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LOVE unveils a modern video messaging app with a business model that puts users in control
A London-headquartered startup called LOVE, valued at $17 million following its pre-seed funding, aims to redefine how people stay in touch with close family and friends. The company is launching a messaging app that offers a combination of video calling as well as asynchronous video and audio messaging, in an ad-free, privacy-focused experience with a number of bells and whistles, including artistic filters and real-time transcription and translation features.
But LOVE’s bigger differentiator may not be its product alone, but rather the company’s mission.
LOVE aims for its product direction to be guided by its user base in a democratic fashion as opposed to having the decisions made about its future determined by an elite few at the top of some corporate hierarchy. In addition, the company’s longer-term goal is ultimately to hand over ownership of the app and its governance to its users, the company says.
These concepts have emerged as part of bigger trends towards a sort of “Web 3.0,” or next phase of internet development, where services are decentralized, user privacy is elevated, data is protected and transactions take place on digital ledgers, like a blockchain, in a more distributed fashion.
LOVE’s founders are proponents of this new model, including serial entrepreneur Samantha Radocchia, who previously founded three companies and was an early advocate for the blockchain as the co-founder of Chronicled, an enterprise blockchain company focused on the pharmaceutical supply chain.
As someone who’s been interested in emerging technology since her days of writing her anthropology thesis on currency exchanges in “Second Life’s” virtual world, she’s now faculty at Singularity University, where she’s given talks about blockchain, AI, Internet of Things, Future of Work, and other topics. She’s also authored an introductory guide to the blockchain with her book “Bitcoin Pizza.”
Co-founder Christopher Schlaeffer, meanwhile, held a number of roles at Deutsche Telekom, including chief product & innovation officer, corporate development officer and chief strategy officer, where he along with Google execs introduced the first mobile phone to run Android. He was also chief digital officer at the telecommunication services company VEON.
The two crossed paths after Schlaeffer had already begun the work of organizing a team to bring LOVE to the public, which includes co-founders Chief Technologist Jim Reeves, also previously of VEON, and Chief Designer Timm Kekeritz, previously an interaction designer at international design firm IDEO in San Francisco, design director at IXDS and founder of design consultancy Raureif in Berlin, among other roles.
Image Credits: LOVE
Explained Radocchia, what attracted her to join as CEO was the potential to create a new company that upholds more positive values than what’s often seen today — in fact, the brand name “LOVE” is a reference to this aim. She was also interested in the potential to think through what she describes as “new business models that are not reliant on advertising or harvesting the data of our users,” she says.
To that end, LOVE plans to monetize without any advertising. While the company isn’t ready to explain its business model in full, it would involve users opting in to services through granular permissions and membership, we’re told.
“We believe our users will much rather be willing to pay for services they consciously use and grant permissions to in a given context than have their data used for an advertising model which is simply not transparent,” says Radocchia.
LOVE expects to share more about the model next year.
As for the LOVE app itself, it’s a fairly polished mobile messenger offering an interesting combination of features. Like any other video chat app, you can video call with friends and family, either in one-on-one calls or in groups. Currently, LOVE supports up to five call participants, but expects to expand that as it scales. The app also supports video and audio messaging for asynchronous conversations. There are already tools that offer this sort of functionality on the market, of course — like WhatsApp, with its support for audio messages, or video messenger Marco Polo. But they don’t offer quite the same expanded feature set.
Image Credits: LOVE
For starters, LOVE limits its video messages to 60 seconds, for brevity’s sake. (As anyone who’s used Marco Polo knows, videos can become a bit rambling, which makes it harder to catch up when you’re behind on group chats.) In addition, LOVE allows you to both watch the video content as well as read the real-time transcription of what’s being said — the latter which comes in handy not only for accessibility’s sake, but also for those times you want to hear someone’s messages but aren’t in a private place to listen or don’t have headphones. Conversations can also be translated into 50 languages.
“A lot of the traditional communication or messenger products are coming from a paradigm that has always been text-based,” explains Radocchia. “We’re approaching it completely differently. So while other platforms have a lot of the features that we do, I think that…the perspective that we’ve approached it has completely flipped it on its head,” she continues. “As opposed to bolting video messages on to a primarily text-based interface, [LOVE is] actually doing it in the opposite way and adding text as a sort of a magically transcribed add-on — and something that you never, hopefully, need to be typing out on your keyboard again,” she adds.
