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Snap is channeling Asia’s messaging giants with its move into gaming
Snap is taking a leaf out of the Asian messaging app playbook as its social messaging service enters a new era.
The company unveiled a series of new strategies that are aimed at breathing fresh life into the service that has been ruthlessly cloned by Facebook across Instagram, WhatsApp and even its primary social network. The result? Snap has consistently lost users since going public in 2017. It managed to stop the rot with a flat Q4, but resting on its laurels isn’t going to bring back the good times.
Snap has taken a three-pronged approach: extending its stories feature (and ads) into third-party apps and building out its camera play with an AR platform, but it is the launch of social games that is the most intriguing. The other moves are logical, and they fall in line with existing Snap strategies, but games is an entirely new category for the company.
It isn’t hard to see where Snap found inspiration for social games — Asian messaging companies have long twinned games and chat — but the U.S. company is applying its own twist to the genre.
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Snapchat launches Scan, its AR utility platform
Point and shoot? No, point and interact. Snapchat can now help with your homework. The app’s camera is becoming the foundation of an augmented reality developer platform known as “Scan.” Snap today announced partnerships with Photomath to add the ability to solve math problems, and Giphy for detecting objects, which then spawn related GIFs onscreen. Scan will roll out to all Snapchat users soon, and developers interested in joining the platform can contact Snap.
Snapchat Scan spawns Giphy GIFs based on what’s around you
Previously, Snapchat’s camera could identify songs with Shazam and recognize objects so you could buy them on Amazon. But now instead of just offering a few scattered tools, Snapchat is crystallizing its plan to let you reveal hidden information about the world around you.
“Our camera lets the natural light from our world penetrate the darkness of the internet . . . as we use the internet more and more in our daily lives, we need a way to make it a bit more human,” said Snap CEO Evan Spiegel at the company’s first-ever press event, the Snap Partner Summit. There it also announced it would launch an ad network, power Stories in other apps and launch a real-time multiplayer games platform.
Scan with Photomath solves math problems
Others like Blippar have tried to build AR utility platforms, but they lacked the community and daily use necessary to already be top of mind when people want to scan something. But Snap CEO Evan Spiegel today revealed that, “In the United States, Snapchat now reaches nearly 75 percent of all 13 to 34-year-olds, and we reach 90 percent of 13 to 24-year-olds. In fact, we reach more 13 to 24-year-olds than Facebook or Instagram in the United States, the U.K., France, Canada and Australia.”
The comparison data comes from Facebook’s ad manager estimates, which aren’t always totally accurate. Still, the stats demonstrate that amongst the audience likely to explore the world via augmented reality, Snapchat is huge. Even if Facebook wanted to build this behavior, it can’t, because the Facebook Camera isn’t the heart of its social network.
When users tap and hold on the Snapchat camera, they’ll start to Scan their surroundings. Answers to math equations will magically appear. If you view a $10 bill, Hamilton will come alive and sing a song from the musical. Scan a slice of pizza and a dancing Giphy pizza slice appears. Users will also see the new Snapchat AR Bar with dedicated buttons to Scan, create a lens or explore the 400,000 AR Lenses created by Snapchat’s community. Indeed, 75 percent of Snap’s 186 million daily users play with Lenses each day, combining into 15 billion total plays to date. Scan was built off the acquisition of a startup called Scan.me, which until now has powered Snap’s QR Snapcodes that let people add friends or unlock Lenses.
Snap’s new AR Bar
Outside of utility, Snapchat is also adding a slew of new creative AR features to keep that audience entertained and loyal. For example, it’s launching Landmarkers, which uses point cloud data from user-submitted Our Stories of major landmarks to power animated AR transformations of famous places. Now the Eiffel Tower, Buckingham Palace, LA’s Chinese Theater, DC’s Capitol Building and NYC’s Flatiron Building can spew rainbows, shoot lightning and more.
Snapchat’s new Landmarkers
For developers and Lens creators using Snap’s Lens Studio tools, Snap is launching new Creator Profiles where they can show off all the Lenses they’ve contributed. They’ll all have access to new AR templates for hand, body and pet effects that take care of all the hardcore computer science. Creators just add their graphical assets like a mustache for dogs, fireballs that shoot out of people’s hands or rainbows that appear over someone when they hold their arms out.
Snapchat’s new Lens Creator profiles
Snap will even surface relevant community Lenses in the Lens Carousel based on what its Scans pick up. One place it falls short, though, is there’s no direct monetization opportunities for independent Lens creators, beyond Snap occasionally connecting the best AR artists to brands for paid Lens development deals. Snapchat admits it will need to create better incentives long-term.
