in Telugu, English, and regional British Asian dialects, all waiting for a Pawan Kalyan film. This scene is becoming the new normal.
Formulaic Hindi films lose ground as Telugu cinema delivers spectacle and authenticity that resonate with UK desi audiences AI generated
When the default setting broke
For years, Bollywood was the default. It was the comforting, familiar voice of 'home' for millions in the diaspora. The formulas started to feel tired. We'd grown up watching those Bollywood stars, trusting them to deliver. But something broke, and suddenly, they couldn't get people through the door. When films like Laal Singh Chaddha and Bachchhan Paandey arrived, they just failed to connect. It felt like we were being shown a plastic-wrapped India, scrubbed clean for an international crowd we no longer recognised. That old thread that tied us to them? It snapped. And in the quiet that followed, you could hear something else roaring to life.
Formulaic Hindi films lose ground as Telugu cinema delivers spectacle and authenticity that resonate with UK desi audiences AI generated
The pan-Indian quake
The rise of Telugu cinema in the UK is not an accident. It started with movies that spoke the language of sheer scale fluently. Baahubali wasn't just a movie. It was a proper legend, the kind that felt ancient and massive. It proved, without a doubt, that a story spun in India could stand tall on any screen in the world. You could feel the rumble in your seat. Then you had RRR and Pushpa crash in. They took that energy, the spectacle, and turned it into something you could chant along to. They weren't apologising for what they were, and this was the undiluted escapism fans were starving for. This was what they called "maximum entertainment," and it was a gut punch of fun.
For British Asian audiences, many with roots in smaller towns and villages, this felt more authentic than Bollywood’s increasingly urban, Western-facing stories. It was a sensibility that translated perfectly, speaking a visual language of spectacle that needed no translation.
Telugu films, by contrast, doubled down on identifiable emotion and a kind of unapologetic heroism. Their protagonists are often loud, rooted, and purposeful; they fight, they sing, they love on camera without irony.
But the shift goes deeper than just spectacle. It is about the kind of hero you want to see on screen. For a long time, mainstream British Asian representation often came with a side of comedy. The culture was sometimes the punchline: the accented parents, the generational clashes played for laughs. It was a representation that could feel limiting.
There is also a practical reason: a bigger, better diasporic infrastructure. Telugu speakers are numerous in the UK and beyond; distributors and cinemas have responded. Once theatres start screening Telugu films regularly, community momentum builds.
If there is a risk, it is twofold: Tollywood must be careful not to trade complexity for bravado, and Bollywood must decide whether to listen. For British Asians, cinema is a resource, a way to rehearse belonging.
He is almost a phenomenon in Telugu cinema. His influence doesn't end there. He's the Deputy Chief Minister of Andhra Pradesh, a leader who talks about Hindu culture with a fighter's intensity. When you combine that with a fanbase whose loyalty feels less like admiration and more like a fundamental belief, you get a force that's hard to ignore. The release of They Call Him OG proved it. Tickets for the world's second-largest IMAX screen, all the way in Melbourne, vanished in two flat minutes. Across international markets, the film was running circles around Bollywood's biggest offerings.
So, you sit back and look at all that, and the question just forms itself: Why does this resonate so powerfully?
For a younger British Asian generation navigating dual identities, Kalyan represents an unapologetic cultural confidence. He is not diluted. He is not a stereotype. He is power and agency wrapped in a star’s persona. He offers an "oppositional gaze," a direct challenge to the narratives where their identity was the source of conflict, not strength, and choosing him is maybe a way of reclaiming a narrative.
Pawan Kalyan’s OG breaks overseas records with sold-out shows days before release Instagram/ogmovieofficial
The end of passive viewing?
This is not just about swapping one industry for another. It is a sign of a community maturing, of knowing what it wants to see reflected in the stories it consumes. They are no longer passive recipients of whatever cinema is handed down to them. They are active choosers. They are voting with their tickets for stories that feel epic, heroes that feel powerful, and a cultural voice that does not ask for permission to be loud, proud, and entirely itself.
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Mayhem Ball sees Lady Gaga clash with her dark self in visually explosive UK performance
Gaga's current tour makes other major pop productions look strangely safe.
