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Today’s real story: The Facebook monopoly

Published August 19, 2021

Daniel Liss
Contributor

Daniel Liss is the founder and CEO of Dispo, the digital disposable camera social network.

Facebook is a monopoly. Right?

Mark Zuckerberg appeared on national TV today to make a “special announcement.” The timing could not be more curious: Today is the day Lina Khan’s FTC refiled its case to dismantle Facebook’s monopoly.

To the average person, Facebook’s monopoly seems obvious. “After all,” as James E. Boasberg of the U.S. District Court for the District of Columbia put it in his recent decision, “No one who hears the title of the 2010 film ‘The Social Network’ wonders which company it is about.” But obviousness is not an antitrust standard. Monopoly has a clear legal meaning, and thus far Lina Khan’s FTC has failed to meet it. Today’s refiling is much more substantive than the FTC’s first foray. But it’s still lacking some critical arguments. Here are some ideas from the front lines.

To the average person, Facebook’s monopoly seems obvious. But obviousness is not an antitrust standard.

First, the FTC must define the market correctly: personal social networking, which includes messaging. Second, the FTC must establish that Facebook controls over 60% of the market — the correct metric to establish this is revenue.

Though consumer harm is a well-known test of monopoly determination, our courts do not require the FTC to prove that Facebook harms consumers to win the case. As an alternative pleading, though, the government can present a compelling case that Facebook harms consumers by suppressing wages in the creator economy. If the creator economy is real, then the value of ads on Facebook’s services is generated through the fruits of creators’ labor; no one would watch the ads before videos or in between posts if the user-generated content was not there. Facebook has harmed consumers by suppressing creator wages.

A note: This is the first of a series on the Facebook monopoly. I am inspired by Cloudflare’s recent post explaining the impact of Amazon’s monopoly in their industry. Perhaps it was a competitive tactic, but I genuinely believe it more a patriotic duty: guideposts for legislators and regulators on a complex issue. My generation has watched with a combination of sadness and trepidation as legislators who barely use email question the leading technologists of our time about products that have long pervaded our lives in ways we don’t yet understand. I, personally, and my company both stand to gain little from this — but as a participant in the latest generation of social media upstarts, and as an American concerned for the future of our democracy, I feel a duty to try.

Facebook is shook, asks for removal of FTC Chair Khan from antitrust cases against it

The problem

According to the court, the FTC must meet a two-part test: First, the FTC must define the market in which Facebook has monopoly power, established by the D.C. Circuit in Neumann v. Reinforced Earth Co. (1986). This is the market for personal social networking services, which includes messaging.

Second, the FTC must establish that Facebook controls a dominant share of that market, which courts have defined as 60% or above, established by the 3rd U.S. Circuit Court of Appeals in FTC v. AbbVie (2020). The right metric for this market share analysis is unequivocally revenue — daily active users (DAU) x average revenue per user (ARPU). And Facebook controls over 90%.

The answer to the FTC’s problem is hiding in plain sight: Snapchat’s investor presentations:

Snapchat July 2021 investor presentation: Significant DAU and ARPU Opportunity. Image Credits: Snapchat

This is a chart of Facebook’s monopoly — 91% of the personal social networking market. The gray blob looks awfully like a vast oil deposit, successfully drilled by Facebook’s Standard Oil operations. Snapchat and Twitter are the small wildcatters, nearly irrelevant compared to Facebook’s scale. It should not be lost on any market observers that Facebook once tried to acquire both companies.

The market Includes messaging

The FTC initially claimed that Facebook has a monopoly of the “personal social networking services” market. The complaint excluded “mobile messaging” from Facebook’s market “because [messaging apps] (i) lack a ‘shared social space’ for interaction and (ii) do not employ a social graph to facilitate users’ finding and ‘friending’ other users they may know.”

This is incorrect because messaging is inextricable from Facebook’s power. Facebook demonstrated this with its WhatsApp acquisition, promotion of Messenger and prior attempts to buy Snapchat and Twitter. Any personal social networking service can expand its features — and Facebook’s moat is contingent on its control of messaging.

The more time in an ecosystem the more valuable it becomes. Value in social networks is calculated, depending on whom you ask, algorithmically (Metcalfe’s law) or logarithmically (Zipf’s law). Either way, in social networks, 1+1 is much more than 2.

Social networks become valuable based on the ever-increasing number of nodes, upon which companies can build more features. Zuckerberg coined the “social graph” to describe this relationship. The monopolies of Line, Kakao and WeChat in Japan, Korea and China prove this clearly. They began with messaging and expanded outward to become dominant personal social networking behemoths.

In today’s refiling, the FTC explains that Facebook, Instagram and Snapchat are all personal social networking services built on three key features:

“First, personal social networking services are built on a social graph that maps the connections between users and their friends, family, and other personal connections.”
“Second, personal social networking services include features that many users regularly employ to interact with personal connections and share their personal experiences in a shared social space, including in a one-to-many ‘broadcast’ format.”
“Third, personal social networking services include features that allow users to find and connect with other users, to make it easier for each user to build and expand their set of personal connections.”

Unfortunately, this is only partially right. In social media’s treacherous waters, as the FTC has struggled to articulate, feature sets are routinely copied and cross-promoted. How can we forget Instagram’s copying of Snapchat’s stories? Facebook has ruthlessly copied features from the most successful apps on the market from inception. Its launch of a Clubhouse competitor called Live Audio Rooms is only the most recent example. Twitter and Snapchat are absolutely competitors to Facebook.

Messaging must be included to demonstrate Facebook’s breadth and voracious appetite to copy and destroy. WhatsApp and Messenger have over 2 billion and 1.3 billion users respectively. Given the ease of feature copying, a messaging service of WhatsApp’s scale could become a full-scale social network in a matter of months. This is precisely why Facebook acquired the company. Facebook’s breadth in social media services is remarkable. But the FTC needs to understand that messaging is a part of the market. And this acknowledgement would not hurt their case.

