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XMeWe Billed Itself as the Anti-Facebook. Now It's Going Hollywood.
Rachel Uranga
andRachel Uranga is dot.LA's Managing Editor, News. 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.
Francesca Billington
Francesca Billington is a freelance reporter. Prior to that, she was a general assignment reporter for dot.LA and has also reported for KCRW, the Santa Monica Daily Press and local publications in New Jersey. She graduated from Princeton in 2019 with a degree in anthropology.
The new chief executive of MeWe, the social network that billed itself the anti-Facebook, wants to lure in Hollywood talent — and is eyeing advertisers.
The move, steered by veteran tech and Hollywood executive Jeffrey Edell, is a departure for the Los Angeles company, which promises users it'll protect their privacy and prohibit manipulative algorithms with an ad-free network.
"I want to stay true to the privacy and those efforts, but I don't think it makes sense personally to be the quote anti-Facebook publicly," said Edell, who most recently was president of the entertainment and licensing company WTG Enterprises.
MeWe chief executive Jeffrey Edell
Since replacing founder Mark Weinstein — now the company's "chief evangelist" — last week as the network's chief executive, Edell has already signed on the comic duo Cheech Marin and Tommy Chong, better known as Cheech & Chong, to help promote the site.
"What I want to do is make the experience at MeWe an experience of chat and socializing around content, whether it be voice content like music or content that you would see documentaries, niche-based content, things like that," Edell said. "It would be really cool to have the ability to Chromecast or Rokucast, if you will, content that we would licensed or in our control and be able to have chat groups and socialize in and around that content."
The former chairman of Intermix Media, the parent company of MySpace, and a longtime executive for media distribution and licensing companies, Edell said he will use his Hollywood connections to build up partnerships. He noted that MeWe is already in talks with A-level talent.
About 17 million users are signed up worldwide for the free version of MeWe, about half in North America. The Culver City-based site appealed to some of those users by selling itself as privacy focused, with a "Privacy Bill of Rights" that vowed not to manipulate, filter or change newsfeeds or use facial recognition technology.
It kept those protections.
Unlike Facebook or Twitter, MeWe's revenue comes from subscribers who pay a monthly or annual fee to talk with a camera, access private chat rooms and get free emojis and other perks. Weinstein told dot.LA in March that the social platform makes $1 million each month from those subscribers alone.
Weinstein wouldn't disclose how many users pay for their accounts, but said 95% use the free version. MeWe has raised about $24 million from "high net-worth individuals," Edell said. And it's seeking another $20 million of funding from venture firms as it looks forward to creating new offices in a post-pandemic world.
Edell vowed to "stay true to the concept of privacy and security and protection of people's personal information." But, he says, he's open to partnering with advertisers to "give people the opportunity to make choices of what it is they want to see, listen to and do."
Until recently, the social network has relied on users' discontent with big social networks like Facebook to grow its base. When Facebook rolled out new WhatsApp privacy policies in January, upset users flocked to MeWe. The site gained 2.5 million users in one week. Some observers said it became a haven for anti-vaxxers and extremists.
Edell wants the site to appeal to users widely and while continuing to moderate content, although he didn't say how.
"If you're going to have crazy theories, again as long as you're not damaging to people, you're not pointing a gun at Obama's head, you're not raiding the Capitol to get to Nancy Pelosi... then a person should be available to be as silly as they want and they can not make sense or make sense, just don't cross the line," he said.
"The subscription model is going to stay," Edell said. "And there won't be a situation where I know exactly how you behave, so I send you an advertisement to buy Nike shoes and get creepy like that, but I'm thinking there has to be a way – as we move towards the future – to give you the option to figure out what it is you want, and then give you a place within the platform you can go and get it," he said.
For instance, he said, members might be able to opt into stores or groups with advertisers. That strategy will be key, he said, if it's to make a dent in Hollywood, where studios and talent alike depend on social media.
"We just have to be more sensitive towards the entertainment community and the people that are going to be on that platform and not create conflict," he said. "That doesn't mean we still can't be different."
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Rachel Uranga
Rachel Uranga is dot.LA's Managing Editor, News. 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.
