Found 26 bookmarks
Newest
Inside the Collapse of Venture for America
Inside the Collapse of Venture for America
In the beginning, VFA was an institution beloved by many of its fellows. “It was a wonderful way to leave college and enter the real world because you’re surrounded by a community and there’s support from the organization,” says Jamie Norwood, co-founder of feminine hygiene brand Winx Health. Norwood and her co-founder, Cynthia Plotch, are a VFA success story. They met as fellows in 2015 and VFA eventually helped them launch their company with a grant and advisement. “We always say, Winx Health would not be here without VFA,” Norwood says.
Norwood and Plotch went through the standard VFA admissions protocol, which was rigorous. It required two written applications, a video interview, and in-person interviews at an event called “Selection Day,” many of which were held in New York City and Detroit over the years. By the end of each university term in May, accepted fellows would get access to Connect, VFA’s job portal, and have until November to land a job. For each fellow hired in a full-time job, VFA received a $5,000 placement fee, paid by partner companies. This fee became a crucial revenue stream for the organization—effectively wedding the professional success of its fellows to its bottom line.
Selection Day interviews were conducted by judges who often pitted interviewees against each other. Candidates were told to organize themselves in order of least to most likely to be successful, or according to whose answers had the most value per word. The format felt ruthless. “People cried” during the interview process, Plotch remembers.
The problems with the business bled into the fellows’ experience in 2023 and 2024, leaving them disenchanted, financially struggling, or expelled en masse from the program for reasons they believe were beyond their control. Despite a multitude of financial red flags, VFA leadership still insisted on recruiting for the 2024 class. “The talent team was traveling nonstop, using prepaid Visa cards since the corporate cards didn’t work,” explains a former director who worked closely with fellows.
Onboarding fresh recruits became increasingly crucial if VFA was going to survive. The organization asked companies for placement fees upfront in 2023, according to internal VFA documents and conversations with former employees. The policy change gave companies pause. Fewer companies signed up as partners, meaning fellows weren’t getting jobs and VFA was losing money.
In the spring of 2023, “there were 15 jobs on opening day,” for a class that eventually grew to over 100 fellows, the former director explains. Gabriella Rudnik, a 2023 fellow, estimates that when training camp began in July 2023, less than half of her peers had jobs, “whereas in previous years it would be closer to like 80 percent.”
Fellows were made to pay the price for the shortage of companies partnering with VFA in 2023. “We weren’t getting more jobs on Connect, and that’s what led to so many fellows being off-boarded,” explains a former director who worked closely with fellows.
Traditionally, VFA gave fellows a deadline of November of their class year to find a job, which typically meant a few stragglers were given extra help to find a position if they were late. In those rare cases during earlier years, fellows were offboarded by the organization, a former director says.
In previous years, expulsion was a much more serious and infrequent occurrence. “Removal from the fellowship was not something done lightly. During my tenure, we instituted an internal investigation process, similar to an HR investigation,” says the former executive who worked at VFA from 2017-20.  In total, at least 40 fellows from the 2023 class were expelled for failing to get jobs that weren’t available, according to research by former VFA fellows who tracked the number of fellows purged from a Slack channel. Records of their participation were removed from the VFA website, the fellows say.
Many fellows had made sacrifices to be part of the highly selective and prestigious VFA, which cited acceptance rates of around 10 percent of applicants. “There were fellows who turned down six-figure jobs to be a part of this program, and were told that the program that Andrew Yang started would live up to its reputation,” says Paul Ford, a 2024 fellow.
Though internal documents show that VFA was slowly imploding for months, in all external communications with fellows, the nonprofit still maintained that 2024 training camp would take place in Detroit.
“From an ethical perspective, it does reek of being problematic,” says Thad Calabrese, a professor of nonprofit management at New York University. “You entered into an arrangement with people who don’t have a lot of money, who believed that you were going to make them whole. Then you’re going to turn around and not make them whole.”
·archive.is·
Inside the Collapse of Venture for America
HouseFresh disappeared from Google Search results. Now what?
HouseFresh disappeared from Google Search results. Now what?

Claude Summary - HouseFresh's Battle Against Google's Algorithm and Big Media Dominance

Key takeaway

HouseFresh, an independent publisher, has experienced a dramatic 91% loss in search traffic due to Google's algorithm changes, which favor big media sites and product listings, prompting them to adapt their strategy and fight back against what they perceive as an unfair digital landscape dominated by manipulative SEO tactics.

Summary

  • HouseFresh published an exposé in February 2024 warning readers about untrustworthy product recommendations from well-known publications ranking high in Google search results.

  • The article explores tactics used by big media publishers to outrank independent sites, including:

    • Dotdash Meredith's alleged "keyword swarming" strategy:

      • Identifying small sites with high rankings for specific terms
      • Publishing vast amounts of content to push competitors down in rankings
      • Leveraging their network of websites to dominate search results
    • Forbes.com's expansion into pet-related content:

      • Publishing thousands of articles about pets to build authority in the space
      • Creating statistics round-ups to encourage backlinks
      • Using this content to support pet insurance affiliate marketing
    • Legacy publications being acquired and repurposed:

      • Example of Money magazine being bought by Ad Practitioners LLC
      • Shifting focus to intent-based personal finance content surfaced from search results
      • Expanding into unrelated topics (e.g., air purifiers, garage door openers) for affiliate revenue
    • Use of AI-generated content by major publishers:

      • Sports Illustrated and USA Today caught publishing AI-written content under fake author names
      • Outsourcing to third-party providers like AdVon Commerce for commerce content partnerships
      • Layoffs of journalists while increasing AI-generated commercial content
  • Google announced a "site reputation abuse" spam policy update, effective May 5, 2024, aimed at curbing manipulative search ranking practices.