At a big press briefing yesterday, the company’s top execs explained that growth isn’t Snapchat’s success metric any more. That’s convenient, considering the launch of Instagram Stories cut Snap’s growth from 17 percent per quarter to it actually losing users and only stabilizing this quarter. Instead, Spiegel says, deepening user engagement, and thereby the ad revenue users generate, is Snap’s path forward.
The more Snap gets users playing with augmented reality filters and the better development tools it provides, the more brands and devs will pay to promote their Lenses in the Lens Carousel or through video ads where users swipe up to try a Lens.
But that engagement is also critical to beating Facebook and Instagram to the next phase of AR. Instagram Stories might have 500 million daily users, but they’re mostly applying AR to their faces, not to interact with the world. Snapchat needs as many fun AR entertainment experiences like Landmarkers as possible to normalize AR exploration, which will unlock the potential of the Scan platform. That could one day fuel affiliate fees from AR commerce sales and other revenue streams.
Plus, Snapchat says Lenses are coded to be compatible with not just iOS and Android, but future AR hardware platforms. To build the biggest repository of AR experiences, Snapchat needs help, as I wrote two years ago that Snap’s anti-developer attitude was an augmented liability. Now it’s finally building the tools and platform to harness a legion of developers to fill the physical world with imaginary wonder. “If we can show the right Lens in the right moment, we can inspire a whole new world of creativity,” concludes Snap co-founder Bobby Murphy
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Unicorns aren’t profitable, and Wall Street doesn’t care
In Silicon Valley, investors don’t expect their portfolio companies to be profitable. “Blitzscaling: The Lightning-Fast Path to Building Massively Valuable Companies,” a bible for founders, instead calls for heavy spending on growth to scale in an Amazon -like fashion.
As for Wall Street, it’s shown an affinity for stock in Jeff Bezos’ business, despite the many years it spent navigating a path to profitability, as well as other money-losing endeavors. Why? Because it too is far less concerned with profitability than market opportunity.
Lyft, a ride-hailing company expected to go public this week, is not profitable. It posted losses of $911 million in 2018, a statistic that will make it the biggest loser amongst U.S. startups to have gone public, according to data collected by The Wall Street Journal. On the other hand, Lyft’s $2.2 billion in 2018 revenue places it atop the list of largest annual revenues for a pre-IPO business, trailing behind only Facebook and Google in that category.
Wall Street, in short, is betting on Lyft’s revenue growth, assuming it will narrow its loses and reach profitability… eventually.
Wall Street’s hungry for unicorns
Lyft, losses notwithstanding, is growing rapidly and Wall Street is paying attention. On the second day of its road show, reports emerged that its IPO was already oversubscribed. As a result, Lyft is said to have upped the cost of its stock, with new plans to raise more than $2 billion at a valuation upwards of $25 billion. That represents a revenue multiple of more than 11x, a step up multiple of more than 1.6x from its most recent private valuation of $15.1 billion and, of course, Wall Street’s insatiable desire for unicorns, profitable or not.
New data from PitchBook exploring the performance of billion-dollar-plus VC exits confirms Wall Street’s leniency toward unprofitable tech companies. Sixty-four percent of the 100+ companies valued at more than $1 billion to complete a VC-backed IPO since 2010 were unprofitable, and in 2018, money-losing startups actually fared better on the stock exchange than money-earning businesses. Moreover, U.S. tech companies that had raised more than $20 million traded up nearly 25 percent of 2018, while the S&P 500 technology sector posted flat returns.
Wall Street is still adapting to the rapid growth of the tech industry; public markets investors, therefore, are willing to deal with negative to minimal cash flows for, well, a very long time.
A tolerance for outsized exits
There’s no doubt Lyft and its much larger competitor, Uber, will go public at monstrous valuations. The two IPOs, set to create a whole bunch of millionaires and return a number of venture capital funds, will provide Silicon Valley a lesson in Wall Street’s tolerance for outsized exits.
Much like a seed-stage investor must bet on a founder’s vision, Wall Street, given a choice of several unprofitable businesses, has to bet on potential market value. Fortunately, this strategy can work quite well. Take Floodgate, for example. The seed fund invested a small amount of capital in Lyft when it was still a quirky idea for ridesharing called Zimride. Now, it boasts shares worth more than $100 million. I’m sure early shareholders in Amazon — which went public as a money-losing company in 1997 — are pretty happy, too.