The star incorporates injury and personal struggle directly into the performance.
Guest appearances feel organic to the show's world, not just celebrity drop-ins.
The production values are less about slickness and more about a raw, gothic atmosphere.
It presents a new blueprint for how pop stars can merge theatre with a stadium show.
Forget what you know about big pop tours. Lady Gaga’s Mayhem Ball, now storming UK arenas, feels less like a concert and more like a hostile takeover of the format itself. Mayhem Ball takes her new album, mixes it with two decades of hits, throws in some zombies, gondolas, and even crutches, and somehow lands as a coherent experience. It’s messy and full of drama, and that’s exactly what a great pop show should be. It’s not just about singing the songs correctly.
Mayhem Ball sees Lady Gaga clash with her dark self in visually explosive UK performance Instagram/craigizzle
Is the stagecraft actually messy?
Okay, not messy in a disorganised way. It’s messy in its ideas; it’s cluttered with symbolism. One moment she's a Tudor queen in a gown the size of a bus, and the next she's crawling out of a grave. She sings Paparazzi while using crutches. The show doesn’t always move smoothly from one part to the next. In fact, it feels rough on purpose. It isn’t a perfect, shiny video. It’s alive and a little bit dangerous. You get the sense anything could happen.
Remember when special guests just walked on, waved, and sang? Gaga integrates them. When Emma Myers and Evie Templeton from the Wednesday show appeared during The Dead Dance, they weren't just there for applause. They were woven into the gothic narrative, in wispy bridal gowns as part of the show's internal logic.
Gaga uses the stage like a playground of chaos, with gondolas, skeletons, floating eyeballs, crutches, the works. Every song has its own world. The lights, the images on the screen, the things on stage, it never stops. Poker Face became a game with dancers as chess pieces. Perfect Celebrity had her in a dirt grave. One minute you're in the midst of all that commotion, and the next it's just her playing the piano. It feels more like a film than a concert.
Gaga is effectively raising the bar on artistic risk. The standard now isn't just about how many lasers you have or how quickly you can change outfits.
What does this mean for other concerts?
She’s betting that we’re smart enough to follow a story, that we want to be challenged, not just entertained. Other stars have big shows, but Gaga is mixing chaos and emotion in a new way. It makes you feel something. The success of this Mayhem Ball tour shows a hunger for this kind of uncompromising vision, pushing other artists to ask not just "What are my hits?" but "What is my world?"
The Bollywood actor is making his first foray into Tollywood with this mythological epic.
He will portray Shukracharya, the revered and cunning guru to the asuras.
The first-look poster shows a completely transformed Khanna amidst a chaotic landscape.
The film is the next chapter in Prasanth Varma's expanding cinematic universe.
Production is moving fast, aiming to finish by the end of this year.
Akshaye Khanna has just grabbed a role that is going to change things up. He is joining the Telugu film Mahakali, and honestly, it is a genius move. It is not a safe debut; he is going all in as Shukracharya, that famously powerful guru to the asuras. This throws him right into the thick of Prasanth Varma’s cinematic universe, a series that has seriously shaken up how we see mythological tales on screen.
He is playing Shukracharya, which is a pretty big deal. He is the demons' preceptor, known for his vast knowledge and cunning nature. It is the kind of role that demands serious screen presence, something Khanna has in spades, and the first-look poster they dropped confirms it. He is practically unrecognisable, standing there with this focused gaze, a long beard, and robes, with what appears to be a cosmic storm forming behind him. It is quite the contrast from the roles he frequently plays.
— (@)
How does Mahakali fit into the PVCU?
This is the third film in that universe, after HanuMan and the upcoming Adhira. Think of it like everything is connected. Mahakali is another piece of that puzzle, building out this world where ancient gods and modern superhero sensibilities crash into each other. Prasanth Varma is steering the ship as the creator, but the directing duties for this one are handled by Puja Aparna Kolluru. So, while the vision is consistent, a new director will inevitably bring her own style and flavour to the Mahakali story.