The app’s user interface, meanwhile, has been designed to encourage eye-to-eye contact with the speaker to make conversations feel more natural. It does this by way of design elements where bubbles float around as you’re speaking and the bubble with the current speaker grows to pull your focus away from looking at yourself. The company is also working with the curator of Serpentine Gallery in London, Hans Ulrich-Obrist, to create new filters that aren’t about beautification or gimmicks, but are instead focused on introducing a new form of visual expression that makes people feel more comfortable on camera.
For the time being, this has resulted in a filter that slightly abstracts your appearance, almost in the style of animation or some other form of visual arts.
The app claims to use end-to-end encryption and the automatic deletion of its content after seven days — except for messages you yourself recorded, if you’ve chosen to save them as “memorable moments.”
“One of our commitments is to privacy and the right-to-forget,” says Radocchia. “We don’t want to be or need to be storing any of this information.”
LOVE has been soft-launched on the App Store, where it’s been used with a number of testers and is working to organically grow its user base through an onboarding invite mechanism that asks users to invite at least three people to join. This same onboarding process also carefully explains why LOVE asks for permissions — like using speech recognition to create subtitles.
LOVE says its valuation is around $17 million USD following pre-seed investments from a combination of traditional startup investors and strategic angel investors across a variety of industries, including tech, film, media, TV and financial services. The company will raise a seed round this fall.
The app is currently available on iOS, but an Android version will arrive later in the year. (Note that LOVE does not currently support the iOS 15 beta software, where it has issues with speech transcription and in other areas. That should be resolved next week, following an app update now in the works.)
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Infinite Canvas raises $2.8M for a metaverse creator group modeled after esports teams
With the promise of an interconnected virtual world coming into focus and user-crafted gaming content exploding, Infinite Canvas is looking to apply to the metaverse lessons learned in the esports boom.
“Metaverse” is the hot buzzword right now, but it’s not an empty term. Ten different people would probably define the metaverse in 10 different ways, but it’s generally used as shorthand for the web of emerging virtual spaces full of personalized avatars, games and digital goods that are already shaping our world.
Much like the realm of esports boasts individual standout players who command their own followings, the social gaming world has its own stars who make original in-game content. But right now, creators making hit content in Fortnite, Roblox and Minecraft are mostly operating on their own, without the supportive infrastructure that quickly professionalized the esports world. And like the early waves of esports players, those content creators skew young and lack some of the resources that would make it smoother to scale the digital brands they’re building.
Founded by Tal Shachar and Sebastian Park, Infinite Canvas is looking to connect creators who craft content for the world’s most popular online games with the financial resources, tools and experience they need to grow their businesses beyond what would be possible in isolation.
Shachar, the former growth strategist at BuzzFeed Studios and chief digital officer at Immortals Gaming Club, and Park, previously VP of Esports for the Houston Rockets, where he founded League of Legends franchise team Clutch Gaming, envision a hybrid talent management company and game publisher modeled after the success they’ve seen in the esports world. The pair liken the new venture to “an esports team for the metaverse.”
To grow their vision, Infinite Canvas has raised $2.8 million in pre-seed funds led by Lightshed Venture Partners, the venture firm founded by media analyst Richard Greenfield. BITKRAFT Ventures, Day One Ventures, Crossbeam and Emerson Collective also participated in the funding round.
“We are just at the beginning of seeing what the metaverse market opportunity can be,” said Greenfield. “While the path to monetization is clear on platforms like YouTube, in virtual worlds Infinite Canvas is pioneering a network that will unite creators, players and content partners to enhance the earning power of the talent building new virtual empires.”
Out of the gate, Infinite Canvas has partnered with some big names in Roblox, including RussoPlays, DeeterPlays, Sabrina and DJ Monopoli from Terabrite Games, as well as a handful of other Roblox developers, Fortnite map makers and streamers who, combined, reach more than 4.5 million subscribers.
For the team, this nascent era of user-generated gaming content looks a lot like another now-ubiquitous creator platform once did.
“Roblox in particular, but really all of these UGC gaming platforms, really reminded me a lot of YouTube. Which is to say that they were enabling a new type of person to distribute a content format that was previously kind of locked right behind like barriers of distribution and also of skills set and capital, quite frankly,” Shachar told TechCrunch.
