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At UCLA, Professors See 'Exciting Opportunities' in AI Writing Tools
Nat Rubio-Licht
Nat Rubio-Licht is a freelance reporter with dot.LA. They previously worked at Protocol writing the Source Code newsletter and at the L.A. Business Journal covering tech and aerospace. They can be reached at nat@dot.la.
Generative AI is tech’s latest buzz word, with developers creating programs that can do anything from writing an academic essay about guitars and elevators to creating photorealistic paintings of majestic cats.
ChatGPT, a platform built by DALL-E 2 and GPT-3 founder OpenAI, is the latest one of these tools to go viral. But this tool can go far beyond writing a version of the Declaration of Independence in the style of Jar Jar Binks. It has the capability to write full essays on almost any subject a college kid could desire — creating another layer of complex technology that humanities professors now have to consider when they teach and dole out assignments.
\u201cSo #ChatGPT can easily write college essays now. Turnitin won't touch this. So are we ready to rethink assessment yet?\u201d— Colin D. Wren (@Colin D. Wren) 1670580381
While ChatGPT does have some limitations (It can only write up to 650 words per prompt), some students have taken to Reddit to talk about the potential uses and workarounds of the word limit to help them pass their classes. Ironically, another student even used the AI to write an apology email to his professor for using AI to write his emails.
One student wrote, “As finals are hitting, I’ve written 6 papers for people and made a great chunk of change. Same day turnaround, any size paper with perfect grammar and in depth writing plagiarism free is a pretty lucrative way to advertise oneself to a bunch of cracked out stressed college students.”
But despite the tool’s internet virality among desperate college students, UCLA professors told dot.LA that they aren’t worried about ChatGPT’s capabilities. Rather than viewing the technology as something they have to shield students from using, they see it as another potential tool in their arsenal and something they can implement in their classrooms.
\u201cI asked ChatGPT to write an essay on mental health. Returned essay immediately. College professors don\u2019t need to worry; the essay contained mostly weak verbs and no advanced grammar.\u201d— Heather Holleman (@Heather Holleman) 1670419435
“My sense of ChatGPT is that it's actually a really exciting opportunity to reconsider what it is that we do when we write things like essays,” said Danny Snelson, assistant professor of English at UCLA. “Rather than raising questions of academic integrity, this should have us asking questions about what kinds of assignments we give our students.”
Snelson tried ChatGPT out for himself, prompting the platform to write an essay about “the literary merit of video games that cites three key scholars in the field.” As it does, ChatGPT instantaneously churned out an essay which answered the prompt accurately and synthesized the arguments of three scholars in a compelling way. But Snelson could spot flaws in its work. The writing style was repetitive and the scholars the AI chose were not diverse.
“I probably will give my students the assignment on the first day of class to write a ChatGPT essay about a topic they know nothing about,” Snelson says. “Then have them discuss the essays that ChatGPT has written for them and what the limits of their arguments are.”
Christine Holten, director of Writing Programs and the UCLA Undergraduate Writing Center, said that she and other instructors are currently having similar talks about how to integrate these tools in a responsible way.
“One way is to allow students to use them,” she said. “Build them into the course, and allow reflection about the bounds of their use, what their limitations are, what are their advantages? How does it change their composing?”
Along with dissecting the platform’s limitations, Snelson also sees using ChatGPT as a tool to propel students’ writing even further. For example, one of the hardest parts about writing an essay is the first line. Having an AI write it for you can be a great starting point to push past the “blank page dilemma,” he said.
And while ChatGPT can write a passable essay on almost any subject, Snelson said students still need to have an understanding of the subjects they’re writing about. “Having a live conversation about Chaucer in the classroom, a student is not going to be helped by an AI,” he said.
“In the real world, you have access to information, you have access to writing tools,” Snelson added. “Why should (academics) disavow or disallow those kinds of tools?”
To that end, Holten said she recognizes that ChatGPT “raises the stakes” by circumventing tools that academics have relied on to detect plagiarism. But students turning in papers that aren’t their own isn’t new: Essay mills have existed for a long time, and Instagram is filled with pages that will sell students an academic paper.
