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XWhat Should I Watch? Ranker's New App Aims to Make it Easier to Choose Across Viewing Platforms
Sam primarily covers entertainment and media for dot.LA. Previously he was Marjorie Deane Fellow at The Economist, where he wrote for the business and finance sections of the print edition. He has also worked at the XPRIZE Foundation, U.S. Government Accountability Office, KCRW, and MLB Advanced Media (now Disney Streaming Services). He holds an MBA from UCLA Anderson, an MPP from UCLA Luskin and a BA in History from University of Michigan. Email him at samblake@dot.LA and find him on Twitter @hisamblake

Ranker, an L.A.-based digital media firm boasting 40 million monthly visitors, on Monday morning released Watchworthy, a service that uses machine learning to give users bespoke what-to-watch recommendations. Watchworthy will initially be available only on the iOS app store, but Chief Executive Clark Benson told dot.LA that the company plans to roll it out to Android and connected devices like Roku and Apple TV later this year.
The average video streaming user spends over seven minutes deciding what to watch, per a 2019 study from Nielsen. With Comcast, AT&T, Quibi and Discovery all planning to launch streaming services to compete with the likes of Netflix, Amazon, Hulu, Disney, and Apple, making a choice is poised to only get harder.
Enter Watchworthy, which — in contrast to the platforms' own recommendation engines — will provide suggestions across over 200 streaming services.
People are streaming shows and movies more as the coronavirus fallout has decimated leisure alternatives and flushed people's lives with free time. According to a Bloomberg story, Wurl Inc. estimated that globally time spent streaming last weekend rose by an average of 20%. That seems likely to grow, based on a separate analysis from Nielsen finding that viewing spiked by over 60% during certain past shut-ins.
This could prove fortuitous for Watchworthy, which has been under development for a year or so, according to Benson, and coincidentally launches as demand for its service may be rising.
How does it work?
"It starts on Ranker.com," explains Chantelle Silveira, Ranker's Chief Product Officer, who helped manage the development of Watchworthy.
Ranker.com, which launched in 2009, is a trove of all kinds of rankings derived from user votes. Categories range from the relatively normal (The Best TV Shows to Binge Watch, The Greatest Animated Series Ever Made) to the wildly specific (TV Shows That Only Smart People Appreciate, The Most Epic Insults from Game of Thrones).
"Ranker collects around 15 million votes per month across tens of thousands of rankings," said Benson. "We have over 5,000 rankings about TV alone."
Over one billion votes in total have amounted so far.
Tracking and analyzing users' voting behavior across varied categories has enabled Ranker to construct user groups with highly detailed preference profiles, the company says. When Watchworthy users answer a few questions–a process described to dot.LA as akin to Tinder for movies and shows–it is this backend data from Ranker.com that the Watchworthy model uses to propose a recommendation.
"Watchworthy creates a digital taste fingerprint based on your unique combination of likes and dislikes," explains Silveira. The model then compares that fingerprint to millions of others in the Ranker database, and finds a similar user group. "Then it looks at what those people are watching, and not watching, to come up with your personalized list of recommendations."
Data and the Entertainment Business: What Watchworthy Shows
One of Netflix's early competitive advantages was its digital proximity to customers. Whereas legacy companies like Disney formerly needed to rely on third parties for much of their customer data–which was usually coarse and of limited usefulness–Netflix early on had direct access to highly granular, extremely useful data about its customers. Among other outcomes, this enabled their lauded recommendation engine, which got better the more customers used it and so helped Netflix retain subscribers.
The power of customer data goes a long way in explaining the rise of Disney+ and other direct-to-consumer (D2C) platforms. Information about user behavior and preferences will help those companies make decisions.
The story of Ranker and its release of Watchworthy shows how the broader entertainment industry's data evolution is far from complete.
"I didn't know there would be a data business in this when I first started," reflects Benson. But now, entirely new businesses have sprung from the information collected from Ranker visitors.
Earlier this year Benson hired David Yon to lead Ranker Insights, a new business unit aiming to use Ranker data to provide insight to entertainment businesses.
Watchworthy will be free for users, but will generate advertising revenue and referral fees from streaming platforms, Benson said.
Though there is already plenty to watch, such industrial ripples will continue to provide yet more content to keep an eye on.