The metric: Revenue shows Facebook’s monopoly

Boasberg believes revenue is not an apt metric to calculate personal networking: “The overall revenues earned by PSN services cannot be the right metric for measuring market share here, as those revenues are all earned in a separate market — viz., the market for advertising.” He is confusing business model with market. Not all advertising is cut from the same cloth. In today’s refiling, the FTC correctly identifies “social advertising” as distinct from the “display advertising.”

But it goes off the deep end trying to avoid naming revenue as the distinguishing market share metric. Instead the FTC cites “time spent, daily active users (DAU), and monthly active users (MAU).” In a world where Facebook Blue and Instagram compete only with Snapchat, these metrics might bring Facebook Blue and Instagram combined over the 60% monopoly hurdle. But the FTC does not make a sufficiently convincing market definition argument to justify the choice of these metrics. Facebook should be compared to other personal social networking services such as Discord and Twitter — and their correct inclusion in the market would undermine the FTC’s choice of time spent or DAU/MAU.

Ultimately, cash is king. Revenue is what counts and what the FTC should emphasize. As Snapchat shows above, revenue in the personal social media industry is calculated by ARPU x DAU. The personal social media market is a different market from the entertainment social media market (where Facebook competes with YouTube, TikTok and Pinterest, among others). And this too is a separate market from the display search advertising market (Google). Not all advertising-based consumer technology is built the same. Again, advertising is a business model, not a market.

In the media world, for example, Netflix’s subscription revenue clearly competes in the same market as CBS’ advertising model. News Corp.’s acquisition of Facebook’s early competitor MySpace spoke volumes on the internet’s potential to disrupt and destroy traditional media advertising markets. Snapchat has chosen to pursue advertising, but incipient competitors like Discord are successfully growing using subscriptions. But their market share remains a pittance compared to Facebook.

An alternative pleading: Facebook’s market power suppresses wages in the creator economy

The FTC has correctly argued for the smallest possible market for their monopoly definition. Personal social networking, of which Facebook controls at least 80%, should not (in their strongest argument) include entertainment. This is the narrowest argument to make with the highest chance of success.

But they could choose to make a broader argument in the alternative, one that takes a bigger swing. As Lina Khan famously noted about Amazon in her 2017 note that began the New Brandeis movement, the traditional economic consumer harm test does not adequately address the harms posed by Big Tech. The harms are too abstract. As White House advisor Tim Wu argues in “The Curse of Bigness,” and Judge Boasberg acknowledges in his opinion, antitrust law does not hinge solely upon price effects. Facebook can be broken up without proving the negative impact of price effects.

However, Facebook has hurt consumers. Consumers are the workers whose labor constitutes Facebook’s value, and they’ve been underpaid. If you define personal networking to include entertainment, then YouTube is an instructive example. On both YouTube and Facebook properties, influencers can capture value by charging brands directly. That’s not what we’re talking about here; what matters is the percent of advertising revenue that is paid out to creators.

YouTube’s traditional percentage is 55%. YouTube announced it has paid $30 billion to creators and rights holders over the last three years. Let’s conservatively say that half of the money goes to rights holders; that means creators on average have earned $15 billion, which would mean $5 billion annually, a meaningful slice of YouTube’s $46 billion in revenue over that time. So in other words, YouTube paid creators a third of its revenue (this admittedly ignores YouTube’s non-advertising revenue).

Facebook, by comparison, announced just weeks ago a paltry $1 billion program over a year and change. Sure, creators may make some money from interstitial ads, but Facebook does not announce the percentage of revenue they hand to creators because it would be insulting. Over the equivalent three-year period of YouTube’s declaration, Facebook has generated $210 billion in revenue. one-third of this revenue paid to creators would represent $70 billion, or $23 billion a year.

Why hasn’t Facebook paid creators before? Because it hasn’t needed to do so. Facebook’s social graph is so large that creators must post there anyway — the scale afforded by success on Facebook Blue and Instagram allows creators to monetize through directly selling to brands. Facebooks ads have value because of creators’ labor; if the users did not generate content, the social graph would not exist. Creators deserve more than the scraps they generate on their own. Facebook suppresses creators’ wages because it can. This is what monopolies do.

Facebook’s Standard Oil ethos

Facebook has long been the Standard Oil of social media, using its core monopoly to begin its march upstream and down. Zuckerberg announced in July and renewed his focus today on the metaverse, a market Roblox has pioneered. After achieving a monopoly in personal social media and competing ably in entertainment social media and virtual reality, Facebook’s drilling continues. Yes, Facebook may be free, but its monopoly harms Americans by stifling creator wages. The antitrust laws dictate that consumer harm is not a necessary condition for proving a monopoly under the Sherman Act; monopolies in and of themselves are illegal. By refiling the correct market definition and marketshare, the FTC stands more than a chance. It should win.

A prior version of this article originally appeared on Substack.

Meet the anti-antitrust startup club

Little Black Door launches app on iOS/Android allowing women to share wardrobes, online and off

Published June 3, 2021

Our relationship with fashion has changed, and not just because of the pandemic. Months in lockdown means people are probably more aware of their fashion purchases and how they consume, given its been such a long time without socializing. But the oft-talked about “Clueless” wardrobe, which would allow women to both see into their collections, as well as share and potentially borrow from friends, has yet to go mainstream. Now a U.K. startup aims to change this.

The Little Black Door app, previously in closed beta, has just launched on the Apple iOS store here and on Android.

The app allows women to share the content of their wardrobes in an Instagram-like manner by creating collections (“Lookbooks”), as well as curate their private wardrobe for their own use, with a focus on premium and luxury fashion. Women, says LBD, can “see, style and share”, as well as resell and borrow clothes offline.

The Lookbook feature allows women to share wardrobes collections with friends or followers in a controlled way, a feature that lets users borrow from each other.

Co-founder Lexi Willetts tells me: “We’d simply gotten to a point where we didn’t know what fashion we owned, given that almost every other area of life allows this. Most fashion can be easily dash-boarded on our phones — we couldn’t understand why our wardrobe wasn’t! Equally the effort required to list an item on resale was also super hard.”