Ultimately, Wall Street’s appetite for unicorns like Lyft is a result of the shortage of VC-backed IPOs. In 2006, it was the norm for a company to make its stock market debut at 7.9 years old, per PitchBook. In 2018, companies waited until the ripe age of 10.9 years, causing a significant slowdown in big liquidity events and stock sales.
Fund sizes, however, have grown larger and the proliferation of unicorns continues at unforeseen rates. That may mean, eventually, an influx of publicly shared unicorn stock. If that’s the case, might Wall Street start asking more of these startups? At the very least, public market investors, please don’t be swayed by WeWork‘s eventual stock offering and its “community adjusted EBITDA.” Silicon Valley’s pixie dust can’t be that potent.
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Tencent Q4 profit disappoints, but cloud and payments gain ground
China’s Tencent reported disappointing profits in the fourth quarter on the back of surging costs but saw emerging businesses pick up steam as it plots to diversify amid slackening gaming revenues.
Net profit for the quarter slid 32 percent to 14.2 billion yuan ($2.1 billion), behind analysts’ forecast of 18.3 billion yuan. The decrease was due to one-off expenses related to its portfolio companies and investments in non-gaming segments like video content and financial technology.
Excluding non-cash items and M&A deals, Tencent’s net profit from the period rose 13 percent to 19.7 billion yuan ($2.88 billion). The company has to date invested in more than 700 companies, 100 of which are valued over $1 billion each and 60 of which have gone public.
Quarterly revenue edged up 28 percent to 84.9 billion yuan ($12.4 billion) beating expectations.
The Hong Kong-listed company is best known for its billion-user WeChat messenger but had for years relied heavily on a high-margin gaming business. That was until a months-long freeze on games approvals last year that delayed monetization for new titles, spurring a major reorg in the firm to put more focus on enterprise services, including cloud computing and financial technology.
Tencent has received approvals for eight games since China resumed the licensing process, although its blockbusters PlayerUnknown Battlegrounds and Fortnite have yet to get the green light. The firm also warned of a “sizeable backlog” for license applications in the industry, which means its “scheduled game releases will initially be slower than in some prior years.”
Video games for the quarter contributed 28.5 percent of Tencent’s total revenues, compared to 36.7 percent in the year-earlier period. Despite the domestic fiasco, Tencent remains as the world’s largest games publisher by revenue, according to data compiled by NewZoo. The firm has also gotten more aggressive in taking its titles global.
Social network revenues rose 25 percent on account of growth in live streaming and video subscriptions. The segment made up 22.9 percent of total revenues. Tencent has in recent years spent heavily on making original content and licensing programs as it competes with Baidu’s iQiyi video streaming site. Tencent claimed 89 million subscribers in the latest quarter, compared with iQiyi’s 87.4 million.
Tencent has been relatively slow to monetize WeChat in contrast to its western counterpart Facebook, though it’s under more pressure to step up its game. Tencent’s advertising revenue from the quarter grew 38 percent thanks to expanding advertising inventory on WeChat. Ads accounted for 20 percent of the firm’s quarterly revenues.
All told, WeChat and its local version Weixin reached nearly 1.1 billion monthly active users; 750 million of them checked their friends’ WeChat feeds, and Tencent recently introduced a Snap Story-like feature to lock users in as it vies for eyeball time with challenger TikTok.
The “others” category, composed of financial technology and cloud computing, grew 71.8 percent to generate 28.5 percent of total revenues. WeChat’s e-wallet, which is going neck-and-neck with Alibaba affiliate Alipay, saw daily transaction volume exceed 1 billion last year. During the fourth quarter, merchants who used WeChat Pay monthly grew more than 80 percent year-over-year.
Meanwhile, cloud revenues doubled to 9.1 billion yuan in 2018, thanks to Tencent’s dominance in the gaming sector as its cloud infrastructure now powers over half of the China-based games companies and is following these clients overseas. Tencent meets Alibaba head-on again in the cloud sector. For comparison, Alibaba’s most recent quarterly cloud revenue was 6.6 billion yuan. Just yesterday, the e-commerce leader claimed that its cloud business is larger than the second to eight players in China combined.
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Still a year away from launch, Meg Whitman and Jeffrey Katzenberg’s Quibi keeps adding talent
Video won’t start rolling on Meg Whitman and Jeffrey Katzenberg’s new bite-sized streaming service with the billion-dollar backing until the end of 2019, but talent keeps signing up to come along for their ride into the future of serialization.
The latest marquee director to sign on the dotted line with Quibi is Catherine Hardwicke, who will be helming a story around the creation of an artificial intelligence with the working title “How They Made Her,” according to an announcement from Katzenberg onstage at the Variety Innovate summit.
