Asian movie stars and women ‘likely to be deepfakes targets’
The explosion in generative AI tools such as Midjourney, Stable Diffusion and DALL-E has made it easy and cheap to create and circulate convincing deepfakes
By Eastern Eye Dec 21, 2023
THERE was the Bollywood star in skin-tight lycra, the Bangladeshi politician filmed in a bikini and the young Pakistani woman snapped with a man.
None was real, but all three images were credible enough to unleash lust, vitriol – and even allegedly a murder – underlining the sophistication of generative artificial intelligence, and the threats it poses to women across Asia.
The two videos and the photograph were deepfake and went viral in a vibrant social mediascape that is struggling to come to grips with the technology that has the power to create convincing copies that can upend real lives.
“We need to address this as a community and with urgency before more of us are affected by such identity theft,” Indian actress Rashmika Mandanna said in a post on X, formerly Twitter, that has garnered more than 6.2 million views.
Deepika Padukone
She is not the only Bollywood actress to be cloned and attacked on social media, with top stars Katrina Kaif, Alia Bhatt and Deepika Padukone also targeted with deepfakes.
The lycra video, said Mandanna, was “extremely scary not only for me, but also for each one of us who today is vulnerable to so much harm because of how technology is being misused.”
While digitally manipulated images and videos of women were once easy to spot, usually lurking in the dark corners of the internet, the explosion in generative AI tools such as Midjourney, Stable Diffusion and DALL-E has made it easy and cheap to create and circulate convincing deepfakes. More than 90 per cent of deepfake videos online are pornographic, according to tech experts, and most are of women.
While there are no separate data for south Asian countries, digital rights experts said the issue is particularly challenging in conservative societies, where women have long been harassed online and abuse has gone largely unpunished.
Social media firms are struggling to keep up.
Google’s YouTube and Meta Platforms – which owns Facebook, Instagram and WhatsApp – have updated their policies, requiring creators and advertisers to label all AI-generated content.
But the onus is largely on victims – usually girls and women – to take action, said Rumman Chowdhury, an AI expert at Harvard University who previously worked at reducing harms on X.
“Generative AI will regrettably supercharge online harassment and malicious content ... and women are the canaries in the coal mine. They are the ones impacted first, the ones on whom the technologies are tested,” she said.
“It is an indication to the rest of the world to pay attention, because it’s coming for everyone,” Chowdhury told a recent UN briefing.
As deepfakes have proliferated worldwide, there are concerns – and rising instances – of their use in harassment, scams and sextortion.
Regulations have been slow to follow.
The US Executive Order on AI touches on dangers posed by deepfakes, while the EU’s proposed AI act will require greater transparency and disclosure from providers.
Last month, 18 countries – including the US and Britain – unveiled a nonbinding agreement on keeping the wider public safe from AI misuse, including deepfakes.
Among Asian nations, China requires providers to use watermarks and report illegal deepfakes, while South Korea has made it illegal to distribute deepfakes that harm “public interest”, with potential imprisonment or fines.
India is taking a tough stance as it drafts new rules. Information technology (IT) minister Ashwini Vaishnaw has said social media firms must remove deepfakes within 36 hours of receiving a notification, or risk losing their safe-harbour status that protects them from liability for third-party content.
But the focus should be on “mitigating and preventing incidents, rather than reactive responses,” said Malavika Rajkumar at the advocacy group IT for Change. While the Indian government has said it may force providers and platforms to disclose the identity of deepfake creators, “striking a balance between privacy protection and preventing abuse is key,” Rajkumar added.
Deepfakes of women and other vulnerable communities such as LGBTQ+ people – especially sexual images and videos – can be particularly dangerous in deeply religious or conservative societies, human rights activists said.
In Bangladesh, deepfake videos of female opposition politicians – Rumin Farhana in a bikini and Nipun Roy in a swimming pool – have emerged ahead of an election on January 7.
And last month, an 18-year-old woman was allegedly shot dead by her father and uncle in a so-called honour killing in Pakistan’s remote Kohistan province, after a photograph of her with a man went viral. Police say the image was doctored.
Rashmika Mandanna
Shahzadi Rai, a transgender member of Pakistan’s Karachi Municipal Council, who has been the target of abusive trolling with deepfake images, has said they could exacerbate online gender-based violence and “seriously jeopardise” her career.