  • HouseFresh experienced a 91% loss in search traffic following Google's March 2024 core update.

  • The author criticizes Google's current search results, noting:

    • Prevalence of generic "best of" lists from big media sites
    • Abundance of Google Shopping product listings (e.g., 64 product listings for a single query)
    • Lack of specificity in addressing user queries (e.g., budget-friendly options)
  • HouseFresh disputes various theories about why they've been demoted in search rankings, including:

    • Use of affiliate links
    • Conducting keyword research
    • Not being an established brand
  • The article suggests Google Search may be "broken," potentially due to:

    • The merging of Google Ads and Search objectives
    • Changes in leadership, with the Head of Google Ads taking over as Head of Google Search in 2020
  • HouseFresh plans to adapt by:

    • Focusing on exposing scam products and critiquing big media recommendations
    • Expanding their presence on various social media and content platforms
    • Leveraging Google's emphasis on fresh content to maintain visibility
    • Using Google's own broken results to get their takedowns in front of people
  • The author expresses frustration with the current state of search results and advocates for a more open and diverse web ecosystem.

  • HouseFresh remains committed to producing quality content and fighting for visibility despite the challenges posed by Google's algorithm changes and the dominance of big media tactics.

Through this strategy, Dotdash Meredith allegedly identifies small sites that have cemented themselves in Google results for a specific (and valuable) term or in a specific topic, with the goal of pushing them down the rankings by publishing vast amounts of content of their own.
“IAC’s vision for Dotdash Meredith — to be a flywheel for generating advertising and commerce revenue — is finally starting to pan out.  […] More than 80% of Dotdash Meredith’s traffic and digital revenue come from its core sites, such as Food & Wine, Travel & Leisure, and Southern Living, that deliver a form of what one might think of as commerce-related service journalism.” — Allison Schiff, managing editor of AdExchanger
To give the pet insurance affiliate section of Forbes the best chance to succeed, the Forbes Advisor team pumped out A LOT of content about pets and built A LOT of links around the topic with statistics round-ups designed to obfuscate the original sources in order to increase the chances of people linking to Forbes.com when using the stats
All this hard work paid off in the form of an estimated 1.1 million visitors each month to the pet insurance section of Forbes Advisor
This happened at the expense of every site that has produced content about dogs, cats, and other pets for many years before Forbes.com decided to cash in on pet insurance affiliate money.  They successfully replicated this model again and again and again across the huge variety of topics that Forbes covers today.
Step one: buy the site. Step two: fire staff. Step three: revamp the content strategy to drive new monetizable traffic from Google
“As a journalist, all of this depresses me,” wrote Brian Merchant, the technology columnist at the Los Angeles Times. He continued, “If journalists are outraged at the rise of AI and its use in editorial operations and newsrooms, they should be outraged not because it’s a sign that they’re about to be replaced but because management has such little regard for the work being done by journalists that it’s willing to prioritize the automatic production of slop.”
Here’s a recap so far: Digital media conglomerates are developing SEO content strategies designed to out-publish high-ranking specialist independent publishers. Legacy media brands are building in-house SEO content teams that tie content creation to affiliate marketing revenue in topics that have nothing to do with their original areas of expertise. Newly created digital media companies are buying once successful and influential blogs with the goal of driving traffic to casino sites. Private equity firms are partnering with companies like AdVon to publish large amounts of AI-generated content edited by SEO-focused people across their portfolio of media brands. And here’s the worst part: Google’s algorithm encourages all of them to rinse and repeat the same strategies by allowing their websites to rank in top positions for SEO-fueled articles about any topic imaginable. Even in cases when the articles have been written by AI and published under fake authors.
·housefresh.com·
HouseFresh disappeared from Google Search results. Now what?
One weird trick for fixing Hollywood
One weird trick for fixing Hollywood
A view of the challenges facing Hollywood, acknowledging the profound shifts in consumer behavior and media consumption driven by new technologies. The rise of smartphones and mobile entertainment apps has disrupted the traditional movie-going habits of the public, with people now less inclined to see films simply because they are playing. Free or low-paid labor on social media platforms like YouTube and TikTok is effectively competing with and undercutting the unionized Hollywood workforce.
the smartphone, and a host of software technologies built on it,3 have birthed what is essentially a parallel, non-union, motion-picture industry consisting of YouTube, TikTok, Instagram, Twitch, Twitter, and their many other social-video rivals, all of which rely on the free or barely compensated labor product of people acting as de facto writers, directors, producers, actors, and crew. Even if they’d never see it this way, YouTubers and TikTokers are effectively competing with Hollywood over the idle hours of consumers everywhere; more to the point, they’re doing what any non-union workforce does in an insufficiently organized industry: driving down labor compensation.
Almost no one I know has work; most people’s agents and managers have more or less told them there won’t be jobs until 2025. An executive recently told a friend that the only things getting made this year are “ultra premium limiteds,” which sounds like a kind of tampon but actually just means “six-episode miniseries that an A-List star wants to do.”
YouTubers’ lack of collective bargaining power isn’t just bad for me and other guild members; it’s bad for the YouTubers themselves. Ask any professional or semi-professional streamer what they think of the platform and you’ll hear a litany of complaints about its opacity and inconsistency
·maxread.substack.com·
One weird trick for fixing Hollywood
Companionship Content is King - by Anu Atluru
Companionship Content is King - by Anu Atluru

