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.
Let’s talk about Urvashi Rautela. Not the memes or the mockery but the walking paradox that keeps showing up on red carpets, in headlines, and sometimes, accidentally, in temples.
You might roll your eyes when her name pops up, but you don’t scroll past. Whether she’s blocking a hotel staircase at Cannes for a photo op or casually suggesting a temple near Badrinath is dedicated to her, Urvashi is a recurring character in India’s cultural circus, equal parts spectacle, sincerity, and self-promotion.
Urvashi Rautela continues to make bold appearances at Cannes 2025Getty Images
From crowns to Cannes: the evolution of Urvashi
Once a beauty queen, now a full-time internet obsession, Urvashi Rautela has been chasing stardom across languages, genres, and continents. She’s done Bollywood, dipped into regional cinema, walked international carpets, and, most importantly, refused to be invisible.
At Cannes 2025, she delivered one viral moment after another. A video of her blocking a hotel staircase for a photoshoot, with guests trapped and eyes rolling, went viral. Netizens called it “peak cringe.” Her response? Silence. Because why apologise when you’re trending?
A black gown with a torn armpit? Fans debated: PR stunt or legit disaster? Urvashi spun it into a hero moment, claiming she ripped it while helping a 70-year-old woman. Cue awws and eye-rolls!
A gold “bra-necklace” clutch dubbed “Barbie’s midlife crisis” and a crocodile necklace. Cartier or copycat? The internet still isn’t sure!
But what others call faux pas, Urvashi spins into flair. Even when critics compared her golden look to “Barbie’s midlife crisis,” she didn’t flinch. She wore it like armour and perhaps that’s the point.
Urvashi’s signature style turns heads on the global red carpetGetty Images
Temples, tales, and a touch of delusion?
Then there was that temple claim. In a now-notorious interview, she said a shrine near Badrinath was built in her name, where devotees garlanded her photo. The internet exploded. Locals fumed. Eventually, she clarified: “It’s named after the apsara Urvashi!”
This wasn’t her first godly flex. In 2022, she reposted a fan’s “puja” to her, cheekily dubbing it Urvashism. She even expressed a desire for a real temple in South India, citing her growing fandom there.
So the question is, is it self-worship or self-marketing? Depends who you ask. But in a media world where buzz matters more than background checks, her temple talk, however misfired, worked.
Urvashi Rautela grabs headlines with every appearance
Getty Images
Fact-checking Urvashi: a full-time job
What’s tricky with Urvashi is that you never know where confidence ends and creative fiction begins. She’s claimed to be the first Bollywood actress to walk in Manipuri attire. Said she’s fluent in French. Hinted at roles in Kantara 2 and a Parveen Babi biopic, both quickly denied by the respective creators.
Add to that her tone-deaf moment after the Saif Ali Khan incident, where she accidentally pivoted from a stabbing incident to discussing her diamond Rolex. The internet says even her apologies sometimes feel like PR rehearsals rather than genuine remorse.
Still, she keeps pushing. And pushing. And pushing.
From red carpets to airports, Urvashi never goes unnoticedGetty Images
The meme economy loves her
No Indian celebrity gets memed quite like Urvashi Rautela. Twitter and Reddit dissect her every move. There’s a whole corner of the internet that treats her as performance art, like a case study in what happens when hustle overtakes humility.
Nicknames like “Mata Urvashi” and “Damdami Mai” trend ironically. Hashtags like #Urvashism live on. Even the phrase “delulu is the solulu” fits her internet brand like a glove. The point is, she’s not just mocked, she’s watched.
And that’s the trick. In today’s fame economy, it’s not about being respected. It’s about being remembered. And on that front, Urvashi delivers.
Behind the glitter and gaffes is someone who clearly wants it. The fame. The acceptance. The top seat at every table. Urvashi Rautela might not always have the right words or the right necklace, but what she does have is relentless drive.
Her story isn’t polished, but it’s persistent. She’s a walking headline generator, never playing it safe, never fading quietly. Whether you laugh with her or at her, she’s part of the cultural conversation. And let’s be honest, we need a few characters like that to keep the circus interesting.
Urvashi’s looks are as headline-worthy as her comebacksGetty Images
Final thoughts? Don’t underestimate the unbothered
Urvashi Rautela is not trying to be perfect. She’s trying to be unforgettable. And in an era of blink-and-you’ll-miss-it fame, she’s cracked the code. Loud outfits, louder claims, and the loudest kind of self-belief.
So next time you see her trending, ask yourself: Is she clueless… or playing 4D chess while we’re stuck on checkers? Either way, you’ll keep watching. And that’s exactly the point.
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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