Hardwicke, who directed “Thirteen,” “Lords of Dogtown” and, most famously, “Twilight,” is joining Antoine Fuqua, Guillermo del Toro, Sam Raimi and Lena Waithe in an attempt to answer the question of whether Whitman and Katzenberg’s gamble on premium (up to $6 million per episode) short-form storytelling is a quixotic quest or a quintessential viewing experience for a new generation of media consumers.
Katzenberg also revealed in a LinkedIn post that Quibi would be working on a basketball-related series with Steph Curry’s production company. He wrote:
I announced a new docu-series by Whistle called “Benedict Men” coming exclusively to Quibi. “Benedict Men” will be executive produced by Stephen Curry’s Unanimous Media and will give viewers an inside look at one of the most unique high school basketball teams in America at St. Benedict’s Prep in Newark, New Jersey.
St. Benedict’s Prep is an all-boys secondary school founded on the core belief ‘What Hurts My Brother Hurts Me,’ and aims to foster a legacy of strong character, community, leadership, and faith. As one of the top athletic high schools with a storied basketball program and the highest graduation rate in New Jersey, the series will follow the brotherhood of young men who seek to balance life in complicated surroundings.
In some ways, the big adventure backed by Katzenberg, the former chairman of Walt Disney Studios and founder of WndrCo, and every major Hollywood studio — including Disney, 21st Century Fox, Entertainment One, NBCUniversal, Sony Pictures Entertainment and Alibaba Goldman Sachs — is the latest in an everything old is new again refrain.
If blogs reinvented printed media, and podcasts and music streaming reinvented radio, why can’t Quibi reinvent serialized storytelling.
Again and again, Whitman and Katzenberg returned to an analogy from the early days of the cable revolution. “We’re not short form, we’re Quibi,” said Whitman, echoing the tagline that HBO made famous in its early advertising blitzes. That Whitman and Katzenberg’s project to take what HBO did for premium television and apply that to mobile media is ambitious. Now industry-watchers will have to wait until 2019 at the earliest to see if it’s also successful.
In the interview onstage at a Variety event on artificial intelligence in media, Katzenberg cited Dan Brown’s “The Da Vinci Code” as something of an inspiration — noting that the book had more than 100 chapters for its 500 pages of text. But Katzenberg could have gone back even further to the days of Dickens and his serialized entertainments.
And right now for the entertainment business it really is the best of times and the worst of times. Traditional Hollywood studios are seeing new players like Netflix, Amazon, Apple and others all trying to drink their milkshake. And, for the most part, these studios and their new telecom owners are woefully ill-equipped to fight these big technology platforms at their own game.
Taking the long view of entertainment history, Katzenberg is hoping to win networks with not just a new skin for the old ceremony of watching entertainment but with a throwback to old style deal-making. The term serialization here takes on greater meaning.
Quibi is offering its production partners a sweetheart deal. After seven years the production company behind the Quibi shows will own their intellectual property, and after two years those producers will be able to repackage the Quibi content back into long-form series and pitch them for distribution to other platforms. Not only that, but Quibi is fronting the money for over 100 percent of the production.
Katzenberg said that it “will create the most powerful syndicated marketplace” Hollywood has seen in decades. It’s a sort of anti-Netflix model where Katzenberg and Whitman view Quibi as a platform where creators and talent will want to come. “We are betting on the success of the platform — and by the way, it worked brilliantly in the ’60s and ’70s and ’80s.” Katzenberg said. “Hundreds of TV shows were tremendous successes and [like the networks then] we don’t want to compete with our suppliers.”
In addition to the business model innovations (or throwbacks, depending on how one looks at it), Quibi is being built from the ground up with a technology stack that will leverage new technologies like 5G broadband, and big data and analytics, according to Whitman.
Indeed, launching the first platform built without an existing stable of content means that Quibi is preparing 5,000 unique pieces of content to go up when it pulls the curtains back on its service in late 2019 or early 2020, Whitman said.
And the company is looking to big telecommunications companies like Verizon (my corporate overlord’s corporate overlord) and AT&T as partners to help it get to market. Since those networks need something to do with all the 5G capacity they’re building out, high-quality streaming content that’s replete with meta-tags to monitor and manage how an audience is spending their time is a compelling proposition.
“We want to work to have video that looks good on mobile [and] ramp up content in terms of quantity and quality,” Whitman said. That quality extends to things like the user interface, search features and analytics.
“We have to have a different search and find metaphor,” Whitman said. “It takes eight minutes to find what you’re looking for on Netflix… We will be able to instrument this with data on what people are watching and using that in our recommendation engine.”
