Opinion

While Dev’s production budget is impossible to come by on the Internet, I’m guessing low- to mid-eight figure (my working guess is USD 20m – 30m range; I’d be heavily surprised it were a single penny over USD 50m). The show isn’t as visually blockbusting as Westworld (and let’s be clear: the two will forever be mentioned and compared on one breath, for a number of reasons: artistic ambitions, philosophical under(or over-)tones, auteur aesthetic, focus on cutting-edge technologies, and airing at the exact same time [Devs vs. Westworld season 3] – lastly, a painful lack of any humour or irony, as both shows take themselves oh so very seriously).

Entertainment – quality entertainment – Is often revealing a lot about the collective mindset at the time of the release (aka zeitgeist). There are, of course exceptions: masterpieces such as 2001: A Space Odyssey or Solaris (Tarkovsky’s, not Soderbergh’s!) didn’t provoke fears of sentient AI back in the 1960’s or strange alien worlds in the 1970’s respectively; they were visionary works either untethered from the everyday experience, or decades ahead of their time. In recent years we could see how transhumanism became mainstream in (wildly uneven) productions such as Transcendence (can you spot the cameo of Wired magazine in one of the scenes? It’s the best acting performance of the entire movie), Limitless (which made 6x its budget), or Lucy (which made 11x its budget) – not to mention genre-defining classics such as Ghost in the Shell (The 1995 one! Not the Scarlett Johansson trainwreck) or the Matrix trilogy. Transhumanism has enormous cinematic potential, which has been nowhere near fully utilised; it has, however, had some less-than-ideal timing, because we still haven’t advanced anything like Lucy’s CPH4 or Limitless’ NZT-48 on the nootropics side, nor brain-computer interfaces (BCI’s) from the Matrix, cortical stacks from Altered Carbon, or cyberbrains and synthetic “shells” from Ghost in the Shell. With transhumanism still awaiting its breakthroughs, AI provided more than was required to fully capture mass imagination in recent years (Ex Machina, Westworld, Her, Humans). Devs are going a step further: to the fascinating world of quantum computing.

It’s a challenge to clearly define what genre Devs actually belongs to. It’s not science-fiction nor a technothriller, because technology – while absolutely central to the story – is not the story itself (unlike, for example, HAL in 2001). It’s not a murder mystery nor a crime thriller, because we see the murder in the first 15 minutes of the first episode, we see who killed – alas, we don’t know why they killed. The entire storyline of the series is all about understanding this seemingly absurd, unnerving “why”. The series is closest to philosophical and existential drama. It doesn’t feature red herrings or parallel timelines, and all characters, props, and plot devices appear for a reason, which makes for a refreshing break from oft-overengineered narratives of modern-day dramas. It is as close to minimalist as possible for an FX production. It is also highly stylised, beautiful, and high on artistic and technical merits.

Cinematography in Dev is an absolute delight; a technical and artistic tour de force (if Devs doesn’t get a clean sweep of the technical and art direction Emmy’s and Golden Globes, that’s it, I’m giving up on mankind). The cinematography is crisp and dreamlike at the same time, it has an incredible hyperreal feel. It is also rife in references – and as is often the case with not-so-overt ones, one wonders “is this an actual reference, or am I just inventing one?”. Night-time aerial sequences of LA seem like a clear reference to (original) Blade Runner’s visionary imagery, while daytime sequences share a degree of Sun saturation with Dredd (an underrated masterpiece Alex Garland wrote and executive-produced). The Devs unit design is homage to Vincenzo Natali’s Cube, there’s no way it’s accidental, while its brighter-than-sun lighting evokes 2007 Sunshine (written by Garland). The technical quality of the cinematography shines brightest in razor-sharp, vivid, saturated night shots – which makes one contemplate the incredible technological leap of the past 2 decades; just see one of big-budget Hollywood productions night shots from late 90’s (off the top of my head: Interview with the Vampire) to see how the technology has progressed.