After getting curious, Shachar and Park dove into the creator community and found a diverse array of generally self-taught young people from all around the world crafting custom in-game content for Fortnite, Roblox and Minecraft. Much of that content, whether intentionally or not, offered players more digital spaces to connect during the pandemic-imposed social isolation, which saw interest in online social spaces take off.
“Everyone was pretty negative about the world writ large and we’re just talking to these like 17, 16, 18, 19-year-old guys, gals and non-binary pals from all over the world, just like straight up making cool stuff,” Park said.
In those conversations, Park and Shachar realized that while the world of user-generated gaming content can produce huge hits, creators were mostly isolated from support that could help them take their work to the next level.
“It felt very siloed — you have people making content over here on the right and then people developing these games on the left and then players kind of in the center there and that didn’t really make a ton of sense to us,” Shachar said. “Especially because it was super clear that there was this really strong loop of content creation leading to gameplay leading to content creation.”
With Infinite Canvas, they want to provide that missing framework, offering creators crafting content in virtual worlds everything from marketing support to capital and tech tools. As creator monetization channels within virtual worlds mature, Infinite Canvas hopes to even be able to broker ad and brand opportunities and empower creators to expand their own brands across platforms.
“What if we built a new kind of organization that blended parts of being a game publisher, parts of being an esports team, parts of being a capital and tech backend to basically enable these people to do what they do but better and bigger?” Shachar asked.
“For the metaverse — whatever word you want to use — to really exist, it’s going to take all of these independent people to actually populate it and bring it to life and make all of these experiences and there’s just an insane amount of talent out there that we think can be unlocked.”
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Today’s real story: The Facebook monopoly
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.
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.
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Fortnite adds a new mode that’s basically Among Us
Fortnite now boasts its own version of one of the pandemic’s hottest games.
Fortnite-maker Epic just introduced into the game a new limited-time mode called Impostors; it follows the hit format that sent Among Us to Twitch’s front page — and Congress — during the pandemic’s earlier days.
Up to 10 people can play the new Impostors game mode simultaneously, divided into two competing factions: agents and… impostors. Eight agents work to complete tasks around the new map before the two impostors can sabotage their efforts by eliminating agents and undoing their work. And because it’s Fortnite, you can also teleport players randomly around the map and turn everyone into a banana.
The game takes place in a new interior map location that properly conjures the claustrophobic paranoia that makes the social deception-style game intense to play and fun to watch. During each round, the players come together to vote on who they think is secretly working against the agents, which generally leads to a lot of spicy conversation. Players can stick with a smaller group (by picking the private game mode) if they’d like to keep things intimate.
Happily, you can still try it out if you don’t have a group of friends to play with, though this kind of game works best with people you know. While public voice chat is off in the new mode, players in open matches can communicate through a quick chat box and the game’s emotes to vote on who they think has infiltrated the group.
It’s too early to say if Fortnite’s Among Us clone will take off in the same way as the game that inspired it, or how long it’ll stick around. But considering that Fortnite is still one of the most popular games in the world, a new hit whodunnit game mode that’s eminently streamable is just icing on the cake.
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Growth tactics that will jump-start your customer base
Five years ago, the playbook for launching a new company involved a tried-and-true list of to-dos. Once you built an awesome product with a catchy name, you’d try to get a feature article on TechCrunch, a front-page hit on Hacker News, hunted on ProductHunt and an AMA on Quora.
While all of these today remain impressive milestones, it’s never been harder to corral eyeballs and hit a breakout adoption trajectory.
In this new decade, it is possible to first out-market your competitor, and then raise lots of money, hire the best team and build, rather than the other way around (building first, then marketing).
Looks like @stripe redesigned their landing page.
How long until we see these colorful gradients on other startups’ landing pages?
https://t.co/c6DL5mEUm4 pic.twitter.com/cCh8NyXawy
— Marc Köhlbrugge (@marckohlbrugge) July 7, 2020
Outbound marketing tools and company newsletters are useful, but they’re also a slow burn and offer low conversion in the new creator economy. So where does this leave us?
With audiences spread out over so many platforms, reaching cult status requires some level of hacking. Brand-building is no longer a one-hit game, but an exercise in repetition: It may take four or five times for a user to see your startup’s name or logo to recognize, remember or Google it.
Below are some growth tactics that I hope will help jump-start the effort to building an engaged user base.