Questions remain about the service’s viability. Like what role will the telcos actually play in distribution and development? Can Quibi avoid the Hulu problem where the various investors are able to overcome their own entrenched interests to work for the viability of the platform? And do consumers even want a premium experience on mobile given the new kinds of stars that are made through the immediacy and accessibility that technology platforms like YouTube, Instagram and Snap offer?
“Where the fish are today is a phenomenal environment,” Katzenberg said of the current short-form content market. “But it is an ocean. We need to find a place where there are these premium services.”
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Brex has partnered with WeWork, AWS and more for its new rewards program
Brex, the corporate card built for startups, unveiled its new rewards program today.
The billion-dollar company, which announced its $125 million Series C three weeks ago, has partnered with Amazon Web Services, WeWork, Instacart, Google Ads, SendGrid, Salesforce Essentials, Twilio, Zendesk, Caviar, HubSpot, Orrick, Snap, Clerky and DoorDash to give entrepreneurs the ability to accrue and spend points on services and products they use regularly.
Brex is lead by a pair of 22-year-old serial entrepreneurs who are well aware of the costs associated with building a startup. They’ve been carefully crafting Brex’s list of partners over the last year and say their cardholders will earn roughly 20 percent more rewards on Brex than from any competitor program.
“We didn’t want it to be something that everyone else was doing so we thought, what’s different about startups compared to traditional small businesses?” Brex co-founder and chief executive officer Henrique Dubugras told TechCrunch. “The biggest difference is where they spend money. Most credit card reward systems are designed for personal spend but startups spend a lot more on business.”
Companies that use Brex exclusively will receive 7x points on rideshare, 3x on restaurants, 3x on travel, 2x on recurring software and 1x on all other expenses with no cap on points earned. Brex carriers still using other corporate cards will receive just 1x points on all expenses.
Most corporate cards offer similar benefits for travel and restaurant expenses, but Brex is in a league of its own with the rideshare benefits its offering and especially with the recurring software (SalesForce, HubSpot, etc.) benefits.
San Francisco-based Brex has raised about $200 million to date from investors including Greenoaks Capital, DST Global and IVP. At the time of its fundraise, the company told TechCrunch it planned to use its latest capital infusion to build out its rewards program, hire engineers and figure out how to grow the business’s client base beyond only tech startups.
“This is going to allow us to compete even more with Amex, Chase and the big banks,” Dubugras said.
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Snapchat’s new Camera desktop camera app brings AR masks to Twitch, Skype…
Snapchat is launching its first Mac and Windows software that takes over your webcam and brings its augmented reality effects to other video streaming and calling services. Snap Camera can be selected as a camera output in OBS Skype, YouTube, Google Hangouts, Skype, Zoom and more, plus browser-based apps like Facebook Live so you can browse through Snapchat’s Lens Explorer to try on AR face filters. And through its easily equipped new Twitch extension, streamers can trigger different masks with hotkeys.
You can download the Mac and Windows versions of Snap Camera now. Users can use Lens Explorer to preview effects and see who made them, Star their favorites for easy access and access a tab of your recently used Lenses.
Despite Snap Inc.’s troubles following yesterday’s Q3 earnings announcement that revealed it’d lost 2 million users, causing its share price to hit a new low, Snapchat Camera isn’t about stoking growth. You won’t even have to log in to Snapchat to use it. Instead the goal is to drive more attention to its community AR Lens platform so more developers and creators will make their own effects. “We’re going down the path of providing more distribution channels [for Community Lens creators] and surfacing their work,” Snap’s head of AR Eitan Pilipski tells me. The desktop camera could win Lens creators more attention, and Snapchat connects to the most talented ones to brands for sponsorship deals.
Snapchat first came to the desktop in January with its first embeddable content, designed for newsrooms that wanted to show off citizen journalism on their sites. But now Snapchat content creation is escaping the mobile medium.
Strangely, Snap Camera has no interface of its own. Really, it should have a Photo Booth-style app so you can record photos and videos of yourself with your webcam and share them wherever. “We don’t want to compete in that space. We just want to bring Community Lenses to whatever apps people are using,” Pilipski explains. One major app that won’t support Snap Camera is Apple’s FaceTime. Why? “I don’t know. Apple didn’t comment on that. Believe me we tried,” says Pilipski.
Because there’s “not even a facility to collect the impressions” and users don’t have to log in, Snap won’t be able to add Camera users to its daily active user count. With that number falling from 191 million in Q1 to 188 million in Q2 to 186 million in Q3 as it announced yesterday, Snap really does need more ways to keep people from straying to Instagram Stories. It will have to hope that when video chat users see their friends or family using Snap Camera’s lenses, it will remind them to fire up Snapchat more often. And Lenses could go viral if they show in a Twitch celebrity’s stream.