“We have to do our part by trying to craft assignments carefully and making sure that we're not assigning these open-ended prompts of the sort that could be bought from paper mills,” she said.
It helps, too, that ChatGPT may already be working on a solution. Scott Aaronson, who works on the theoretical foundations of AI safety at OpenAI, said in a blog post that he’s working on a tool for “statistically watermarking the outputs of a text model like GPT” that adds in an “otherwise unnoticeable secret signal in its choices of words” to prevent things like academic plagiarism, mass generation of propaganda or impersonating someone’s writing style to incriminate them, though it's unclear how far away this development is.
“We want it to be much harder to take a GPT output and pass it off as if it came from a human,” Aaronson wrote.
All of which explains why even despite claims that high-school English and the student essay are nearing their death knell, Holten thinks, ultimately, “The availability of ChatGPT is not likely to change very much.”From Your Site Articles
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Nat Rubio-Licht
Nat Rubio-Licht is a freelance reporter with dot.LA. They previously worked at Protocol writing the Source Code newsletter and at the L.A. Business Journal covering tech and aerospace. They can be reached at nat@dot.la.
nat@dot.la
The Streaming Era Just Ate the Studio Era
10:45 AM | December 06, 2025
🔦 Spotlight
Hello Los Angeles!
In a week where everyone was already arguing about what “the future of entertainment” is supposed to look like, Netflix decided to skip the debate and buy a giant piece of the past and, possibly, the future. Netflix announced a definitive agreement to acquire Warner Bros. Discovery’s Studios and Streaming business, including Warner Bros. film and television studios plus HBO and HBO Max. This is not just another media merger. It is a power transfer, from the studio era where the gatekeepers were greenlight committees to the platform era where the gatekeepers are subscriber relationships, home screens, and retention math.
Here are the bones of the deal. WBD shareholders would receive $27.75 per share, made up of $23.25 in cash and $4.50 in Netflix stock, with the stock portion subject to a symmetrical collar. Netflix puts the transaction at roughly $72 billion in equity value and $82.7 billion in enterprise value, and expects it to close in 12 to 18 months, but only after WBD completes its planned separation of its Global Networks business into Discovery Global, now expected in Q3 2026.
Now zoom in on why this matters in Los Angeles specifically.
LA’s creative engine is about to be run by a single, very efficient distribution machine
Warner Bros. is not just a studio. It is an institutional muscle memory for how to develop, package, and produce at scale, plus a library and franchises that can carry a business through multiple economic cycles. Netflix is not just a distributor. It is the largest direct to consumer entertainment subscription platform on earth, built around global reach, product iteration, and data feedback loops. Put them together and you get a company that can create, market, distribute, and monetize premium entertainment without needing anyone else’s permission.
That will sound exciting to some creators and terrifying to others, often for the same reason. When the same entity owns the audience relationship and the content factory, it can take bigger swings because it has more margin for error. It can also take fewer swings because it does not need to. The incentive shifts from “What is culturally important?” to “What makes people stay?” Those are sometimes the same question. Sometimes they are not.
This deal won’t be decided in a writers’ room. It’ll be decided by regulators.
This is exactly the type of consolidation regulators have been itching to interrogate. A combined Netflix plus HBO Max instantly raises questions about market power, competition, and pricing, plus downstream effects on theaters, independent studios, and negotiating leverage with talent. Even if Netflix vows to maintain current operations and keep the consumer experience strong, the political story is straightforward: fewer giant buyers typically means less bargaining power for everyone who sells into the system.
Also worth noting, Reuters reports a termination fee of $5.8 billion under certain circumstances, which tells you both sides are bracing for a drawn out, high scrutiny process.
The quiet subtext: the bundle is coming back, just wearing a streaming hoodie
Netflix will almost certainly pitch this as more choice and better value. Regulators will hear less competition. Consumers will hear how much is this going to cost me. The most plausible end state is not a single mega app on day one. It is a reimagined bundle: separate brands, packaged pricing, shared sign on, cross promotion, and eventually tighter integration if the politics and churn math allow it.