Willetts and co-founder Marina Pengilly came up with the app when they realized they could make as much as £30,000 a year reselling their luxury clothes and accessories online. LBD is going after four key trends: the rise of resale (Depop etc); rentals like Rent the Runway; AI in e-commerce; and re-receipts.

Users upload their wardrobe by taking a photo of an item. The app will then recognize the item using computer vision. Lookbooks showcases fashion collections; new and old also have an “I have this” button, allowing users to add items to their own wardrobes, or add as they buy automatically via links to retailers.

Another key feature allows users to see into their own wardrobes to see what they have, and, crucially, see how much they’ve spent, and own, in value.

Users can also create a Lookbook, not unlike on Pinterest, which can be shared with friends or a wider fashion community in a public or private group-controlled way. Lookbooks can be shared with a user’s network to allow them to see your style, or borrow the outfit in real life. As well as this, LBD itself also curates a feed of fashion/lifestyle news and surveys.

Willetts says partnerships with retailers and supplier deals for sales and fashion repairs are also in the offing.

The story behind Rent the Runway’s first check

LBD competes with the Save Your Wardrobe’ app.

But it is pushing the fact that it places a greater emphasis on sharing the wardrobe as well, also allowing people to borrow items With this focus on premium and luxury fashion this makes it a truly social wardrobe, says LBD.

The business model is likely to be a Premium version that unlocks extra features, affiliate revenues, advertising, and resale commissions.

Disclosure: Mike Butcher was an early, informal, adviser.

Pinterest introduces Idea Pins, a video-first feature aimed at creators

Published May 18, 2021

Pinterest is expanding further into the creator community with today’s launch of a video-first feature called “Idea Pins,” aimed at creators who want to tell their stories using video, music, creative editing tools and more. The feature feels a lot like Pinterest’s own take on TikTok, mixed with Stories, as the new Pins allow creators to record and edit creative videos with up to 20 pages of content, using tools like voiceover recording, background music, transitions and other interactive elements.

The company says Idea Pins evolved out of its tests with Story Pins, launched into beta in September 2020, after various stages of development beginning the year prior. At the time, Pinterest explained that Story Pins were different from the Stories you’d find on other social networks, like Snapchat or Instagram, because they focused on what people were doing — like trying new ideas or new products, not giving you snapshots of a creator’s personal life.

Another notable differentiator was that Story Pins weren’t ephemeral. That is, they didn’t disappear after a certain amount of time, but rather could be surfaced through search and other discovery mechanisms.

Pinterest to test livestreamed events this month with 21 creators

Over the past eight months since their debut, Pinterest has worked with Story Pin creators on the experience. That’s led to the new concept of the Idea Pin — essentially a rebranded Story Pin, which now offers a broader suite of editing tools than what was previously available.

Video is a key element in Idea Pins, as the Pins target the increased consumer demand for short-form video content of a creative nature — like what’s being delivered through TikTok, Instagram Reels, YouTube Shorts and elsewhere. The videos in the Pins can be up to 60 seconds on iOS, Android and web for each page, with up to 20 total pages per Pin.

Image Credits: Pinterest

Creators can edit their videos by adding their own voiceover or using a “ghost mode” transition tool to better showcase their before-and-afters by overlaying one part of a video on another. And they can save drafts of their work in progress.

But Idea Pins still include a number of features common to Stories, like adding stickers or tagging other creators with an @username, for instance. Pinterest says it will start with over 100 stickers featuring hand-drawn illustrations focused on top categories and behaviors it expects to see, like food-themed illustrations, stickers for before-and-afters, seasonal moments, and more.

Pinterest is also working with the royalty-free music database Epidemic Sound to offer a catalog of free tracks for use in Idea Pins.

And because many creators will use Idea Pins to inspire people to try a recipe or project of some sort, they can include “detail pages” where viewers can find the ingredient list or instructions, which is handy.

Image Credits: Pinterest

Pins are shared to Pinterest, where the company says they help the creator build an audience by being distributed in several places across its platform, including in some markets, by locating Pins for creators you follow right at the top of the home page.

Creators can also apply topic tags when publishing to ensure they’re surfaced when people are seeking that sort of content. Each Idea Pin can have up to 10 topic tags, which help to distribute the content in a targeted way to users via the home feed and search, the company says.

While Pins can help creators build an audience on Pinterest, they can use Idea Pins to grow their audience on other platforms, too. The company says it will offer export options that let people share their Pins across the web and social media. To do so, they download their Pin as a video, which includes a Pinterest watermark and profile name — a trick learned from TikTok. This can then be reshared elsewhere.

Image Credits: Pinterest

Pinterest users, meanwhile, can save Idea Pins like any other Pin on the platform.

“We believe the best inspiration comes from people who are fueled by their passions and want to bring positivity and creativity into the world,” said Pinterest co-founder and Chief Design and Creative Officer Evan Sharp, in a statement about the launch. “On Pinterest, anyone can inspire. From creators to hobbyists to publishers, Pinterest is a place where anyone can publish great ideas and discover inspiring content. We have creators with extraordinary ideas on Pinterest, and with Idea Pins, creators are empowered to share their passions and inspire their audiences,” he added.

The new Idea Pin format is rolling out today to all creators (users with a business account) in the U.S., U.K., Australia, Canada, France, Germany, Austria and Switzerland.

Image Credits: Pinterest

Pinterest says, during tests, it found that Idea Pins were more engaging than standard Pins, with 9x the average comment rate. The number of Idea Pins (previously known as Story Pins) has also grown by 4x since January, as more creators adopted the format.

To help creators track how well Pins are performing, Pinterest is expanding its Analytics feature to include a new followers and profile-visits-driven metric to show creators how their Idea Pins have driven deeper engagement with their account.

The company says the next step is to make Idea Pins more shoppable, which it’s doing now with tests of product tagging underway.