Long-form "companionship content" will outlast short-form video formats like TikTok, as the latter is more mentally draining and has a lower ceiling for user engagement over time.

  • In contrast, companionship content that feels more human and less algorithmically optimized will continue to thrive, as it better meets people's needs for social connection and low-effort entertainment.
  • YouTube as the dominant platform among teens, and notes that successful TikTok creators often funnel their audiences to longer-form YouTube content.
  • Platforms enabling deep, direct creator-fan relationships and higher creator payouts, like YouTube, are expected to be the long-term winners in the content landscape.
Companionship content is long-form content that can be consumed passively — allowing the consumer to be incompletely attentive, and providing a sense of relaxation, comfort, and community.
Interestingly, each individual “unit” of music is short-form (e.g. a 3-5 minute song), but how we consume it tends to be long-form and passive (i.e. via curated stations, lengthy playlists, or algorithms that adapt to our taste).
If you’re rewatching a show or movie, it’s likely to be companionship content. (Life-like conversational sitcoms can be consumed this way too.) As streaming matures, platforms are growing their passive-watch library.
content isn’t always prescriptively passive, rather it’s rooted in how consumers engage it.
That said, some content lends better to being companionship content: Long-form over short. Conversational over action. Simple plot versus complex.
Short-form video requires more attention & action in a few ways: Context switching, i.e. wrapping your head around a new piece of context every 30 seconds, especially if they’re on unrelated topics with different styles Judgment & decision-making, i.e. contemplating whether to keep watching or swipe to the next video effectively the entire time you’re watching a video Multi-sensory attention, i.e. default full-screen and requires visual and audio focus, especially since videos are so short that you can easily lose context Interactive components, e.g. liking, saving, bookmarking,
With how performative, edited, and algorithmically over-optimized it is, TikTok feels sub-human. TikTok has quickly become one of the most goal-seeking places on earth. I could easily describe TikTok as a global focus group for commercials. It’s the product personification of a means to an end, and the end is attention.
even TikTok creators are adapting the historically rigid format to appeal to more companionship-esque emotions and improve retention.
When we search for a YouTube video to watch, we often want the best companion for the next hour and not the most entertaining content.
While short-form content edits are meant to be spectacular and attention-grabbing, long-form content tends to be more subtle in its emotional journey Long-form engagement with any single character or narrative or genre lets you develop stronger understanding, affinity, and parasocial bonds Talk-based content (e.g. talk shows, podcasts, comedy, vlogs, life-like sitcoms) especially evokes a feeling of companionship and is less energy-draining The trends around loneliness and the acceleration of remote work has and will continue to make companionship content even more desirable As we move into new technology frontiers, we might unlock novel types of companionship content itself, but I’d expect this to take 5-10 years at least
TikTok is where you connect with an audience, YouTube is where you consolidate it.5 Long-form content also earns creators more, with YouTube a standout in revenue sharing.
YouTube paid out $16 billion to creators in 2022 (which is 55% of its annual $30 billion in revenue) and the other four social networks paid out about $1 billion each from their respective creator funds. In total, that yields $20 billion.”
Mr. Beast, YouTube’s top creator, says YouTube is now the final destination, not “traditional” hollywood stardom which is the dream of generations past. Creators also want to funnel audiences to apps & community platforms where they can own user relationships, rely less on algorithms, engage more directly and deeply with followers, and enable follower-to-follower engagement too
Interestingly of course, an increasing amount of short-form video, including formats like clips and edits, seems to be made from what originally was long-form content.8 And in return, these recycled short-form videos can drive tremendous traffic to long-form formats and platforms.
90% of people use a second screen while watching TV. We generally talk about “second screen” experiences in the context of multiple devices, but you can have complementary apps and content running on the same device — you can have the “second screen” on the same screen.
YouTube itself also cites a trend of people putting YouTube on their real TV screens: “There are more Americans gathering around the living room TV to watch YouTube than any other platform. Why? Put simply, people want choices and variety … It’s a one stop shop for video viewing. Think about something historically associated with linear TV: Sports. Now, with [our NFL partnership], people can not only watch the games, but watch post-game highlights and commentary in one place.”
If I were to build an on-demand streaming product or any kind of content product for that matter, I’d build for the companionship use case — not only because I think it has a higher ceiling of consumer attention, but also because it can support more authentic, natural, human engagement.
All the creators that are ‘made’ on TikTok are looking for a place to go to consolidate the attention they’ve amassed. TikTok is commercials. YouTube is TV. (Though yes, they’re both trying to become each other).
certainly AI and all the new creator tools enabled by it will help people mix and match and remix long and short formats all day, blurring the historically strict distinctions between them. It’ll take some time before we see a new physical product + content combo thrive, and meanwhile the iPhone and its comps will be competing hard to stay the default device.
The new default seems to be that we’re not lonely as long as we’re streaming. We can view this entirely in a negative light and talk about how much the internet and media is contributing to the loneliness epidemic. Or we could think about how to create media for good. Companionship content can be less the quick dopamine-hit-delivering clips and more of this, and perhaps even truly social.
Long-form wants to become the conversational third space for consumers too. The “comments” sections of TikTok, YouTube and all broadcast platforms are improving, but they still have a long way to go before they become even more community-oriented.
I’m not an “AI-head” but I am more curious about what it’s going to enable in long-form content than all the short-form clips it’s going to help generate and illustrate, etc.
The foreground tends to be utilities or low-cognitive / audio effort (text or silent video). Tiktok is a foreground app for now, YouTube is both (and I’d say trending towards being background).
·archive.is·
Companionship Content is King - by Anu Atluru
Fandom's Great Divide
Fandom's Great Divide
The 1970s sitcom "All in the Family" sparked debates with its bigoted-yet-lovable Archie Bunker character, leaving audiences divided over whether the show was satirizing prejudice or inadvertently promoting it, and reflecting TV's power to shape societal attitudes.
This sort of audience divide, not between those who love a show and those who hate it but between those who love it in very different ways, has become a familiar schism in the past fifteen years, during the rise of—oh, God, that phrase again—Golden Age television. This is particularly true of the much lauded stream of cable “dark dramas,” whose protagonists shimmer between the repulsive and the magnetic. As anyone who has ever read the comments on a recap can tell you, there has always been a less ambivalent way of regarding an antihero: as a hero
a subset of viewers cheered for Walter White on “Breaking Bad,” growling threats at anyone who nagged him to stop selling meth. In a blog post about that brilliant series, I labelled these viewers “bad fans,” and the responses I got made me feel as if I’d poured a bucket of oil onto a flame war from the parapets of my snobby critical castle. Truthfully, my haters had a point: who wants to hear that they’re watching something wrong?
·newyorker.com·
Fandom's Great Divide
AI startups require new strategies
AI startups require new strategies