Even if audiences are able to distinguish between a real image and a deepfake, the woman’s integrity is questioned, and her credibility may be damaged, said Nighat Dad, founder of the non-profit Digital Rights Foundation in Pakistan. “The threat to women’s privacy and safety is deeply concerning,” she added, particularly as disinformation campaigns gain steam ahead of an election scheduled for February 8.
“Deepfakes are creating an increasingly unsafe online environment for women, even non-public figures, and may discourage women from participating in politics and online spaces.”
In several countries including India, entrenched gender biases already affect the ability of girls and young women to use the internet, a recent report found.
Deepfakes of powerful Bollywood stars only underline the risk that AI poses to all women, said Rajkumar.
“Deepfakes have affected women and vulnerable communities for a long time. They have gained widespread attention only after popular actresses were targeted,” she said.
The heightened focus should now push “platforms, policymakers, and society at large to create a safer and more inclusive online environment,” she added. (Thomson Reuters Foundation)
Sir Jony Ive, the British designer credited with shaping the iPhone and other iconic Apple products, is returning to the heart of Silicon Valley’s innovation scene – and this time, he may be aiming to disrupt the very device he helped make indispensable.
Six years after leaving Apple, Ive has partnered with OpenAI chief executive Sam Altman in a bold new venture. OpenAI has announced the acquisition of IO, a start-up founded by Ive, in an all-share deal reportedly worth $6.5 billion (£4.9 billion). The move marks a major step for the artificial intelligence company, as it seeks to expand beyond software and into consumer hardware.
While Ive will not become a full-time employee at OpenAI, he will serve as a consultant. IO’s 60-strong team of designers and engineers, many of whom are former Apple staff, will now work under the OpenAI umbrella. Their mission is to “reimagine what it means to use a computer”, with the help of ChatGPT and other AI tools developed by the company.
Altman has shared few specifics about what the first product will look like, but he has suggested it will not be a traditional smartphone or even include a screen. Instead, he and Ive plan to build a “family of devices” that could serve as intelligent companions, enhancing and potentially replacing the functions of a smartphone.
One potential outcome is a compact AI “pod” designed to work alongside existing gadgets like laptops or phones. OpenAI reportedly hopes to launch the first device by 2026 and eventually sell up to 100 million units. These devices could be offered through a subscription model linked to ChatGPT.
Ive, born in Essex and educated in industrial design in Newcastle, played a pivotal role at Apple from the 1990s onwards, creating the design language for products such as the iMac, iPod, iPhone and MacBook. His work, in close collaboration with the late Steve Jobs, helped transform Apple from a struggling tech firm into one of the world’s most valuable companies.
Jobs once described Ive as his “spiritual partner” at Apple, and said he held more power at the company than any other executive apart from himself. After Jobs’s death in 2011, Ive was widely viewed as Apple’s most influential figure until his departure in 2019.
Since leaving Apple, Ive has led his design consultancy LoveFrom, which has worked with high-profile clients including Ferrari and contributed to ceremonial design elements for the King’s Coronation. But he has also voiced disillusionment with the modern tech industry, criticising the dominance of “corporate agendas” focused on money and power.
In his new collaboration with Altman, Ive sees a return to what he calls “trying to move things forward”. He said, “Everything I have learnt over the last 30 years has led me to this place and to this moment.”
Despite the buzz surrounding the deal, some analysts have expressed scepticism. Technology analyst Richard Windsor called Ive “the most expensive consultant in history”, warning that the consultancy arrangement could allow him to quietly exit the partnership if it falters. Others have raised concerns about the valuation placed on IO and questioned whether the move is another sign of an AI investment bubble.
OpenAI is currently one of the most prominent players in the artificial intelligence race, valued at $300 billion and backed by Microsoft. The company has committed to building artificial general intelligence (AGI) and is investing heavily in data centres and infrastructure. In March, it raised $40 billion to fund these ambitions.
The new hardware project follows a string of unsuccessful attempts by others to challenge the smartphone’s dominance. Start-ups like Humane and Rabbit have launched compact AI-driven devices but failed to gain traction. Ive has criticised these efforts, calling them “very poor products”.
Meanwhile, tech giants such as Meta and Apple have explored wearable devices like AI-powered glasses and augmented reality headsets, but adoption remains limited. Analysts say consumers have been slow to embrace such technologies, and the market remains difficult to crack.