Pinterest has been increasing its investment in the creator community in recent months, with the launch of its first-ever Creator Fund last month, and this month’s test of livestreamed events with 21 creators. It’s also now testing creator and brand collaborations with a select number of creators, including Domonique Panton, Peter Som and GrossyPelosi, it says.

Image Credits: Pinterest

While Idea Pins seem like a natural pivot from Pinterest’s founding as an inspiration and idea board, it will face serious competition when it comes to wooing the professional creator community to its platform. Other Big Tech companies are outspending Pinterest, whose new Creator Fund of $500,000 falls short of the $1 million per day Snap paid creators or the $100 million fund for YouTube Shorts creators, TikTok’s $200 million fund or the deals Instagram has been making to lure Reels creators. These platforms, as well as a host of startups, are also giving creators a way to directly monetize their efforts through features like tips, donations, subscriptions and more.

What Pinterest may have in its favor, though, is its reach. The company claims 475 million users, which makes it a destination some creators may not want to overlook in their bid for growth, and later, e-commerce.

Pinterest’s diversity report is missing some key data

This Week in Apps: TikTok viral hit breaks Spotify records, inauguration boosts news app installs, judge rules against Parler

Published January 23, 2021

Welcome back to This Week in Apps, the weekly TechCrunch series that recaps the latest in mobile OS news, mobile applications and the overall app economy.

The app industry is as hot as ever, with a record 218 billion downloads and $143 billion in global consumer spend in 2020.

Consumers last year also spent 3.5 trillion minutes using apps on Android devices alone. And in the U.S., app usage surged ahead of the time spent watching live TV. Currently, the average American watches 3.7 hours of live TV per day, but now spends four hours per day on their mobile devices.

Apps aren’t just a way to pass idle hours — they’re also a big business. In 2019, mobile-first companies had a combined $544 billion valuation, 6.5x higher than those without a mobile focus. In 2020, investors poured $73 billion in capital into mobile companies — a figure that’s up 27% year-over-year.

This week, we’re looking into how President Biden’s inauguration impacted news apps, the latest in the Parler lawsuit, and how TikTok’s app continues to shape culture, among other things.

Weekly News

Platforms: Apple

Apple stops signing iOS 12.5, making iOS 12.5.1 the only versions of iOS available to older devices.
A report claims Apple’s iOS 15 update will cut support for devices with an A9 chip, like the iPhone 6, iPhone 6s Plus and the original iPhone SE.
New analysis estimates Apple’s upcoming iOS privacy changes will cause a roughly 7% revenue hit for Facebook in Q2. The revenue hit will continue in following quarters and will be “material.”

Platforms: Google

Google adds “trending” icons to the Play Store. New arrow icons appeared in the Top Charts tab, which indicate whether an app’s downloads are trending up or down, in terms of popularity. This could provide an early signal about those that may still be rising in the charts or beginning to fall out of favor, despite their current high position.
Google appears to be working on a Restricted Networking mode for Android 12. The mode, discovered by XDA Developers digging in the Android Open Source Project, would disable network access for all third-party apps.

Gaming

Goama (or Go Games) introduced a way for developers to integrate social games into their apps, which was showcased at CES. The company focuses on Asia and Latin America and has more than 15 partners, including GCash and Rappi, for digital payments and communications.

Goama lets developers integrate a social gaming platform into their apps

Fortnite maker Epic Games is getting into movies. The animated feature film Gilgamesh will use Epic’s Unreal Engine technology to tell the story of the king-turned-deity. The movie is not an in-house project, but rather is financed through Epic’s $100M MegaGrants fund.

Augmented Reality

Patents around Apple’s AR and VR efforts describe how a system could be identified in a way that’s similar to FaceID, then either permitted or denied the ability to change their appearance in the game.
Pinterest launches AR try-on for eyeshadow in its mobile app using Lens technology and ModiFace data. The app already offered AR try-on for lipsticks.

Pinterest launches an AR-powered try-on experience for eyeshadow

Entertainment

The CW app became the No. 1 app on the App Store this week, topping TikTok, Instagram and YouTube, thanks to CW’s season premieres of Batwoman, All American, Riverdale and Nancy Drew.
Users of podcasting app Anchor, owned by Spotify, say the app isn’t bringing them any sponsorship opportunities, as promised, beyond those from Spotify and Anchor itself.
YouTube launches hashtag landing pages on the web and in its mobile app. The pages are accessible when you click hashtags on YouTube, not via search, and weirdly rank the “best” videos through some inscrutable algorithm.

YouTube launches hashtag landing pages to all users

Apple’s Podcasts app adds a new editorial feature, Apple Podcasts Spotlight, meant to increase podcast listening by showcasing the best podcasts as selected by Apple editors.

E-commerce

WeChat facilitated 1.6 trillion yuan (close to $250 billion) in annual transactions through its “mini programs” in 2020. The figure is more than double that of 2019.

WeChat advances e-commerce goals with $250B in transactions

Fintech

Douyin, the Chinese version of TikTok, launched an e-wallet, Douyin Pay. The wallet will supplement the existing payment options, Alipay and WeChat Pay, and will help to support the Douyin app’s growing e-commerce business.
Neobank Monzo founder Tom Blomfield left the startup, saying he struggled during the pandemic. “I think [for] a lot of people in the world…going through a pandemic, going through lockdown and the isolation involved in that has an impact on people’s mental health,” he told TechCrunch.

Monzo founder Tom Blomfield is departing the challenger bank and says he’s ‘struggled’ during the pandemic

New estimates indicate about 50% of the iPhone user base (or 507 million users) now use Apple Pay.
Samsung’s newest phones drop support for MST, which emulates a mag stripe at terminals that don’t support NFC.

