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Bitwarden Raises $100M to Meet Online Security Demand
Christian Hetrick
Christian Hetrick is dot.LA's Entertainment Tech Reporter. He was formerly a business reporter for the Philadelphia Inquirer and reported on New Jersey politics for the Observer and the Press of Atlantic City.
Bitwarden, an open-source password manager, has raised $100 million as the rise of remote work and our increasingly online lives boosts demand for digital security tools.
Growth equity firm PSG led the funding round and was joined by Battery Ventures, an existing investor in Bitwarden. The raise is Bitwarden’s first publicly-disclosed external funding since the Santa Barbara-based company launched in 2015.
Between work and personal needs, people must manage a growing number of online credentials. Too often, people reuse the same passwords across several accounts, putting consumers and businesses at risk of fraud and cyberattacks. Bitwarden offers free and paid tools to more safely store unique credentials, generate hard-to-guess passwords and transfer sensitive data to other people.
The 125-person company competes against incumbents like LastPass and 1Password in a market that’s expected to nearly quintuple to more than $7 billion by 2030, according to Straits Research. Tech titans like Apple and Google also offer password management tools within their browsers and devices—with Apple recently announcing plans to eventually ditch passwords altogether.
Bitwarden aims to stand apart by offering free and cheaper plans than its rivals, with premium subscriptions starting at $10 per year for individuals and $5 per month per user for enterprises. The company also makes its software open-source, so people can examine the security of the platform themselves. Bitwarden pays for third-party audits and partners with a company to regularly scrutinize the code, all in an effort to showcase to customers that the software is sound, Chief Customer Officer Gary Orenstein told dot.LA.
“[Open-source] is the only way that you can provide 100% transparency, to get you to the maximum amount of trust in the relationship of customers using your software,” Orenstein said. “If it's not open source, how do you know it's secure?”
The company plans to use the fresh funds to develop its tools, grow its global customer base and secure more with partnerships with tech resellers and other third-parties. In addition to password management, the firm has expanded into services like Bitwarden Send, which lets people send encrypted text and files that can self-delete. Bitwarden is also among the companies working to expand passwordless security options, such as using fingerprints or codes sent to devices instead of remembering a single password.
Orenstein said Bitwarden saw a boost in business when companies sent their employees home to work remotely during the pandemic. That trend, along with high-profile data breaches, has businesses and individuals seeking out security tools like Bitwarden’s, Orenstein said.
“We've seen recognition from the business IT teams that we're dealing with people who are going to be in different places, connecting over different networks, and we need to enable them to provide the most appropriate security,” Orenstein said.
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Christian Hetrick
Christian Hetrick is dot.LA's Entertainment Tech Reporter. He was formerly a business reporter for the Philadelphia Inquirer and reported on New Jersey politics for the Observer and the Press of Atlantic City.
Montgomery Summit Updates: Zynga Hunting Gaming Acquisitions; Moxie the Robot Looks to Partner with Schools
03:24 PM | March 04, 2021
Photo by Joseph Ngabo on Unsplash
This year's Montgomery Summit – held online this year for the first time - features Eric Yuan, CEO & founder of Zoom, author Deepak Chopra, Darius Adamczyk, CEO of Honeywell, and Jim Whitehurst, president of IBM.
There will be about 100 hours of content available exclusive to those who have paid and registered, but, for the first time, 12 hours of plenary sessions will be free for anyone to stream on YouTube, opening panels to a much bigger audience around the world.
See the full agenda here. We'll be watching, and will keep you up to date with takeaways from the conference. Follow updates from the event below and check our Twitter account for more.
Day 2:
- Video Game Maker Zynga On Hunt for Acquisitions
- Maker of Moxie Robot Looks to Raise $50M, Partner with Schools
- Thanks to Pandemic, Incoming Qualcomm CEO Sees 'Golden Era for Telecom
- Glitches: Audio Static Disrupts Cox Enterprise CEO Presentation
Day 1:
Video Game-Maker Zynga Is Hunting Acquisitions
Video game-maker Zynga's president, Bernard Kim, said the cash-rich company is on the hunt for acquisitions.
