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.
Sophie Khan Levy, the actress behind EastEnders’ fiery character Priya Nandra-Hart, has been making waves not just for her on-screen drama but also for her real-life family ties. Fans were recently stunned to learn that Sophie is the daughter of Shaheen Khan, the beloved actress who played Mrs. Bhamra in the iconic 2002 film Bend It Like Beckham. The revelation has sparked a flurry of excitement among viewers, many of whom grew up watching Shaheen on screen and are now seeing her daughter carve her own path in the acting world.
Sophie’s character, Priya, stormed into Walford in 2023, bringing with her a whirlwind of drama. As Ravi’s (Aaron Thiara) ex-girlfriend and the mother of his secret daughter, Avani (Aaliyah James), Priya quickly became a central figure in the Panesar family’s turbulent storylines. From explosive family clashes to her own romantic entanglements, Priya has kept fans hooked. But off-screen, Sophie’s journey is equally compelling.
Before joining EastEnders, Sophie had already built an impressive resume. In 2023, she starred as Gabrielle Ade in the BBC’s gripping true crime drama The Sixth Commandment. She also appeared in All Creatures Great and Small as Florence Pandhi and took on the role of Beth in James Corden’s Amazon Prime series Mammals. Despite her growing list of credits, it’s her connection to her mother, Shaheen, that has recently captured the spotlight.
Shaheen Khan is a veteran of British television and film, known not just for Bend It Like Beckham but also for her roles in Casualty, Doctors, and Doctor Who. Her portrayal of Mrs. Bhamra, the traditional yet supportive mother in Bend It Like Beckham, resonated deeply with audiences, making her a household name. Now, seeing her daughter Sophie follow in her footsteps has been a delightful surprise for fans.
Social media has been buzzing with reactions. One TikTok user exclaimed, “Omg, I didn’t know the Bend It Like Beckham mum was her mum!” Another fan shared, “I love that film, and she’s so good as Priya.” The connection has even sparked conversations in households, with one viewer admitting, “I ran to tell everyone in my house they’re mother and daughter in real life!”
For Sophie, joining EastEnders was a dream come true. “I watched the show growing up, so walking onto the set and seeing familiar faces was surreal,” she shared last year. “I’m excited to see what trouble Priya gets into.”
The mother-daughter duo’s shared success actually shows the growing representation of British Asian talent in the entertainment industry. While Shaheen paved the way with her memorable roles, Sophie is now making her mark, proving that talent runs deep in their family. As fans continue to celebrate this connection, it’s clear that both women have left an indelible impact on British television.
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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