Music is at times perhaps too arthouse, but it is clearly a part of the artistic vision, it’s a standout character, not a backdrop – and most of the time, it works oh so well. Once again, one can’t help but draw comparisons with Vangelis’ groundbreaking Blade Runner score, or the equally groundbreaking selection of music for 2001. On the intelligent ambient electronica side, Cristobal Tapia de Veer arresting score for Channel 4’s underrated masterpiece Utopia or Cliff Martinez’s score for Steven Soderbergh’s Contagion come to mind. Westworld’s soundtrack by Ramin Djawadi is nothing to sneeze at (especially the beautifully bittersweet Sweetwater), but it’s clearly illustration music. Devs seem closer to Brian Retizell’s avant-garde experimentations on Hannibal or subliminal ambient background to David Lynch’s 2017 Twin Peaks revival (sound-designed by David Lynch himself).

Art direction is interesting, though not at par with music or cinematography. The LA apartments of the protagonists are pretty basic (although we get the not-so-subtle message “even these basic apartments are nowadays affordable for the technocratic elite only”). The Devs’ “floating cube” is, by contrast, intentionally (?) over-the-top, while the Amaya statue towering over the campus is quite creepy, likely meant as a warning against not letting go. The way New York City was the fifth character on Sex and the City, in Devs it’s the quantum computer – which is either a carbon copy of IBM Q System One (I’ve seen it up close – a mock-up, of course, not the real, super-cooled thing), or it is actually the exact mock-up I saw (the one in Devs has some moving parts though… I’m not sure the IBM / D-Wave / Rigetti systems have any of those…). To a regular viewer it may look completely and utterly over the top, like an elongated baroque candelabra put on the floor – the weird thing is, this is exactly what a modern-day quantum computer looks like; there’s no OTT here – that’s scientific accuracy.

It doesn’t often happen that all elements click into place to create perfection (examples in recent years: American Horror Story season 1; Hannibal; Killing Eve, Fleabag; Twin Peaks: the Return), and unfortunately Devs aren’t quite so lucky. All its artistic and philosophical heft is undermined – painfully! – by terribly miscast leads. Some TV shows (again, using the term loosely) are cast pitch-perfect, the cast makes these shows (cases in point: Killing Eve; Hannibal; seasons 1, 2, and 5 of American Horror Story; Pose; characters of Dolores and Maeve in Westworld; Olive Kitteridge; Transparent). Given the budgets that go into modern series production, and the enormous stakes (as the shows become flagships for their platforms / networks and fight to compete in increasingly saturated marketplace) casting can make or break a show. The lead cast of Devs doesn’t quite break the show, but it’s not for the lack of trying.

Sonoya Mizuno as Lily is. a. disaster. She’s got an intriguing, androgynous appeal, but – looking at a broad and subjective spectrum of similarly intriguing actresses – she doesn’t have the sex-appeal of Tao Okamoto or Ève Salvail, the talent of Rinko Kikuchi or Saoirse Ronan, nor the charisma of Carrie-Ann Moss or Chiaki Kuriyama. We know that Alex Garland can direct its actors well (after all, Ex Machina propelled Alicia Vikander to Hollywood’s A-list; she got an Oscar a year later for The Danish Girl), so the fault is likely with Mizuno. She carries Lily with the depth of an emo teenager; her acting is flat, her emotional range is limited. I felt like crying during her crying scene, but it wasn’t tears of empathy – it was cringe-cry. Nick Offerman’s Forest takes the blank-stare dead eyes so far over the top that it’s at times almost comical. Karl Glusman – an otherwise talented actor – does Russian accent… poorly – and that’s his only contribution. Alison Pill also went over-the-top with the “brooding quantum physics genius”, doubling down on blank stare and mistaking flatness for depth – she simply isn’t convincing as a scientist. Relative newcomer Jin Ha as Jamie is the only casting bet that pays off (and just to be clear: one doesn’t need a cast of Hollywood A-listers to make a good series – just look at Succession). His character doesn’t get that much air time, but still comes across as a fully-fleshed character. He’s also refreshingly sensitive and vulnerable, which are not qualities we get to see in male protagonists very often yet. He’s nowhere near hypermasculine, he’s actually really slim-built, even slightly androgynous (androgyny is a major theme in Devs: Lily, Jamie, Lyndon – it almost seems like a message: “the intellectual / technocratic elite is above the archaic gender-binary”). Zach Grenier’s is the only other half-decent performance, with redeeming flashes of irony. No Emmy’s here. No Golden Globes.