Follow Sam Blake on Twitter and email him at samblake@dot.la
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Sam primarily covers entertainment and media for dot.LA. Previously he was Marjorie Deane Fellow at The Economist, where he wrote for the business and finance sections of the print edition. He has also worked at the XPRIZE Foundation, U.S. Government Accountability Office, KCRW, and MLB Advanced Media (now Disney Streaming Services). He holds an MBA from UCLA Anderson, an MPP from UCLA Luskin and a BA in History from University of Michigan. Email him at samblake@dot.LA and find him on Twitter @hisamblake
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TikTok Content Moderators Allege Emotional Distress
Kristin Snyder is an editorial intern for dot.la. She previously interned with Tiger Oak Media and led the arts section for UCLA's Daily Bruin.
Content moderators reviewing TikTok videos have experienced psychological distress after exposure to graphic content, Business Insider reported Thursday.
Current and former moderators employed by Telus International, a contractor used by Culver City-based video-sharing app for content moderation, told BI that they were often assigned long, consecutive shifts overseeing graphic content—including beheadings, child sexual abuse and self-harm—and that requests to be reassigned to less demanding roles were often denied.
TikTok’s parent company, Chinese tech firm ByteDance, uses artificial intelligence to filter and separate inappropriate content into various categories, with human moderators assigned to review the content within those categories. As TikTok’s platform has grown—it is currently the most downloaded app in the world—employees said they were pressured to keep pace with the increase in content and were often denied discretionary wellness breaks, according to BI.
Additionally, while ByteDance has an emergency response team tasked with handling videos reported to law enforcement, one employee told BI that neither that team nor TikTok’s wellness team provided support to the moderators who reported such content. A Telus International spokesperson told BI that its own wellness team supported moderators, who have the option to skip difficult content. Telus employees, however, told BI that skipping videos resulted in disciplinary citations.
In a lawsuit filed against ByteDance in December, former content moderator Candie Frazier alleged that her work resulted in post-traumatic stress disorder and symptoms of severe psychological distress. Two other content moderators have since filed a lawsuit with similar claims.
The lawsuits are part of the growing legal pressure facing TikTok. In California, a bill that would allow parents to sue social media companies for addicting their children to apps passed the State Assembly and awaits the State Senate. The company is also facing renewed pressure from federal regulators over data privacy issues.
TikTok has also been scrutinized for its corporate workplace culture—with severalemployees claiming they were pressured to work long hours and accommodate the schedule of ByteDance’s China office.
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Kristin Snyder is an editorial intern for dot.la. She previously interned with Tiger Oak Media and led the arts section for UCLA's Daily Bruin.
Relativity Space Surpasses $1 Billion in Contracts, Inks New Deal with Satellite Maker OneWeb
Samson Amore is a reporter for dot.LA. He previously covered technology and entertainment for TheWrap and reported on the SoCal startup scene for the Los Angeles Business Journal. Send tips or pitches to samsonamore@dot.la and find him on Twitter at @Samsonamore. Pronouns: he/him
Rocket maker Relativity Space soared past a milestone today, surpassing $1 billion worth of contracts for launches on its 3D-printed Terran R rocket.
Long Beach-based Relativity agreed to a multi-launch agreement with broadband satellite maker OneWeb on June 30. CEO Tim Ellis posted on Twitter that following the deal, Relativity now had over $1.2 billion in binding launch contracts secured by five different customers — even though the startup still has yet to send a rocket to orbit.
Ellis called the deal a “huge vote of confidence and we can’t wait to deliver.”
Relativity aims to send the OneWeb satellites by 2025. The OneWeb launch could be one of the first commercial launches sent into space by the rocket maker’s reusable Terran R craft.
OneWeb was previously using Russian Soyuz rockets to launch, but sanctions imposed on Russia following its invasion of Ukraine forced it to look to other alternatives. Ellis told TechCrunch Relativity was already looking to court OneWeb as a customer before the war, though, noting the deal “has been in the works for quite some time.”
OneWeb wants its broadband service to be operational by 2023, and to do that it has to launch at least 648 satellites into orbit. Relativity has two rockets under construction – Terran 1 and Terran R.
The smaller Terran 1 rocket has already secured a $3 million contract to launch small satellites for the Department of Defense. The Terran 1 will make its first flight in a mission nicknamed “Good Luck, Have Fun” (GLHF) which is expected to take off this summer and won’t carry any payloads. Assuming the GLHF mission is a success, Relativity will then launch the DoD mission.
