Born of a Network of Tech Families, This Free Childcare Co-op is Poised to Boom As Parents Return to Work

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.

Born of a Network of Tech Families, This Free Childcare Co-op is Poised to Boom As Parents Return to Work

When now-former SpaceX Dragon mission director Erin Beck became pregnant with her first child roughly four years ago, the company's "generous" benefits were just not enough.

She wanted to be home full time with her daughter and arrange her work life flexibly so she could raise her, but with the loss of income from leaving her day job she couldn't afford to.

That's how the Wana Family Network was born in 2017. Beck, who's founder and CEO of the Los Angeles-based public benefit corporation, looked to the parent-helping-parent, cooperative kind of childcare she was raised on as a kid. But she couldn't find any such app.


So she decided to build one. And it had been growing rapidly, by about 500 families a month without any advertising, prior to COVID-19. The network, where parents can use points to trade for help with childcare duties, is home to 25,000 families worldwide and has offered essential services workers a free way to get childcare during the pandemic.

By the end of 2019, Wana Family Network was able to expand through acquisitions with some of the largest players in the cooperative childcare space, including their flagship product Komae out of Ohio, founded by Amy Husted and Audrey Wallace, and Sitster in London, founded by Laura Farnsworth. They also hired the team of a fourth company, L.A.-based Helpkin, founded by Shar Ghoudsifar, that is no longer in business.

"This brain trust has allowed us to iterate so much faster than any single one of our companies could do before," Beck said.

But the timing has also been a little tough.

It's perhaps an irony that the company Beck created is predicated on parents that have to leave home for work. COVID-19 has changed all of that. With the vast majority of families at home amid the pandemic, usage of childcare services dropped in April by 80% to 90%. The network has had to work hard to be creative and stay afloat as non-essential workplaces closed their doors in March. Wana Family began by offering essential workers the ability to get free childcare.

"It's been slow, and this is across the board, for any childcare companies that we have seen," Beck said

With the phased reopening of some businesses in California, it's unclear how the network's usage might change, as traditional childcare centers have been hit even harder by the closures. Beck said the company is now offering free childcare to all parents and has seen an uptick in families joining, up from 10% to 50% of the activity they would have seen pre-COVID. But that hasn't yet translated to an uptick in usage.

"What this tells us is that parents are getting prepared and examining their options so they will be ready as their city reopens and they return to work or more normal daily life," Beck said. "We're here and ready!"

Wana Family Network founder Erin BeckBKM Photography

Beck said that a babysitting co-op has turned out to be an excellent closed system for babysitting in the time of COVID, where you often have coworkers trading care with other coworkers.

"You're limiting the (viral) exposure into or out of that organization by having those coworkers trading time," Beck said.

It's also a way for kids to socialize with the kids of other parents with perhaps similar exposure risks.

Wana Family forgoes the traditional 9-to-5 office with nearly the entire team of nine or so staff working part-time and some keeping other jobs on the side. The arrangement is an homage to the company's roots — to cater to the flexibility parents need by allowing them to choose the number of hours appropriate for them and decide what the best skills they have to offer are. The idea is for Wana Family to have an employee's " top 10% at the top 10% of their time."

How it works

Generally speaking, the network functions through a point system. Parents trade their time babysitting for points, rather than dollars. Those points can be used to "purchase" time for someone to babysit their own kids. If a family doesn't babysit for other families, they will ultimately run out of points and to continue participating in the platform they can buy more.

The company charges $5 a point, which equates to roughly $5 for an hour of babysitting, way below the typical childcare rate that's between $15 and $30 an hour. During the pandemic, parents using the app have not been charged any points.

For parents who are worried about in-person babysitting, they can arrange for "virtual babysitting" via Komae's platform.

"Maybe you're doing charades with your friend's child on their iPad when their mom needs to take a phone call or just wants to take a shower, but just doesn't want to leave their three-year-old unsupervised," said Gabrielle D'Addario, a parent of a 4-year-old preschool boy, Charlie, and 6-year-old kindergarten girl, Gracie.

D'Addario, who's director of the Silicon Beach Parents Group in Playa Vista, Calif., set up a group of parents on the app last month who could communicate together and share "virtual babysitting" via the app. The app can also be used to create virtual playdates for kids.

"Everybody's in the same boat right now, just having your kids home 24/7 it's so hard, especially work from home parents," said D'Addario, who's a creative director for a media company. "Like, oh my God, my kids want my attention all the time. I used to send them over to a friend's house to do a playdate, but now you can't do that."

Beck's child during a virtual playdate

Wana Family Network has also developed new brand partnerships with parent and women-owned small companies with special gifts that can be purchased using points that parents have earned, for those who have an abundance of them to spare. Some examples include a white noise maker for young children as well as a stuffed "pillow pet" that can be home for a kid's pajamas and guard their bed by day while teaching them to clean up. Those brand partners are ultimately going to be charged a marketing fee for getting the word out about their items.

The company had planned to hold off on introducing a marketing fee, but the pandemic severely disrupted its intended revenue streams. So, Wana Family has sped up the timeline for introducing such fees on the brand marketing side, Beck said.

Wana Family received a check from the Paycheck Protection Program on Monday. They have not yet heard back regarding the Small Business Administration's Economic Injury Disaster Loan.

Meanwhile, Beck and other founders in the famtech world, including Tot Squad, Mahmee, HopSkipDrive, Special X, Robyn, Needed, WRK/360, UrbanSitter, Winnie, Motherly, Milk Stork and others, have been leaning on each other for support and to trade survival tips like how to get PPP funding approved.