comment from Habitue on Hacker News: > These are some good points, but it doesn't seem to mention a big way in which startups disrupt incumbents, which is that they frame the problem a different way, and they don't need to protect existing revenue streams.

The “hard tech” in AI are the LLMs available for rent from OpenAI, Anthropic, Cohere, and others, or available as open source with Llama, Bloom, Mistral and others. The hard-tech is a level playing field; startups do not have an advantage over incumbents.
There can be differentiation in prompt engineering, problem break-down, use of vector databases, and more. However, this isn’t something where startups have an edge, such as being willing to take more risks or be more creative. At best, it is neutral; certainly not an advantage.
This doesn’t mean it’s impossible for a startup to succeed; surely many will. It means that you need a strategy that creates differentiation and distribution, even more quickly and dramatically than is normally required
Whether you’re training existing models, developing models from scratch, or simply testing theories, high-quality data is crucial. Incumbents have the data because they have the customers. They can immediately leverage customers’ data to train models and tune algorithms, so long as they maintain secrecy and privacy.
Intercom’s AI strategy is built on the foundation of hundreds of millions of customer interactions. This gives them an advantage over a newcomer developing a chatbot from scratch. Similarly, Google has an advantage in AI video because they own the entire YouTube library. GitHub has an advantage with Copilot because they trained their AI on their vast code repository (including changes, with human-written explanations of the changes).
While there will always be individuals preferring the startup environment, the allure of working on AI at an incumbent is equally strong for many, especially pure computer and data scientsts who, more than anything else, want to work on interesting AI projects. They get to work in the code, with a large budget, with all the data, with above-market compensation, and a built-in large customer base that will enjoy the fruits of their labor, all without having to do sales, marketing, tech support, accounting, raising money, or anything else that isn’t the pure joy of writing interesting code. This is heaven for many.
A chatbot is in the chatbot market, and an SEO tool is in the SEO market. Adding AI to those tools is obviously a good idea; indeed companies who fail to add AI will likely become irrelevant in the long run. Thus we see that “AI” is a new tool for developing within existing markets, not itself a new market (except for actual hard-tech AI companies).
AI is in the solution-space, not the problem-space, as we say in product management. The customer problem you’re solving is still the same as ever. The problem a chatbot is solving is the same as ever: Talk to customers 24/7 in any language. AI enables completely new solutions that none of us were imagining a few years ago; that’s what’s so exciting and truly transformative. However, the customer problems remain the same, even though the solutions are different
Companies will pay more for chatbots where the AI is excellent, more support contacts are deferred from reaching a human, more languages are supported, and more kinds of questions can be answered, so existing chatbot customers might pay more, which grows the market. Furthermore, some companies who previously (rightly) saw chatbots as a terrible customer experience, will change their mind with sufficiently good AI, and will enter the chatbot market, which again grows that market.
the right way to analyze this is not to say “the AI market is big and growing” but rather: “Here is how AI will transform this existing market.” And then: “Here’s how we fit into that growth.”
·longform.asmartbear.com·
AI startups require new strategies
Ideo breaks its silence on design thinking’s critics
Ideo breaks its silence on design thinking’s critics
criticisms of design thinking discussed in an interview with Fast Company Innovation Festival, Ideo partner and leader of its Cambridge, Massachusetts, office Michael Hendrix
By Katharine Schwab4 minute ReadOver the last year, Ideo’s philosophy of “design thinking“–a codified, six-step process to solve problems creatively–has come under fire. It’s been called bullshit, the opposite of inclusive design, and a failed experiment. It’s even been compared to syphilis.Ideo as an institution has rarely responded to critiques of design thinking or acknowledged its flaws. But at the Fast Company Innovation Festival, Ideo partner and leader of its Cambridge, Massachusetts, office Michael Hendrix had a frank conversation with Co.Design senior writer Mark Wilson about why design thinking has gotten so much flack.“I think it’s fair to critique design thinking, just as it’s fair to critique any other design strategy,” Hendrix says. “There’s of course many poor examples of design thinking, and there’s great examples. Just like there’s poor examples of industrial design and graphic design and different processes within organizations.”Part of the problem is that many people use the design thinking methodology in superficial ways. Hendrix calls it the “theater of innovation.” Companies know they need to be more creative and innovative, and because they’re looking for fast ways to achieve those goals, they cut corners.“We get a lot of the materials that look like innovation, or look like they make us more creative,” Hendrix says. “That could be anything from getting a bunch of Sharpie markers and Post-its and putting them in rooms for brainstorms, to having new dress codes, to programming play into the week. They all could be good tools to serve up creativity or innovation, they all could be methods of design thinking, but without some kind of history or strategy to tie them together, and track their progress, track their impact, they end up being a theatrical thing that people can point to and say, ‘oh we did that.'”