The real disruption is not whether HBO Max keeps its name. It is whether Netflix becomes the default front door to premium scripted entertainment globally.
🤝 Venture Deals
LA Companies
- Castelion, a Torrance based defense technology startup, raised a $350M Series B round led by Altimeter Capital and Lightspeed Venture Partners, with participation from investors including Andreessen Horowitz, General Catalyst, Lavrock Ventures, Space VC, Avenir and Interlagos Capital. The money will be used to scale production of its Blackbeard hypersonic weapon, stand up its Project Ranger manufacturing campus in New Mexico, and support multiservice testing and integration with U.S. Army and Navy platforms starting in 2026. - learn more
- Antares announced a $96M Series B to accelerate an iterative “build, test, iterate” approach to developing nuclear reactors quickly, with the funding going toward hardware and subsystem testing, fuel fabrication, manufacturing, and the infrastructure to turn on a reactor. The company says it plans a low-power “Mark-0” reactor demonstration in 2026 at Idaho National Laboratory, with a pathway to a full-power electricity-producing reactor as early as 2027 and a commercial prototype microreactor (“Mark-1”) after the Mark-0 milestone. - learn more
LA Venture Funds
- With FirstLook Partners participating, Flex raised a $60M Series B led by Portage, bringing its total equity raised to $105M to build an AI native finance platform for middle market business owners. The company says it will use the new funding to accelerate product expansion and scale its AI agent infrastructure across areas like private credit, business finance, personal finance, payments, and ERP. - learn more
- Led by MTech Capital, Curvestone AI raised a $4M seed round with participation from Boost Capital Partners, D2 Fund, and Portfolio Ventures to scale its AI automation platform for regulated industries like financial services, legal, and insurance. The company says it’s tackling the “compound error” problem that makes multi step AI workflows unreliable, and will use the funding to accelerate product development and go to market expansion. - learn more
- Co-led by CIV, Unlimited Industries raised a $12M seed round (alongside Andreessen Horowitz) to scale its “AI-native construction” approach to designing and building major infrastructure projects. The company says its platform can generate and evaluate massive numbers of design configurations to optimize for cost, safety, and performance, cutting pre-construction engineering timelines from months to weeks, and it is initially focusing on projects that rapidly expand U.S. power capacity for things like data centers, critical minerals, and advanced manufacturing. - learn more
- With Hyperion Capital participating (alongside Amplify Venture Partners, Spark Capital, Tamarack Global and others), Antithesis raised a $105M Series A led by Jane Street, which is both an investor and an existing customer. The company says it will use the capital to accelerate its deterministic simulation testing platform and scale go to market efforts across North America, Europe, and Asia, positioning the product as “critical infrastructure” for teams running complex distributed systems. - learn more
- With XO Ventures participating, Orq.ai raised an oversubscribed €5M seed round led by seed + speed Ventures and Galion.exe to help enterprises build, deploy, and manage production grade AI agents with stronger control over data, behavior, and compliance. The company says the funding will accelerate expansion of its platform, including its newly launched Agent Studio and managed runtime, as it pushes to close the “AI production gap” for companies moving beyond demos into real deployment. - learn more
- Untapped Ventures participated in Lemurian Labs’ oversubscribed $28M Series A, co-led by Pebblebed Ventures and Hexagon, as the company builds a software-first platform designed to run AI workloads efficiently across any hardware and across edge, cloud, and on-prem environments. Lemurian says the funding will help it expand engineering, accelerate product development, and deepen ecosystem collaborations aimed at reducing vendor lock in and infrastructure costs. - learn more
- Fifth Wall and Park Rangers Capital participated in Ridley’s $6.4M seed round, which Fifth Wall led, backing the company’s push to rebuild the real estate process around consumers with fewer commission-heavy frictions. Ridley says the capital will help launch an AI-powered buy-side experience that surfaces private, for-sale, and “soon-to-be-listed” homes using predictive analytics, while also expanding its commission-free seller tools and “Preferred Agents” network for on-demand support. - learn more
- Anthos Capital participated in Kalshi’s $1B Series E at an $11B valuation, a round led by Paradigm with other backers including Sequoia, Andreessen Horowitz, Meritech, IVP, ARK Invest, CapitalG, and Y Combinator. Kalshi says its trading volume now exceeds $1B per week across 3,500+ markets, and it will use the new capital to accelerate consumer adoption, integrate more brokerages, strike news partnerships, and expand product offerings. - learn more
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Chernin Group Adds 3 Partners Amid Reports of $1B Fund
04:37 PM | June 08, 2021
Photo by Sahand Hoseini on Unsplash
With reports of a new $1 billion fund in the works, The Chernin Group (TCG) is doubling down on media's continued transition from simple entertainment into a vehicle for commerce.
