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Correspondent

21 August 2024 at 3:50:16 pm

Algorithmic Alibi

Meta’s handling of child sexual-abuse material has exposed the hollowness of the tech behemoth’s claim to be merely a simple intermediary. A company whose algorithms decide what millions of users see and that builds its advertising business around that distribution can hardly retreat into the role of a passive conduit when some of what it helps circulate is abhorrent. The Indian government’s contention that Meta should instead be regarded as a service provider gives it some rightly deserved...

Algorithmic Alibi

Meta’s handling of child sexual-abuse material has exposed the hollowness of the tech behemoth’s claim to be merely a simple intermediary. A company whose algorithms decide what millions of users see and that builds its advertising business around that distribution can hardly retreat into the role of a passive conduit when some of what it helps circulate is abhorrent. The Indian government’s contention that Meta should instead be regarded as a service provider gives it some rightly deserved raps on the knuckle. Meta has now agreed to report child-safety matters directly to the cybercrime portal managed by the Indian Cyber Crime Coordination Centre (I4C). Until now, such cases were reported to the United States-based National Center for Missing and Exploited Children. The new arrangement raises the obvious question of why a company with Meta’s technological resources required regulatory pressure before establishing a direct reporting mechanism with Indian authorities. Meta’s own business model has demolished its fiction of passivity. Facebook and Instagram do not simply sit there waiting for users to post material. Their algorithms rank, recommend, personalise and amplify that material. They determine what attracts attention and, by extension, what generates engagement and advertising revenue. Meta has invested enormous resources in making those systems increasingly effective. It cannot then plead helplessness when the same machinery distributes material that it would rather not acknowledge. Meta’s systems are notoriously difficult for outsiders to scrutinise, while the company possesses vast amounts of information about how they operate. Governments, researchers and users are therefore often expected to identify problems without possessing anything like Meta’s visibility into its own platforms. The company cannot reasonably demand trust while keeping so much of the machinery that determines online visibility behind corporate walls. That said, the government has acknowledged that the courts must ultimately determine whether the company retains safe-harbour protection. But legal immunity and corporate responsibility are not the same thing. The more sophisticated Meta’s technology becomes, the weaker its excuse for failing to anticipate predictable abuses becomes. A company capable of identifying a user’s interests with astonishing precision should not find child-abuse material an unknowable phenomenon. There is a revealing asymmetry in Meta’s posture. Algorithmic power is a selling point when it increases engagement. It becomes someone else’s problem when that power produces consequences that attract regulatory scrutiny. The company wants credit for knowing what people want, while retaining the legal convenience of claiming that it cannot know what appears before them. This is selective accountability. While the courts will decide the precise limits of safe harbour, Meta should not confuse legal uncertainty with moral ambiguity. A company that designs the machinery, controls its settings and profits from its operation cannot forever wash its hands of what that machinery helps to put in front of the public.

Author threatens to sue ‘Emergency’ producer over ‘breach of contract’ and misuse of book

Correspondent
Apr 22, 2025
1 min read


NEW DELHI: Journalist and author Coomi Kapoor, known for her book The Emergency, has decided to take legal action against the producers of the film Emergency (Manikarnika Films Pvt Ltd — owned by actress-turned-politician Kangana Ranaut’s family) and streaming platform Netflix, for allegedly breaching a contract and damaging her reputation.


Kapoor said the film, which stars Kangana Ranaut and Anupam Kher, contains inaccuracies. Despite her objections, the movie still carries the credit line — “based on Coomi Kapoor’s book; The Emergency” — on Netflix.

She had raised her concerns with Aksht Ranaut, a representative of Manikarnika Films, but received no response.


“I sent two legal notices mentioning the inaccuracies in the film, but didn’t get a proper reply. So I’ve now decided to approach the Delhi High Court and take legal action against the producers and Netflix,” Kapoor said.


She stated that Aksht had approached her in Mumbai in 2021 to discuss acquiring the rights to her book. Later, a three-party agreement was signed between Manikarnika Films, the book’s publisher, and herself.


As per the contract, her name and book title were not to be used for marketing or promoting the film without her prior written approval. She also claimed that she was never shown the film’s script.


Kangana Ranaut, Aksht Ranaut, Manikarnika Films, and Netflix did not respond when asked for their side. However, sources from the OTT platform said the film is a licensed production and was not originally made by Netflix.


Kapoor added that even before the film was completed, fearing it might misrepresent her work, she sent Aksht two WhatsApp messages after he failed to take her calls.


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