“If you make something rigid and formulaic, it could absolutely fail,” he says. “You want to rely on milestones in the creative process, but you don’t want it to be a reactive process that loses its soul.”
“There is a real need to build respect for one another and trust in the safety of sharing ideas so you can move forward,” Hendrix says. “Knowing when to bring judgments is important. Cultures that are highly judgy, that have hierarchy, that are rewarding the person who is the smartest person in the room, don’t do well with this kind of methodology.”
·fastcompany.com·
Ideo breaks its silence on design thinking’s critics
Why corporate America broke up with design
Why corporate America broke up with design
Design thinking alone doesn't determine market success, nor does it always transform business as expected.
There are a multitude of viable culprits behind this revenue drop. Robson himself pointed to the pandemic and tightened global budgets while arguing that “the widespread adoption of design thinking . . . has reduced demand for our services.” (Ideo was, in part, its own competition here since for years, it sold courses on design thinking.) It’s perhaps worth noting that, while design thinking was a buzzword from the ’90s to the early 2010s, it’s commonly met with all sorts of criticism today.
“People were like, ‘We did the process, why doesn’t our business transform?'” says Cliff Kuang, a UX designer and coauthor of User Friendly (and a former Fast Company editor). He points to PepsiCo, which in 2012 hired its first chief design officer and opened an in-house design studio. The investment has not yielded a string of blockbusters (and certainly no iPhone for soda). One widely promoted product, Drinkfinity, attempted to respond to diminishing soft-drink sales with K-Cup-style pods and a reusable water bottle. The design process was meticulous, with extensive prototyping and testing. But Drinkfinity had a short shelf life, discontinued within two years of its 2018 release.
“Design is rarely the thing that determines whether something succeeds in the market,” Kuang says. Take Amazon’s Kindle e-reader. “Jeff Bezos henpecked the original Kindle design to death. Because he didn’t believe in capacitive touch, he put a keyboard on it, and all this other stuff,” Kuang says. “Then the designer of the original Kindle walked and gave [the model] to Barnes & Noble.” Barnes & Noble released a product with a superior physical design, the Nook. But design was no match for distribution. According to the most recent data, Amazon owns approximately 80% of the e-book market share.
The rise of mobile computing has forced companies to create effortless user experiences—or risk getting left behind. When you hail an Uber or order toilet paper in a single click, you are reaping the benefits of carefully considered design. A 2018 McKinsey study found that companies with the strongest commitment to design and the best execution of design principles had revenue that was 32 percentage points higher—and shareholder returns that were 56 percentage points higher—than other companies.
·fastcompany.com·
Why corporate America broke up with design
Generative AI’s Act Two
Generative AI’s Act Two
This page also has many infographics providing an overview of different aspects of the AI industry at time of writing.
We still believe that there will be a separation between the “application layer” companies and foundation model providers, with model companies specializing in scale and research and application layer companies specializing in product and UI. In reality, that separation hasn’t cleanly happened yet. In fact, the most successful user-facing applications out of the gate have been vertically integrated.
We predicted that the best generative AI companies could generate a sustainable competitive advantage through a data flywheel: more usage → more data → better model → more usage. While this is still somewhat true, especially in domains with very specialized and hard-to-get data, the “data moats” are on shaky ground: the data that application companies generate does not create an insurmountable moat, and the next generations of foundation models may very well obliterate any data moats that startups generate. Rather, workflows and user networks seem to be creating more durable sources of competitive advantage.
Some of the best consumer companies have 60-65% DAU/MAU; WhatsApp’s is 85%. By contrast, generative AI apps have a median of 14% (with the notable exception of Character and the “AI companionship” category). This means that users are not finding enough value in Generative AI products to use them every day yet.
generative AI’s biggest problem is not finding use cases or demand or distribution, it is proving value. As our colleague David Cahn writes, “the $200B question is: What are you going to use all this infrastructure to do? How is it going to change people’s lives?”
·sequoiacap.com·
Generative AI’s Act Two
Panic Among the Streamers
Panic Among the Streamers
Netflix could buy 10 top quality screenplays per year with the cash they’ll spend on that one job.  They must have big plans for AI.There are also a half dozen AI job openings at Disney. And the tech-based streamers (Apple, Amazon) already have made big investments in AI. Sony launched an AI business unit in April 2020—in order to “enhance human imagination and creativity, particularly in the realm of entertainment.”
When Spotify launched on the stock exchange in 2018, it was losing around $30 million per month. Now it’s much larger, and is losing money at the pace of more than $100 million per month.