Laying the groundwork for user-generated content
Before users are evangelists, they are observers. Consider creating a bot to alert you of any product mentions on Twitter, or surface subject-matter discussions on Reddit (“Best tools to manage AWS costs?” or “Which marketplace do you resell your old electronics on?”), which you can then respond to with thoughtful commentary.
Join relevant communities on Discord, infiltrate Slack groups of relevant conferences (including past iterations of a conference — chances are those groups are still alive with activity), follow forums on StackOverflow and engage in the discussions on all these channels.
The more often you post, the better your posts convert. The more your handle appears on newsfeeds, the more likely it will be included on widely quoted “listicles.”
My list of coolest startups around today:@Replit – no more dev environments@highlightrun – understand how people use your app@DoNotPayLaw – saves
+
@Superhuman – first pleasant email app@Railway_App – what Heroku should have been@pipe – recurring revenue = assets
— Zain Allarakhia (@zallarak) May 18, 2021
Most “user-generated content” in the early innings should be generated by you, from both personal accounts and company accounts.
Build in public …
Building in public is scary given the speed at which ideas can be copied, but competition will always exist, since new ideas are not born in vacuums. Companies like Railway and Replit post to Twitter every time they post a new changelog. Stir brands its feature releases as “drops,” similar to streetwear drops.
Building in public can also lend opportunities for virality, which requires drama, comedy or both. Hey.com’s launch was buoyed by Basecamp’s public fight against Apple over existing App Store take rates.
Mmhmm, the virtual camera app that adds TV-presenter flair to video meetings, launched with a viral video that hit over 1.5 million views. The company continues to release entertaining YouTube demos to showcase new use cases.
Help TechCrunch find the best growth marketers for startups.
Provide a recommendation in this quick survey and we’ll share the results with everybody.
… or build in private
Like an artist teasing an upcoming album, some companies are able to drum up substantial anticipation ahead of exiting stealth mode. When two ex-Apple execs founded Humane, they crafted beautiful social media pages full of sophisticated photography without revealing a single hint of what they set out to build.
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Reddit is quietly rolling out a TikTok-like video feed button on iOS
From Instagram’s Reels to Snapchat’s Spotlight, most social media platforms are looking toward the TikTok boom for inspiration. Now, even Reddit, a discussion-based forum, is making short-form video more pronounced on its iOS app.
According to Reddit, most iOS users should have a button on their app directly to the right of the search bar — when tapped, it will show a stream of videos in a TikTok-like configuration. When presented with a video, (which shows the poster who uploaded it and the subreddit it’s from), users can upvote or downvote, comment, gift an award or share it. Like TikTok, users can swipe up to see another video, feeding content from subreddits the user is subscribed to, as well as related ones. For instance, if you’re subscribed to r/printmaking, you might see content from r/pottery or r/bookbinding.
The user interface of the videos isn’t new — Reddit has been experimenting with this format over the last year. But before, this manner of watching Reddit videos was only accessible by tapping on a video while scrolling through your feed — rather than promoting discovery of other communities, the first several videos recommended would be from the same subreddit.
Image Credits: Reddit, screenshots by TechCrunch
“Reddit’s mission is to bring community and belonging to everyone in the world, and subsequently, Reddit’s video team’s mission is to bring community through video,” a Reddit spokesperson told TechCrunch, about the new addition. “Over the course of the last year, our goal was to build a unified video player, and re-envision the player interface to match what users (new and old) expect when it comes to an in-app video player — especially commenting, viewing, engaging and discovering new content and communities through video,” they noted.
Reddit doesn’t yet have a timeline for when the feature will roll out to everyone, but confirmed that this icon first appeared for some users in late July and has continued to roll out to almost all iOS users. But by placing a broader, yet still personalized video feed on the home screen, Reddit is signaling a growing curiosity in short form video. In December 2020, Reddit acquired Dubsmash, a Brooklyn-via-Berlin-based TikTok competitor. The terms of the deals were undisclosed, but Facebook and Snap also reportedly showed interest in the platform, which hit 1 billion monthly views in January 2020.
Reddit declined to comment on whether or not its new video player is using an algorithm to promote discovery of new subreddits based on user activity. However, a Reddit spokesperson confirmed that the company will use Dubsmash’s technology to develop other features down the road, though not for this particular product, they said.
