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.
The BBC has firmly denied claims that Doctor Who is facing cancellation, but speculation continues to swirl around Ncuti Gatwa’s future as the show’s lead. Rumours surfaced this week suggesting the 32-year-old actor, who took on the iconic role in 2023, may leave the series after just two seasons. Reports allege that Gatwa has already filmed his final scenes and plans to exit at the end of the upcoming 15th season, sparking concerns about the show’s longevity.
Despite a recent partnership with Disney+, Doctor Who has struggled to maintain its once-massive audience. Recent episodes have drawn just 3.5 million viewers, a far cry from its peak popularity. This decline has fuelled fears that the series, which first aired in the 1960s, could be axed once again. However, the BBC has dismissed these claims, stating that no decision about the show’s future will be made until after the second season airs. A spokesperson emphasised that the Disney deal includes 26 episodes, half of which are yet to be broadcast.
Meanwhile, rumours about Gatwa’s departure suggest he is eager to pursue opportunities in Hollywood. Sources claim the actor plans to relocate to Los Angeles, where several projects await him. Concerns have also been raised about fan backlash and the show’s management, with insiders criticising its recent direction and leadership. Some argue that the series has become too focused on agendas rather than storytelling, alienating long-time viewers.
Russell T Davies, Craig Erwich, Ncuti Gatwa, Millie Gibson, Ayo Davis, and Charlie Andrews at the U.S. premiere of Doctor Who's new season at NeueHouse HollywoodGetty Images
The show’s future remains uncertain, with reports of behind-the-scenes turmoil and a shaky £100 million deal with Disney adding to the anxiety. Crew members have reportedly been left in the dark about their job security, further complicating matters. As Doctor Who approaches a potential crossroads, fans are left wondering whether the beloved sci-fi series can regain its former glory or if it’s nearing the end of its journey.
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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