Russian writer Yevgeny Zamyatin published “We” in 1921. The story follows the totalitarian society, One State, its architecture is made-up almost entirely of glass. The citizens are under mass surveillance and society functions strictly by logic and reasoning which justify the common law . The book is as contentious now as it was when it was released. The fallout after the novel circulated forced Zamyatin to move to Paris as his career in Russia was declared dead. He was blacklisted in his homeland. Though he eventually died penniless and in poverty, “We” is considered one of the greatest Dystopian masterpieces. So, what is it about Dystopia that makes people-particularly those in power-so uncomfortable? In many ways, Dystopian stories are political satires that explore possibilities of what can go wrong in that environment. In 2019, Netflix India released “Leila,” based on the book of the same name by Indian journalist and novelist, Prayaag Akbar. The story follows a woman named Shalini in her quest to find her daughter, Leila, kidnapped by a totalitarian regime. The regime known as Aryavarta is controlled by supreme leader, Doctor Joshi, who rules with an iron fist. People are segregated based on their religion and forbidden to mate beyond the confines of it. Those who do not obey the law are punished and children of those unions are forcefully taken away. The series contains considerable imagery and symbolism derived from Hinduism. So, it was not unexpected when far-right Indian organizations started striking out at the series, calling it ‘Anti-Hindu’ and accusing it of spreading #Hinduphobia, which went on to become a Twitter trend. “Leila” dares to ask uncomfortable questions. Netflix India’s horror offering, “Ghoul” released in 2018, follows characters in a not too distant future overtaken by sectarianism. In this story, words like ‘anti-national’ are used openly to label anyone daring to challenge the State’s authority. While the central plot focuses on the dark mysteries of one detention facility inmate, the sharp political jabs asserted throughout hit their mark. The world of “Ghoul” is one where intellectuals are routinely rounded-up, heckled and profiled. A time where literature is contraband and book burning the norm; a grim projection of what can be. The need for Dystopian content is now. When Yevgeny Zamyatin wrote “We,” sealing his own fate, he bravely set out to question Stalin and his policies. When objections are raised about a fictious regime in “Leila,” citizens ought to question why .

Censorship in media has long been a sensitive matter in India. This is especially true for political topics. Recently, India witnessed countrywide unrest triggered by passing a controversial citizenship law aiming to grant citizenship based on religion. The Citizenship Amendment Act or CAA has people in India divided over its constitutionality and apparent violation of the country's secular foundation.

OTT platforms are steadily expanding their international presence. Content providers want to be relevant in local markets by connecting with audiences through content that is culturally relatable. Platforms want to engage consumers to not only passively watch the content but also to share, comment and debate. However, it seems in their quest to provide cutting edge entertainment to customers, OTT platforms in India are ruffling some feathers on the wrong side of the political spectrum.

According to PriceWaterhouseCoopers's (PwC) Media and Entertainment (M&E) outlook for 2018-2023, the U.S. industry, which represents one-third of the global M&E industry, is expected to reach more than $825 billion by 2023. This includes revenues from global content creators (Disney, Fox, Warner Bros., Starz, CBS, AMC, etc.), linear broadcast via multichannel video programming distributors (Comcast, AT&T, Verizon, Sky, Virgin, etc.), digital stores (Apple iTunes, Amazon Prime, Google Play, etc.), and digital streaming platforms (Netflix, Amazon Prime, YouTube, etc.).

"We are running into the global arena faster than anybody," Jeff Hirsch, Starz COO declared at a June 2019 conference. He was referring to the fact that the Starz digital platform will soon serve over 50 territories throughout the world. Starz is not alone in focusing on global growth; Roku reported, in its recent fourth quarter earnings release, an expansion into Brazil, one of the largest digital markets in Latin America, as well as a diversification strategy away from its heavy U.S. focus. As content owners and platforms grow geographically, so too is the depth of consumer distribution touchpoints—take for example Acorn-TV, the largest purveyor of British themed programming in the U.S. Acorn is now available over Apple TV Channels, Roku Channels, Amazon Channels, Android TV, Chromecast, Comcast/Xfinity, and via Vizio Smart TV.

After localization success with shows like " Narcos"and " Dark ," Netflix continues expanding its catalog of locally produced shows. Now in almost 200 countries, the streaming service has led efforts to create shows that not only cater to local sentiments, but also use local writers, producers and actors. While Amazon has experienced early success doing the same, particularly in India and Japan, other streaming companies lag. Still, when the European Union (EU) decided in October 2018 that all streaming companies will be required to raise local content percentage to 30 percent, Netflix balked.

A trend in platform naming involves appending "Plus" or "+" to the brand name. Amazon announced last week, for example, that it was rebranding its recently acquired "Epix" streaming channel as "MGM+." This is consistent with a trend that began a few years ago as major brands have adopted the "Plus" naming strategy.

Every culture has stories. Though most tales have a hero and a villain -- a beginning, middle and end -- the specifics vary widely. What's heroic in one culture is villainous in another, and what is deemed controversial might be viewed instead as simple pragmatism. In this era of cross-cultural communications, it can be difficult to parse out what parts of each story are culturally unique. When done successfully, the result is hugely rewarding for everyone involved in the process, including writers, producers, distributors, and local regulators (e.g. Boards).