But the real problem at Spotify isn’t just convincing people to pay more. It runs much deeper. Spotify finds itself in the awkward position of asking people to pay more for a lousy interface that degrades the entire user experience.
Boredom is built into the platform, because they lose money if you get too excited about music—you’re like the person at the all-you-can-eat buffet who goes back for a third helping. They make the most money from indifferent, lukewarm fans, and they created their interface with them in mind. In other words, Spotify’s highest aspiration is to be the Applebee’s of music.
They need to prepare for a possible royalty war against record labels and musicians—yes, that could actually happen—and they do that by creating a zombie world of brain dead listeners who don’t even know what artist they’re hearing. I know that sounds extreme, but spend some time on the platform and draw your own conclusions.
·honest-broker.com·
Panic Among the Streamers
Studio Branding in the Streaming Wars
Studio Branding in the Streaming Wars
The race for the streamers to configure themselves as full-service production, distribution, and exhibition outlets has intensified the need for each to articulate a more specific brand identity.
What we are seeing with the streaming wars is not the emergence of a cluster of copy-cat services, with everyone trying to do everything, but the beginnings of a legible strategy to carve up the mediascape and compete for peoples’ waking hours.
Netflix’s penchant for character-centered stories with a three-act structure, as well as high production values (an average of $20–$50-plus million for award contenders), resonates with the “quality” features of the Classical era.
rom early on, Netflix cultivated a liberal public image, which has propelled its investment in social documentary and also driven some of its inclusivity initiatives and collaborations with global auteurs and showrunners of color, such as Alfonso Cuarón, Ava DuVernay, Spike Lee, and Justin Simien.
Quibi as short for “Quick Bites.” In turn, the promos wouldn’t so much emphasize “the what” of the programming as the interest and convenience of being able to watch it while waiting, commuting, or just taking a break. However, this unit of prospective viewing time lies uncomfortably between the ultra-brief TikTok video and the half-hour sitcom.
Peacock’s central obstacle moving forward will be convincing would-be subscribers that the things they loved about linear broadcast and cable TV are worth the investment.
One of the most intriguing and revealing of metaphors, however, isn’t so much related to war as celestial coexistence of streamer-planets within the “universe.” Certainly, the term resonates with key franchises, such as the “Marvel Cinematic Universe,” and the bevvy of intricate stories that such an expansive environment makes possible. This language stakes a claim for the totality of media — that there are no other kinds of moving images beyond what exists on, or what can be imagined for, these select platforms.
·lareviewofbooks.org·
Studio Branding in the Streaming Wars
Congratulations, Gen Z: You Are the New Societal Scapegoat for Longstanding and Systemic Problems
Congratulations, Gen Z: You Are the New Societal Scapegoat for Longstanding and Systemic Problems
Stories like these are unhelpful at best, and damaging at worst. Someone skimming the Insider homepage uncritically might see this headline and chuckle at how coddled the kids are these days. That simply is not the case. The kids are alright. It is, as ever, the rich and truly powerful — the actual managerial bureaucracy — who are enriching themselves at the expense of the rest of us.
Gen Z has its own problems to confront: its members began their adult lives in the middle of a pandemic with a whiplashing economy and, in many parts of the world, an overheated market for renting or owning a home. Surveys show they want a healthier balance between their work and personal lives, and they understand developing a successful career takes time and constant learning. They do not want to be pandered to; they just want a reasonable level of respect, as with pretty much everyone else.
·pxlnv.com·
Congratulations, Gen Z: You Are the New Societal Scapegoat for Longstanding and Systemic Problems
What China, Marvel, and Avatar Tell Us About the Future of Blockbuster Franchises — MatthewBall.vc
What China, Marvel, and Avatar Tell Us About the Future of Blockbuster Franchises — MatthewBall.vc
Swelling trade tensions and the rise of “direct-to-consumer” platforms were bound to heighten the scrutiny on the import of mass media cultural products. But it’s also notable that the Marvel movies that did gain admittance in China were led by six heroes (The Avengers), five of whom were employed by the American military (with the sole outlier being an extraterrestrial) and all of whom were white. The current, rejected leads are more diverse in vocation, American allegiance, and ethnicity (among other attributes).
In 2017, Disney began a marketing integration with aerospace and defense giant Northrop Grumman encouraging those who use Google to research American defense contractor Stark Industries to join something like the real thing.
Avatar’s unprecedented achievements require us to examine not just its technological innovations, but also its narrative. The film’s “protagonist humans” are classic Western archetypes such as the taciturn soldier and the driven scientist. The villains are archetypes as well, but they are also particularly close to foreign caricatures of evil Americans: the tough-as-nails, violence-prone colonel and pillage-the-earth corporate executive. Furthermore, Avatar’s overarching message is one of collectivism, spiritualism, and alignment with nature. At the end of the movie, each of the Western heroes literally shed their individual identities (and white bodies) to become part of the cooperative aboriginal mind and save the day.
