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.
When Liam Payne died in October last year, the world mourned a pop icon. But behind the public grief lay private matters that are now slowly coming to light. The 31-year-old singer passed away in Buenos Aires after falling from a hotel balcony, a tragic end that left unanswered questions not just about his final hours, but about his legacy.
One of the more surprising revelations is that Liam didn’t leave a will. Despite having an estimated fortune of £28.6 million (30.1 crore), his estate was left unplanned. After covering debts and costs, £24.3 million (25.6 crore) remains. With no legal document to guide its distribution, the court granted power of administration to his ex-partner Cheryl Tweedy, the mother of his eight-year-old son, Bear.
One Direction star Liam Payne's fortune to be held in trust for his son Bear until he reaches adulthoodGetty Images
Under UK intestacy rules, this likely means Liam’s estate will be held in trust for Bear until he reaches adulthood. Cheryl, who co-parented Bear with Liam even after their split, is expected to ensure that the money is safeguarded for their son’s future. A music lawyer, Richard Bray, has also been named co-administrator.
But there is one notable absence from the legal arrangements: Liam’s girlfriend at the time of his death, Kate Cassidy. Despite having been in a committed relationship with Liam and reportedly discussing marriage, she is not entitled to any part of his estate, as they were neither married nor in a civil partnership.
The tragic end of Liam Payne's life leaves his £24 million estate to his son Bear with Cheryl Tweedy overseeing its managementGetty Images
Kate has spoken publicly about the pain of losing him, recalling their last moments together before she left Argentina. “He joked I was acting like it was the last time I’d ever see him,” she said. “And it was.”
Liam’s death was ruled accidental, with high levels of alcohol and traces of drugs in his system at the time of the fall. Earlier this year, charges against hotel staff for negligence were dropped by an Argentinian court.
Liam Payne’s untimely death leaves his £24 million fortune to son Bear Getty Images
Known for his role in One Direction, one of the most successful boybands of all time, Liam’s music touched millions. But perhaps his most meaningful legacy is Bear, the little boy he called his “mini-me.” In one of Liam’s final videos, he gently tousled Bear’s hair and smiled. “He’s getting so big now,” he said. Bear will one day inherit the life Liam left behind and the love he never stopped giving.
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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