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Activision Asks Court To Dismiss State Sexual Harassment and Discrimination Lawsuit
Samson Amore
Samson Amore is a reporter for dot.LA. He holds a degree in journalism from Emerson College. Send tips or pitches to samsonamore@dot.la and find him on Twitter @Samsonamore.
Activision Blizzard asked Los Angeles Superior Court to dismiss a discrimination lawsuit filed against it by California’s Department of Fair Employment and Housing, arguing the agency overstepped its authority by taking the matter to court.
The DFEH’s lawsuit against Activision, filed in July 2021, accuses the Santa Monica-based publisher of “Overwatch” and the blockbuster “Call of Duty” franchise of fostering a “frat boy” culture in the workplace. The suit alleges that Activision permitted frequent drinking during office hours and looked the other way regarding sexual harassment of female employees.
This lawsuit is one of a growing number that pile up around Activision as it tries to finalize its $69 billion merger with Microsoft. The gaming firm’s tactic is to now frame the DFEH’s lawsuit as frivolous and the result of it meddling in the affairs of another government watchdog, the federal Equal Employment Opportunity Commission.
The EEOC filed its own discrimination lawsuit against Activision in September 2021, though it said it began investigating in 2018.
The EEOC’s lawsuit found that Activision Blizzard managers discriminated against and sexually harassed employees who were female or pregnant, and that the company knowingly failed to address the issue. It’s similar to several cases brought by private plaintiffs, including a current employee and the family of Kerri Moynihan, a woman who died by suicide at an Activision company outing in 2017.
“We are moving to dismiss the DFEH’s Complaint because the agency violated its own rules, acted in bad faith, and undermined its authority to file this lawsuit,” Activision said in a statement Wednesday. “Our motion comes just days after we joined the EEOC in opposing the sixth attempt by the DFEH to disrupt the federal settlement reached with the EEOC that already is helping Activision build a better and more inclusive workplace and providing relief and closure to current and former employees.”
The DFEH didn’t immediately return a request for comment.
In a May 6 filing in Los Angeles Superior Court first viewed by VentureBeat, Activision claimed there was “unprecedented inter-agency friction and government misconduct” afoot beginning in 2018 when the DFEH and EEOC began “overlapping” investigations into the same case.
There’s no reason separate federal and state entities can’t both make cases against Activision, but Activison’s filing claims the DFEH violated ethics by poaching EEOC attorneys and assigning them to their own case against the gaming company, waging a media offensive to try and prevent the case being settled, citing DFEH director Kevin Kish’s statements to the Washington Post where he said, “the most common response to harassment is nothing,” and argued the DFEH had to “take a look at this.”
The EEOC’s case was settled in March of this year. The settlement requires Activision to create an $18 million fund to pay out victims of sexual harassment, pregnancy discrimination or sex-based retaliation who’ve been working at the company from September 2016 onward.
But not everyone felt that the $18 million settlement was just, including victims. The DFEH tried to block it, arguing that Activision could stand to pay far more – especially given that it brought in roughly $395 million in profits last quarter. That was down 36% from the year prior, but still, Activision could afford a heftier payout if it had to.
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Samson Amore
Samson Amore is a reporter for dot.LA. He holds a degree in journalism from Emerson College. Send tips or pitches to samsonamore@dot.la and find him on Twitter @Samsonamore.
https://twitter.com/samsonamore
samsonamore@dot.la
Did TikTok Disinformation Just Decide the Next President of the Philippines?
02:02 PM | May 10, 2022
Photo by Solen Feyissa on Unsplash
Ferdinand Marcos Jr. is set to become the Philippines’ next president—a victory likely resulting from misinformation spread on TikTok, Business Insider reported ahead of Monday’s election.
Since Marcos Jr.’s father, former dictator Ferdinand Marcos Sr., was ousted in 1986, BI reported that the family has turned to social media to improve their public image. Marcos Jr.’s campaign paid social media influencers to publicly support him, indicating the role TikTok content played in promoting him as the country’s next leader. TikTok’s lack of transparency regarding how its algorithm spreads content and the amount of misinformation on the app influenced the election, according to BI.
The Chinese video-sharing app headquartered in Culver City officially partnered with the Philippine Commission on Elections to provide reliable information, but BI’s investigation noted that the app’s easy-to-use features helped misinformation run rampant. Pipo Gonzalez, a member of the fact-checking project Tsek.ph, told BI that most misinformation supported Marcos Jr.
Influencers and meme accounts in the Philippines are often paid by political campaigns in exchange for promotion. But Marcos Jr. may be one of the first to follow the new playbook for brands looking to increase their reach without breaking the bank by paying micro-influencers—those with a comparatively small amount of followers—to shill for him. This allows TikTok's algorithm to be exploited to push out narratives that blur personal views with deliberate misinformation.
JM Lanuz, an assistant professor of political science at the University of the Philippines, told BI, "Since the influencers have smaller audiences, it's harder to track. It's harder to see where this information originated from, how big the reach is."
One roadblock to identifying misinformation is the many languages spoken in the Philippines, according to Ciaran O'Connor, an analyst at the Institute for Strategic Dialogue. Moderating content not made in English, O’Connor said, is often a challenge for social media platforms.
"TikTok prohibits election misinformation and works with independent fact-checking organizations who help assess content so that violations of our Community Guidelines can be promptly removed," a TikTok spokesperson told Insider.