Reddit first launched its native video platform in 2017, which allows users to upload MP4 and MOV files to the site. Then, in August 2019, it launched RPAN (Reddit Public Access Network), which lets people livestream to selected subreddits — the most popular livestreams are promoted across the platform. Reddit currently attracts 50 million daily active visitors and hosts 100,000 active subreddits.
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WhatsApp gains the ability to transfer chat history between mobile operating systems
WhatsApp users will finally be able to move their entire chat history between mobile operating systems — something that’s been one of users’ biggest requests to date. The company today introduced a feature that will soon become available to users of both iOS and Android devices, allowing them to move their WhatsApp voice notes, photos and conversations securely between devices when they switch between mobile operating systems.
The company had been rumored to be working on such functionality for some time, but the details of which devices would be initially supported or when it would be released weren’t yet known.
In product leaks, WhatsApp had appeared to be working on an integration into Android’s built-in transfer app, the Google Data Transfer Tool, which lets users move their files from one Android device to another, or switch from iOS to Android.
The feature WhatsApp introduced today, however, works with Samsung devices and Samsung’s own transfer tool, known as Smart Switch. Today, Smart Switch helps users transfer contacts, photos, music, messages, notes, calendars and more to Samsung Galaxy devices. Now, it will transfer WhatsApp chat history, too.
WhatsApp showed off the new tool at Samsung’s Galaxy Unpacked event, and announced Samsung’s newest Galaxy foldable devices would get the feature first in the weeks to come. The feature will later roll out to Android more broadly. WhatsApp didn’t say when iOS users would gain access, but a spokesperson for WhatsApp told TechCrunch the team is working to bring the feature to users worldwide.
To use the feature, WhatsApp users will connect their old and new device via a USB-C to Lightning cable, and launch Smart Switch. The new phone will then prompt you to scan a QR code using your old phone and export your WhatsApp history. To complete the transfer, you’ll sign into WhatsApp on the new device and import the messages.
Building such a feature was non-trivial, the company also explained, as messages across its service are end-to-end encrypted by default and stored on users’ devices. That meant the creation of a tool to move chat history between operating systems required additional work from both WhatsApp as well as operating system and device manufacturers in order to build it in a secure way, the company said.
“Your WhatsApp messages belong to you. That’s why they are stored on your phone by default, and not accessible in the cloud like many other messaging services,” noted Sandeep Paruchuri, product manager at WhatsApp, in a statement about the launch. “We’re excited for the first time to make it easy for people to securely transfer their WhatsApp history from one operating system to another. This has been one of our most requested features from users for years and we worked together with operating systems and device manufacturers to solve it,” he added.
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Fortnite’s Ariana Grande concert offers a taste of music in the metaverse
Ariana Grande strutted and soared around a candy-colored series of Fortnite sets in Epic’s latest major in-game live music event. The multi-day “tour” offered gamers and Grande fans alike plenty to enjoy while showcasing Epic’s impressively smooth and visually inventive vision for live events that millions of people can enjoy simultaneously.
Fortnite players have known an Ariana Grande event was in the works for a while, and the concert followed previous in-game events featuring rapper Travis Scott and Marshmello. Scott’s in-game performance saw 12.3 million live viewers, a number that the Ariana Grande event is likely to top, given that it ran over multiple days.
Epic put up a video of the concert that’s well worth checking out, if only to marvel at the kind of stuff that’s possible in gaming worlds these days. Experiencing the event live in the game is obviously ideal, but the video captures the experience pretty well, minus the sense of presence from having an avatar zooming around the space with grande Grande.
This time around, the show featured a handful of mini-games that gave players more to do than just flying around while a gigantic virtual pop star does her thing. The sequence kicked off with players surfing a rainbow racetrack, hitting power ups in a cross between Mario Kart and Splatoon to “Come & Go” by Juice WRLD and Marshmello. The racetrack sequence was followed by bouncing players through a Dr. Seuss-style landscape with candy-pink trees and giant floating eyeballs before dropping them into a mini-game shooting down the game’s Storm King boss to Wolfmother’s “Victorious.”
Grande made her Fortnite debut a few songs in with the 2019 hit “7 Rings,” streaking across the sky and materializing on top of a planet suspended in a sea of stars. Later she soared through the clouds with angelic wings as players followed, suspended in rainbow bubbles. In the coolest portion, a skyscraper-high Grande ascended a series of Escher-esque staircases with a giant diamond mallet before slinging it to shatter the sky, shotput-style.
