Watch: 'The End of the Antibiotic Era': How COVID-19 Has Changed the Landscape for Health Tech

Tami Abdollah

Tami Abdollah was dot.LA's senior technology reporter. She was previously a national security and cybersecurity reporter for The Associated Press in Washington, D.C. She's been a reporter for the AP in Los Angeles, the Los Angeles Times and for L.A.'s NPR affiliate KPCC. Abdollah spent nearly a year in Iraq as a U.S. government contractor. A native Angeleno, she's traveled the world on $5 a day, taught trad climbing safety classes and is an avid mountaineer. Follow her on Twitter.

Watch: 'The End of the Antibiotic Era': How COVID-19 Has Changed the Landscape for Health Tech

The spread of the novel coronavirus has sped the adoption of telemedicine in the United States, eliminating barriers like insurance reimbursements. It's also shone a light on the need for faster vaccines and a need for greater investment in public health, experts said on a dot.LA virtual panel Tuesday that looked at how investors are responding to COVID-19.

A move to telemedicine "was a long time coming," said Dr. Jeffrey Klausner, a professor of medicine in the division of infectious diseases in the David Geffen School of Medicine at UCLA. "A lot of doctors and institutions weren't comfortable with that" but now those concerns have been "blown out of the water." Since the pandemic erupted, two-thirds of UCLA medical visits have been done using telehealth.


Klauser is also a medical director at San Dimas, Calif-based Korva Labs, which has worked with Curative Inc. over the last 18 days to test Los Angeles County first responders and support drive-thrus. He said the partnership has resulted in testing capacity moving from zero to 5,000 daily since the start.

That partnership was helped along by Llewellyn Cox, a general partner at MarsBio, a biotech and deep-tech venture capital firm that invests in pre-seed and seed stage companies. Cox introduced the folks at Curative to Korva. Cox, who has cystic fibrosis, has kept an eye on the novel coronavirus from its earlier days. He convened a task force in the first week of March to try to address COVID-19 response issues like supply chain and access to testing kits.

Cox has since pivoted to looking at companies to help address the second and third wave of issues and technology to prevent another COVID-19 from happening.

Strategy Session: Venture on the Front Line of COVID-19www.youtube.com

The novel coronavirus has led to a boom in business for companies in the healthcare world. At Wavemaker Three-Sixty Health, a seed-stage healthcare-focused venture capital fund, 27 of its 29 companies in the portfolio are actually "better off" financially due to COVID-19, said Jay Goss, a general partner at the firm.

"We're being pulled to move faster even to the point of accelerating the timeline in the next fund, instead of slowing down," Goss said. "The world is more aware of the need for healthcare, it's always been there, but now more people are paying attention to it and less attention to the need for electric scooters, or other things."

Of the remaining two portfolio companies that have been impacted, one is a clinical trials-related company that has had to hit the pause button on their work to focus on COVID-19.

Prior to COVID-19, vaccines were not a business-savvy area of investment and were very hard to fund, but "that value metric has been turned upside down," Cox said. He said the long production cycles for something like the development of a vaccine — the flu vaccine takes nine months — is an area that could use improvement even now.

"This is a preview of the end of the antibiotic era, what a world without rapidly cheap, accessible (drugs) to fight off infection looks like," Cox said.

Other areas that have become of greater interest are food, agriculture and manufacturing, Cox said.

COVID-19 has also brought to light the lack of investment in public health — already evident from medical staffing shortages, the lack of affordable education, and the need for more on-the-ground community health efforts, the experts said.

Klausner noted that Italy didn't have a strong primary or middle healthcare system, so anybody with COVID-19 was hospitalized because they had built up the end-of-the-road investment in health services.

States have graduated medical students months early to get them to hospitals that need them. In the past few years, there has been some donors who have helped make medical education for doctors free, but those are stopgaps, Klausner said.

"We need to invest and understand that medical, nursing lab technicians, schools are not just training for those individuals (to) benefit by having a job, but also as part of our societal investment to have the type of people we need at a large enough level and large enough skillset to take care of us," Klausner said. "Our population is only aging and our needs are only increasing. We need investment in things like a public health corps."

