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 Miss England, Milla Magee, packed her bags and walked out of the Miss World 2025 stage in Hyderabad, she didn’t just make headlines, she blew the lid off a global beauty empire. For the first time in the contest’s 74-year history, a titleholder quit mid-competition, and her reasons hit hard: exploitation, hypocrisy, and outdated values dressed up in sequins.
Here are the five biggest revelations from a scandal that’s shaking the pageant world to its core:
1. “We were props for rich men” – Magee’s disturbing allegations
Magee painted a picture of contestants whisked from one polished gala to the next, all day and all night, clad in couture gowns and heavy make-up. But behind the lens? Magee said contestants were “farmed out” to entertain wealthy male sponsors at exclusive dinners, calling the experience degrading and old-fashioned.
“It made me feel like a prostitute,” she told reporters. “I couldn’t be part of it anymore.”
She also claimed there was constant pressure to look picture-perfect even during breakfast and said organisers scolded women who weren’t “exciting” enough for social media or the sponsors.
2. Two different stories and one huge question mark
While Magee said she left due to personal and ethical concerns, Miss World officials claimed she initially cited a family emergency. Miss World CEO Julia Morley fired back, suggesting Magee "believed she didn’t stand a chance," releasing sunshiny, unedited clips of Magee raving about Hyderabad’s "amazing biryani" as a jarring counterpoint to her later allegations.
Miss World CEO Julia Morley said, “She left with our support. Then we saw articles implying something very different.”
This raises a big question: Was Magee’s exit planned from the start, or did she have a change of heart after seeing what went on behind the scenes?
3. What the official inquiry found (and what it didn’t)
Telangana’s government responded fast, launching an investigation led by top officials, including three senior women police officers. CCTV footage from the key dinner event showed Magee sitting with four women and one senior IAS officer and not a room full of “middle-aged men.”
Other contestants interviewed didn’t back up Magee’s claims. Most complaints? Too many selfies and tight schedules. The inquiry head even floated the idea of a deliberate smear campaign against India and hinted that this might have been an attempt to smear the country's image.
Still, the fact that Magee was the only one to speak out raises uncomfortable questions about what actually happened, the silence, pressure, and fear in competitive environments.
4. Politicians got involved and the response was mixed
The scandal ripped through Telangana’s politics. Opposition leader K. T. Rama Rao, declaring "as a father of a girl," issued a raw apology: "I condemn what you experienced... This doesn’t represent Telangana’s culture," demanding a fair probe. State officials, however, went on the offensive, accusing Magee of outright "gaslighting," highlighting her brief 8-day stay, and muttering about legal defamation suits.
They claimed footage from the Chowmahalla banquet contradicted Magee’s claim of being seated with predatory sponsors, showing her sitting with four women and one senior IAS officer.
Magee’s walkout wasn't just about one night; it cracked open the pageant’s identity crisis. Remember, this is a lifeguard who’d already swapped swimsuits for CPR tests in Miss England, pushing purpose over pin-ups. With runner-up Charlotte Grant stepping into Magee’s shoes for the 31 May finale, the question looms: will organisers truly embrace change, or merely paper over cracks with some fresh lipstick?
With the Miss World 2025 grand finale just days away on 31 May, the spotlight is now split between the crown and the controversy. Milla Magee’s dramatic exit has pushed uncomfortable truths into the open, almost forcing the industry to reckon with its image, ethics, and expectations. Whether her claims are true or if all of it leads to real change or get swept under the red carpet remains to be seen. But one thing is clear: the glitz of the pageant world no longer hides the cracks and the world is watching what happens next.
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.
By clicking the 'Subscribe’, you agree to receive our newsletter, marketing communications and industry
partners/sponsors sharing promotional product information via email and print communication from Garavi Gujarat
Publications Ltd and subsidiaries. You have the right to withdraw your consent at any time by clicking the
unsubscribe link in our emails. We will use your email address to personalize our communications and send you
relevant offers. Your data will be stored up to 30 days after unsubscribing.
Contact us at data@amg.biz to see how we manage and store your data.