Devs’ is a living proof that powerful vision is enough to create compelling, fascinating, binge-worthy TV. It does so without a plethora of international locations (I’m looking at you, Westworld!), an abundance of CGI (I’m still looking at you, Westworld), or elaborate purpose-built sets (my eyes still on you, Westworld). Devs has precisely one blockbusting scene (the motorway sequence with Lily and Kenton). By the very virtue of its location, it evokes Bullitt, otherwise, it is reminiscent of that motorway scene in Matrix Reloaded (obviously in a much more demure fashion – the Matrix Reloaded sequence was a stroke of cinematic genius, down to the Juno Reactor track).

As far as philosophy and technology are concerned… well, the latter is approached loosely… really loosely. It’s more of a mere notion of quantum computing than any actual science. It’s kind of the vaguest and loosest level of technological reference possible – but, judging by the reactions, it was enough to strike a chord. The reason may be two-fold: the artistic and entertainment merits of Devs, and perfect timing, as “quantum” becomes the hot new buzzword. Philosophy is more of a meditation and exploration – there are few (if any) answers or directions. It may, in fact, be one of the major strengths of Devs: it ponders and asks questions without fortune cookie-quality one-liner bits of wisdom (“There is ugliness in this world. Disarray. I choose to see beauty” – look me in the eye, Westworld…!). Westworld takes on sentience and consciousness; Devs takes on free will and determinism. It’s interesting (and impressive) how Devs gently manages to manoeuvre around the topic of religion and comes across as agnostic rather than explicitly atheistic.

Devs is a show one can describe as a “small masterpiece”. It’s slow-burning, low-key, with stunning aesthetics though no blockbusting qualities proper. The characters are not at all overtly sexy or sexual (in fact they come across somewhat asexual, even though we know they do, actually, have sex and enjoy it). There are no heists, explosions, or enormous amounts of money (money is approached a bit like sex in Devs – we know it exists, and in great amounts, but it’s almost a non-factor for the plot). One could say that not very much is happening in Devs altogether, and they wouldn’t necessarily be wrong. But somewhere between bold artistic vision, philosophical questions, stunning visuals, and outstanding music there is a true work of art: ambiguous, intriguing, thought-provoking, and truly beautiful. I’ll treasure it all the more knowing full-well how unlikely I am to see anything of remotely similar calibre anytime soon.

PS. Is it just me, or does it look like the scene of meeting Lily and Jamie was filmed on the non-existent ground floor of Exchange House in Primrose Street in London?

One of the chapters from Nassim Taleb’s “skin in the game” (full disclosure: I haven’t read the whole book; I only read the abridged chapter when it appeared in my news feed on, all of the places, Facebook[1]) describes a social group he (with his usual Kanye charm) calls “Intellectual Yet Idiot”. I tick pretty much all the boxes in that description (except the “comfort of his suburban home with 2-car garage” – try “precarious comfort of his Qatari-owned 2-bed rental“), but none more than “has mentioned quantum mechanics at least twice in the past five years in conversations that had nothing to do with physics”. Guilty as charged, that’s me. The context in which I mention quantum mechanics, physics, and technologies in conversations is usually the same – I don’t understand them. I understand one or two of the basic concepts, but I still completely don’t get how with each new qubit the computing power of a quantum computer doubles, what quantum (let alone quantum-safe) encryption is, and why the observer makes all the difference (and what does “observer” even mean?! A conscious observer?!).

Consequently, I keep going to different quantum lectures and presentations, in order to actually understand what this stuff’s about. I basically hope that if I hear it for the n-th time, something in my brain will click. It was that hope that sent me to the RI in November of 2019. Plus, I was really keen to see practical applications of quantum technology.

The discussion panel was great. The panellists were:

• Miles Padgett, Principal Investigator for the QuantIC Hub
• Kai Bongs, Director, UK Quantum Technology Hub for Sensors and Metrology (I previously attended Kai’s presentation on quantum sensors at New Scientist Live)
• Dominic O’Brien, Co-Director, NQIT (UK Quantum Technology Hub for Networked Quantum Information Technologies)
• Tim Spiller, Director, UK Quantum Technology Hub for Quantum Communications Technologies

The discussion revolved around current and future applications of quantum technologies. Like everyone, I know of quantum computers (I even saw IBM’s one during their Think!2019 event), and quantum encryption. I have a basic awareness of quantum sensors (from Kai’s talk at NS Live in 2019 or 2018) and some ambitious plans for quantum technologies-based medical imaging (“quantum doppelgangers” if I recall correctly… I heard of those during Science Museum Lates even on quantum). Paul Davies mentioned quantum biology in his own RI lecture “what is life”, as did Prof. Jim al-Khalili in some interview – but that’s about it.