Klausner served early in his career as an Epidemic Intelligence Service officer at the Centers for Disease Prevention and Control, a sort of CIA for public health. The program, he said, has been funded at 50 people since 1951 and no one knows it exists.

"As a society, we've allowed public health training and infrastructure to erode," Klausner said.

Goss said that the ability to address a surge in need should be fluid and those who are trained should somehow be able to be moved when that need is apparent, perhaps using a technological advancement similar to the system apps like Uber use to move needed rides from one area to another in real time.

Klausner added a few more predictions, the home is going to be "ascendant" and people will want to improve their homes and make them more comfortable for daily living, working, learning and exercise.

In terms of home health, "people generally prefer to be taken care of in their home, from physical therapy to your last days on Earth," Goss said. "Telemedicine has been helped and advanced more in the last six weeks than in the 144 years (since) we got the thing called a telephone."

    About the Participants:

    Dr. Jeffrey Klausner, MD, MPH, is a Professor of Medicine in the Division of Infectious Diseases in the David Geffen School of Medicine.

    Jeffrey Klausner, MD, MPH, is a Professor of Medicine in the Division of Infectious Diseases in the David Geffen School of Medicine and Adjunct Professor of Epidemiology in the Fielding School of Public Health. 

    Dr. Klausner earned his Medical Degree from Cornell University Medical College with Honors in Research. He completed his Residency in Internal Medicine at the New York University—Bellevue Hospital Center. Dr. Klausner earned his Master's in Public Health with a focus on International Health and Epidemiology at the Harvard School of Public Health. After that training, Dr. Klausner was an Epidemic Intelligence Service Officer at the Centers for Disease Prevention and Control. Dr. Klausner completed his Fellowship in Infectious Diseases at the University of Washington, Seattle.

    Jay Goss is General Partner at Wavemaker Three-Sixty Health

    Jay Goss, General Partner @ Wavemaker Three-Sixty Health

    Jay is a General Partner at Wavemaker Three-Sixty Health. Wavemaker Three-Sixty Health is Southern California's leading Seed-stage healthcare-focused venture capital fund. The fund's investment thesis is that after 40+ years, healthcare is transitioning away from fee-for-service to value-based payments, and with that comes a massive amount of disruption. There will be no shortage of clinical operations and business challenges to solve in the coming decade, and entrepreneurs are already coming out of the woodwork to solve these problems. Moreover, countless business models are now for the first time commercially viable because the healthcare industry is embracing value-based payments. The fund counts among its investors 50+ healthcare senior executives, eager and extremely able to add value to the early stage companies in which the fund invests. Prior to launching Wavemaker Three-Sixty Health, Jay operated dozens of early stage companies all over Southern California, and advised dozens more.

    Llewellyn Cox is a general partner at MarsBio

    Llewellyn Cox, General Partner at MarsBio 

    Llewellyn is an entrepreneur from Gillingham, Kent, England. He founded LabLaunch, the leading biotechnology incubator network in Southern California, and BioBuilt, a firm that assists early-stage companies in building lab space.Llewellyn received a Ph.D. in Molecular and Cell Biology at Cardiff University, before moving to New York City to perform postdoc research in neuroscience at Weill Cornell Medical College. Llewellyn is an adjunct professor at Keck Medicine of USC where he teaches translational biology and science communications.

    Rachel Uranga, is a reporter at dot.LA.

    Rachel Uranga, Reporter @dot.LA

    Rachel covers the intersection of business, technology and culture. She is a former Mexico-based market correspondent at Reuters and has worked for several Southern California news outlets, including the Los Angeles Business Journal and the Los Angeles Daily News. She has covered everything from IPOs to immigration. Uranga is a graduate of the Columbia School of Journalism and California State University Northridge. A Los Angeles native, she lives with her husband, son and their felines.

    tami@dot.la

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    Here’s Why Streaming Looks More and More Like Cable

    Lon Harris
    Lon Harris is a contributor to dot.LA. His work has also appeared on ScreenJunkies, RottenTomatoes and Inside Streaming.
    Here’s Why Streaming Looks More and More Like Cable
    Evan Xie

    The original dream of streaming was all of the content you love, easily accessible on your TV or computer at any time, at a reasonable price. Sadly, Hollywood and Silicon Valley have come together over the last decade or so to recognize that this isn’t really economically viable. Instead, the streaming marketplace is slowly transforming into something approximating Cable Television But Online.

