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 stepping into the world of online retail, giving fans the opportunity to shop her signature style. The Duchess of Sussex has launched a digital storefront on ShopMy, an affiliate-based platform where influencers and public figures curate collections of their favourite items.
Through this venture, Meghan is sharing a selection of clothing, accessories, and jewellery that reflect and bring out her refined yet accessible aesthetic. She announced the launch via Instagram, where she has 2.6 million followers, directing them to explore her picks. With each sale made through her links, Meghan earns a commission, a system widely used by influencers and content creators.
Meghan’s curated collection features timeless wardrobe staples, from chic blazers to classic linen shirtsInstagram Screengrab/ MeghanMarkle
The ShopMy platform, designed for high-profile personalities, allows users to monetise their recommendations, with commission rates reaching up to 30%. Meghan described the collection as a “handpicked and curated selection of the things I love,” adding that she has often been asked to share her style insights.
Over the years, Meghan’s fashion choices have sparked massive demand, with items selling out within minutes. A white coat from the Canadian brand Line the Label that she wore for her engagement announcement in 2017 caused the brand’s website to crash. Similarly, a Strathberry handbag she carried shortly after sold out globally in under 15 minutes.
Her newly unveiled collection consists of 32 pieces that embody her minimalist yet contemporary and elegant fashion sense. The selection includes neutral-toned wardrobe staples like linen trousers, striped button-downs, and structured blazers. Brands featured range from high-street labels like J Crew and Reformation to luxury names such as Saint Laurent. Prices vary, with items like a Uniqlo trench coat available for £99 alongside Saint Laurent sandals retailing at £595.
The Duchess steps into e-commerce, blending luxury and high-street fashion in her handpicked selectionsGetty Images
This latest move follows a series of business ventures from Meghan. Earlier this year, she introduced As Ever, a lifestyle brand that evolved from her American Riviera Orchard project, aiming to sell curated home essentials. She also returned to streaming with ‘With Love, Meghan’ on Netflix, despite mixed reviews, and has announced plans for a new podcast featuring conversations with female entrepreneurs.
Meghan’s foray into e-commerce visibly aligns with her broader strategy of carving out an independent brand identity. With a loyal fan base eager to emulate her style, this online shop is likely just the beginning of her expanding business empire.
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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