Well, for starters, he is a proper Bollywood name choosing a Telugu debut in a powerful role. That does not happen every day. Then there is the look. The moment the poster hit the internet, people started drawing parallels. His get-up, the hair, the robes, it reminded many of Amitabh Bachchan's Ashwatthama from Kalki 2898 AD. The comments were flooded with jokes like "Amitabh Bachchan 40% downloaded." This means people are already talking, and that is half the battle won.
— (@)
When can we expect the film?
The crew is operating at a fast pace. According to the producers, they want to complete the entire filming process by December. That is a fairly quick turnaround. They have got a solid crew behind it too, with Suresh Ragutu on cinematography and Smaran Sai composing the score. No release date is locked in yet, but with filming expected to conclude in a few months, an announcement probably is not too far off.
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J K Rowling calls Emma Watson ignorant as old and new feminism collide in a bitter public feud
Rowling dismisses Watson's recent conciliatory tone as a calculated shift.
The author argues Watson's life of fame and wealth has left her ignorant of real-world issues.
A 2022 BAFTA speech and a poorly received note are cited as a major breaking point.
Rowling contrasts her own past poverty with Watson's privileged upbringing.
She firmly states that public disagreement from former collaborators warrants a public response.
The bitter divide between J K Rowling and the stars of her Harry Potter world has just gotten much deeper. In a raw and personal online post, the author tore into Emma Watson, attacking not just her opinions but her character. Rowling branded the actress as "ignorant," claiming her life of fame has left her utterly disconnected from reality. This comes immediately after Watson made a public attempt to soften their long-running and very public disagreement on transgender rights, a move that seems to have only made the Harry Potter feud worse.
J K Rowling calls Emma Watson ignorant as old and new feminism collide in a bitter public feud Getty Images
What did Emma Watson say about J K Rowling?
It all started on a podcast, with Watson chatting to host Jay Shetty about navigating personal relationships amid public disagreement. She spoke about hoping to keep loving people she doesn't necessarily agree with, a comment widely understood to be about Rowling. She fondly referred to the author as “Jo,” talking about treasuring their shared past. It sounded like a peace offering, or maybe she’s just tired of the whole mess. “I will never believe that one negates the other,” she said, trying to hold two opposing ideas in her hands at once. It was gentle. It was careful. And Rowling clearly hated every second of it.
This is where things got really nasty. She basically called Watson a rich kid who has no idea how the real world works. “Emma has so little experience of real life she’s ignorant of how ignorant she is.” She then drew a sharp line between their lives: Watson, a multimillionaire since her teens, versus Rowling herself, scribbling away in poverty while creating the entire Potter universe.
Her point? Watson can afford to champion certain ideologies from a cushy, protected bubble. Rowling, claiming her own gritty past, says she understands what’s really at stake for vulnerable women in public spaces. It’s the classic “you’ve never had it tough” argument.
— (@)
What was the final straw for J K Rowling?
Turns out, it was something years ago. She revealed the true "turning point" wasn't just Watson's public criticism, but a moment during the 2022 BAFTA Awards. Watson was on stage, and made a little quip about being there “for ALL the witches,” which everyone read as a sly dig at Rowling. But then, according to Rowling, Watson sent her a note. The note read: "I’m so sorry for what you’re going through."
It arrived when Rowling felt most exposed. She says the threats were at their worst; graphic promises of death, rape, and torture flooding in. Her security team had to tighten everything down. The fear for her family's safety was a constant worry. In that climate of genuine terror, Watson's note felt like a slap in the face. From Rowling's perspective, it was a hollow gesture, a one-line sympathy card offered after Watson had publicly poured fuel on the very fire causing the chaos.
— (@)
The generational lens shaping this conflict
Rowling's views come from a place of real struggle. She remembers living in poverty and struggling for everything. When she speaks of women's shelters and safe spaces, she is referring to physical protection for women based on their biological sex. These are real things to her, and she feels they should be safeguarded.
Watson sees things differently. She represents a newer way of thinking. Her focus is on identity and making sure everyone feels included. Her work with the UN and her public comments show this. She believes how people identify themselves is what matters most. For younger people, this makes perfect sense. For Rowling's generation, it can seem like it ignores real-world dangers.