    It’s very expensive to make the kinds of shows that generate the kind of enthusiasm and excitement from global audiences that drives the growth of streaming platforms. For every international hit like “Squid Game” or “Money Heist,” Netflix produced dozens of other shows whose titles you have definitely forgotten about.

    The marketplace for new TV has become so massively competitive, and the streaming landscape so oversaturated, even relatively popular shows with passionate fanbases that generate real enthusiasm and acclaim from critics often struggle to survive. Disney+ canceled Luscasfilm’s “Willow” after just one season this week, despite being based on a hit Ron Howard film and receiving an 83% critics score on Rotten Tomatoes. Amazon dropped the mystery drama “Three Pines” after one season as well this week, which starred Alfred Molina, also received positive reviews, and is based on a popular series of detective novels.

    Even the new season of “The Mandalorian” is off to a sluggish start compared to its previous two Disney+ seasons, and Pedro Pascal is basically the most popular person in America right now.

    Now that major players like Netflix, Disney+, and WB Discovery’s HBO Max have entered most of the big international markets, and bombarded consumers there with marketing and promotional efforts, onboarding of new subscribers inevitably has slowed. Combine that with inflation and other economic concerns, and you have a recipe for austerity and belt-tightening among the big streamers that’s virtually guaranteed to turn the smorgasbord of Peak TV into a more conservative a la carte offering. Lots of stuff you like, sure, but in smaller portions.

    While Netflix once made its famed billion-dollar mega-deals with top-name creators, now it balks when writer/director Nancy Meyers (“It’s Complicated,” “The Holiday”) asks for $150 million to pay her cast of A-list actors. Her latest romantic comedy will likely move over to Warner Bros., which can open the film in theaters and hopefully recoup Scarlett Johansson and Michael Fassbender’s salaries rather than just spending the money and hoping it lingers longer in the public consciousness than “The Gray Man.”

    CNET did the math last month and determined that it’s still cheaper to choose a few subscription streaming services like Netflix and Amazon Prime over a conventional cable TV package by an average of about $30 per month (provided you don’t include the cost of internet service itself). But that means picking and choosing your favorite platforms, as once you start adding all the major offerings out there, the prices add up quickly. (And those are just the biggest services from major Hollywood studios and media companies, let alone smaller, more specialized offerings.) Any kind of cable replacement or live TV streaming platform makes the cost essentially comparable to an old-school cable TV package, around $100 a month or more.

    So called FAST, or Free Ad-supported Streaming TV services, have become a popular alternative to paid streaming platforms, with Fox’s Tubi making its first-ever appearance on Nielsen’s monthly platform rankings just last month. (It’s now more popular than the first FAST service to appear on the chart, Paramount Global’s Pluto TV.) According to Nielsen, Tubi now accounts for around 1% of all TV viewing in the US, and its model of 24/7 themed channels supported by semi-frequent ad breaks couldn’t resemble cable television anymore if it tried.

    Services like Tubi and Pluto stand to benefit significantly from the new streaming paradigm, and not just from fatigued consumers tired of paying for more content. Cast-off shows and films from bigger streamers like HBO Max often find their way to ad-supported platforms, where they can start bringing in revenue for their original studios and producers. The infamous HBO Max shows like “The Nevers” and “Westworld” that WBD controversially pulled from the HBO Max service can now be found on Tubi or The Roku Channel.

    HBO Max’s recently-canceled reality dating series “FBoy Island” has also found a new home, but it’s not on any streaming platform. Season 3 will air on TV’s The CW, along with a new spinoff series called (wait for it) “FGirl Island.” So in at least some ways, “30 Rock” was right: technology really IS cyclical. - Lon Harris

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    As TikTok Faces a Ban, Competitors Prepare to Woo Its User Base

    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.

    As TikTok Faces a Ban, Competitors Prepare to Woo Its User Base
    Evan Xie

    This is the web version of dot.LA’s daily newsletter. Sign up to get the latest news on Southern California’s tech, startup and venture capital scene.

    Another day, another update in the unending saga that is the potential TikTok ban.