Still, the combination of Altman’s AI expertise and Ive’s design credentials has generated significant interest. “Jony did the iPhone, Jony did the MacBook Pro,” Altman said. “These are the defining ways people use technology.”
Whether this new venture can redefine consumer tech once again remains to be seen, but many in the industry believe that with Jony Ive involved, it is not a possibility to be dismissed lightly.
The Uganda High Commission in the United Kingdom, in collaboration with Uganda Airlines, hosted a high-profile UK-Uganda Trade and Business Forum and Gala Dinner in London on 19 May 2025 to commemorate the launch of Uganda Airlines’ new direct flight service between Entebbe and London Gatwick Airport. The landmark event was attended by government officials, aviation authorities, business leaders, diaspora representatives, and diplomatic dignitaries from both nations.
This launch marks Uganda Airlines' inaugural entry into Europe, with the new route representing the only nonstop air connection between the UK and Uganda, opening new avenues for trade, tourism, and cultural exchange. The flagship service will operate four times weekly on Sundays, Tuesdays, Wednesdays, and Fridays, offering same-day return departures.
The delegation at trade showAMG
The event featured keynote speeches and panel discussions centred on the theme: “Why Uganda is the Next Frontier for Investment”, underlining the growing bilateral partnership between the United Kingdom and Uganda.
Transport Minister Hon. Gen. Edward Katumba Wamala lauded the achievement as a symbol of progress and national pride:
“This is more than a flight; it is a bridge for business, investment, and human connection. When His Excellency President Yoweri Museveni revived Uganda Airlines in 2015, he envisioned a future where direct air links would drive economic growth. Today, that vision takes a giant leap forward.”
He further noted the tourism potential, remarking: “The UK remains one of Uganda’s largest tourism source markets. This direct flight eliminates layovers, making it more convenient than ever for British travellers to experience Uganda’s natural wonders, from mountain gorillas to the source of the Nile. We foresee a strong rise in tourist arrivals and associated revenues.”
Uganda Airlines’ Chief Executive Officer Jenifer Bamuturaki emphasised the strategic significance of the route: “This new route connects Uganda to one of the world’s busiest and most strategic aviation hubs. On the return leg, flight times are carefully synchronised to ensure smooth connections across our growing African network, linking passengers from London to key destinations in East, Central, and West Africa.”
Warm welcome at GatwickAMG
Delivering the keynote UK government perspective, Lisa Chesney MBE, British High Commissioner to Uganda, highlighted the strength of trade relations: “Total trade between the two countries reached £880 million in 2023, while Uganda’s cumulative exports to the UK over the past five years have amounted to £2.3 billion. This new air link promises to further deepen our economic and people-to-people ties.”
The event also saw warm reflections from Uganda’s High Commissioner to the UK, H.E. Nimisha J. Madhvani, who welcomed the first delegation of the Flying Crane to London: “It is truly wonderful to receive you all here. A heartfelt thanks to President Museveni for his vision. I am especially proud to announce that on tonight’s return flight, Ugandan Asians who were expelled during Idi Amin’s era are flying back to Uganda, joined by their British friends. That shows the confidence, safety, and renewed hope Uganda now embodies.”
“At a time when many nations are retreating into isolation, the UK and Uganda are forging ahead — rebuilding bridges, rekindling friendships, and deepening trust. What a privilege to witness this new chapter in our shared history.”
Francis Mwebesa, Uganda’s Minister for Trade, and Ramathan Ggoobi, Permanent Secretary of the Ministry of Finance, echoed similar sentiments, calling the flight a “turning point in Uganda’s global economic engagement strategy,” while Olive Birungi Lumonya from the Uganda Civil Aviation Authority stressed its regulatory and logistical readiness.
The Chairperson of Uganda Airlines’ Board, Priscilla Serukka, and Bageya Waiswa, Permanent Secretary of the Ministry of Works, jointly hailed the airline’s operational expansion as a “testament to Uganda’s aviation renaissance and its aspirations on the global stage.”
Inaugural touchdown
The celebrations followed Uganda Airlines’ historic landing at London Gatwick Airport on 18 May 2025, marking its first-ever service to Europe. The state-of-the-art Airbus A330-800neo was received by the Uganda High Commission team, led by H.E. Madhvani, alongside diaspora well-wishers and British officials.
