Gayathri Kallukaran is a Junior Journalist with Eastern Eye. She has a Master’s degree in Journalism and Mass Communication from St. Paul’s College, Bengaluru, and brings over five years of experience in content creation, including two years in digital journalism. She covers stories across culture, lifestyle, travel, health, and technology, with a creative yet fact-driven approach to reporting. Known for her sensitivity towards human interest narratives, Gayathri’s storytelling often aims to inform, inspire, and empower. Her journey began as a layout designer and reporter for her college’s daily newsletter, where she also contributed short films and editorial features. Since then, she has worked with platforms like FWD Media, Pepper Content, and Petrons.com, where several of her interviews and features have gained spotlight recognition. Fluent in English, Malayalam, Tamil, and Hindi, she writes in English and Malayalam, continuing to explore inclusive, people-focused storytelling in the digital space.
At just 21 years old, Millie Bobby Brown has already secured her place as a prominent figure in the entertainment industry. The star of Stranger Things, who first captivated audiences with her portrayal of Eleven, now finds herself at the forefront of Netflix’s most high-profile projects. However, her latest role in The Electric State, a mindbogglingly expensive Netflix sci-fi film, has sparked mixed reactions and raised questions about her trajectory as a ‘Stream Queen’ – a title that comes with both acclaim and criticism.
The Electric State, in which Brown stars alongside Chris Pratt, has not been warmly received by critics. Described by The Independent's Clarisse Loughrey as “punishingly obvious and completely incoherent,” the film’s one-star reviews have been echoed by many others. The movie, which centres around two hollow characters moving aimlessly through a barren plot, seems to be yet another forgettable venture in Brown’s recent streak of Netflix productions.
In addition to The Electric State, Brown has produced and starred in the Enola Holmes franchise and the fantasy thriller Damsel. These films, though successful in viewership numbers, have failed to showcase her potential as a heavyweight actor. Unlike some of her contemporaries – such as Jenna Ortega from Wednesday or Jonathan Bailey from Bridgerton – who have seamlessly transitioned into theatrically released films, Brown has remained in the orbit of straight-to-streaming content, with few big-screen ventures outside of the Godzilla blockbusters.
The 'Stream Queen' phenomenon
While Brown’s Netflix films may not be critical darlings, they are undeniably popular. With a massive social media following, including 64 million Instagram followers, Brown has cultivated a unique kind of stardom. Damsel, despite its lukewarm reception, garnered 143 million views, making it one of the most-watched films of the year. This viewership is a testament to her ability to draw in audiences, even if the films themselves lack artistic depth.
In a world where streaming services like Netflix have blurred the lines between TV and cinema, Brown has become the face of this new era. Historically, actors were confined to either television or film, and crossing between the two was a rare achievement. However, with the advent of streaming, the distinction has become less clear, and the notion of a ‘streaming actor’ has emerged – a role Brown seems to have embraced.
There are comparisons to be drawn between Brown and her The Electric State co-star, Chris Pratt. Pratt, who rose to fame with his role in Parks and Recreation, has since starred in big-budget blockbusters such as Jurassic World and Guardians of the Galaxy. However, he has also made several direct-to-streaming films like The Tomorrow War, which have garnered a reputation for being underwhelming and lacking substance. Both actors seem drawn to projects with high budgets but little artistic merit – content that is easily consumed but quickly forgotten.
Brown’s relationship with cinema
One aspect of Brown’s career that sets her apart from other young actors is her apparent indifference towards cinema as an art form. In an interview with The Sun, she admitted to rarely watching movies and finding it difficult to engage with them. “I don’t watch movies. People say, ‘You should definitely watch this movie; it would change your life.’ And I’m like, ‘How long do I have to sit there for?’” she said. This attitude stands in contrast to her contemporaries, who often express deep passion for cinema and view it as a craft to be honed and explored.
Brown’s disinterest in film may explain why she has become such a perfect fit for Netflix. The streaming giant has been criticised for prioritising quantity over quality, producing content that is designed to be consumed passively. In many cases, Netflix films cater to an audience that isn’t fully engaged – viewers who are often multitasking or watching with divided attention. It seems fitting that Brown, who herself admits to struggling with the patience to watch films, has become the poster child for a platform that treats cinema more like disposable content than an art form.
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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