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.
“February 4 is World Cancer Day,” she wrote. “I’m sending all my love and support to anyone and everyone affected by cancer and want to offer a gentle reminder… If you or anyone you know has concerns, make an appointment to see your healthcare provider. And if it’s time for your check-ups, you know what to do!” She signed off with a heart emoji and her signature “X.”
Minogue’s journey with cancer began in May 2005 when she was diagnosed at 36. Just days later, she underwent a lumpectomy and began chemotherapy, which she later described as “experiencing a nuclear bomb.” Though declared cancer-free in 2006, she has spoken openly about the huge impact of the experience.
“It’s trauma, and any trauma resides within you,” she told CBS News. “The experience of a cancer diagnosis will live in me. It was difficult. It was also amazing. Amazing in that you are very aware of your body, of the love that’s around you, of your capability, all sorts of things.”
During her treatment, Minogue received an outpouring of support from fans worldwide. She has kept countless letters, drawings, and cards sent to her, some addressed simply to “Kylie Minogue, Australia.” Reflecting on this, she told the BBC, “I just felt there was a trail of love and support. It really made such a difference to me.”
Kylie Minogue dazzles on stage at the Summer Gala in Saint-TropezGetty Images
Her diagnosis had a ripple effect, inspiring what doctors termed the “Kylie effect”—a significant increase in women booking breast cancer screenings. Her raw and authentic journey has made her a powerful advocate for cancer awareness.
Over the years, she has worked with organisations like the Entertainment Industry Foundation’s Women’s Cancer Research Fund and launched campaigns like One Note Against Cancer to raise funds for research. In recognition of her efforts, Minogue was awarded an honorary doctorate in health science from Anglia Ruskin University in 2011 and the Courage Award from the Women’s Cancer Research Fund in 2013.
As she gears up for her Tension world tour, starting in Perth on February 15, Minogue continues to inspire millions with her resilience and advocacy. Her World Cancer Day message is a heartfelt reminder of the importance of early detection and the strength found in community support.
Through her journey, Kylie Minogue has not only survived but thrived, turning her personal battle into a narrative of hope for others.
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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