Social

Indian messaging app, StickerChat, owned by Hike, is shutting down. Founder Kavin Bharti Mittal said India will never have a homegrown messenger unless it bars Western companies from its market. Hike pivoted this month to virtual social apps, Vibe and Rush, which it believes have more potential.
Instagram head Adam Mosseri, in a Verge podcast, said he’s not happy with Reels so far, and how he feels most people probably don’t understand the difference between Instagram video and IGTV. He says the social network needs to simplify and consolidate ideas.
Facebook and Instagram improve their accessibility features. The apps’ AI-generated image captions now offer far more details about who or what is in the photos, thanks to improvements in image recognition systems.
TikTok launches a Q&A feature that lets creators respond to fan questions using text or videos. The feature, rolled out to select creators with more than 10,000 followers, makes it easier to see all the questions in one place.

TikTok’s new Q&A feature lets creators respond to fan questions using text or video

Health & Fitness

Health and fitness app spending jumped 70% last year in Europe to record $544 million, a Sensor Tower report says. The year-over-year increase is far larger than 2019, when growth was just 37.2%. COVID-19 played a large role in this shift as people turned to fitness apps instead of gyms to stay in shape.

Government & Policy

Biden’s inauguration boosted installs of U.S. news apps up to 170%, Sensor Tower reported. CNN was the biggest mover, climbing 530 positions to reach No. 41 on the App Store, and up 170% in terms of downloads. News Break was the second highest, climbing 13 positions to No. 65. Right-wing outlet Newsmax climbed 43 spots to reach No. 108. In 2020, the top news apps were: News Break (23.7 million installs); SmartNews (9 million); CNN (5 million); and Fox News (4 million). This month, however, News Break saw 1.2 million installs, followed by Newsmax with about 863,000 installs, the report said.
Ireland’s Data Protection Commission (DPC) sent a draft decision to fellow EU Data Protection Authorities over the WhatsApp-Facebook data sharing policy. This means a decision on the matter is coming closer to a resolution in terms of what standards of transparency is required by WhatsApp.

WhatsApp-Facebook data-sharing transparency under review by EU DPAs after Ireland sends draft decision

German app developer Florian Mueller of FOSS Patents filed a complaint with the EU, U.S. DOJ and other antitrust watchdogs around the world over Apple and Google’s rejection of his COVID-related mobile game. Both stores had policies to only approve official COVID-19 apps from health authorities. Mueller renamed the game Viral Days and removed references to the novel coronavirus to get the app approved. However, he still feels the stores’ rules are holding back innovation.

Productivity

Basecamp’s Hey, which famously fought back against Apple’s App Store rules over IAP last year, has launched a business-focused platform, Hey for Work, expected to be public in Q1. The app has more App Store ratings than rival Superhuman, a report found. Currently, Hey has a 4.7-star rating across 3.3K reviews; Superhuman has 3.9 rating across only 274 reviews.

Trends

Baby boomers are increasingly using apps. Baby boomers/Gen Xers in the U.S. spent 30% more time year-over-year in their most used apps, App Annie reports. That’s a larger increase than either Millennials or Gen Z, at 18% and 16%, respectively.

Funding and M&A

Curtsy, a clothing resale app for Gen Z women, raised an $11 million Series A led by Index Ventures. The app tackles some of the problems with online resale by sending shipping supplies and labels to sellers, and by making the marketplace accessible to new and casual sellers.
Storytelling platform Wattpad acquired by South Korea’s Naver for $600 million. The reading apps whose stories have turned into book and Netflix hits will be incorporated into Naver’s publishing platform Webtoon.

Wattpad, the storytelling platform, is selling to South Korea’s Naver for $600 million

On-demand delivery app Glovo partnered with Swiss-based real estate firm, Stoneweg, which is investing €100 million in building and refurbishing real estate in key markets to build out Glovo’s network of “dark stores.”
Pocket Casts app is up for sale. The podcast app was acquired nearly three years ago by a public radio consortium of top podcast producers (NPR, WNYC Studios, WBEZ Chicago and This American Life). The owners have now agreed to sell the app, which posted a net loss in 2020. (NPR’s share of the loss was over $800,000.)
Travel app Maps.me raised $50 million in a round led by Alameda Research. The funding will go toward the launch of a multi-currency wallet. Cryptocurrency lender Genesis Capital and institutional cryptocurrency firm CMS Holdings also participated in the round, Coindesk reported.
Bangalore-based hyperlocal delivery app Dunzo raised $40 million in a round that included investment from Google, Lightbox, Evolvence, Hana Financial Investment, LGT Lightstone Aspada and Alteria.
London-based food delivery app Deliveroo raised $180 million in new funding from existing investors, led by Durable Capital Partners and Fidelity Management, valuing the business at more than $7 billion.
Dating Group acquired Swiss startup Once, a dating app that sends one match per day, for $18 million.

‘Slow dating’ app Once is acquired by Dating Group for $18M as it seeks to expand its portfolio

Downloads

Bodyguard

Image Credits: Bodyguard

A French content moderation app called Bodyguard, detailed here by TechCrunch, has brought its service to the English-speaking market. The app allows you to choose the level of content moderation you want to see on top social networks, like Twitter, YouTube, Instagram and Twitch. You can choose to hide toxic content across a range of categories, like insults, body shaming, moral harassment, sexual harassment, racism and homophobia and indicate whether the content is a low or high priority to block.

Bodyguard is a mobile app that hides toxic content on social platforms

Beeper

Image Credits: Beeper

Pebble’s founder and current YC Partner Eric Migicovsky has launched a new app, Beeper, that aims to centralize in one interface 15 different chat apps, including iMessage. The app relies on an open-source federated, encrypted messaging protocol called Matrix that uses “bridges” to connect to the various networks to move the messages. However, iMessage support is more wonky, as the company actually ships you an old iPhone to make the connection to the network. But this system allows you to access Beeper on non-Apple devices, the company says. The app is slowly onboarding new users due to initial demand. The app works across MacOS, Windows, Linux‍, iOS and Android and charges $10/mo for the service.

Pebble founder launches Beeper, a universal chat app that works with iMessage and others

Is 2020 bringing more edtech rounds than ever, or does it simply feel that way?

