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 face it: the world has never been a safe space for women. It’s a place where we’re told to smile while being catcalled, to be polite while being undermined, and to shrink ourselves to fit into the tiny, suffocating box labelled “likeable.” In a world that often feels set against them with unsafe streets, glass ceilings, impossible beauty standards, and a relentless demand to be nice, women have had enough. They are done playing nice. The good girl act is out, and the villain era is in. And when they decided to break free? Oh honey, they did it with a bang.
This is the age of women flipping the script, ditching the nice girl manual, and embracing their inner bad guy. And why wouldn’t we? When the world is a dumpster fire of double standards, violence, and impossible expectations, sometimes the only way to survive is to become the villain they already think you are. And let’s be real: when women stop playing by the rules, it’s not a breakdown. It’s a breakthrough.
Pop culture has given us some iconic female villains and anti-heroines who embody this unapologetic energy, and honestly, it’s about time we take notes. So, grab your metaphorical black capes and join us as we celebrate the rise of the female villain. Because sometimes, being the bad guy is the best thing a woman can be.
1. Cersei Lannister: The queen who played the game
Cersei didn’t just play the game of thrones, she owned it. Sure, she blew up a sept, orchestrated a few murders, and maybe had a thing for her brother, but can you blame her? In a world where women were either wives or pawns, Cersei said, I’ll take the crown, thanks. She was ruthless, unapologetic, and refused to let anyone, man or woman, stand in her way. Cersei reminds us that sometimes, to win in a man’s world, you must burn it all down. And while she may have lost in the end, no one can deny that she went down with a goblet of wine in her hand and a smirk on her face.
Ruthless, regal, and always two steps ahead—Cersei Lannister knew power like no other - Instagram/gameofthrones
2. Amy Dunne: The mastermind of mayhem
Oh, Amy. The original Cool Girl, the one who never complains, never asks for more, and just exists for male approval, who turned out to be anything but. Amy Dunne didn’t just break the mould, she shattered it into a million pieces and framed someone else for it. Her calculated revenge on Nick wasn’t just about love, but about power. Amy showed us that women don’t have to be victims. Sometimes, they can be the architects of their own justice, even if it involves a little, okay, a lot of, manipulation.
Cool Girl was a lie, but Amy Dunne’s revenge? That was real Youtube/GoneGirl
3. Miranda Priestly: The ice queen with a point
That’s all. Two words that struck fear into the hearts of everyone at Runway. Miranda Priestly wasn’t just a boss, she was the boss. Demanding? Sure. Intimidating? Absolutely. But let’s not forget that she was also a woman at the top of a cutthroat industry, constantly having to prove she belonged there. Miranda didn’t have time to coddle egos or sugarcoat feedback. She was unapologetically herself, and if that made her a villain, so be it. Because let’s be real, women aren’t expected to be that way, and that’s exactly why she owned every room she walked into.
Not bossy, just the boss. Miranda Priestly owned every room she walked into Instagram/Devilwearspradafans
4. Harley Quinn: Chaos, but make it cute
Once a lovesick sidekick, now a full-blown anti-heroine, Harley Quinn embodies the villain era like no other. She walked away from the Joker, literally and figuratively, and started calling the shots for herself. With her unhinged energy, neon chaos, and complete disregard for playing by the rules, Harley reminds us that sometimes, the best thing a woman can do is walk away from what’s destroying her and also set fire to it on the way out.
She traded the Joker for chaos, freedom, and a baseball bat—Harley Quinn’s era is unstoppable /Getty Images
5. Regina George: The unapologetic queen bee
Sure, she was mean, but was she wrong? Regina George knew her power, and she wielded it effortlessly. She controlled the school with one raised eyebrow and destroyed reputations with a single burn book entry. But here’s the thing, she never pretended to be anything other than what she was. And in a world that demands women be likable all the time, that’s powerful.
Mean? Maybe. Iconic? Absolutely. Regina George knew exactly what she was doing Instagram/meangirls
Why the villain era is probably the best era
These characters aren’t just fictional icons, they’re reflections of a cultural shift. Let’s be honest, women are done apologising for their ambition, their anger, and their desires. We’re done being told to shrink, to soften, to settle.
This isn’t about being evil for the sake of it. It’s about rejecting the idea that women have to be nice to be worthy. It’s about prioritising ourselves, our dreams, and our survival in a world that still doesn’t make it easy.
Long live the villains
So, here’s to the women who refuse to play nice. To the ones who’ve been called too much and decided to own it. To the ones who’ve been labelled villains simply because they dared to take up space.
Because that narrative is over. The villain era isn’t about destruction, it’s about self-preservation. It’s about taking up space, demanding respect, and refusing to play by rules designed to keep you small.
This Women’s Day, let’s celebrate the rise of the female villain. Let’s raise a glass to the Cerseis, the Amys, and the Mirandas, and to every woman who’s ever been told she’s too much and replied, You’re damn right.
Because sometimes, the best thing a woman can be is a little bit bad. And honestly? It’s kind of iconic.
Welcome to the villain era, ladies. We’ve been waiting for you.
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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