The Twitch extension comes amidst more announcements at today’s TwitchCon event, including the reveal of Squad Streaming and a karaoke Twitch Sings game for the service’s average of 1 million concurrent viewers and half-million daily streamers.
The Snap camera equips Twitch broadcasters with extra features. They’ll have access to game-themed lenses for League of Legends, PlayerUnknown’s Battlegrounds, World of Warcraft and Overwatch. Viewers will see the QR Snapcode for the Lens on the screen, which they can scan with Snapchat to try the mask on themselves for virality. Streamers get a button that lets viewers subscribe to them, and can set up a “bonus” lens that shows up as a thank you when someone follows them. And with hotkeys, streamers can trigger different lenses, like an angry one for when they lose a game or victory lenses for if they manage to beat all the other Fortnite addicts.
More than 250,000 Community Lenses have been submitted through Snapchat’s Lens Studio since it launched in December, and they’ve been viewed over 1 billion times. Snapchat realized it couldn’t dream up every crazy way people could use AR. Out-Lensing Instagram is critical to Snapchat’s business strategy. The more people that use Snapchat’s AR features, the more the company can charge businesses to promote Sponsored Lenses. With the user count shrinking, Snap needs to show its business is growing to salvage its share price and pull in the outside investment or acquisition it will likely need to make it to profitability. A desktop presence could not only make Snapchat more ubiquitous, but get it in front of older users and advertisers who might be a little scared of its mobile app.
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Jeffrey Katzenberg and Meg Whitman announce the name of their stealthy mobile video startup
Onstage at Vanity Fair’s New Establishment Summit in Los Angeles, Jeffrey Katzenberg and Meg Whitman unveiled the name of their highly anticipated mobile video company known until now as NewTV.
The name is Quibi, short for “quick bites,” per a note on its new website: “Something cool is coming from Hollywood and Silicon Valley — quick bites of captivating entertainment, created for mobile by the best talent, designed to fit perfectly into any moment of your day.”
The short-form video service, launching next year, will operate on a two-tiered subscription model similar to Hulu, per Deadline. Quibi is cooking up original content with Oscar-winning filmmaker Guillermo del Toro, Southpaw director Antoine Fuqua and Spider-Man director Sam Raimi, as well as Get Out producer Jason Blum and Van Toffler, the CEO of digital media production company Gunpowder & Sky, a spokesperson for the company confirmed to TechCrunch.
The Hollywood Reporter says the del Toro project “is a modern zombie story,” the Fuqua project is “a modern version of Dog Day Afternoon” and the Blum project, titled Wolves and Villagers, could be compared to Fatal Attraction.
Katzenberg, the former chairman of Walt Disney Studios and founder of WndrCo, a consumer tech investment and holding company, has raised $1 billion for Quibi from Disney, 21st Century Fox, Entertainment One, NBCUniversal, Sony Pictures Entertainment, Alibaba Goldman Sachs, JPMorgan Chase, Madrone Capital and several others. He hired Meg Whitman as Quibi’s CEO in January.
Quibi, given Katzenberg and Whitman’s entertainment and business acumen, is expected to compete with the biggest players in the space, including Instagram, Netflix and Snap, which today announced Snap Originals. The new effort will have the ephemeral messaging service rolling out 12 new scripted shows on its app, from Keeping Up with the Kardashians creator Bunim/Murray, Friday Night Lights writer Carter Harris and more.
Quibi is hiring aggressively, recently bringing on former Instagram product manager Blake Barnes and former Hulu chief technology officer Rob Post.
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Snapchat enlists 20 partners to curate Our Stories from submissions
Themed collections of user generated content chosen by news publishers for viewing on and off Snapchat are the teen social network’s next great hope for relevance. Today Snap launches Curated Our Stories with the help of 20 partners like CNN, Cosmopolitan, Lad Bible, and NowThis. Instead of sifting through and selecting submissions to Our Story all by itself around events, holidays, and fads, these publishers can create slideshows of Snaps about whatever they want. They’ll both be featured in Snapchat Discover that sees 75 million Our Stories viewers per month, but also on the publishers’ own properties thanks to Snap’s embeds that have been underused since their January launch.
To entice partners, Snap has built in monetization from day one, splitting revenue with publishers from ads run in the Our Stories they curate. That’s in sharp contrast to Snap’s work with independent creators, where it still won’t split revenue with them directly, though at least it’s finally connecting them with brand sponsors.