Wana Family and a handful of other such companies have also created a special single-source resource for parents in California who need help with childcare during the pandemic. The group has been working with USC and UCLA chapters of the larger MN COVIDsitters, which matches medical personnel with student volunteers for childcare support.

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Taylor Swift concert in the Metaverse? Ticketing Platform Token is Using NFTs to Optimize Experiences

Andria Moore

Andria is the Social and Engagement Editor for dot.LA. She previously covered internet trends and pop culture for BuzzFeed, and has written for Insider, The Washington Post and the Motion Picture Association. She obtained her bachelor's in journalism from Auburn University and an M.S. in digital audience strategy from Arizona State University. In her free time, Andria can be found roaming LA's incredible food scene or lounging at the beach.

Taylor Swift concert in the Metaverse? Ticketing Platform Token is Using NFTs to Optimize Experiences
Evan Xie

When Taylor Swift announced her ‘Eras’ tour back in November, all hell broke loose.

Hundreds of thousands of dedicated Swifties — many of whom were verified for the presale — were disappointed when Ticketmaster failed to secure them tickets, or even allow them to peruse ticketing options.

But the Taylor Swift fiasco is just one of the latest in a long line of complaints against the ticketing behemoth. Ticketmaster has dominated the event and concert space since its merger with Live Nation in 2010 with very few challengers — until now.

Adam Jones, founder and CEO of Token, a fan-first commerce platform for events, said he has the platform and the tech ready to take it on. First and foremost, with Token, Jones is creating a system where there are no queues. In other words, fans know immediately which events are sold out and where.

“We come in very fortunate to have a modern, scalable tech stack that's not going to have all these outages or things being down,” Jones said. “That's step one. The other thing is we’re being aggressively transparent about what we’re doing and how we’re doing it. So with the Taylor Swift thing…you would know in real time if you actually have a chance of getting the tickets.”

Here’s how it works: Users register for Token’s app and then purchase tickets to either an in-person event, or an event in the metaverse through Animal Concerts. The purchased ticket automatically shows up in the form of a mintable NFT, which can then be used toward merchandise purchases, other ticketed events or, Adams’s hope for the future — external rewards like airline travel. The more active a user is on the site, the more valuable their NFT becomes.

Ticketmaster has dominated the music industry for so long because of its association with big name artists. To compete, Token is working on gaining access to their own slew of popular artists. They recently entered into a partnership with Animal Concerts, a live and non-live event experiences platform that houses artists like Alicia Keys, Snoop Dogg and Robin Thicke, and has “access to Roc Nation.”

“You'll see they do all the metaverse side of the house,” Jones said. “And we're going to be the [real-life] web3 sides of the house.”

In addition, Token prides itself on working with the artists selling on their platform to set up the best system for their fanbase, devoid of hefty prices and additional fees — something Ticketmaster users have often complained about. Jones believes where Ticketmaster fails, Token thrives. The app incentivizes users to share more data about their interests, venues and artists by operating on a kind of points system in the form of mintable NFTs.

“We can actually take the dataset and say there’s 100 million people in the globe that love Taylor Swift, so imagine she’s going on tour and we ask [the user], ‘Would you go to see her in Detroit?’ And imagine this place has 30,000 seats, but 100,000 people clicked ‘yes,’” he explained. “So you can actually inform the user before anything even happens, right? About what their options are and where to get it.”

Tixr, a Santa-Monica based ticketing app, was founded on the idea that modern ticketing platforms were “living in the legacy of the past.” They plan to attract users by offering them exclusive access to ticketed events that aren’t in Ticketmaster’s registry.

“It melts commerce that's beyond ticketing…to allow fans to experience and purchase things that don't necessarily have to do with tickets,” said Tixr CEO and Founder Robert Davari. “So merchandise, and experiences, and hospitality and stuff like that are all elegantly melded into this one, content driven interface.”

Tixr sells tickets to exclusive concerts like a Tyga performance at a night club in Arizona, general in-person festivals like ComplexCon, and partners with local vendors like The Acura Grand Prix of Long Beach to sell tickets to the races. Plus, Davari said it’s equipped to handle high-demand, so customers aren’t spending hours waiting in digital queues.

Like Token, Tixr has also found success with a rewards program — in the form of fan marketing.

“There's nothing more powerful in the core of any event, brand, any live entertainment, [than] the community behind it,” Davari said. “So we build technology to empower those fans and to reward them for bringing their friends and spreading the word.”

Basically, if a user gets a friend to purchase tickets to an event, then the original user gets rewarded in the form of discounts or upgrades.

Robert Davari by Austin Neil

Coupled with their platforms’ ability to handle high-demand events, both Jones and Davari believe their platforms have what it takes to take on Ticketmaster. Expansion into the metaverse, they think, will also help even the playing field.

“So imagine you can't go to Taylor Swift,” Jones said. “What if you could purchase an exclusive to actually go to that exact same show over the metaverse? An artist’s whole world can expand past the stage itself.”

With the way ticketing for events works now, obviously not everyone always gets the exact price, venue or date they want. There are “winners and losers.” Jones’s hope is that by expanding beyond in-person events, there can be more winners.

“If there’s 100,000 people who want to go to one show and there's 37,000 seats, 70,000 are out,” he said. “You can't fight that. But what we can do is start to give them other opportunities to do things in a different way and actually still participate.”

Jones and Davari both teased that their platforms have some exciting developments in the works, but for now both Token and Tixr are set on making their own space within the industry.

“We simply want to advance this industry and make it more efficient and more pleasurable for fans to buy,” Davari said. “That's it.”

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.

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