Published December 8, 2020

Venture capital activity is high at the moment, making it difficult to keep up with the influx of new rounds that are being announced.

Our cup runneth over, and I would much rather be busy than bored, but not all sectors are as busy as others. We’re not drowning in consumer social rounds, for example. We are, however, seemingly suffering from a deluge of edtech investments.

The Exchange explores startups, markets and money. Read it every morning on Extra Crunch, or get The Exchange newsletter every Saturday.

Happily for the TechCrunch crew, Natasha Mascarenhas has become our resident expert on the sector, covering it week in and week out. But even though it’s her beat, I couldn’t help but wonder this morning upon yet another large edtech round coming across the wires, just what is going on in the sector in aggregate?

I had to know. So, I’ve done a little digging into Crunchbase data, parsed through some other information and have something approaching an idea. My goal is to help us both understand if there are more edtech rounds than ever being announced, or if it simply seems that way.

Into the breach!

Edtech VC activity

The best way to start examining at a sector is to take its aggregate performance data and cut it into smaller bits. Companies do this with quarterly results, for example, an utterly arbitrary period of time to report on that is also very useful.

To get a handle on edtech in 2020, I went a bit more caveman and decided to look at the sector’s funding totals in 2020 by merely comparing the first and second half of the year.

Per Crunchbase’s “edtech” category, here’s what that data looks like:

H1 2020: 211 rounds, $2.68 billion.
H2 (YTD) 2020: 135 rounds, $5.25 billion.

Startups joining SK Telecom’s accelerator include AI-driven mapping and vision for delivery robots

Published October 7, 2020

We don’t often cover telecom technology startups, but it’s periodically worth checking in to see what’s happening in that space. We can get a good indication from the latest cohort to emerge from an accelerator associated with South Korea’s largest wireless carrier, SK Telecom.

This group of startups will join the Telecom Infra Project accelerator in South Korea, which is part of a global program of telecoms specialist centers, and run in partnership with SK Telecom.

The cohort includes a ship-berthing monitoring system; an app that turns a group of mobile phones into a TV studio; an AI-powered indoor positioning system, which creates interactive maps; a vision system for delivery robots; and one which allows remote audiences to experience live events “together” via a digital stadium.

The selected startups include:

Dabeeo: Dabeeo’s AI-powered indoor positioning system uses vision data produced through smartphone cameras to create interactive maps, used for gaming, marketing and logistics. Crunchbase

Neubility: Neubility develops vision-based localization and path planning technologies for last-mile delivery robots. Crunchbase

Seadronix: Seadronix is a computer vision-based ship-parking-monitoring solution that provides an AI-based berthing-monitoring system. Crunchbase

39 degrees C: This is a mobile multi-camera live-streaming app. It directly connects multiple smartphone feeds to each other using a technology called WiFi-Direct — turning them into a TV studio. Crunchbase

Kiswe: Kiswe is a supplier of entertainment broadcast technology. Its product, CloudCast, is a “Broadcast Studio in the Cloud,” which enables partners to send a digital feed into the cloud to produce live and non-live content. Its other product, Hangtime, allows remote audiences to experience live events “together” through creating a digital stadium with chat rooms, and provides control over viewing angles from within the platform. Crunchbase

Couchbase raises $105M Series G funding round

Published May 21, 2020

Couchbase, the Santa Clara-based company behind the eponymous NoSQL cloud database service, today announced that it has raised a $105 million all-equity Series G round “to expand product development and global go-to-market capabilities.”

The oversubscribed round was led by GPI Capital, with participation from existing investors Accel, Sorenson Capital, North Bridge Venture Partners, Glynn Capital, Adams Street Partners and Mayfield. With this, the company has now raised a total of $251 million, according to Crunchbase.

Back in 2016, Couchbase raised a $30 million down round, which at the time was meant to be the company’s last round before an IPO. That IPO hasn’t materialized, but the company continues to grow, with 30% of the Fortune 100 now using its database. Couchbase also today announced that, over the course of the last fiscal year, it saw 70% total contract value growth, more than 50% new business growth and over 35% growth in average subscription deal size. In total, Couchbase said today, it is now seeing almost $100 million in committed annual recurring revenue.

“To be competitive today, enterprises must transform digitally, and use technology to get closer to their customers and improve the productivity of their workforces,” Couchbase President and CEO Matt Cain said in today’s announcement. “To do so, they require a cloud-native database built specifically to support modern web, mobile and IoT applications. Application developers and enterprise architects rely on Couchbase to enable agile application development on a platform that performs at scale, from the public cloud to the edge, and provides operational simplicity and reliability. More and more, the largest companies in the world truly run their businesses on Couchbase, architecting their most business-critical applications on our platform.”

The company is playing in a large but competitive market, with the likes of MongoDB, DataStax and all the major cloud vendors vying for similar customers in the NoSQL space. One feature that has always made Couchbase stand out is Couchbase Mobile, which extends the service to the cloud. Like some of its competitors, the company has also recently placed its bets on the Kubernetes container orchestration tools with, for example the launch of its Autonomous Operator for Kubernetes 2.0. More importantly, though, the company also introduced its fully managed Couchbase Cloud Database-as-a-Service in February, which allows businesses to run the database within their own virtual private cloud on public clouds like AWS and Microsoft Azure.

“We are excited to partner with Couchbase and view Couchbase Server’s highly performant, distributed architecture as purpose-built to support mission-critical use cases at scale,” said Alex Migon, a partner at GPI Capital and a new member of the company’s board of directors. “Couchbase has developed a truly enterprise-grade product, with leading support for cutting-edge application development and deployment needs. We are thrilled to contribute to the next stage of the company’s growth.”

The company tells me that it plans to use the new funding to continue its “accelerated trajectory with investment in each of their three core pillars: sustained differentiation, profitable growth, and world class teams.” Of course, Couchbase will also continue to build new features for its NoSQL server, mobile platform and Couchbase Cloud — in addition, the company will continue to expand geographically to serve its global customer operations.