"We have a pretty healthy balance sheet," said Kim, pointing to the $1.5 billion on the books. "We're heavy in the hunt for acquisitions."
San Francisco-based Zynga, which has an office of 20 employees in Culver City, announced earlier this week that it had acquired Echtra Games Inc., a San Francisco-based video game developer. The terms of the deal were not disclosed.
The acquisition is the latest in a string of seven in the past five years, according to Kim. The Echtra purchase continues the company's strategy of growing through deals.
Last month, Zynga pushed further into PCs and consoles with the announcement of its "Star Wars: Hunters" game. The studio is working with developer NaturalMotion Games to release "Star Wars: Hunters" this year for Nintendo Switch, which is a handheld gaming console.
"I guess you can consider us as a consolidator, but it's not really like that. It's really just around expanding the family," said Kim, adding that Zynga has done three acquisitions in the past year during the pandemic.
Zynga has always been in the driver's seat in the video gaming world.
"A lot of companies had counted us out, the industry counted us out, and we sat in a proverbial engine room, and just grinded out questions and like just solved problems," Kim recalled of the game maker's tough times.
Back in 2013, Zynga laid off more than 500 employees — roughly a fifth of its workforce -- and closed offices in Dallas, New York and Los Angeles..
"It all starts snowballing, and we kind of had those moments like, 'Wow, we can't do anything right.' We won this award, —like, the worst company in America — two years in a row, but we emerged from that," he said. "We had these dark moments as a company and now things are kind of snowballing into this positive momentum story."
Kim didn't discuss any potential targets while speaking on a video gaming panel at Thursday's virtually held Montgomery Summit.
"You know, we aren't going to slow down. And that's the really exciting time when things start really moving in the right direction. It could be a really great moment to double down and have more fun."
Maker of Moxie Robot Looks to Raise $50M, Partner with Schools
Paolo Pirjanian, co-founder and CEO of Pasadena-based Embodied Inc., disclosed plans on Thursday that his privately held robot maker business began talks this week to raise an additional $50 million in venture funding.
His company, which makes a robot companion to help kids learn, has raised a total of $44 million from investors including Amazon, Intel, Sony and Toyota.
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Pat Maio
Pat Maio has held various reporting and editorial management positions over the past 25 years, having specialized in business and government reporting. He has held reporting jobs with the San Diego Union-Tribune, Orange County Register, Dow Jones News and other newspapers in Ohio, West Virginia, Maryland and Washington, D.C.
Exclusive: Meg Whitman Talks Quibi, L.A.'s Tech Scene, and Hollywood's Renaissance
02:43 PM | April 07, 2020
Quibi launched this week into a world turned upside down by the novel coronavirus. How do things look on day two? dot.LA caught up with Chief Executive Officer Meg Whitman – former boss of eBay and Hewlett-Packard, and one-time California gubernatorial candidate – to discuss.
Whitman shares her reaction to the initial flow of real-time data on Quibi users, what she'll be watching closely over the next few months, and what the well-heeled company's future may hold. She also forecasts how the streaming wars may play out, reflects on lessons learned about the tech world, and reveals her thoughts on the burgeoning innovation ecosystem in Los Angeles.
You've spoken about looking forward to Quibi transitioning from an organization driven by intuition and experience to one driven by data. What is the initial data telling you?
First of all, we're really excited about our day one launch and our day one performance. The fact that we are number three in the App Store and number two in the entertainment segment of the App Store is a remarkable accomplishment. So we're thrilled.
And the social sentiment — we have social listening tools, like everyone else — the social sentiment is 80% positive, which is extraordinary. All the feedback we've been getting from users through our customer support team, they've embraced our innovative approach to what we're doing here. And Turnstyle, our technology: interestingly, the data shows 50% of the viewing was in portrait, 50% was in landscape--which is fascinating. So we're thrilled about that, super excited, and going onto day two here.