Francesca Billington
Francesca Billington is a freelance reporter. Prior to that, she was a general assignment reporter for dot.LA and has also reported for KCRW, the Santa Monica Daily Press and local publications in New Jersey. She graduated from Princeton in 2019 with a degree in anthropology.
https://twitter.com/racheluranga
rachel@dot.la
Inside Piestro, the Robotics Startup Serving Pizza With the Touch of a Button
04:53 PM | February 24, 2022
Photo by Decerry Donato
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It’s 2 a.m. during a night out; you’re hungry, but all kitchens are closed and the food options are limited.
Piestro believes it has a solution. The El Segundo-based startup is developing a fully robotic vending machine for pizzas.
“You generally don't get really good or fresh foods [late at night],” Piestro founder and CEO Massimo De Marco said. “But being able to bring in something nice, fresh, hot and I want to say healthy—that was really the main factor we're wanting to bring to the masses 24/7.”
Before founding Piestro in 2020, Italy native De Marco helped launch Pasadena-based food delivery platform Kitchen United and had hospitality industry stints working for restaurateur Wolfgang Puck and the Hillcrest Country Club in Beverly Hills. To make his dream of an automated pizza machine a reality, De Marco has the help of a team of engineers with experience from the likes of Walt Disney Imagineering, NASA’s Jet Propulsion Laboratory, Boston Dynamics and Virgin Hyperloop.
Photo by Decerry Donato
Piestro founder and CEO Massimo De Marco examines the startup's pizza-making machine.
(Though he works remotely, De Marco said he spends at least one day a week in Piestro’s El Segundo facility overseeing the team and taste-testing the pizza. When asked about his daily slice count, he admitted: “I don’t count because I’m embarrassed!”)
Standing six feet tall and nine feet wide, Piestro’s machine is built with a glass window allowing customers to watch the process unfold inside. It’s similar to chains like Blaze Pizza or Pieology, where the pizza is made by workers in an assembly line—except Piestro’s machine requires no workers to produce a pie in a matter of minutes.
“We wanted to make that experience more interactive and show you that this is fresh stuff,” said Piestro engineer Darian Ahler—who also runs his own food automation startup, Bobacino. “You're not getting some frozen pizza sitting there; you're able to see your pizza constructed right in front of you, and that's super exciting and gets people more engaged with the brand.”
Piestro customers are updated on the status of their pizza via a screen.Photo by Decerry Donato
Piestro lets customers order through a touchscreen that lets them choose the toppings for their pizza. (The machine can hold six to eight different toppings at a time.) Once they pay, the customer’s name pops up on a screen indicating when the pie will be ready. The entire process usually takes anywhere from five to eight minutes, though Piestro wants to bring that down to four minutes.
De Marco said the company has already received more than 4,000 pre-orders for its automated pizza machine, with woodfired pizza chain 800 Degrees among its clientele. (De Marco declined to disclose the price Piestro is charging per machine.) Piestro believes its product is ideal for hospitals, airports, schools and apartment complexes that could use access to prepared food at all hours of the day.
The startup isn’t the only automated pizza game in town; there’s also Stellar Pizza, a Hawthorne-based robotic food truck founded by former SpaceX engineers. While Stellar’s model offers mobility, Piestro’s “hub-and-spoke model” has its own advantages, Ahler said.
After a pizza is ready to be picked up, the Piestro machine stores it in a compartment where it is kept warm. Photo by Decerry Donato
Though Santa Monica-based food-tech incubator Wavemaker Labs is Piestro’s lead investor, the company proudly boasts of the thousands of investors it has amassed through two separate equity crowdfunding campaigns. Piestro has raised more than $6 million in funding with the help of those campaigns, and is currently seeking to raise another $20 million to help scale its business.
De Marco noted that the startup’s crowdfunding investors include former food industry colleagues of his, from waiters to bartenders, who “totally understand this industry” and the value of the automation Piestro is looking to achieve.
“A busboy that worked with me 15 years ago told me he invested $1,000,” according to De Marco. “They want to get involved and feel like they're part of this new robotic revolution.”
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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.
Content Creators Say YouTube’s New Ad Program Could Lead To a TikTok Exodus
10:01 AM | October 12, 2022
Photo by Eyestetix Studio on Unsplash
Jegaysus’s theological videos helped him grow a 250 thousand-wide following on TikTok.