This wouldn’t be the first offensive for TikTok; last month, the nonprofit group Tracking Exposed found that pro-war propaganda spread throughout Russia on the social platform, despite the app’s crackdown of any new content uploaded from inside the country.
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Kristin Snyder
Kristin Snyder is dot.LA's 2022/23 Editorial Fellow. She previously interned with Tiger Oak Media and led the arts section for UCLA's Daily Bruin.
https://twitter.com/ksnyder_db
Spotify Earnings: The Music Streaming War Is Heating Up
01:30 PM | April 29, 2020
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On Wednesday morning's earnings call, Spotify chief executive Daniel Ek stressed his firm's focus: "Our primary strategy," he said, "is growth, rather than maximizing revenue." Three times he underscored that the long-term trend of "linear to on-demand" will continue to help Spotify grow, and that the tailwind may even "be accelerated" by the coronavirus.
Indeed, COVID-19 appears to have had little impact on Spotify's first-quarter results. Total users grew to 286 million (a 5% quarterly increase), 130 million of whom now pay for the ad-free version (also up 5%). Advertising revenues are down, but that inflow represents less than 15% of Spotify's total take, which was flat on the quarter.
Spotify has recently been growing outward, too, through bolting on new services and making several acquisitions to extend its audio footprint beyond music. Investors like what they see: the stock surged 11% from yesterday's close.
But Spotify's competition is growing, too, with both Morgan Stanley and Barclays researchers highlighting the risk in their Spotify earnings analyses. Looking at the playing field, at first blush Spotify seems comfortably ahead.
*Estimate from Music Ally's 2020 Q1 Global Music report | **Based on Counterpoint Research's global market sizing of 358 million
More than the numbers
But a deeper look reveals some long-term competitive vulnerabilities for Spotify. dot.LA spoke with Will Page, Spotify's former chief economist and the author of
Pivot — a forthcoming book on navigating digital disruption — about the music streaming landscape. He likened each of the top U.S. players to "chess pieces" and gave his view of their respective strengths:
- Spotify: "A first mover in streaming, therefore a first mover in gathering data -- something you can't replicate. It can also scale across the Android population, which in the U.S. is twice the size of iOS."
- Apple Music: "Ties into a valuable ecosystem of TV, books and podcasts, each with its own unique app. It's also succeeded in doubling down on hip-hop – a genre with deep roots in L.A."
- Amazon: "Can move in many directions, from music to devices to games to films, finding value by killing friction. Acquiring IMDb, for instance, gives them perfect information about films it doesn't even carry."
- YouTube: "They have more reach than the rest combined. Everyone who pays for the other three services will also be using YouTube. Having your foot on another player's patch is a big advantage in a game of chess."
Spotify's prodigious diversification into podcasts — there are now over 1 million titles on the service, the company says — may give it a leg up. In 2019 the company acquired two L.A.-based production houses, Parcast and The Ringer, along with Brooklyn-based Gimlet Media.
Los Angeles is poised to continue playing a big role in the ongoing growth of podcasts. Neon Hum, an L.A.-based podcast production company, recently closed an undisclosed funding deal with Sony Music. In July 2019, Wondery, another production outfit based in West Hollywood, finalized its $10 million series B, supported by Beverly Hills group Watertower Ventures. Self-funded Crooked Media boasts a loyal audience in its L.A. backyard and beyond.
It's no wonder that Spotify's head of podcast communications Kevin Turner told dot.LA that "Los Angeles is one of the most important podcasting hubs in the world and is the center of gravity for Spotify's podcasting business." Turner mentioned that Spotify's L.A. office has over 300 employees, with plans to hire more in the coming months. It will also be building podcast studios and production facilities in the Arts District.
From L.A. to Stockholm, one key question for Spotify is whether podcasts will prove to be complements or substitutes for the Swedish firm's lower-margin music assets. On today's call, Ek said podcast fans are highly engaged and "listen to more music as well." A good sign, but with the medium's relatively low barriers to entry, competitors could catch up quickly.
We'll make it, I swear
Perhaps, however, the audio streaming market is big enough to share. "Competition needn't be a zero sum game," Page noted. "Just in the U.S., by some estimates there are currently around 110 million subscribers." Considering the 220 million or so residents with a smartphone and a credit card: "to quote Jon Bon Jovi, 'we're only halfway there'."
Ek himself has wondered aloud on several occasions, including today, why the video market should be valued 10-times higher than the audio one, despite having similar levels of consumer engagement. He points to the billion-odd people still listening to radio as a key growth opportunity.
"There's no one on a global scale that's focused on audio," he emphasized. "We are."
The key question looking forward, is will that advantage last?
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Sam Blake covers media and entertainment for dot.LA. Find him on Twitter @hisamblake and email him at samblake@dot.LA
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Sam Blake
Sam primarily covers entertainment and media for dot.LA. Previously he was Marjorie Deane Fellow at The Economist, where he wrote for the business and finance sections of the print edition. He has also worked at the XPRIZE Foundation, U.S. Government Accountability Office, KCRW, and MLB Advanced Media (now Disney Streaming Services). He holds an MBA from UCLA Anderson, an MPP from UCLA Luskin and a BA in History from University of Michigan. Email him at samblake@dot.LA and find him on Twitter @hisamblake
https://twitter.com/hisamblake
samblake@dot.la
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