News of the fund was first reported on Tuesday by Axios. TCG confirmed to dot.LA that it was hiring three new partners, Maureen Sullivan, Luke Beatty, and Jarrod Dicker, all of whom should help the company expand into new verticals and guide future investment decisions. But, it declined to comment on the new fund.
The investment group, which was launched in 2010 by former Fox executive Peter Chernin and former media executive Jesse Jacobs and now totals more than 40 employees while managing more than $1 billion in assets, said the new hires will help them invest in more companies that have that coveted ability to turn brand loyalty into consumer action.
TCG has a track record of investing in media companies, with a portfolio that already includes Barstool Sports, Headspace, crunchyroll, The Athletic, Hello Sunshine and more. TCG focuses specifically on supporting companies that can turn media content into product sales. With such unprecedented access to content creators and brands, consumers rely on these parasocial relationships to guide their spending habits like never before.
"If you think about the media business historically, you're used to ESPN and MTV as consumer brands, but historically they haven't been consumer businesses; they were ultimately selling content through a disruptor—a directTV or a cable operator," said Jacobs. "The internet changed all that."
Jacobs said the Pink Whitney, a pink lemonade and vodka mixture sold by New Amsterdam Vodka in partnership with Barstool Sports, is a perfect example of their content-to-commerce model. The concoction was born out of a hockey podcast known as "Spittin' Chiclets" in which former NHL defenseman Ryan Whitney joked that he enjoyed pink lemonade as a mixer. For whatever reason, the idea caught fire. Fans of the podcast began sending pictures of their homemade "Pink Whitneys" all over social media, and a meme was born. In less than a year the official Pink Whitney drink was on the shelves all across America. They've sold more than 15 million units in less than two years with plans to expand into Europe and beyond.
"You feel like those people are such experts in that particular vertical that you're going to trust whatever it is that they say or whatever they recommend," said Jacobs. "You also feel like you're part of that community when you transact."
In particular, the firm seems to be targeting women's products, the outdoor industry and blockchain technologies — specifically as they relate to the creator economy. Sullivan brings experience from her time as president and chief operating officer of both a skincare company, Heyday, and subscription-based clothing rental brand Rent the Runway.
Beatty brings extensive experience with digital media and brands and recently led TCG's investment deal with The Pro's Closet, a Colorado-based company specializing in bike resale. "We have a view that there's a lot going on in the mountain town community," Jacobs said.
Dicker, the former CEO of the cryptocurrency Po.et, brings expertise in blockchain technologies. TCG is betting that the booming creator economy is ripe for blockchain adoption.
"If I buy [a Taylor Swift] ticket for $150 and resell it to you for $1000, Taylor Swift doesn't get anything [from the resale]," Jacobs explained. "Now if that ticket is on the blockchain, she can get a piece of every future transaction." In the world of Patreon and Kickstarter, TCG is also interested in how blockchain technologies can help give investors equity in the content they back.
"If a is created on the blockchain, you can ultimately own a piece of the economic interest in that. And then wherever it's distributed, however it's monetized, you can ultimately participate in that. That's an area that Jarrod [Dicker] spends all of his time on," Jacobs added.
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David Shultz
David Shultz reports on clean technology and electric vehicles, among other industries, for dot.LA. His writing has appeared in The Atlantic, Outside, Nautilus and many other publications.
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