Sometimes, only 2% of that audience actually saw the creator’s content. And as viewership wavered, so did payments from TikTok’s Creator Fund, which offers between two and four cents for every 1,000 views.
Between payments being frustratingly low and the algorithm not showing his videos to followers, Jegaysus has, for a while, been looking for an alternative. Enter YouTube Shorts.
Since introducing Shorts in 2020, the platform has taken off in international markets, particularly in places where TikTok is banned. Now, YouTube is upping its short-form video competition with TikTok by way of a new ad revenue-sharing program. Previously, creators could monetize Shorts through the $100 million Shorts Fund, which, similar to TikTok’s revenue model, selected creators with the most engagement to receive anywhere from $100 to $10,000. Questions around eligibility have long been unclear, and recipients have historically been selected by YouTube. But with YouTube’s new Partner Program, users can receive 45% of the ad revenue for a short video, while traditional, longer-form YouTube videos can give creators access to 55% of the ad revenue.
In the past, the Partner Program was only open to users with 1,000 subscribers and 4,000 hours of viewed content—a difficult threshold for people who primarily made Shorts, which are limited to 60 seconds. But starting in 2023, the program will expand to include any account that breaks 1,000 subscribers and 10 million collective views. In other words, they’ve gotten rid of their hourly requirement.
Of course, TikTok has its own ad revenue-sharing program, TikTok Pulse. But that program is limited to the top 4% of creators—leaving the vast majority of TikTok creators seeking alternative ways to monetize their work.
As such, YouTube is betting that if they give the other 96% of influencers, who don’t qualify for TikTok’s program, a slice of the ad revenue pie. YouTube Shorts will draw creators away from TikTok and toward their platform.
Though YouTube’s algorithm doesn’t have the same audience specificity as TikTok, it does do a better job of showing a creator’s content to their followers. The result? A more loyal audience who consistently engages with the creator’s content.
In preparation for the inclusion of YouTube Shorts into the Partner Program, Jegaysus has spent the past month chronologically uploading his old TikTok content to YouTube. Since then, he’s gained almost 2000 subscribers on the platform and his videos have between 50 thousand and 100 thousand views. Which is still well short of the 10 million views he’d need to be eligible for YouTube’s Partner Program.
What’s worse is that the ad payments even within the Partner Program vary drastically—one user with 670,000 subscribers made $20,000 in one year from the 55% ad revenue-sharing on long videos, while someone with about 2,000 subscribers made $195.
Still, Jegaysus plans to eventually make original Shorts that fit the platform’s algorithm, as much of his TikTok content surpasses the 60-second limit. Potentially making more money from YouTube Shorts is also likely to encourage Jegaysus and content creators like him to make content specifically for the platform. Despite the financial incentives, however, not every creator is planning to re-upload their pre-existing content as Shorts.
Evan Lovett, who posts videos to TikTok about L.A. history, says he curates his videos for each platform. For Lovett, an in-depth YouTube video for his 2,000 subscribers typically becomes five quick facts when he shares it on TikTok, where he has 96,000 followers, and gets cut down even more as a YouTube Short.
Still, Lovett doesn’t plan on completely pivoting to creating YouTube Shorts. Primarily because his content doesn’t often translate well to the very condensed videos. And even as the platform aggressively promotes Shorts in its algorithm, Lovett says his audience usually watches his videos all the way through. He hopes to monetize his content and earn ad revenue from these in-depth videos.
“Shorts are nice, again, because it does give that exposure, but the videos I have under a minute is probably less than 10% of my content,” Lovett says. “I use YouTube a little bit differently because it's a little bit more dense and thorough content.”
Even as his Shorts perform well, Jegaysus is also planning to explore longer videos on YouTube. If his longer-form content hits the point where it is eligible for the ad revenue-sharing program as well, that would give him 55% of ad revenue from each long video.
All of which is to say, if YouTube can successfully tweak its algorithm to reach more specific audiences the way TikTok does, Jegaysus says YouTube’s ad revenue system could be the alternative that many creators are looking for as frustrations mount with TikTok’s payment model.
“I like TikTok,” Jegaysus says. “It felt like home for a while, but now it feels like a bad relationship.”
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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
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