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.
British actor and writer Stephen Graham never expected his latest Netflix series, Adolescence, to make such a strong impact worldwide, let alone in India. The gripping crime drama, which debuted on March 13, has not only dominated Netflix’s global charts but also sparked intense discussion among Indian audiences, leaving Graham surprised.
The four-episode series, shot entirely in single takes, follows the chilling case of 13-year-old Jamie Miller played by Owen Cooper, who is accused of murdering a classmate. The show’s raw storytelling and emotional depth have earned praise from critics and viewers alike, but it was the overwhelming response from India that truly caught Graham off guard.
“I got a text from a mate of mine, telling me how big Adolescence is in India. And my first response was, ‘Hold on… did you say India?! Did I hear you correctly?’” Graham told in an interview. “Apparently, it’s really striking a nerve there.”
Since its release, Adolescence has been widely discussed in India, with renowned filmmakers like Anurag Kashyap, Hansal Mehta, and Sudhir Mishra, along with Bollywood stars including Alia Bhatt, openly applauding the series. Social media is flooded with reactions, with many viewers pointing out its honest portrayal of troubled youth and the societal pressures that contribute to their downfall.
While the show’s creators initially set out to tell a story rooted in British culture, its themes of violence, family, and adolescent struggles have truly resonated across borders. “We never expected this kind of global reaction,” Graham admitted. “It’s like we dropped a stone into a pond, and the ripple effect has been unbelievable.”
Alia Bhatt about Adolescence Instagram Screengrab/ AliaBhatt
Graham, known for his roles in Boiling Point and This Is England, co-created Adolescence with writer Jack Thorne. The idea came to him during a car ride with director Philip Barantini, as they discussed the growing crisis of young boys engaging in violent crimes. “These aren’t hardened criminals, they’re just kids,” Graham said. “We need to start talking about this.”
With Adolescence sparking global conversations, especially in India, Graham hopes this is just the beginning. “If the show is making people think, if it’s making them talk, then we’ve done something right” and we agree!
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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