The showrunner of Sacred Games, Vikramaditya Motwane, told me that after the furore around that episode, he was told to avoid “anything to do with religion.” Local media outlets reported that the government began seriously considering censoring streaming because of the lynching scene. The news that this might happen ricocheted around the industry.
I traveled to India in late 2019 to see how the country’s nascent streaming industry was faring in its struggles with Hindu nationalism.
Srishti Behl Arya comes from a family of Bollywood filmmakers. Her father, a director and producer, worked with Amitabh Bachchan, a legendary actor. When she was little, she accompanied her parents on location, where she and the other children of the cast and crew pretended to be film stars. “We ran around like psychos,” she told me when I visited her at Netflix’s offices in Bandra-Kurla, a wealthy suburban business district in Mumbai.
In 2018, Netflix hired Arya to commission feature-length content. That year, the company made more than 20 original films and five original series in Hindi. But this did little to alter its public persona. In a country with more than 24 major languages, Netflix was still viewed as an English-language platform for westernized Indians. And this is where Arya, who knew everyone who mattered in Hindi film, fit into the picture. She had worked in advertising, and then as an actor and a writer, before moving on to TV production.
Soon she enlisted many of her childhood friends, who had grown up to become some of the most powerful people in the Hindi film industry, to work for Netflix. She signed on Zoya Akhtar, whose last feature film was India’s official entry to the Academy Awards, to direct a short film. Like Arya, Akhtar comes from a film family, but because Bollywood is a male-dominated industry, it’s still almost impossible for a female filmmaker or female-oriented films to raise capital. By contrast, several women helmed projects at Netflix. The platform’s biggest star is Radhika Apte, a Bollywood actress who has appeared in so many Netflix productions that online wags joke she’s in all of them.
Srishti Behl Arya, who runs Netflix’s division of Indian original films.
NETFLIX
But working with Bollywood meant dealing with its shortcomings. Netflix held several workshops in Mumbai to train Indian content creators. It taught them how to develop a major series, but also helped them brush up on basics such as how to write, schedule, and budget. “That’s how we can add value to the industry,” Arya told me. “By helping it get more organized.”
On my last day in Mumbai, I went to visit Red Chillies Entertainment, a towering production house owned by Shah Rukh Khan, which produces shows for Netflix. Back in 2017, Hastings and Khan had appeared together in a stilted promotional skit announcing a new spy thriller called Bard of Blood.
The foyer was deserted on the day I arrived, except for a beautiful sculpture of Ganesha, a Hindu god who is viewed as the patron of the arts. It was wrapped in plastic to protect it from construction dust. Around it some barefoot workmen were operating power tools without any protective gear. On the fourth floor, an exhausted-looking man with slippers on his feet and salt in his dark hair emerged from an editing studio. Several years ago, newly graduated from the London School of Film, Patrick Graham had been struggling to land projects when a friend suggested he try Bollywood. He floundered at first, stifled by censorship. But then, in 2018, Netflix India gave Graham the budget to produce a fictional series in which Muslims are rounded up in internment camps. They also brought him in to co-write the screenplay for Leila. When we met, he was wrapping up production on Betaal, a four-episode zombie series that would be released the next year. Months earlier, in a conversation on the phone, Graham had seemed pumped at the opportunity. “It’s massive,” he’d said. But in person, in Mumbai, he was downcast. “I have to go through the series and remove anything that might offend,” he told me, gloomily. “The oversensitive people are winning.”
In November 2020, Hindu nationalists went after Netflix again. Mira Nair’s critically acclaimed adaptation of Vikram Seth’s novel A Suitable Boy showed a Muslim boy kissing a Hindu girl. A leader of the BJP’s youth wing filed a police complaint about the series for “shooting kissing scenes under temple premises.” The leader accused the show of promoting “love jihad”—a conspiracy theory that claims Muslim men are seducing Hindu women in order to convert them to Islam.
A scene from the film A Suitable Boy. From left: Danesh Razvi, Tanya Maniktala.
In January, another group of Hindu nationalists claimed offense, this time over a political drama on Amazon Prime Video called Tandav. They didn’t care for the depiction of an actor dressed as the Hindu god Shiva. The director quickly issued a public apology and deleted some offending scenes. But he was still named in police complaints in six states, along with members of his cast and crew. Prosecutors also charged Aparna Purohit, who heads Indian original programming for Amazon, with forgery, cyber-terrorism, and promoting hatred between classes.
The very next month, the government announced what it called a “soft-touch self-regulatory architecture” for streaming services. This new ethics code, notionally voluntary, comes with ratings and a grievance system that make streaming, in effect, just as tightly regulated as film and TV.
After the new code was announced, Amazon canceled the upcoming season of The Family Man, a planned spy thriller, and the follow-up to Paatal Lok, a crime series. It also announced plans to co-produce its first Indian film—a mythological tale starring Akshay Kumar, an actor who is known for his close ties with Hindu nationalists.
Netflix had entered India just when hundreds of millions of Indians discovered the internet. It helped create a new language for Indian streaming. In 2020, its subscriber base was estimated to have risen to 4.2 million. But whether the company—and streaming services more generally—can ultimately succeed depends in large measure on matters outside of their control.
Kashyap, the director, believes he has a handle on the censorship problem. “We will say what we want to say,” he told me. “We will simply find different ways of saying it.” On March 3, his house and those of several other Bollywood stars were raided by tax authorities in what Nawab Malik, a spokesperson for the opposition Congress Party, described as an intimidation attempt. That same day, Netflix India announced a slate of 40 new films and series.