Former Stitch Fix COO Julie Bornstein just took the wraps off her app-only e-commerce startup, The Yes

Published May 20, 2020

After teasing the launch of their new startup last year, e-commerce veteran Julie Bornstein and her technical co-founder, Amit Aggarwal, are today launching The Yes, a women’s shopping platform that they’ve been quietly building for 18 months and they say will create tailor-made experiences for each user, courtesy of its sophisticated algorithms.

Bornstein’s experience and vision alone attracted $30 million in funding to the venture last year from Forerunner Ventures, New Enterprise Associates and True Ventures, among others. To learn more about how it breaks through in a world rife with e-commerce companies, we talked with Bornstein, who previously spent four years as COO of the styling service Stitch Fix and before that spent years as a C-level executive at Sephora. We wondered specifically how The Yes differs from Stitch Fix, given that both companies use data science to discover clothing for shoppers based on their size, budget and style.

Aside from the fact that The Yes is taking an app-only approach (unlike Stitch Fix), and doesn’t have a subscription model, Bornstein says that The Yes is very much focused on people “who want to shop” versus those who want their shopping done for them. Yet that’s just the start of what makes The Yes different than its other predecessors, said Bornstein in a conversation that follows below, edited lightly for length.

TC: You’re building what you call a store around each user, who downloads the app, answers questions that provide a lot of “signal” about that person’s style and brand preferences and size and budget, and that’s adaptive, meaning the algorithm is always re-ranking products as it learns better what a person likes. What demographic are you targeting?

JB: It’s women of a very broad age range, from 25 to 75, who care about fashion, whether they’re an in-the-know-on-everything fashionista or they just want to look great. And you can shop high/low, which is how most women shop these days. So it depends what you’re looking for.

TC: It sounds like you’re selling women’s apparel exclusively to start. Are you also selling handbags? Jewelry? Accessories?

JB: We’re focused on fashion and footwear, and we have accessories and handbags. A lot of our brands have great handbags. Then we will be expanding more to jewelry and other accessory categories over time.

TC: What brands can shoppers find on the platform?

JB: We have 145 brands at launch, ranging from Gucci, Prada and Erdem to contemporary brands like Vince and Theory to direct-to-consumer brands like Everlane and La Ligne to everyday brands like Levis. When a brand integrates with The Yes, the platform sells each brand’s full digital catalog.

TC: Why go app only?

Most of the e-commerce sites that have mobile presence really feel like a website converted to a small screen. We [thought if we] challenged ourselves to leverage the technology of the native app environment, [we] could build a much slicker experience for the user. We also know that mobile is growing. It’s about 50% of total purchases now in fashion and growing faster, so while we know that web will be important to add, we really felt like mobile and iOS were the places to start.

TC: Stitch Fix uses machine learning to analyze customer tastes, but it ultimately relies on human stylists to choose items. What new advances have been made in AI that can allow The Yes to actually pick products using artificial intelligence? Isn’t fashion, like music, a “noisy” problem, with consumers often not knowing what they want?

JB: It’s such a nuanced area and really hard to do in the form of recommendations, but there are a number of reasons that enable us to do it. One is we had to build the most extensive taxonomy that exists in fashion. We did think a lot about the music genome project that Pandora did and all the work that Spotify has done. Music is definitely one of our inspirations. And if you look at what they did, they had some human expertise in the beginning, creating these categories, and then the machine learned on top of it, and we have done the same in fashion. So we had fashion expertise build our initial taxonomy.

Then we leveraged both machine learning and computer vision to train models to understand how to absorb all pieces of data related to a product, as well as the image itself and how to read images. And it gave us a really strong understanding of 500 dimensions for every single item. [Meanwhile] to understand what the consumer cares about, we spent a lot of time testing and learning which questions [to ask] when it comes to brand and price and things like color and style and size and fit…

TC: Because of your background, comparisons are probably going to be made between The Yes and Stitch Fix. What was the impetus for this new business? Was it a matter of eliminating that personal touch?

JB: I had such a great experience at Stitch Fix, and I’m still a shareholder and a big fan of the company and the team. And I think what they’re doing, what they continue to do, is terrific in really pushing the boundary on this concept of shopping-as-a-service.

What I am working on, and our team is really focused on, is the actual consumer shopping experience for consumers who want to shop. There’s a strong percent of the population who really loves to shop and wants agency in their own selection, and that is really the consumer we’re going after.

TC: You’re launching with roughly 150 brands. What is your relationship with them? Are you taking a cut of a transaction? Are you ever taking possession of their products? Do you have a warehouse or warehouses?

There were two things coming into this business that I wanted to avoid based on my personal experience, which was one, owning inventory, and two, reshooting every item for its own new photographs on the site. Pinterest and Instagram and all these other visual sites have shown us that the brands spend a lot of money shooting images to look a certain way to help communicate what their brand is all about. So leveraging those assets has been terrific.

[Regarding inventory], there’s no reason to ship the product from the brand to another warehouse and then to the consumer. We’re cutting out that stuff and shipping it direct from the brand. From a consumer standpoint, you order on our app, and everything is one-click, and you are charged by [us]. But then the order is placed through the brand and is shipped from the brand to you. Then we will communicate to you when it’s shipped, when it’s arriving, and if you have any customer service issues, we take care of it.

And we take a flat commission [on sales].

TC: Returns are free. But isn’t that a huge cost center, and might it deter people from returning items if you charged something for returns?

JB: My feeling is that free shipping and free returns is a baseline requirement to offer a great service. And it’s our job to help match [shoppers] to product that you’re not going to return. We have an enormous goal to have the lowest return rate in the industry. It will obviously take us some time to get there. But we believe that by making sure that we understand what works for you and what doesn’t, we can get [there].

TC: You raised $30 million last year. Are you in the market for a Series B? What will you have to show investors toward that end?

JB: The logic behind the dollar amount that we raised was: how much do we need to build what we want to build, and then bring it to market and get traction? And so that is our goal that starts tomorrow. . .