·matthewball.vc·
What China, Marvel, and Avatar Tell Us About the Future of Blockbuster Franchises — MatthewBall.vc
A ★½ review of Jurassic World Dominion (2022)
A ★½ review of Jurassic World Dominion (2022)
Whoever is behind the scenes of these movies fails to understand that you can actually make more money by making something that is "good". That making a "good" movie means people will want to watch your movie multiple times and then purchase it again later, and purchase more tickets, and purchase the streaming service with your movie, and purchase the box-set with your movie.
There are three ways you could make a film like this, and make it somewhat "good", whatever that term may mean. You could:A) Make a good movie. Make a movie that is artistically fulfilling, filled to the brim with interesting themes and ideas, passionate craftwork, talented artistry. Something that makes people proud that they went to the movies.B) Make a good Jurassic Park/World movie. Make something that builds on the source material before it in an interesting way and gives itself a purpose to exist in the first place outside of being just a cash cow. Something that makes people proud to be a fan of the franchise.C) Make a good dinosaur movie. Just show a bunch of fucking dinosaurs crashing into each other. Something stupid but ultimately fun. Something that makes people proud to have eyes and ears so that they can see something cool.
·letterboxd.com·
A ★½ review of Jurassic World Dominion (2022)
Greenwashing Certified™
Greenwashing Certified™
The problem is that the main incentive for pursuing corporate sustainability work is its ability to create more marketable products. Outside of sustainability efforts that are pursued based on compliance or regulation, much of this work is built around the idea of pandering to consumers' understanding of sustainability, something that’s notoriously variable.
·garden3d.substack.com·
Greenwashing Certified™
The Aesthetics of Apology - Why So Many Brands Are Getting it Wrong
The Aesthetics of Apology - Why So Many Brands Are Getting it Wrong
in Instagram apologies, even when someone ostensibly confronts their ugliness, it’s hard to read the gesture as anything but an effort to publicly reclaim their image. But at least the Notes App Apology permitted us a semblance of sincerity, and suggested there might be a human being who typed the message—even if that human was an intern or assistant. There’s nothing sincere about a trickle-down excuse crafted to look pretty for Instagram grids, and the processed nature of Photoshopped Apologies implies the absence of the one thing all genuine apologies must possess: accountability straight from the person who committed the transgression.
·artnews.com·
The Aesthetics of Apology - Why So Many Brands Are Getting it Wrong
Ad Tech Revenue Statements Indicate Unclear Effects of App Tracking Transparency
Ad Tech Revenue Statements Indicate Unclear Effects of App Tracking Transparency
it is very difficult to figure out what specific effect ATT has because there are so many factors involved
If ATT were so significantly kneecapping revenue, I would think we would see a pronounced skew against North America compared to elsewhere. But that is not the case. Revenue in North America is only slightly off compared to the company total, and it is increasing how much it earns per North American user compared to the rest of the world.
iOS is far more popular in the U.S. and Canada than it is in Europe, but Meta incurred a greater revenue decline — in absolute terms and, especially, in percentage terms — in Europe. Meta was still posting year-over-year gains in both those regions until this most recent quarter, even though ATT rolled out over a year ago.
there are those who believe highly-targeted advertisements are a fair trade-off because they offer businesses a more accurate means of finding their customers, and the behavioural data collected from all of us is valuable only in the aggregate. That is, as I understand it, the view of analysts like Seufert, Benedict Evans, and Ben Thompson. Frequent readers will not be surprised to know I disagree with this premise. Regardless of how many user agreements we sign and privacy policies we read, we cannot know the full extent of the data economy. Personal information about us is being collected, shared, combined, and repackaged. It may only be profitable in aggregate, but it is useful with finer granularity, so it is unsurprising that it is indefinitely warehoused in detail.
Seufert asked, rhetorically, “what happens when ads aren’t personalized?”, answering “digital ads resemble TV ads: jarring distractions from core content experience. Non-personalized is another way of saying irrelevant, or at best, randomly relevant.”
opinion in support or personalized ads
does it make sense to build the internet’s economy on the backs of a few hundred brokers none of us have heard of, trading and merging our personal information in the hope of generating a slightly better click-through rate?
Then there is the much bigger question of whether people should even be able to opt into such widespread tracking. We simply cannot be informed consumers in every aspect of our lives, and we cannot foresee how this information will be used and abused in the full extent of time. It sounds boring, but what is so wrong with requiring data minimization at every turn, permitting only the most relevant personal data to be collected, and restricting the ability for this information to be shared or combined?
