Meet the LA Startup Houses Building Companies Through Co-Living and Creative Energy

Katherine Abando
Katherine Abando is a lifestyle writer and social media producer from Los Angeles. Her coverage interests include internet culture/tech and Asian American Pacific Islander (AAPI) identity. She enjoys learning about emerging entrepreneurs and digital trends that pop up on her social media feed. Follow her on Twitter @kaband0.
Meet the LA Startup Houses Building Companies Through Co-Living and Creative Energy
Image courtesy of Launch House

Taking their lead from social media entrepreneurs who are creating content from mansions, a new breed of startup incubators and collectives are cropping up across Los Angeles. Their programs were built largely by young entrepreneurs trying to bridge the creator and startup worlds, speak to a generation that has grown up alongside social media.


Some are inspired by other co-living incubators or from founders who wanted to capture the creative energy those houses spawned.

In the Hollywood Hills, a collective started by two twenty-seven year-old entrepreneurs is helping seed-stage companies land funds and build up their products. Across town, a roving launch house focuses on building biotech entrepreneurs. Another is trying to foster breakthrough products in augmented reality.

Here's a run down of some of the most promising co-living concepts, along with their founders and the projects they're incubating.

Launch House logo

Launch House

Launch House formed last year after one of its founders tweeted about an experimental gathering of entrepreneurs in Tulum, Mexico. Located in a sprawling Beverly Hills mansion, the hub puts a heavy emphasis on social media and influencer-driven business ideas and runs monthly cohorts of about 20 founders each, connecting them with creators to build up their social media game. Potential participants must apply and then pay an annual membership fee, which includes the four-week live-in residency program and access and introduction to investors and advisors. Participants have to be 18 years of age or older.

"Many creators want access to startup investing opportunities but either don't have a way into top deals, or get pitched so often they can't easily decipher what's a good investment," said co-founder Brett Goldstein, "On the reverse side of things, many founders see collaborating with creators as a great way to reach new target audiences because distribution is a hugely scarce resource."

Several Launch House residents have gone on to raise successful rounds from staid investors including Sequoia and Y Combinator, though a Business Insider report about a COVID outbreak after a recent party raised questions about the culture at the home.

Brazen Bio

Started by longtime friends Shawn Carbonell and Brent Witgen, Brazen Bio is a biotech incubator house based in Redondo Beach which also provides members with lab access to Bio Labs in Torrance.

Inspired by other launch houses, the two PhDs wanted to create the first biotech hub in Los Angeles that combines the region's creator economy with its budding scientists and entrepreneurs.

"Part of our goal is to make it one of the top biotech hubs through us being here. As BioscienceLA Chief Executive Officer Dave Whelan would say, 'we're long L.A.'," said Carbonell, "Most companies need to also become media companies to stay relevant, and where better than Los Angeles for that?"

Four startups were accepted in the first round of what Brazen Bio is calling its 'BRZN1 cohort. The program started last month and runs through December. It's replete with a full line up of founder dinners and mixers, access to Bio Labs' equipment and weekly office hours. The founders aren't yet making seed investments but will be establishing a fund for 2022.

Carbonell said they are trying to find ways to promote Brazen through Discord and social media to Gen-Z entrepreneurs and encourage a new generation to enter the STEM field.

house.ai

The 27-year-old co-founders Robbie Figueroa and Luciano Arango moved from the Bay Area to Los Angeles, where they saw a maturing tech scene they thought could be a good place to build startups. The two convinced their tech friends to make the trip down to the Hollywood Hills, where they created a collective and early-stage fund called House.ai.

House.ai doesn't offer a full-time residency like Launch House. Instead, it sees itself as a place where founders can gather to co-work. Figueroa, a general manager for DoorDash in Puerto Rico, and Arango, a co-founder of San Francisco-based ScopeAI, both live in the house. There's no formal application for House.ai — instead, Arango and Figuero select premiere founders and operators to join them.

In the past year, House.ai has provided co-working space for 37 founders. The program connects them with early-stage venture capital and helps them recruit talent and connect to engineers. Figuero and Arango have so far invested in six of the companies — including cannabis wholesaler Nabis, a Y-Combinator-backed company.

Figuero considers House.Ai an industry-agnostic incubator, though its startups tend to gravitate towards fintech, fulfillment and delivery services, along with some consumer and business-to-business companies.

AR House logo

AR House

The AR House was born out of a tweet from augmented reality developer Aidan Wolf: "anyone organizing a house for snapchat lens creators? Would love to do something like that here in LA."

The response was overwhelming. Among those who reached out was AR creator Lucas Rizzotto.

The team quickly coalesced around the idea of a house dedicated specifically to AR creators and developers. L.A., home to AR juggernaut Snapchat, had more than enough talent. Within a week, the two had met their funding goal, much of it coming from the AR community.

Creators must be 18 years old or older to apply. AR House's founders don't take equity in the companies they help launch, but they do help provide participants with AR hardware to support their projects.

The cohorts will have access to a four-week session complete with dinners for founders, meet-and-greets with investors and other programming. The house doubles as an exhibition space for augmented reality projects, too. AR's first cohort started on October 5 and they signed a six-month lease to their Hollywood Hills house.

Rocketship House

Bay Area native and consumer tech founder Katia Ameri and YouTuber Elijah Daniel bootstrapped Rocketship House in November 2020. The house, based in the Hollywood Hills, boasts a stunning view of Los Angeles and an acre-long vineyard where participants are encouraged to collaboratively contribute to projects focused on the creator economy.

Ameri brings a hard-tech background. She raised $2.2 million for her telehealth platform, Mirra, an at-home allergy diagnosis service, before the pandemic started. Daniel brings social media savvy and a knack for making viral videos. The two say they are focused on projects that help creators develop content distribution and revenue streams.

Rocketship's residents have included musician Trevi Moran, musical artist and YouTuber Sam F and nicotine company Lucy co-founder Samy Hamdouche, whose startup is backed by Y-Combinator.

Daniel and Ameri aren't interested in taking equity. Instead, the pair said the want to focus on building a community of creators and tech entrepreneurs. There's no formal application, though interested founders and creators can reach out to Ameri via Twitter to join. The two say they are flexible about how long creators or founders can stay in the house. After experimenting with co-living, Rocketship House's founders said they're pivoting toward a model that will instead seek to foster a digital community and provide a physical workspace.

ADVNTR House

Advntr House was created by the co-founders of a college party app Dive.Chat, Michelle Fang and Kyle Brastrom. Its Gen-Z cohorts have served as founders of a wide variety of consumer, healthcare, fintech and media startups.

"A majority of the people that have entered ADVNTR House have either quit their full-time job, ended a relationship of over a year or dropped out of college," Brastrom said, "People kind of come into the house and then realize 'wow, there's so much opportunity out there'."

Participants live in ADVNTR's Melrose home, but the group also travels to destinations like Big Bear, California and Arizona. Every cohort shares the expenses and collectively develops the group's activities. There's a formal application and interview process to join ADVNTR. The cohort program lasts about eight weeks.

Fang and Brastrom organized L.A. Tech Week, a collaboration with other tech houses including House.ai, Launch House and Together Casa, a real estate startup organizes co-living houses for tech entrepreneurs, creators and other interest-focused communities.

Know of other startup houses around Southern California? Let us know!

https://twitter.com/kaband0
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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.

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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