TC: How has this current reality altered your plans? Launching during a pandemic isn’t what you were imagining, obviously.

JB: No, it is not. [Laughs.] I don’t know that any of us could have possibly. We did delay our launch; we were originally launching in March, and once COVID hit, we needed to make sure we could see straight and understand the impact. I think as time has passed, we have felt more and more compelled to get out there to help our brands, all of whom are feeling the impact of the retail stores closing, or orders being canceled by their retail partners. They’re all businesses and many of them small businesses, so we want to help them.

It’s also an interesting time because we all need a little bit of levity and escape. And the app really is a fun escape.

With $30 million in fresh funds, The Bouqs plans to plant its flower delivery business in Japan

Published January 30, 2020

The Bouqs plans to take a slice of Japan’s $6 billion flower market this year with a $30 million strategic growth round from Japanese enterprise business investor Yamasa. While The Bouqs still must compete with bigger contenders like 1-800-Flowers and FTD in the U.S., it will now have to take on incumbents like Ayoma Flower Market and FloraJapan, both of which also offer same-day delivery throughout the land of the rising sun.

So why Japan? According to The Bouqs founder and CEO John Tabis, his company had been looking to expand internationally for awhile and Japan seemed to fit well within that plan.

The Bouqs CEO and founder John Tabis

But as far as bigger competition in any country, Tabis is undeterred, telling TechCrunch there’s plenty of opportunities in the flower delivery business if you know where to look. “There’ve been four or five other startups that tried something similar — some of them no longer exist,” Tabis said. “But the thing that’s worked for us, the first is the way that we’ve sourced is unique and it’s really the foundation of our brand.”

The Bouqs sprung up in a wave of Silicon Valley funded flower delivery startups like BloomThat, Farm Girl and Urban Stems, all promising Pinterest -worthy bouquets at the click of a button. But what set it apart was its farm-direct supply chain, cutting out costs from middlemen and delivering flowers that last longer.

This particular round now puts The Bouqs up top as far as total funding raised among its flower delivery startup peers, bringing in $74 million in total funding to date, with competitor Urban Stems in second place with $27 million in funding, according to Crunchbase.

Tabis also tells TechCrunch the new funds will further the company’s development into brick-and-mortar stores and that it’s jumping into the wedding biz. As anyone who’s ever planned a wedding will tell you, it’s an industry ripe for disruption — with brides and grooms spending about 8% of the budget on the flowers alone.

One other renewed focus for the company will be its subscription business, keeping customers set up with a fresh bunch of flowers once the old bouquet is ready for tossing. “It’s sort of the linchpin of our business that’s grown very nicely…expanding both our revenue and profitability,” Tabis told TechCrunch.

The SVP of Yamasa, Norikazu Sano, also mentioned further expansion into Asia for the company in a company press release, so we could see The Bouqs in more international areas over time, if all goes right in Japan.

“This financing will enable us to fully realize our vision to create a global network of top-quality farms paired with a category-defining local floral brand enabled by proprietary supply chain technology and vertically integrated sourcing capabilities. We’re so excited for this next phase of the business, and all of the opportunities that lie ahead,” Tabis said.

6 VCs explain why seed investors now favor enterprise startups

Published January 7, 2020

Hello and welcome back to our regular morning look at private companies, public markets and the gray space in between.

Today we’re digging into seed-stage companies, the vanguard of the venture market. In particular, we’re trying to understand why the ratio of seed deals now favor enterprise startups over their consumer-focused brethren. The fact that seed investors recently inverted their preferences, cutting more checks to enterprise (B2B) startups in 2019 than consumer-oriented companies (B2C) was news.

We wrote about the trend here, as regular readers will recall.

To better understand what’s going on, I spoke with a number of early-stage venture investors who recently dropped by Equity, came highly recommended by peers, and several I know personally. The goal was to get a handful of inputs from different firms to get under the skin of the trend.

What in the hell is going on in seed? Let’s find out.

Why are enterprise seed deals on top?

This morning we’ll hear from Jenny Lefcourt at Freestyle Capital, Jomayra Herrera of Cowboy Ventures, Hunter Walk from Homebrew, Iris Choi of Floodgate, Sarah Guo from Greylock and Ajay Agarwal of Bain Capital Ventures. As you can see, we picked a list of investors form firms of different sizes, theses and focus. However, each investing group either focuses on early-stage investments that include seed deals or dabbles in them.

Here’s what we want to know: why did the the majority of seed deals swap from consumer-focused startups to enterprise-focused deals?

Our investing group detailed a number of explanations, a handful of which echoed each other. To best convey their thinking, we’ll quote each investor at moderate length. If you are in a hurry, the most common point made against consumer-focused seed deals is go-to-market difficulty in the current market.

Other reasons include price, secular changes to the technology landscape, and the changing experience profile of the investing class themselves. (Minor edits made to select responses for clarity.)

Freestyle’s Jenny Lefcourt said via email that consumers are an increasingly difficult cohort to sell to, because they “became fickle with the proliferation of VC-backed, consumer-focused startups over the past few years.” As a result, consumers became “harder and more expensive to acquire and even harder to retain,” meaning higher customer acquisition costs (CAC) and lower lifetime value (LTV).

Pinterest

The problem

The market Includes messaging

The metric: Revenue shows Facebook’s monopoly

An alternative pleading: Facebook’s market power suppresses wages in the creator economy

Facebook’s Standard Oil ethos

Top Stories

Judge says Amazon doesn’t have to host Parler on AWS

TikTok drives another pop song to No. 1 on Billboard charts, breaks Spotify’s record

Weekly News

Platforms: Apple

Platforms: Google

Gaming

Augmented Reality

Entertainment

E-commerce

Fintech

Social

Health & Fitness

Government & Policy

Productivity

Trends

Funding and M&A

Downloads

Bodyguard

Beeper

Edtech VC activity

Why are enterprise seed deals on top?