Here Are LA's Top Angel Investors, According to Their Peers

Harri Weber

Harri is dot.LA's senior finance reporter. She previously worked for Gizmodo, Fast Company, VentureBeat and Flipboard. Find her on Twitter and send tips on L.A. startups and venture capital to

Here Are LA's Top Angel Investors, According to Their Peers
Image by Candice Navi

In a year upended by crisis after crisis — the ongoing pandemic, the climate emergency, an insurrection in the capital — tech startup financing is not just bouncing back but altogether booming, and Los Angeles-based angel investors are a big part of that equation.

Angels usually take a stake in an emerging business using their own funds, before institutional investors are willing to throw more substantial resources behind an idea. Often, they start off as entrepreneurs or engineers themselves.

We surveyed dozens of prominent L.A. investors to find out who they believe to be the top angels in the city, as part of dot.LA's third VC sentiment survey. Then, we tallied the votes. dot.LA had to throw out a couple of top names because one angel no longer lived in Los Angeles and the other didn't appear to be actively investing.

For more from the latest survey, read about who to watch among L.A.'s hottest ecommerce startups.

The investors below are listed based on the number of votes they received. We deferred to alphabetical order when there was a tie. Without further ado, here are Los Angeles' top angels, according to their peers.

J.J. List

J.J. List

List tops this list despite maintaining a low profile compared to the five angels below. He's an early-stage investor whose portfolio includes mobile shopping startup Tapcart, glasses and contacts company Lensabl, as well as Brainbase, Candy Club, Citruslabs and other LA-based firms, per AngelList. His investments range between $25,000 and $100,000, according to his Signal investing page. List is also listed as the chief creative officer at brand studio Gazoozle, per Crunchbase. The agency mentions Uber, TBS and other big names as clients on its website.

When dot.LA reached out for more information about him and his recent investments, List responded via LinkedIn: "im all good man, i dont do any press. thanks though!" Thanks, indeed!

But Paul Bricault, co-founder and managing director of Amplify, who has several co-investments with him, said List really has a discerning eye. "While we have also passed on some things he has sent our way, they are always worth a hard look which is rare."

Tom McInerney

Tom McInerney

McInerney got his start as a software engineer at Apple and Sony. His L.A. investments include RentSpree, a tenant screening startup that just announced an $8 million series A; and Bird, the love-it-or-hate-it scooter rental service. Beyond the city, he's a backer of Notion, Segment and Dapper Labs. His exits include Lettuce, which sold to Intuit; and Shopflick, which sold to Popsugar.

McInerney also advised TestFlight, which Apple snapped up in 2014, and he is a member of the World Wildlife Fund's national council.

Spencer Rascoff

Spencer Rascoff

Rascoff co-founded Zillow,, real estate platform Pacaso, startup studio 75 & Sunny and this website, dot.LA. He's a former director of TripAdvisor and Zulily, and is a board member of the controversial data-mining company Palantir. When pressed on whether being a co-founder of dot.LA could have artificially boosted his vote count, Rascoff disagreed:

"I am just a really prolific L.A. based investor," he said. "I think we (75 & Sunny) did like 41 deals last year, of which 25 were in L.A., so that's why. I'm also an investor in many L.A. based venture funds (Crosscut, m13, Upfront, and others) so that helps me have a lot of connectivity to the L.A. tech community, which I'm sure boosts my vote count!"

Brian Lee

Brian Lee

Lee co-founded LegalZoom, ShoeDazzle and The Honest Company (of Jessica Alba fame), which went public in May and is now valued north of $894 million. "We have been fairly active this past year with 16 investments in total so far, and 8 of them in Los Angeles now," said Lee.

His LA-based investments include The NFT Company, guided breathing app Breathwrk and fantasy sports company Grin Gaming. Lee's exits include the infamous MoviePass (RIP), which sold to Helios and Matheson Analytics; Tapiture, which was bought by Playboy; and Stamped, which was snapped up by Yahoo, per Crunchbase.

Rosie O'Neill

Rosie O'Neill

O'Neill co-founded boutique candy brand Sugarfina. She also sat on the board of fintech company Happy Money and most recently cofounded early-stage investment fund Pure Imagination Brands in Santa Monica with her partner, Josh Resnick, who also made this list. Previously, O'Neill led marketing for Barbie at Mattel.

Her investments include faux meat purveyor Abbot's Butcher, pet pharmacy Mixlab, low-carb and gluten-free snack maker Uprising Food and gaming lifestyle brand Queens Gaming Collective.

Josh Resnick

Josh Resnick

Resnick worked as a producer at Activision, the Santa Monica game publisher, before launching his own studio — Pandemic Studios — with backing from his former employer. Pandemic is known for developing Star Wars: Battlefront and later on was acquired by Electronic Arts with another studio in a combined $860 million deal. Resnick also cofounded Sugarfina and Pure Imagination Brands. The investor tells dot.LA that he's "done around a dozen deals so far this year with another 4 in the pipeline currently."

Of the deals he has closed in 2021 to date, he says eight were based in Los Angeles. His investment portfolio includes Culver City-based digital pharmacy Honeybee Health and virtual reality training platform Vantage Point.

Lead art by Candice Navi.

Subscribe to our newsletter to catch every headline.

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.


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.


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.


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.


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.

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:

Read moreShow less