    The latest: separate from the various bills proposing a ban, the Biden administration has been in talks with TikTok since September to try and find a solution. Now, having thrown its support behind Senator MarkWarner’s bill, the White House is demanding TikTok’s Chinese parent company, ByteDance, sell its stakes in the company to avoid a ban. This would be a major blow to the business, as TikTok alone is worth between $40 billion and $50 billion—a significant portion of ByteDance’s $220 billion value.

    Clearly, TikTok faces an uphill battle as its CEO Shou Zi Chew prepares to testify before the House Energy and Commerce Committee next week. But other social media companies are likely looking forward to seeing their primary competitor go—and are positioning themselves as the best replacement for migrating users.

    Meta

    Last year, The Washington Post reported that Meta paid a consulting firm to plant negative stories about TikTok. Now, Meta is reaping the benefits of TikTok’s downfall, with its shares rising 3% after the White House told TikTok to leave ByteDance. But this initial boost means nothing if the company can’t entice creators and viewers to Instagram and Facebook. And it doesn’t look promising in that regard.

    Having waffled between pushing its short-form videos, called Reels, and de-prioritizing them in the algorithm, Instagram announced last week that it would no longer offer monetary bonuses to creators making Reels. This might be because of TikTok’s imminent ban. After all, the program was initially meant to convince TikTok creators to use Instagram—an issue that won’t be as pressing if TikTok users have no choice but to find another platform.

    Snap

    Alternatively, Snap is doing the opposite and luring creators with an ad revenue-sharing program. First launched in 2022, creators are now actively boasting about big earnings from the program, which provides 50% of ad revenue from videos. Snapchat is clearly still trying to win over users with new tech like its OpenAI chatbot, which it launched last month. But it's best bet to woo the TikTok crowd is through its new Sounds features, which suggest audio for different lenses and will match montage videos to a song’s rhythm. Audio clips are crucial to TikTok’s platform, so focusing on integrating songs into content will likely appeal to users looking to recreate that experience.

    YouTube

    With its short-form ad revenue-sharing program, YouTube Shorts has already lured over TikTok creators. It's even gotten major stars like Miley Cyrus and Taylor Swift to promote music on Shorts. This is likely where YouTube has the best bet of taking TikTok’s audience. Since TikTok has become deeply intertwined with the music industry, Shorts might be primed to take its spot. And with its new feature that creates compiles all the videos using a specific song, Shorts is likely hoping to capture musicians looking to promote their work.

    Triller

    The most blatant attempt at seducing TikTok users, however, comes from Triller, which launched a portal for people to move their videos from TikTok to its platform. It’s simple, but likely the most effective tactic—and one that other short-form video platforms should try to replicate. With TikTok users worried about losing their backlog of content, this not only lets users archive but also bolsters Triller’s content offerings. The problem, of course, is that Triller isn’t nearly as well known as the other platforms also trying to capture TikTok users. Still, those who are in the know will likely find this option easier than manually re-uploading content to other sites.

    It's likely that many of these platforms will see a momentary boost if the TikTok ban goes through. But all of these companies need to ensure that users coming from TikTok actually stay on their platforms. Considering that they have already been upended by one newcomer when TikTok took over, there’s good reason to believe that a new app could come in and swoop up TikTok’s user base. As of right now, it's unclear who will come out on top. But the true loser is the user who has to adhere to the everyday whims of each of these platforms.

    https://twitter.com/ksnyder_db

    We Asked Our Readers How They’re Using AI in a Professional Setting. Here's What They Said

    Decerry Donato

    Decerry Donato is a reporter at dot.LA. Prior to that, she was an editorial fellow at the company. Decerry received her bachelor's degree in literary journalism from the University of California, Irvine. She continues to write stories to inform the community about issues or events that take place in the L.A. area. On the weekends, she can be found hiking in the Angeles National forest or sifting through racks at your local thrift store.

    We Asked Our Readers How They’re Using AI in a Professional Setting. Here's What They Said
    Evan Xie

    According to Pew Research data, 27% of Americans interact with AI on a daily basis. With the launch of Open AI’s latest language model GPT-4, we asked our readers how they use AI in a professional capacity. Here’s what they told us:

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