Emma Watson reflects on her fallout with JK Rowling Getty Images
Two different ways of speaking out
Their conflict also shows how the rules for famous people have changed.
Watson's approach is modern. She is careful with her words, choosing to let her deeds speak for her. This works well today, where social media rewards this kind of subtle support.
Rowling slams Watson’s privileged perspective in trans rights clash revealing how generations see activism differentlyGetty Images
Rowling does things the old way. She writes long posts explaining exactly what she thinks. She isn't afraid to start a debate or stand alone in her opinion. She acts like someone who expects people to read her full argument and engage with it directly.
They're not just disagreeing about issues, they're using completely different playbooks from different times. One speaks in careful hints and shared understanding, the other in direct arguments and clear lines. No wonder they can't hear each other.
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BAFTA nominee Imran Perretta explores fractured youth in 'Ish'
BAFTA-nominated filmmaker explores fractured friendship in Ish
Inspired by his own teenage experiences and friendships
Cast two real-life best friends as the leads
Film tackles race, policing and belonging in Britain
Returning to the friendships of youth
Imran Perretta, the London-based artist and BAFTA-nominated filmmaker behind The Destructors, says his new work Ish was born out of reflection on his own teenage friendships. “It was an excuse to go back to those times and relive what it means to have friendships that are so deep in your teenage years,” he explains. “Even though what happens between the boys is difficult, there’s also joy and heartbreak.”
Portraying the stop-and-search
At the heart of the story is a police stop-and-search that shatters the relationship between two boys, Ish and Maram. Perretta was determined to avoid sensationalism. “I wanted to shoot that scene in a way that reflected how it unfolds in real life—the pauses, the waiting, the trauma of seeing a young boy step out. I didn’t try to overthink it. I just wanted to give it the rhythm and emotional weight it has in real life.”
Friendship, self-determination and identity
Although friendship and identity frame the film, Perretta prefers to speak of “self-determination”. He explains: “Identity as a notion is manifold. Really, it’s about finding yourself in a nuanced way. I wanted the actors to bring themselves to it. That way it becomes more contemporary, more true to their experience as young people.”
Writing from life, but letting go
The film draws heavily on his own life, a challenge he found both personal and universal. Co-writing with Enda Walsh allowed him to step back. “Sometimes when you write from your life, it can feel problematic, like you’re lying to make it fit a narrative. Sharing the writing meant I didn’t have to hold on so tightly. And when the boys played it out, it became their story. That was freeing, both creatively and personally.”
Casting real friends
For Perretta, authenticity was key. He and casting director Laura rounded up nearly a thousand boys in Luton, seeking non-actors rooted in the community. The final choice was serendipitous: Farhan and Yahya, who not only impressed in auditions but turned out to be real-life best friends since nursery. “The chemistry was off the charts. They’d been building it since they were kids. We didn’t have to work on it at all.”
Perretta was determined to avoid sensationalismBFI
Contributing to wider conversations
Perretta hopes Ish resonates beyond cinema. “My practice has always been to look at how government policy and state power affect people’s intimate lives. With stop-and-search, I want people to see the young person at the centre of it, to understand how it can change their life, their sense of self, their relationship with authority. It’s not a spectacle—it’s deeply personal.”
Supporting the young cast
Though the subject matter was heavy, Perretta insists the young cast carried it with remarkable maturity. His role, he says, was more like an older brother. “Film sets are pressurised environments. Our job was to make sure the boys felt valued, so they could express themselves freely. None of them had acted before, but they gave everything of themselves. It felt like a family.”
Perretta insists the young cast carried it with remarkable maturityBFI
The importance of silence and stillness
Moments of quiet are as vital as the dramatic ones. “Life is filled with silence and stillness, and so are friendships. Falling asleep under a tree, waiting at a bus stop, drifting off after watching something troubling—those moments carry their own weight. They’re just as important as the high drama.”
What audiences should take away
Ultimately, Perretta wants Ish to prompt reflection. “I hope audiences think about their own friendships and heartbreaks. And I hope they see that it’s okay to leave a relationship, whether with a best friend or a parent—that grief can be a positive energy. Beyond that, I want people to stay aware of the lives of young people, and the very adult things they have to contend with.”