Over these next 89 days until the free trial ends and as the launch continues to unfurl, what will you be watching most closely?
Well, because the tech platform is not a legacy platform — it was built for Quibi — we were able to instrument into our data layer just about every piece of data that we could ever imagine we would want. So we can see, not individuals, but what are the trends in how people are watching, what are our top shows, what is our customer support team telling us every single day about what people want? Then we will prioritize those observations and requests into our product roadmap and into the kind of content that we produce. So we're looking for all the signs of how people use this app and what we can learn from it. And then of course we look at the metrics of downloads, trials, net paid subscribers, number of Quibi's (Quick Bites) per day that people watch, hours per day that people watch. We'll be watching all of that data for things that we should be doing, and adapting along the way.
Now that you've launched, can you talk a bit more than you have previously about the path to profitability?
I don't know about more than the past, but Jeffrey (Katzenberg) and I have run businesses for many, many, many years, and ultimately we know that revenues have to be greater than costs. Sometimes, not everyone subscribes to that, but we certainly do. So we've got a very clear path to profitability. The fundraise ($1.75 billion) gives us a nice long runway to get there. But we're very eye-on-the-prize in getting to a self-sustaining business. We've not told people what that number is yet, because we haven't even launched really; we're on day one. Over time, we'll communicate that to our investors and maybe even more broadly. We're very focused on getting to profitability.
When do you expect to be able to communicate the number of subscribers you're shooting for and the timeframe for doing so?
Well, remember we're a private company; certainly our investors have a window into that. But my view is we will take stock at a year. And we'll look back and maybe we'll give a more broad report on how we did in our first year. But we'll see. We're still new at this and it's the unknown unknowns that we're trying to figure out. I can't give you an exact date but I would think after a year; I'm very focused on "where are we after a year?"
To what extent has the coronavirus affected your projections and forecasts, if at all?
It hasn't at all, really. It's affected our launch plans. We had a physical launch event; we moved to a virtual launch event. We were going to do our Daily Essentials (daily news and culture segments) every day from the studios of our content partners; most of those now are being done at home. We were originally going to do a two-week free trial; but we did if you sign up by the end of April, we now have a 90-day free trial. So we made some adjustments, but in terms of our goals and aspirations for net paid subscribers and things like that, unchanged. Because I think we'll get through this. I don't know whether it'll be the beginning of summer, end of the summer, middle of fall, but we'll get through this and I think things will ultimately return to normal. So we didn't think it made sense to change the projections just yet.
Thinking back to when Jeffrey Katzenberg first approached you with this idea, what advice would you give to that past version of Meg, with the benefit of hindsight?
I think you will appreciate this, given that you are at the intersection of tech and media: these two worlds are very different. I knew that, but the difference between the San Francisco Bay area and L.A. is even bigger than I had thought. Neither is better than the other; they're just different. I took that into account, but I don't think, until I moved to L.A. and really tried to bridge these two worlds, that I understood how different they are.
It is our superpower: putting the engineering team right next to the content team was absolutely the right decision. All the advice I got from my friends in Silicon Valley was I had to put the tech for Quibi in Silicon Valley, or Seattle, or Austin or someplace like that. And I spent about two months trying to figure out whether the bench of tech talent here in L.A. was deep enough to support the launch of Quibi, and I ultimately determined that it was. It was absolutely 100% the right move.
I think we have a huge and wonderfully burgeoning tech community here in L.A., and I hope we can be a part of having that community grow and thrive. Because there's a lot of talent here. Not as deep as in the Bay Area, but a lot of talent, and we're super glad we put the tech team and the content team together. That helped bridge two very different worlds.
To what extent does L.A.'s burgeoning scene represent some of the earlier days that you saw in the Bay Area?