Annika Hauptvogel, head of technology and innovation management at Siemens, describes the industrial metaverse as “immersive, making users feel as if they’re in a real environment; collaborative in real time; open enough for different applications to seamlessly interact; and trusted by the individuals and businesses that participate”—far more than simply a digital world.
The industrial metaverse will revolutionize the way work is done, but it will also unlock significant new value for business and societies. By allowing businesses to model, prototype, and test dozens, hundreds, or millions of design iterations in real time and in an immersive, physics-based environment before committing physical and human resources to a project, industrial metaverse tools will usher in a new era of solving real-world problems digitally.
“The real world is very messy, noisy, and sometimes hard to really understand,” says Danny Lange, senior vice president of artificial intelligence at Unity Technologies, a leading platform for creating and growing real-time 3-D content. “The idea of the industrial metaverse is to create a cleaner connection between the real world and the virtual world, because the virtual world is so much easier and cheaper to work with.”
While real-life applications of the consumer metaverse are still developing, industrial metaverse use cases are purpose-driven, well aligned with real-world problems and business imperatives. The resource efficiencies enabled by industrial metaverse solutions may increase business competitiveness while also continually driving progress toward the sustainability, resilience, decarbonization, and dematerialization goals that are essential to human flourishing.
This report explores what it will take to create the industrial metaverse, its potential impacts on business and society, the challenges ahead, and innovative use cases that will shape the future. Its key findings are as follows:
• The industrial metaverse will bring together the digital and real worlds. It will enable a constant exchange of information, data, and decisions and empower industries to solve extraordinarily complex real-world problems digitally, changing how organizations operate and unlocking significant societal benefits.
• The digital twin is a core metaverse building block. These virtual models simulate real-world objects in detail. The next generation of digital twins will be photorealistic, physics-based, AI-enabled, and linked in metaverse ecosystems.
• The industrial metaverse will transform every industry. Currently existing digital twins illustrate the power and potential of the industrial metaverse to revolutionize design and engineering, testing, operations, and training.
Across social media, a number of creators are generating nostalgic photographs of China with the help of AI. Even though these images get some details wrong, they are realistic enough to trick and impress many of their followers.
The pictures look sophisticated in terms of definition, sharpness, saturation, and color tone. Their realism is partly down to a recent major update of image-making artificial-intelligence program Midjourney that was released in mid-March, which is better not only at generating human hands but also at simulating various photography styles.
It’s still relatively easy, even for untrained eyes, to tell that the photos are generated by an AI. But for some creators, their experiments are more about trying to recall a specific era in time than trying to trick their audience. Read the full story.
—Zeyi Yang
Zeyi’s story is from China Report, his weekly newsletter giving you the inside track on tech in China. Sign up to receive it in your inbox every Tuesday.
Read more of our reporting on AI-generated images:
+ These new tools let you see for yourself how biased AI image models are. Bias and stereotyping are still huge problems for systems like DALL-E 2 and Stable Diffusion, despite companies’ attempts to fix it. Read the full story.
The global technology consultancy Thoughtworks describes organizations that can respond to marketplace changes with continuous adaptation as “evolutionary organizations.” It argues that, instead of focusing only on technology change, organizations should focus on building capabilities that support ongoing reinvention. While many organizations recognize the benefit of adopting agile approaches in their technology capabilities and architectures, they have not extended these structures and ways of thinking throughout the operating model, which would allow their impact to extend beyond that of a single transformation project.
Global spending on digital transformation is growing at a brisk pace: 16.4% per year according to IDC. The firm’s 2021 “Worldwide Digital Transformation Spending Guide” forecasts that annual transformation expenditures will reach $2.8 trillion in 2025, more than double the spending in 2020.1 At the same time, research from Boston Consulting Group shows that 7 out of 10 digital transformation initiatives fall short of their objectives. Organizations that succeed, however, achieve almost double the earnings growth of those that fail and more than double the growth in the total value of their enterprises.2 Understanding how to make these transitions successful, then, should be of key interest to all business leaders.
This MIT Technology Review Insights report is based on a survey of 275 corporate leaders, supplemented by interviews with seven experts in digital transformation. Its key findings include the following:
• Digital transformation is not solely a technology issue. Adopting new technology for its own sake does not set the organization up to continue to adapt to changing circumstances. Among survey respondents, however, transformation is still synonymous with tech, with 70% planning to adopt a new technology in the next year, but only 41% pursuing changes to their business model.
• The business environment is changing faster than many organizations think. Most survey respondents (81%) believe their organization is more adaptable than average and nearly all (89%) say that they’re keeping up with or ahead of their competitors—suggesting a wide gap between the rapidly evolving reality and executives’ perceptions of their preparedness.
• All organizations must build capabilities for continuous reinvention. The only way to keep up is for organizations to continuously change and evolve, but most traditional businesses lack the strategic flexibility necessary to do this. Nearly half of business leaders outside the C-suite (44%), for example, say organizational structure, silos, or hierarchy are the biggest obstacle to transformation at their firm.
• Focusing on customer value and empowering employees are keys to organizational evolution. The most successful transformations prioritize creating customer value and enhancing customer and employee experience. Meeting evolving customer needs is the constant source of value in a world where everything is changing, but many traditional organizations fail to take this long view, with only 15% of respondents most concerned about failing to meet customer expectations if they fail to transform.
• Rapid experimentation requires the ability to fail and recover quickly. Organizations agree that iterative, experimental processes are essential to finding the right solutions, with 81% saying they have adopted agile practices. Fewer are confident, however, in their ability to execute decisions quickly (76%)—or to shut down initiatives that aren’t working (60%).