Snap’s head of Stories everywhere Rahul Chopra tells me that in exchange for its cut, Snap provides a content management system that publishers can use to search through submitted Snaps using a variety of filters like keywords in captions and locations. A human at Snap will also moderate Curated Our Stories to ensure nothing objectionable slips through.
The new revenue stream could help Snap offset its declining user count by squeezing more cash out of each user by exposing them to more content and ads, or score it new users through embedded Curated Our Stories on its partners’ apps and sites. Snap beat revenue expectations last quarter but it still lost $353 million, contributing to a share price decline that hit an all-time low yesterday.
Snap first created Our Stories in 2014 to let people get the perspectives of tons of different attendees to music festivals and sporting matches. With time it expanded to creating college-specific Our Stories and ones of more relatable activities like enjoying Fridays. Snapchat also lets users search its publicly submitted content, but seems to have found people are too lazy or unimaginative to do it, or the uncurated content isn’t high quality enough to be worth watching.
The full list of publisher partners is: Brut, CNN, Cosmopolitan, Daily Mail, Daquan, Dodo, Harper’s Bazaar, iHeart, The Infatuation, Jukin, Lad Bible, Love Stories TV, Mic, NBC News, NBC Sports, NBC, Today Show, New York Post, NowThis, Overtime, Refinery 29, Telemundo, The Tab, Viacom, Wave.TV, and Whalar. They run the gambit from traditional publishers to online news sources, and includes Snapchat’s Yellow startup accelerator portfolio company Love Stories TV, plus CNN’s return to Discover after cancelling its daily anchored news show there.
The curation possibilities are infinite. Partners could create reels of reactions to major news stories or shots from people with eyes on the ground at the scene of the action. They could highlight how people use a certain product, experience a particular place, or use a certain Snapchat creative feature. The publishers might produce daily or weekly collections around a topic or try a wide range of one-offs to surprise their viewers. You could think of it as a little bit like YouTube playlists, but cobbled together from real-time short-form submissions that might be too brief to make an impact on their own.
This is the start of Snapchat crowdsourcing not only content but curation to dig out the best citizen journalism, comedy, and beauty shot on its app and turn it into easily consumable compendiums. Given that Snapchat lost three million users last quarter, it could use the help keeping viewers coming back. But like most everything it launches, if Curated Our Stories blows up, you can bet Facebook and Instagram will turn on their copying machines.
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Meet SelfieCircus and 8 more in Snapchat’s new startup accelerator
Snapchat is hedging its bets as its social network shrinks. Today Snap Inc. revealed the first class of its startup accelerator called Yellow that offers $150,000 in funding and creativity-centric business education in exchange for what a source says is a seven to 10 percent equity stake — in line with other accelerators like Y Combinator. The nine companies will take up a three-month residency in one of Snap’s buildings in Venice, Calif., near Los Angeles.
The accelerator class ranges from augmented reality and journalism studios to lifestyle brands around weddings and fashion to aesthetic-focused marketplaces like ConBody that pairs you with a muscular ex-convict for workouts.
Yellow calls itself “A launchpad for creative minds and entrepreneurs who are looking to build the next generation of great media companies.” Yellow could become a content provider and potential acquisition feeder for the company. ANRK and Space Oddity Films could boost Snapchat’s AR gaming effort, Hashtag Our Stories could fill Snap Map with citizen news broadcasts, Toonstar could bring animation to Discover, and SelfieCircus could power marketing pop-ups like the Snapbots that sold the company’s Spectacles.
But at the same time, it’s hard not to see Yellow as a potential escape route for Snap’s business if Instagram’s competition ends up stealing all its users. Snapchat lost three million last quarter, contributing to a massive share price downslide. Following today’s departure of COO Imran Khan, it’s trading at $9.66, just a few cents above its all-time low.
If a few of Yellow’s investments blow up and Snap makes capital available for follow-on rounds, the returns could supplement its ad revenue. But none of this first batch of startups looks poised to be gamechangers the way Snap’s acquisitions of Bitmoji and Looksery’s early AR filters were.
Yellow’s inaugural class
Here’s a look at the first nine companies in Snapchat Yellow, courtesy of write-ups provided by Snap.
ANRK (London, UK) – a new realities studio, exploring immersive storytelling through AR, VR, games and beyond.
- We are passionate about human-centered narratives, and use playful interaction and new technologies to create powerful experiences that connect the digital and physical.
ConBody (New York, NY) – a prison-style fitness bootcamp that hires formerly incarcerated individuals to teach fitness classes.