The Terran R is Relativity’s 95%-reusable rocket and its answer to competitor SpaceX’s Falcon 9, with which OneWeb is also launching payloads.
In an interview with ArsTechnica earlier this year, Ellis said the craft could take off as soon as 2024, though it’s still being built at Relativity’s 1 million-square-foot factory headquarters in Long Beach.
Last June Relativity raised a $650 million Series E funding round led by its backer Fidelity Management & Research. At that time, Ellis told dot.LA the Terran R rocket was still under development and added, “Ever since Relativity's early days in Y Combinator, we've planned to manufacture a large reusable rocket.”
Samson Amore is a reporter for dot.LA. He previously covered technology and entertainment for TheWrap and reported on the SoCal startup scene for the Los Angeles Business Journal. Send tips or pitches to samsonamore@dot.la and find him on Twitter at @Samsonamore. Pronouns: he/him
Goop’s Noora Raj Brown On Having the Hard Conversations That Make Change
Yasmin is the host of the "Behind Her Empire" podcast, focused on highlighting self-made women leaders and entrepreneurs and how they tackle their career, money, family and life.
Each episode covers their unique hero's journey and what it really takes to build an empire with key lessons learned along the way. The goal of the series is to empower you to see what's possible & inspire you to create financial freedom in your own life.
On this week’s episode of the Behind Her Empire podcast, host Yasmin Nouri talks with the executive vice president of Gwyneth Paltrow’s Goop, Noora Raj Brown.
Brown started working at Goop when the company was still in the early, hectic stages, moving from a weekly newsletter Paltrow would send out to her friends to a multinational publishing and lifestyle brand.
At the time, Goop’s advice, guides and features about beauty style and wellness, were tackling difficult issues like divorce, sexuality and health in very personal terms.
“So much of what we do at Goop is to push conversations into the mainstream and to talk about things that, frankly, people don't always want to talk about,” she said. “And these are hard conversations, right?”
Brown, a daughter of immigrants, grew up in Silicon Valley and always considered herself a creative, even though her parents were hopeful she’d take a more conventional professional route. “It was like, very much medicine and tech, and I wasn't interested in either,” she says. Instead, her interest veered toward fashion.
After earning her degree, she moved to New York City to work at a fashion magazine called Details, where she got to learn quickly about how designers function and how garments are produced and promoted — but the job didn’t come easy.
“A lot of it was really like finding your path, feeling really lost for a long time. And I think I also had this idea that I would come to New York and I would start interviewing and get a job,” says Brown. “And that would sort of be it. And I didn't realize how insanely competitive it was.”
Brown moved on to work in talent PR where she organized photo shoots, coordinated the angles of stories and then at a fashion and style publication called InStyle during a time when it was in the process of being sold to a new owner.
“There was a feeling of like, you couldn't win,” Brown says. “You're operating from a place of fear; you're not able to be your best self, right?, and you're not able to produce your best work.”
In 2016, when Brown made her way to Goop, there was no in-house communications or legal team, no HR, piles of debt and, from Brown, terror. “I sort of felt like, I was the first line of defense for anything negative that happened to the business,” she says.
The experience left her feeling unqualified, but she said Paltrow’s confidence in her made Brown more confident in her own abilities.
“I think we all just need to give ourselves the benefit of the doubt a little bit,” she says.
Brown’s personal journey, in many ways, mirrored Goop’s mission to push unconventional conversations into the mainstream. Brown says Goop has faced some backlash for its stories, but she says she feels strongly that important topics shouldn't be taboo, and adds that it takes honesty and courage to make change.
“If you're really going to, as we say, [...] milk the shit out of life, you need to do that,” she says. “As I said, operating from a place of real pride, but also real bravery is super important.”
Engagement and Production Intern Jojo Macaluso contributed to this post.
Hear more of the Behind Her Empire podcast. Subscribe on Stitcher, Apple Podcasts, Spotify, iHeart Radioor wherever you get your podcasts.
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Yasmin is the host of the "Behind Her Empire" podcast, focused on highlighting self-made women leaders and entrepreneurs and how they tackle their career, money, family and life.
Each episode covers their unique hero's journey and what it really takes to build an empire with key lessons learned along the way. The goal of the series is to empower you to see what's possible & inspire you to create financial freedom in your own life.