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EY denies negligence and argues it was itself a victim of fraud committed by NMC executives and major shareholders.
THE HIGH COURT in London this week began hearing a £2 billion claim brought by the administrators of NMC Health against auditor EY, with opening submissions focusing on alleged auditing failures and the company’s links to senior figures in the UAE, including Sheikh Mansour bin Zayed al-Nahyan.
NMC Health, once a FTSE 100 company valued at £8.6 bn in 2018, collapsed into administration in 2020 after disclosing more than £3 bn in hidden debt. Alvarez & Marsal, appointed administrators in April 2020, filed the claim against EY three years ago for breach of contract, duty of care and negligence, reported The Times.
NMC’s administrators are seeking damages over audits from 2012 to 2018, when EY issued unqualified opinions on NMC’s accounts. Their lawyer, Simon Salzedo, said in court that the audits were among the “most fundamentally flawed examples of big-firm auditing that have disgraced a courtroom in this jurisdiction.”
EY denies negligence and argues it was itself a victim of fraud committed by NMC executives and major shareholders.
EY stated the alleged fraud was carried out by founder BR Shetty, and shareholders Saeed Bin Butti and his nephew Khalifa Bin Butti. In its defence, EY referred to evidence suggesting Sheikh Mansour stood behind the Bin Buttis “in some informal way”, making him “effectively a shadow owner of NMC”, reported The Times.
The firm said this alleged link influenced lending decisions by banks. EY cited a witness statement by Lord Clanwilliam, former audit committee chairman at NMC, and a letter from Shetty to Sheikh Mansour in 2016 requesting support for a new venture.
It also referenced claims involving Dubai Islamic Bank and Canara Bank, which were allegedly influenced by the perception of royal connections.
EY argued NMC’s own senior management concealed the fraud. The administrators denied they had gone “soft” on the Bin Buttis and said a 2022 settlement had led to the return of many assets.
STEEL tycoon Sanjeev Gupta is racing against time to prevent his UK operations from collapsing, as court proceedings threaten to shut down two major plants employing nearly 1,500 workers, reports said.
The Asian businessman's company, Speciality Steel UK, appeared before the High Court on Wednesday (21) facing a winding-up petition that could force the business into liquidation. The legal action was brought by suppliers who claim they are owed substantial sums of money.
In a dramatic courtroom development, Gupta's legal team secured a crucial delay until mid-July after revealing that a mystery investor had emerged with potential interest in purchasing the struggling operation.
Barrister Daniel Judd told Judge Sebastian Prentis that "urgent meetings have been taking place" with this unnamed third party.
The reprieve provides breathing space for Gupta to negotiate a rescue deal for his factories in Rotherham, South Yorkshire, and Bolton, Lancashire. These sites produce specialised steel products for critical industries including aerospace, automotive, and energy sectors.
A company spokesperson said discussions with creditors continue, stressing their commitment to maintaining operations and protecting jobs at both facilities.
Should the rescue talks fail, the government may step in to nationalise the plants, which politicians have branded as "strategic national assets." However, ministers would only consider such intervention after the company enters formal insolvency proceedings.
This latest crisis comes just weeks after the government intervened to save British Steel, taking control of the larger steelmaker amid disputes with its Chinese owners over planned closures at the Scunthorpe facility.
Gupta had previously approached Whitehall seeking emergency support using similar legislation, but government sources confirmed his requests were rejected. This marks the second time ministers have declined to bail out his operations, having also refused assistance during the pandemic.
The current troubles stem from the collapse of Greensill Capital in 2021, a finance company that had been closely linked to Gupta's business empire. The failure left his conglomerate, known as GFG Alliance, struggling to secure funding across its global operations spanning steel, energy, and trading.
A restructuring proposal that would have forced creditors, including tax authorities, to write off significant debts was abandoned last week after failing to gain support. The plan had been designed to keep the business operating whilst addressing its financial difficulties.
Gupta built his reputation as a saviour of the steel industry, acquiring troubled plants worldwide and promising to revive their fortunes. His empire employs over 30,000 people globally, with operations across England, Scotland, and Wales.
However, his business activities have faced scrutiny since 2021, when the Serious Fraud Office launched an investigation into his empire. The company has said it is cooperating with authorities.
