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.
A recent leak has stirred up mixed reactions among Squid Game fans, revealing a possible episode count for the highly anticipated third season. While excitement for the final chapter of the hit series is palpable, disappointment is brewing over reports that the concluding season may only have six episodes.
According to a recent post on the fan forum Instiz, Squid Game Seasons 2 and 3 were filmed back-to-back, with a combined total of 13 episodes. Since Season 2, released in December 2024, consisted of seven episodes, this leaves Season 3 with just six episodes to wrap up the intricate storyline. Fans are worried that such a limited number of episodes might not do justice to the narrative, especially considering the complexity of the plot and characters. Some fans are hopeful that Netflix or director Hwang Dong Hyuk might announce additional episodes, but so far, no official confirmation has been given.
On the brighter side, reports about the show’s massive production budget have sparked excitement. Media outlets revealed that Seasons 2 and 3 were produced with a combined budget of ₩100 billion KRW (approximately £54.3 million GBP). This massive budget hints at high-quality production, elaborate sets, and intense action sequences.
Despite the budget news, some fans expressed shock at the cost, with one commenting, “That’s too expensive for just six episodes.” Others, however, remain confident that the show’s global popularity will ensure profitability. “Season 1 was a worldwide hit, so even if Seasons 2 and 3 don’t perform as well, it will still be profitable,” a fan noted.
With just a few months between the release of Season 2 in December 2024 and the arrival of Season 3 in June 2025, the wait feels long for eager fans. Amid the debates over episode count and budget, fans are also speculating about the storyline. Will Seong Gi Hun survive? Could a new winner emerge? Stills from the series have also fuelled theories, showcasing high-tension moments, the return of the enigmatic Front Man, and a potential escape plan by a pink soldier.
As the countdown to Season 3 begins, fans remain divided but undeniably eager to see how this gripping tale will conclude. Whether six episodes will suffice or leave fans wanting more, we'd have to wait and find that out!
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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