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.
Kanye West, now known as Ye, is once again facing backlash after reportedly deceiving an advertising agency to air a Super Bowl commercial that ultimately promoted antisemitic merchandise.
The 15-second regional ad, which aired in select markets, initially appeared to be a harmless clip of Ye sitting in a dentist’s chair, directing viewers to his Yeezy.com website. However, shortly after the ad aired, the website was altered to display a swastika-emblazoned T-shirt, sparking immediate outrage.
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According to the Wall Street Journal, the ad was vetted by the agency USIM, which had been hired by executives associated with Yeezy LLC only weeks before the Super Bowl. At the time of submission, the website featured standard athletic apparel, and both Fox and Nexstar executives, who aired the ad in cities like Los Angeles, Philadelphia, and Atlanta, found no offensive content upon review. However, after the ad ran, the website was scrubbed and replaced with the controversial imagery, catching broadcasters and the agency off guard.
Kanye West remains in the spotlight amid ongoing controversy and backlashGetty Images
Ye’s actions followed a string of inflammatory antisemitic posts on social media, where he wrote statements such as “whip your Jews” and expressed admiration for Adolf Hitler. The posts led to his suspension from X and condemnation from organisations like the Anti-Defamation League and the American Jewish Committee. Prominent figures, including actor David Schwimmer, also called for Ye’s permanent ban from social media.
The backlash extended beyond social media. Shopify, the platform hosting Yeezy.com, faced criticism for allowing the site to remain active after the Super Bowl ad aired but ultimately shut it down on Tuesday, citing violations of its policies and a failure to engage in “authentic commerce practises.” Meanwhile, Ye’s talent agency, 33 & West, dropped him, with agent Daniel McCartney publicly stating, “I am no longer representing Ye due to his recent harmful and hateful remarks.”
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USIM, which had assured television stations that the advertisement and website had been reviewed, immediately cut ties with Yeezy LLC once the controversy emerged. The agency also instructed stations to pull the ad from further broadcasts. Unlike nationally aired Super Bowl commercials, which require approval from Fox and the NFL, regional ads follow a different vetting process, often handled by individual local stations. This loophole allowed Ye’s ad to air without broader oversight.
Both Fox Sports and the NFL have distanced themselves from the controversy. Fox executives confirmed that they had no prior knowledge of the ad, while the NFL released a statement strongly condemning antisemitism and clarifying that it not been involved in the commercial’s approval or broadcast.
This latest scandal adds to Ye’s growing list of controversies, which have already cost him partnerships with major brands like Adidas and Gap. Despite repeated backlash, his ability to manipulate advertising and social media platforms raises serious concerns about the limits of content moderation and how bad actors can exploit media loopholes to spread harmful messages.
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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