Well first of all, it's a smaller community. L.A. is still probably more of an entertainment-focused city than a tech-focused city. The Bay Area is all tech, all the time. So it's a smaller community here.
What I will say that I think ultimately advantages L.A., is the number of undergraduate institutions in the community. Think about it: it's USC, it's UCLA, it's Harvey Mudd, it's Pitzer, it's Pomona, it's Cal Tech, it's Occidental, it's Loyola-Marymount, and many, many more. So I think the future here is incredibly bright, because you've got all these schools focusing on computer science, focusing on engineering, so I think there will be a huge group of next-gen engineers who went to college here and want to stay. Up in the Bay Area it's just a few schools. It's UC Santa Cruz, it's Stanford, it's Berkeley, Santa Clara University -- fantastic schools, but not as many. And I think that bodes well for the future with the next generation of engineers.
Silicon Valley has been a tech hub since 1939, with the founding of Hewlett Packard; it was founded way back in the day, so there's a lot more history there. But I don't think that means L.A. can't be fantastic in terms of a tech hub.
Keeping your forecasting hat on, as media content and platforms continue to proliferate and improve, what must companies competing in the space do to emerge on the other side among the winners?
I think there's never been a better time to be a creator in Hollywood. There's tremendous demand for writers, directors, producers, actors, actresses, and all the people that surround these productions. It's literally like a renaissance in Hollywood. And I think the eye on the prize is always, is it a great story? Does it tell a new story, tell a story differently? And does it capture people's hearts and, secondarily, their minds? So you've got to keep your focus on the quality and the diversity of content that people want. That sounds a bit motherhood and apple pie, but I think that's always been true here and probably still is.
As an equilibrium eventually emerges in this space, how do you think that might look?
I think it depends on how things unfold. There's always been transitions in entertainment. Movies, to television, to streaming, to what we hope will be content designed and made for your phone, which opens up a whole new way to tell stories. I don't think there will necessarily be winners and losers, I think there will be big winners and good winners. Because there's such a hunger for content.
The other thing I would say is that every business now is a technology business, whether it's the entertainment industry, whether it's agriculture; every single business is a technology business. So I do think companies that focus on what are the trends in technology, what are some of the underlying trends that consumers adopt around technology — that will help them be winners and it will complement their fantastic content.
In your career, particularly with eBay, you had the tall task of getting people to be comfortable with the unfamiliar. You have a similar task here with Quibi. What have you learned about how to do that?
If it's compelling, people do it by themselves. One of the worries about eBay was trust and safety. So we instituted this notion of trust and safety, and the feedback profile was something we did to improve people's confidence buying online. You have to remember, in 1998 people were not buying online. Amazon was a tiny little company and there were just a few ways you could buy online back in the day. Some of it's just time, some of it is features and functionality that you build in that make people feel comfortable. But much of it, often when you're doing something entirely new, it has to get out there, people have to try it, recommend it to their friends, and people have to appreciate what you have to offer. There's no way to make people feel comfortable. It's just giving people the opportunity to try it.
How do you envision our phones changing and the way we interact with them?
The question we ask ourselves is: How can this new way to consume very high quality content on your phone continue to help enable storytellers to tell stories in new ways? The way we think about it is, what does your phone have to offer that we could take advantage of? GPS, gyroscope, camera, touchscreen, easy access to every social network. How can we take this remarkable device that has changed everything in the last 13 or 14 years, and enable storytellers to take advantage of it?
We have started with a couple interactive shows. We've got a dating show coming down the road. We've got Steven Spielberg's After Dark coming. What can we do to utilize this camera? We have a show coming in the next month or two where the horizontal view of what's happening is different than the vertical view. It's two views of the same scene, as opposed to the same view of the same scene, just told with the horizontal or vertical position of your phone. So we're really thinking through, how do we help creators do things that take unique advantage of the phone? That's going to be our focus for the next 12-18 months: what is the next Turnstyle, if you will.
---
Sam Blake covers entertainment and media 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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