The steel industry has faced mounting pressures from rising energy costs and competition from cheaper overseas imports, affecting profitability across the sector.
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The camera deliberately omits certain features common in contemporary models
Fujifilm has unveiled the X Half, a new compact digital camera designed to evoke the look and feel of classic film photography. Set to launch in late June 2025, the X Half is a part of Fujifilm’s X-series, and aims to appeal to enthusiasts seeking a nostalgic, analog-inspired shooting experience in a digital format.
The X Half is priced at £849.99 and features an 18-megapixel 1-inch-type sensor paired with a fixed 32mm-equivalent f/2.8 lens. While it uses modern digital technology, the camera deliberately omits certain features common in contemporary models – most notably, it does not support RAW image capture, offering only JPEG files. This decision is part of Fujifilm’s effort to deliver a “what-you-see-is-what-you-get” experience that mirrors traditional film photography.
A redefined half-frame concept
Fujifilm’s interpretation of the “half-frame” format differs from traditional definitions. Classic half-frame film cameras, such as the Pentax 17, typically capture images sized at 18mm x 24mm, roughly half the size of a full-frame (35mm) negative. In contrast, the X Half’s sensor measures 8.8mm x 13.3mm – half the size of an APS-C sensor used in other Fujifilm models like the X100VI and X-T5. Though the physical dimensions differ, Fujifilm retains the essence of half-frame photography: portability, casual shooting, and creative flexibility.
With a body weight of just 240 grams (8.5 ounces), the X Half is small enough to fit into a small bag or even a large pocket. Its compact size is reminiscent of disposable film cameras, but unlike those, it comes equipped with a proper glass lens featuring autofocus and aspherical corrections. The lens is described by Fujifilm representatives as having “some character”, a phrase often used to indicate a unique, though not necessarily sharp, optical performance.
Dedicated to film-like shooting
A key feature of the X Half is its commitment to film simulation. The camera includes 13 built-in film simulations that mimic the look of Fujifilm’s classic analogue stocks. Uniquely, there is a second screen on the camera specifically for selecting these simulations, enhancing the tactile and immersive experience.
The camera's analogue homage continues with the absence of an electronic or hybrid viewfinder. Instead, users compose their shots using a traditional optical viewfinder or the portrait-oriented 2.4-inch touchscreen on the rear. This design further aligns the X Half with the simplicity of vintage cameras.
Since the camera does not shoot RAW, any film simulation or filter applied during shooting is permanently embedded in the JPEG image. This limits post-processing flexibility but supports Fujifilm’s philosophy of embracing imperfections and encouraging spontaneous creativity.
Companion app and analogue-inspired features
Fujifilm will also launch a companion smartphone app shortly after the X Half’s release. The app includes several features designed to expand the analogue experience. Notably, it allows users to create diptychs – side-by-side images – similar to traditional half-frame compositions. These diptychs can be made using two photos, two short videos, or a combination of both.
The Fujifilm X Half is clearly aimed at younger photographers and content creators Fujifilm
Another standout feature is the Film Camera Mode, which groups captured images into digital “rolls” of 36, 54, or 72 shots, displayed as a contact sheet. Each contact sheet includes film strip branding that corresponds to the chosen film simulation, enhancing the archival and nostalgic feel. The app even features a virtual film advance lever, which must be used between shots in Film Camera Mode, mimicking the operation of vintage film cameras.
Additional effects can be added to photos, including light leaks, expired film aesthetics, and retro date-and-time stamps reminiscent of 1990s point-and-shoots. Since the X Half only produces JPEGs, these filters become a permanent part of the image, with no option to remove or alter them in editing software later.
Targeting a new generation of film lovers
The Fujifilm X Half is clearly aimed at younger photographers and content creators who are increasingly drawn to the visual quirks and tactile charm of film photography. While cheaper alternatives like the £70 Camp Snap or £10–£20 disposable film cameras offer a similar aesthetic at a lower price point, the X Half distinguishes itself by blending those vintage sensibilities with modern digital conveniences.
It remains to be seen how the £849.99 price tag will be received by the intended market. However, Fujifilm’s offering is unique in combining authentic design elements, creative shooting modes, and high-quality digital components. If it manages to capture even a fraction of the fun and spontaneity associated with traditional half-frame photography, the X Half may prove a worthwhile tool for nostalgic shooters and creative hobbyists alike.