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.
James Argent, best known from The Only Way Is Essex, has been given a suspended six-month prison sentence after he admitted to pushing his girlfriend, former Miss Sweden Nicoline Artursson, during a holiday in Spain.
The incident happened in La Cala de Mijas, a coastal town on the Costa del Sol. According to reports, neighbours called the police after hearing Nicoline scream. She had reportedly fallen down steps outside her apartment following a heated argument with Argent. Witnesses say he tried to force her out of the flat, and during the struggle, he pushed her.
Police arrested Argent at the scene on 5 May. He spent a few hours in custody before appearing in court in Fuengirola the same day. There, he admitted to the charge of domestic violence. As part of his sentence, he was issued a two-year restraining order banning any contact with Nicoline and was ordered to take part in a gender violence rehabilitation course. He avoided jail time due to the suspended nature of the sentence but has been warned that any breach of conditions could land him behind bars.
Nicoline required hospital treatment for injuries sustained in the fall. The full extent of her injuries has not been disclosed. She has remained in Spain following the ordeal, and Argent is believed to have returned to Essex.
The couple had been dating for nearly a year and had frequently posted about each other on social media. Their last public appearance together was just days before the incident, enjoying a beach day in Calahonda.
A source close to Argent said he is remorseful and claims he never meant to hurt her. Friends insist he has been cooperating fully with the authorities and accepted responsibility immediately. However, the relationship is now over, and the court has made it clear that there must be no further contact between the two.
This is another difficult chapter in Argent’s public life, as he has previously spoken openly about past struggles with addiction and mental health. He had only recently re-emerged into the spotlight with hopes of a fresh start, both personally and professionally.
Nicoline, a model and former reality show contestant, has not spoken publicly about the incident, and her representatives have declined to comment.
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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