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.
Jimmy Donaldson, better known online as MrBeast, has done what few could imagine: become a billionaire not by keeping, but by giving. At just 27, he's now the youngest self-made billionaire, having built an empire from scratch through YouTube videos that mix wild challenges with generosity.
Hailing from a small town in North Carolina, Jimmy started uploading videos to YouTube at 12. His early content was simple, like gaming clips, reaction videos, and goofy stunts. Then came a game-changer: a 44-hour-long video of him counting to 100,000. It was bizarre, oddly addictive, and wildly popular. That viral moment unlocked a formula: doing something ridiculous, filming it, and tying it all to massive giveaways.
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But this wasn’t just about fame. MrBeast quickly leaned into over-the-top generosity as his brand. Whether it was tipping delivery drivers with houses or giving £800,000 (₹8.4 crore) to the last person touching a briefcase of cash, each stunt pushed the line between entertainment and philanthropy. And viewers couldn’t get enough.
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Today, his main channel boasts 270 million subscribers, the highest for any individual creator, with his other channels, including Beast Reacts and MrBeast Gaming, pushing the total to over 415 million. But YouTube is just one piece of his empire.
MrBeast turned that attention into business gold. He launched Beast Burger, a virtual fast-food chain, and Feastables, a chocolate brand, both multi-million-pound ventures. He’s also invested in up-and-coming creators and crypto, showing he’s not just generous but also sharp with money.
Still, what sets Jimmy apart is his mindset. He’s often said that he doesn’t aim to stack wealth for luxury but to use it for good. His foundation, Beast Philanthropy, runs food drives, builds homes, and even funds surgeries. It’s not just a side project, it’s central to his identity.
Court documents in 2024 revealed his businesses generated hundreds of millions, officially confirming his billionaire status. Yet on a podcast earlier this year, he casually noted he barely keeps any money for himself.
MrBeast Is now a billionaire after giving away more than anyone on YouTubeGetty Images
MrBeast isn’t following a blueprint; he’s making one. He built a fortune on kindness, and in doing so, redefined what modern success can look like: not how much you keep, but how much good you can do.
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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