Fundamentally though, my understanding was that quantum technologies are only beginning to emerge in academic and / or industrial settings. It was genuine news to me that existing technologies (chief among them semiconductors and transistors, which is basically all of modern technology and the Internet; also lasers and MRI scanners) are reliant on the effects of quantum mechanics and are referred to as “quantum 1.0”. The cutting-edge technologies emerging these days are “quantum 2.0”.

Imaging was a prominent use case for quantum technologies, across a number of fields: medical (endoscopy, brain imaging for dementia research), environmental, construction (what’s underneath the soil), industrial (seeing through dirty water or unclear air).

Quantum computing and encryption were also discussed at length. With quantum computing, we’re on the cusp of doing practically useful things at a much lower (energy and time) cost than traditional computing. (nb. the Google experiment was a test problem, not a real problem). In some use cases, quantum computing may be orders of magnitude cheaper in terms of energy consumption compared to conventional computing. In some other use cases this saving will be minimal (interesting comment – I assumed that quantum computers would generate orders-of-magnitude energy and time savings across the board). In terms of encryption, the experts at the RI repeated almost verbatim what Ian Levy from NCSC / GCHQ said at quantum computing panel at the Science Museum a few weeks prior: currently all our communications are encrypted and therefore assumed more or less safe. However, it is theoretically possible for an actor to store encrypted communications of today and decrypt them using quantum technology in the future. Work is underway to develop mathematical models for quantum-safe encryption.

There is work starting on standardization of quantum technologies to ensure their portability.

The panellists also discussed at length the research and investment landscape of quantum technologies across the UK. They noted that the UK was the first country in the world to come up with a national programme of academic + industry partnership and funding in quantum technology research. The US and their programme have (allegedly!) pretty much copied the British blueprint. To date, all distributed and committed funds are close to GBP 1bn. That’s a decent level of funding, but in part, because different groups and laboratories have been set up and funded through different sources before. If the GBP 1bn funding was to fund everything from scratch, then it might not be sufficient. Currently, a substantial part of UK quantum research funding (varies by group and programme) comes from the EU. Brexit is an obvious concern.

Separately, there is an acute talent shortage in engineering in general, and even more so in quantum technology. Big tech companies are in a strong position to compete for talent because they can offer great salaries and interesting careers.

Speaking of quantum talent, their rooms of the RI were filled with the country’s (and likely the world’s) best and brightest in the field. 20 exhibitors presented their projects, all of which were applications-based rather than pure research. Some of those were proofs of concept (PoC’s), some were prototypes, and some were in between. A handful of exhibitors stood out based on my subjective and oft-biased judgement:

• Underwater 3D imaging, ultra-thin endoscope, and a camera looking around corners (all from QuantIC: UK tech hub for quantum enhanced imaging) were all practical examples of advanced imaging applications.
• Trapped Ion Quantum Computer (University of Sussex). The technological details are a little above my paygrade, but apparently different engineering approaches towards quantum computing lend themselves differently to scaling. The researchers in Sussex use microwave technology, which differs from existing mainstream approaches and can be quite promising. I have had a soft spot and very high regard for the Sussex lab ever since I met its head, the fabulously brilliant and eccentric Winfried Hensinger when he presented at one of New Scientist Instant Expert events.
• Quantum Money (University of Cambridge) was the only project related to my line of work and a slightly exotic one even in the weird and wonderful world of quantum technologies. S-Money, as it’s called, is at the intersection of quantum theory and theory of relativity, and could enable unhackable identification as well as lag-free transacting – on Earth and beyond. And they say the finance industry lacks vision…

In summary, the RI event was nothing short of awesome. I don’t know whether I got anywhere beyond the “Intellectual yet Idiot” point on the scale of quantum expertise, but I can live with that. I learned of new applications of quantum technologies, and I met some incandescently brilliant people; couldn’t really ask for much more.

[1] Fuller disclosure: I only ever read Nassim’s „black swan”, and I consider it to be a genuinely great book. I bought “fooled by randomness” and “antifragile” with an intention of reading them some day (meaning never). Still, if I mention the titles with sufficient conviction, most people usually assume I read those end-to-end. I don’t correct them.