Fortnite’s latest event didn’t have any huge surprises, but that’s only because Epic sets the bar so high. Getting dressed up in your favorite skin to sail around a skyscraper-tall pop star along with millions of people around the world might not be everyone’s vision for the metaverse, but Fortnite’s wildly imaginative live events are a taste of the future that here’s right now.
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Spotify’s Clubhouse rival, Greenroom, tops 140K installs on iOS, 100K on Android
Spotify’s recently launched live audio app and Clubhouse rival, Spotify Greenroom, has a long road ahead of it if it wants to take on top social audio platforms like Clubhouse, Airtime, Spoon and others, not to mention those from top social networks, like Twitter and Facebook. To date, the new Greenroom app has only been downloaded a total of 141,000 times on iOS, according to data from app intelligence firm Sensor Tower. This includes downloads from its earlier iteration, Locker Room — an app Spotify acquired to make its move into live audio.
On Android, Google Play data indicates the app has been installed over 100,000 times, but Sensor Tower cannot yet confirm this figure.
For comparison, Clubhouse today has 30.2 million total installs, 18.7 million of which are on iOS, Sensor Tower says.
Other top audio apps include Airtime, with 11.4 million iOS installs, out of a total of 14.3 million (including Android); and Spoon, with 7.6 million iOS installs, out of a total of 27.3 million.
International apps like UAE’s Yalla and China’s Lizhi are massive, as well, with the former sporting 48.1 total installs, 3.8 million of which are on iOS. The latter has 29.5+ million total installs, but only a handful on iOS.
There are other newcomers that have managed to stake smaller claims in the social audio space, too, including Fishbowl (759,000 total installs), Cappuccino (497,000 installs), Riff (339,000 installs) and Sonar (154,000 installs.)
Image Credits: Sensor Tower. The firm analyzed 34 social audio apps. The chart shows those with the most installs.
Spotify Greenroom’s launch last month, meanwhile, seems to have attracted only a small fraction of Spotify’s larger user base, which has now grown to 365 million monthly active users.
The majority of Greenroom’s installs — around 106,000 — took place after Greenroom’s official launch on July 16, 2021 through July 25, 2021, Sensor Tower says. Counting only its Greenroom installs, the app is ranked at No. 12 among social audio apps. It follows Tin Can, which gained 127,000 installs since launching in early March.
Because Greenroom took over Locker Room’s install base, some portion of Greenroom’s total iOS installs (141K) included downloads that occurred when the app was still Locker Room. But that number is fairly small. Sensor Tower estimates Locker Room saw only around 35,000 total iOS installs to date. That includes the time frame of October 26, 2020 — the month when the sports chat app launched to the public — up until the day before Greenroom’s debut (July 15, 2021).
We should also point out that downloads are not the same thing as registered users, and are far short of active users. Many people download a new app to try it, but then abandon it shortly after downloading it, or never remember to open it at all.
That means the number of people actively using Greenroom at this time, is likely much smaller that these figures indicate.
Spotify declined to comment on third-party estimates.
While Sensor Tower looked at competition across social audio apps on the app stores, Spotify’s competition in the live audio market won’t be limited to standalone apps, of course.
Other large tech platforms have more recently integrated social audio into their apps, too, including Facebook (Live Audio Rooms), Twitter (Spaces), Discord (Stage Channels) and trading app Public. A comparison with Greenroom here is not possible, as these companies would have to disclose how many of their active users are engaging with live audio, and they have not yet done so.
Despite what may be a slower uptake, Greenroom shouldn’t be counted out yet. The app is brand-new, and has time to catch up if all goes well. (And if the market for live audio, in general, continues to grow — even though the height of Covid lockdowns, which prompted all this live audio socializing in the first place, seems to have passed.)
Spotify’s success or failure with live audio will be particularly interesting to watch given the potential for the company to cross-promote live audio shows, events, and artist-produced content through its flagship streaming music application. What sort of programming Greenroom may later include is still unknown, however.
Following Spotify’s acquisition of Locker Room maker Betty Labs, the company said it would roll out programmed content related to music, culture, and entertainment, in addition to sports. It also launched a Creator Fund to help fuel the app with new content.
But so far, Spotify hasn’t given its users a huge incentive to visit Greenroom.
