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.
Meghan Markle is once again in the middle of a branding controversy, this time over the name of her latest business venture. After shelving her previous brand, American Riviera Orchard, without selling a single product, she has now rebranded under the name "As Ever." The problem? A small New York-based clothing company has been using that name for years, and its supporters are not happy.
The founder of As Ever NYC, Mark Kolski, took to social media to clarify that his brand has no connection with Meghan’s. “We are aware. We are not affiliated,” he wrote, thanking customers for their concern. His brand, which started in 2015 by reworking vintage military clothing, became official in 2017 and has built a loyal following.
Many online users have accused Meghan of copying the name without proper research, with some calling for legal action. Critics argue that this move damages the authenticity of her brand, especially after the abrupt collapse of American Riviera Orchard due to trademark issues.
Adding to the controversy, Meghan’s new logo, a palm tree flanked by birds has also drawn attention for its resemblance to the emblem of a Spanish village, Porreres. The mayor of the town has even suggested possible legal action, noting the similarities.
Meghan addressed the rebrand in a video, explaining that she changed the name because “American Riviera” limited her to locally sourced products. However, branding experts speculate that trademark conflicts played a key role. Marketing professional Warren Johnson pointed out that such last-minute changes can make a brand seem “inauthentic.”
Her new brand, reportedly backed by Netflix, is expected to focus on lifestyle products, including fruit preserves. However, as of now, the website for As Ever only features a placeholder image of Meghan and her daughter, with no products available for purchase.
For a small independent business like Kolski’s, competing against a celebrity-backed brand with significant resources can be daunting. He has stated that while he is exploring his options, he lacks the legal power to challenge Meghan’s high-profile operation directly. Kolski also admitted feeling powerless against the huge financial and legal might of Meghan’s venture, which is backed by Netflix.
Meghan Markle under fire again as branding experts and small business owners question the legitimacy of her latest rebrand, As EverGetty Images
As Meghan gears up to launch her new business, the backlash over its name raises fresh questions about branding ethics and due diligence. Whether this dispute escalates legally remains to be seen, but for now, it’s another controversy surrounding the Duchess’s business ventures.
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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