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ConBody is facilitating an opportunity-filled lifestyle by empowering our community to realize success lies within. We hire formerly incarcerated individuals to build personal discipline through a unique blend of cardiovascular training and bodyweight exercises that take advantage of the resistance properties of everyday objects. We apply military techniques to space constraints intimately familiar to city-dwellers and individuals who reside in small, constrained spaces. In addition, we’re changing the views of formerly incarcerated individuals to be changed by allowing professionals to interact with formerly incarcerated individuals, which gives professionals a different perspective on them.
ConBody
Hashtag Our Stories (Durban, South Africa) – an international mobile journalism (MOJO) network, publishing vertical video stories on social media. Created by citizens, curated by journalists.
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Since September 2017, we’ve empowered 200 citizen storytellers in over 40 countries to produce videos with their phones. We focus on constructive, solutions-based stories and provide more diverse news coverage. Because more cameras and more perspectives means more truth.
Hashtag Our Stories
IDK (Los Angeles, CA) – the ID for Korean music. We are a digital media company expanding in-depth on the music of Korea and K-Pop as a globally recognized genre; showcasing the identity of the artists that shape the culture. We provide insightful and rich coverage and content for the global Korean Pop audience.
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We are creating a Global Brand and Destination for an English-Speaking Korean Pop Audience. Our mission is to create rich and stylized content about the Korean Music Genre; less gossip, more news and features. We want to provide a legitimate outlet for Korean Pop Culture; to create emotive, aspirational stories that are visually chic to a young, hyper-aware and digitally engaged audience.
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As the company begins we will focus on publishing the best in engaging social video content. We will translate this content across platforms, ultimately building brands, shows and stories that feed the insatiable audience appetite for Korean Pop. From there we will build toward live events, merchandise and much more.
Love Stories TV (New York, NY) – a video platform for wedding planning and inspiration, bringing engaged couples and event professionals together in a uniquely visual community. Think of us like “Houzz” for weddings: We connect brides and grooms with the ideas, inspiration, products and services they need for their weddings. [Note: Snap tells me Love Stories TV did not give up a seven to ten percent equity stake as it had previously raised a $1.7 million seed round, but wouldn’t disclose more details about its equity stakes in the other startups.]
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On lovestoriestv.com filmmakers and newlyweds from all over the world share their professionally produced videos along with the data and details about the wedding. Brides and grooms watch the videos to find ideas, inspiration, products and services for their wedding. We also have an active community of pre-engaged-brides under the age of 24 who watch the videos on our site, social and Amazon Prime channel for entertainment. We partner with brands and wedding pros to help them reach brides and grooms on our site and channels via the real wedding films that feature them and original content.
Love Stories TV
Premme (Los Angeles, CA) – a fashion-first, body-positive lifestyle brand for the plus-size It-Girl.
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Today, 67 percent of women in America wear plus-sizes — yet plus-size fashion only accounts for 17 percent of the women’s apparel market. When it comes to media representation, plus-sizes are similarly lacking in positive, aspirational visibility. Premme empowers women who have been historically marginalized through fashion-forward, statement-making clothing and visionary, contemporary editorial content and imagery. By creating a relatable, yet aspirational brand that centers on plus-size women, we aim to flip the script on what it means to look and be stylish, while leading the conversation and movement toward truly diverse and inclusive fashion.
Premme
SelfieCircus (Los Angeles, CA) – a new kind of circus.
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SelfieCircus creates pop-up experiences designed to be documented and shared on social media. The company is building a platform to connect artists, brands and consumers. The first SelfieCircus will open in Los Angeles in late 2018.
SelfieCircus
Space Oddity Films (Los Angeles, CA) – a content studio exploring tech and culture that creates innovative content for every platform: mobile, digital, AR/VR, video games, feature film and television.
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We tell stories about the convergence of humanity and technology. Our original viral tech horror thriller shorts are the foundation of our brand. Our goal is to make the future now.
Space Oddity Films
Toonstar (Los Angeles, CA) – a digital animation network that creates and distributes daily pop culture cartoons for an “always on” world. Powered by proprietary animation tech, we produce daily, snackable, interactive animated content at unprecedented speed and cost.
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We have a large and highly engaged audience of teens and young adults generating millions of views per week because our content is sticky, shareable, relatable and engineered specifically for social. We’re a team of studio alumni and media tech innovators who have produced hit digital animated series, built groundbreaking interactive media technologies and launched mega entertainment franchises. Now we’re on a mission to build a next-gen animation network that delivers greater reach + engagement at a fraction of the operating cost.
Toonstar
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