The company, during its Q2 2021 earnings, explained why. It said it first needed to get Greenroom stabilized for a “Spotify-sized audience,” which it why it only soft-launched the app in June. Going forward, Spotify says there will be “more tie-ins” with the main Spotify app, but didn’t offer any specifics.
“Obviously we’ll leverage our existing distribution on Spotify,” noted Spotify CEO Daniel Ek. “But this feels like a great way to learn, experiment and iterate, much faster than if we had to wait for a full on integration into the main app,” he added.
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Twitter launches US e-commerce pilot that lets users shop from profiles
Twitter this morning will launch a pilot in the U.S. aimed at testing the potential for e-commerce on its platform. The company is introducing a new “Shop Module” that offers brands, businesses and other retailers the ability to showcase their products to Twitter users directly on the business’ profile. Users will then be able to scroll through a carousel of product images in the module and tap through on a product they’re interested in purchasing. This opens up the business’s website inside the Twitter app itself, where the customer can learn more about the product in question and opt to make a purchase.
The Shop Module will appear in a new, dedicated space at the top of a supported Twitter profile, which can be seen by U.S. users in English on iOS devices.
The company told TechCrunch that only businesses with a Professional Profile will be able to use the feature at this time.
Professional Profiles, which began testing in April, give businesses, nonprofits, publishers and creators the ability to display specific information about their business directly on their profile, including things like their address, phone number, operating hours and more. Essentially, it’s the Twitter equivalent to something like a Facebook Page for a business.
At launch, the new Shop Module will be made available to only a small group of pilot testers. In addition to gaming retailer @GameStop and travel brand @ArdenCove, Twitter says there will only be approximately 10 other brands across the lifestyle, traditional retail, gaming, media and entertainment, tech and telco industries who will gain access to the new feature.
At present, Twitter isn’t offering a way for interested businesses to sign up for the pilot because the company is only in the initial phases of testing this feature, it said.
Image Credits: Twitter
While Twitter users often discuss products on the app and even reach out to companies directly for help with purchases, it’s unclear whether users will come to view Twitter as a shopping platform.
With the pilot, Twitter aims to better understand what could help it make that shift by tracking which types of products drive traffic to online retailers. For example, it wants to determine whether people are inspired by online conversations in the heat of the moment — like sports fans buying team apparel — or whether Twitter users could be encouraged to make purchases of a more lasting impact, like products for a new skincare routine. Having a diverse lineup of early pilot testers will help the company to compare data across verticals to learn what works best.
Twitter says it will also work directly with businesses to better understand their needs through the creation of a new Merchant Advisory Board, which will consist of “best-in-class examples” of merchants on Twitter.
The company earlier this year mentioned its plans to expand into e-commerce. At Twitter’s Analyst Day presentation in February, where it first announced its Super Follow platform for creators, the company also briefly spoke about its e-commerce investments.
“We’re … starting to explore ways to better support commerce on Twitter,” Twitter revenue lead Bruce Falck said during the event. “We know people come to Twitter to interact with brands and discuss their favorite products. In fact, you may have even noticed some businesses already developing creative ways to enable sales on our platform.
“This demand gives us confidence in the power of combining real-time conversation with an engaged and intentional audience. Imagine easily discovering, and quickly purchasing, a new skincare product or trendy sneaker from a brand you follow with only a few clicks,” Falck added.
Since then, Twitter has tested a new e-commerce feature for tweets, which allowed businesses to link out to online product pages — like those on a Shopify store, for instance.
Twitter CFO Ned Segal also touted the potential to shop on Twitter when speaking to investors at the J.P. Morgan Technology, Media and Communications conference in May, noting that people “do a lot of research on Twitter before they buy something.”
Twitter’s entry into online shopping comes at a time when major tech companies and social platforms are ramping up their investments in e-commerce. Facebook has made significant moves into e-commerce with shopping features across Facebook, Instagram and WhatsApp, including with initiatives like online storefronts, integrated checkout, product drops, video shopping and more.
Shopify has also partnered with a number of tech platforms, including Facebook, TikTok and Google, to make it easier for consumers to connect with products sold by its merchants.
It’s worth noting that Twitter previously attempted to run a commerce operation and failed. In 2017, the company began to wind down its “Buy” button product, which had allowed Twitter users to click to make purchases, and the retailer partnerships associated with that effort due to lack of traction. Clearly, the company believes the time is now right to try again.
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