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.
During a recent event for the upcoming film Thug Life, Kamal Haasan’s casual remark aimed at co-star Trisha Krishnan stirred more than just laughter. What was likely meant as a light-hearted moment has now triggered debate across social media, with opinions split on whether the joke crossed a line.
It happened during a promotional interview when Trisha was asked about her favourite food. She mentioned a boiled banana dish but struggled to recall its original name, ‘pazham pori’ or banana fritters. Kamal jumped in with a quip: “She doesn’t know the name but likes putting it in her mouth,” followed by a pat on her knee. Trisha laughed it off in the moment, but the clip quickly made its way online and not everyone was amused.
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The backlash was immediate. Some users called the comment inappropriate, especially coming from a senior actor at a public event. Others dismissed the outrage, arguing it was a harmless joke made in jest, and insisted the context was being misread. Supporters of Kamal claimed the comment was typical of the kind of banter seen in Tamil households and accused critics of deliberately twisting his words.
This incident has sparked wider conversations about the tone of public interactions, especially between senior male actors and younger female co-stars. Many pointed out that jokes relying on innuendo, even when meant playfully, can put people in uncomfortable situations, particularly when they unfold in front of cameras.
Trisha hasn’t responded to the controversy, and neither has the Thug Life team issued a statement. Whether this moment was truly harmless or tone-deaf depends largely on how we define professionalism and respect in entertainment circles today.
Meanwhile, the film itself, directed by Mani Ratnam and featuring a star-studded cast including Silambarasan TR, Sanya Malhotra, Aishwarya Lekshmi, and Pankaj Tripathi, continues to be one of the most anticipated Tamil releases of the year. It’s scheduled to hit cinemas on 5 June. The first single, “Jinguchaa,” featuring Sanya Malhotra, Kamal Haasan, and Silambarasan in a happy wedding number, has already gone viral.
But for now, the spotlight is less on the film and more on the question: where should we draw the line between a joke and a jab?
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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