Does ATT really “[deprive] consumers of widespread ad relevancy and advertisers and publishers of commercial opportunity”? Even if it does — which I doubt — has that commercial opportunity really existed with meaningful consumer awareness and choice? Or is this entire market illegitimate, artificially inflated by our inability to avoid becoming its subjects?
I've thought this too. Do click through rates really improve so much from targeting that the internet industries' obsession with this practice is justified?
Conflicts like these are one of many reasons why privacy rights should be established by regulators, not individual companies. Privacy must not be a luxury good, or something you opt into, and it should not be a radical position to say so. We all value different degrees of privacy, but it should not be possible for businesses to be built on whether we have rights at all. The digital economy should not be built on such rickety and obviously flawed foundations.
Great and succinct summary of points on user privacy
·pxlnv.com·
Ad Tech Revenue Statements Indicate Unclear Effects of App Tracking Transparency
Kevin Kelly on Why Technology Has a Will
Kevin Kelly on Why Technology Has a Will
The game is that every time we create a new technology, we’re creating new possibilities, new choices that didn’t exist before. Those choices themselves—even the choice to do harm—are a good, they’re a plus.
We want an economy that’s growing in the second sense: unlimited betterment, unlimited increase in wisdom, and complexity, and choices. I don’t see any limit there. We don’t want an economy that’s just getting fatter and fatter, and bigger and bigger, in terms of its size. Can we imagine such a system? That’s hard, but I don’t think it’s impossible.
·palladiummag.com·
Kevin Kelly on Why Technology Has a Will
Yale Law Journal - Amazon’s Antitrust Paradox
Yale Law Journal - Amazon’s Antitrust Paradox
Although Amazon has clocked staggering growth, it generates meager profits, choosing to price below-cost and expand widely instead. Through this strategy, the company has positioned itself at the center of e-commerce and now serves as essential infrastructure for a host of other businesses that depend upon it. Elements of the firm’s structure and conduct pose anticompetitive concerns—yet it has escaped antitrust scrutiny.
This Note argues that the current framework in antitrust—specifically its pegging competition to “consumer welfare,” defined as short-term price effects—is unequipped to capture the architecture of market power in the modern economy. We cannot cognize the potential harms to competition posed by Amazon’s dominance if we measure competition primarily through price and output. Specifically, current doctrine underappreciates the risk of predatory pricing and how integration across distinct business lines may prove anticompetitive.
These concerns are heightened in the context of online platforms for two reasons. First, the economics of platform markets create incentives for a company to pursue growth over profits, a strategy that investors have rewarded. Under these conditions, predatory pricing becomes highly rational—even as existing doctrine treats it as irrational and therefore implausible.
Second, because online platforms serve as critical intermediaries, integrating across business lines positions these platforms to control the essential infrastructure on which their rivals depend. This dual role also enables a platform to exploit information collected on companies using its services to undermine them as competitors.
·yalelawjournal.org·
Yale Law Journal - Amazon’s Antitrust Paradox
Opinion | Martin Scorsese: I Said Marvel Movies Aren’t Cinema. Let Me Explain. - The New York Times
Opinion | Martin Scorsese: I Said Marvel Movies Aren’t Cinema. Let Me Explain. - The New York Times
cinema was about revelation — aesthetic, emotional and spiritual revelation. It was about characters — the complexity of people and their contradictory and sometimes paradoxical natures, the way they can hurt one another and love one another and suddenly come face to face with themselves. It was about confronting the unexpected on the screen and in the life it dramatized and interpreted, and enlarging the sense of what was possible in the art form.
Many of the elements that define cinema as I know it are there in Marvel pictures. What’s not there is revelation, mystery or genuine emotional danger. Nothing is at risk. The pictures are made to satisfy a specific set of demands, and they are designed as variations on a finite number of themes. They are sequels in name but they are remakes in spirit, and everything in them is officially sanctioned because it can’t really be any other way. That’s the nature of modern film franchises: market-researched, audience-tested, vetted, modified, revetted and remodified until they’re ready for consumption.
In many places around this country and around the world, franchise films are now your primary choice if you want to see something on the big screen.
And if you’re going to tell me that it’s simply a matter of supply and demand and giving the people what they want, I’m going to disagree. It’s a chicken-and-egg issue. If people are given only one kind of thing and endlessly sold only one kind of thing, of course they’re going to want more of that one kind of thing.
But the most ominous change has happened stealthily and under cover of night: the gradual but steady elimination of risk. Many films today are perfect products manufactured for immediate consumption. Many of them are well made by teams of talented individuals. All the same, they lack something essential to cinema: the unifying vision of an individual artist. Because, of course, the individual artist is the riskiest factor of all.
·nytimes.com·
Opinion | Martin Scorsese: I Said Marvel Movies Aren’t Cinema. Let Me Explain. - The New York Times