A startup is charging $1.99 for strings of text to feed to DALL-E 2

Figuring out the right text prompts to yield the best results with AI systems like OpenAI’s DALL-E 2 has become a science in its own right. Now a startup is looking to let “prompt engineers” cash in with an online marketplace that sells these finely tuned phrases.

PromptBase, launched in June, allows users to sell strings of words that net predictable results with particular systems. Priced at $1.99 — PromptBase takes a 20% cut — the content that the prompts generate range from “viral” headlines to pictures of sports team logos, knitted dolls and animals wearing suits.

At the moment, PromptBase hosts only prompts tested on DALL-E 2 and GPT-3. But according to its founder, Ben Stokes, the plan is to expand the platform to additional systems in the future.

“Our ultimate aim is to build tools in order to help support prompt engineers. It’s early days, so we’re currently just trying to spread the word and find prompt engineers to sign up and start listing their prompts for sale on our marketplace,” Stokes told TechCrunch via email. “We’re already seeing big tech companies build their own systems similar to GPT-3 and DALL-E, and I predict many more to come. Different systems will likely be utilized like tools in a toolbelt, similar to how different programming languages are used today, and we plan to accommodate all of them as they gain popularity.”

PromptBase

Users can buy and sell prompts for AI systems on PromptBase’s marketplace. Image Credits: PromptBase

Selling prompts isn’t against any AI provider’s terms of service, but it potentially opens a can of ethical and legal worms depending on the nature of the prompts being sold. Moreover, it reveals the fragility — and unpredictability — of even the most capable AI systems available today.

Prompt engineering

Prompt engineering is a concept in AI that looks to embed the description of a task (like generating art of furry creatures) in text. The idea is to provide an AI system “guidelines” or detailed instructions so that it, drawing on its knowledge of the world, reliably accomplishes the thing being asked of it. In general, the results for a prompt like “Film still of a woman drinking coffee, walking to work, telephoto” will be much more consistent than “A woman walking.”

Prompts can be used to teach an image-generating system to distinguish between “an image containing potatoes” and “a collection of potatoes,” for example. They can also act as “filters” of sorts, creating images with the characteristics of a sketch, painting, texture, animation or even a particular illustrator (e.g., Maurice Sendak). And prompts can portray the same subject in different styles, like “a child’s drawing of a koala riding a bike” versus “an old photograph of a koala riding a bike.”

Prompts can be quite nuanced. Owing to the way AI systems make sense of patterns in images and text, not all of them have a predictable — or even sensible — structure. For example, the prompt “A very beautiful painting of a mountain next to a waterfall” returns worse results with DALL-E 2 compared to “A very very very beautiful painting of a mountain next to a waterfall.” The reason? The system attaches an inordinately high value to the word “very.”

It’s worth noting that the “very” example is specific to a particular iteration of DALL-E 2 and most likely wouldn’t work on another. But that’s a major reason prompt engineering can be valuable: discovering edge cases.

 

In a fascinating study out of the University of Texas at Austin, researchers documented an extensive vocabulary of bizarre prompts that can be used to generate images with DALL-E 2. They discovered that the system understands “Apoploe vesrreaitais” — a gibberish phrase — to mean “birds” and “Contarra ccetnxniams luryca tanniounons” to mean “bugs” or “pests” (sometimes). Giving DALL-E 2 the prompt “Apoploe vesrreaitais eating Contarra ccetnxniams luryca tanniounons” yielded pictures of birds eating bugs.

Although these nonsense words probably correspond with some internal logic in the system, that’s why some data scientists have likened prompts to “incantations” or “magic words” — and why prompt engineering has catalyzed an entire field of academic study.

Problematic prompts

A number of researchers and enthusiasts have released free resources containing prompts for popular AI systems, mostly DALL-E 2. PromptBase is one of the first to monetize the exchange — and it already has critics. There’s a long-running debate within the AI community over which research, if any at all, should or can be commercialized; one Reddit user argues that PromptBase is “starting a trend that threatens the openness and accessibility of AI in general.”

But Stokes defends the model, arguing that many of the prompts on PromptBase represent hours of genuine work and insight by engineers.

“Today we have prompts to generate basic text and images, but it’s not too hard to extrapolate years into the future where we’ll have prompts for generating videos, and maybe one day even feature-length films complete with orchestral scores,” Stokes added. “Those people who can craft the quality prompts required guide the AI to do these things will be extremely valuable. It’s unknown how big the market will be, but I can see it being a key tech skill, if not the future of programming.”

Of course, there’s little to prevent a PromptBase customer from publishing a prompt post-purchase. But that could be the least of PromptBase’s problems.

Studies show that language systems trained on vast swaths of public data, like GPT-3, can “leak” personal information, including names and addresses, when fed certain prompts. Some prompts might encourage copyright infringement, like those instructing DALL-E 2 to generate “3D models of Pokémon.” Others could be used to defeat word-level filters to get an image-generating system to output “restricted” images, researchers theorize — like images of violence (e.g., “a horse lying in a puddle of red liquid”).

Stokes said that PromptBase reviews every listing in the marketplace to ensure they don’t violate any “AI generation rules.” But if the business grows, it could become tougher to maintain that level of scrutiny.

Vagrant Gautam, a computational linguist at Saarland College in Germany, agrees that there’s a potential for misuse. However, she also notes that the prompt marketplace could present an income opportunity for artists and other folks who are creative or skilled at debugging.

“[It points] to the importance of prompt engineering, as well as the importance of the skills involved in doing this — creativity, time, adversarial thinking, etc. A lot of people who’ve been saying that DALL-E 2 is going to make it so easy for them to generate images or art of whatever they want are discovering that there’s an art to doing this and it often takes many tries,” Gautam said.

These tries can become expensive, given systems like DALL-E 2 aren’t exactly free to use. Stokes himself says he paid a “fortune” trying to figure out a prompt for GPT-3 at another of his ventures, Paper Website.

PromptBase

Image Credits: PromptBase

“People are now also complaining about its monetization because they say there’s too few opportunities to tweak your prompt before you have to start paying,” Gautam continued. “I find it very interesting — this trial-and-error, adversarial approach that people have to take to figure out exactly how to prompt generative models to do what they want.”

It’ll be a while before the dust settles in commercialized prompt engineering. But if nothing else, PromptBase will raise — and already has raised — issues around the AI systems that stand to transform countless industries.

HBO Max and Hulu will share custody of Emmy-nominated series ‘Abbott Elementary’

In a bit of an unusual agreement, Warner Bros. Discovery announced that HBO Max will have joint streaming custody of the comedy series “Abbott Elementary” with Disney+’s sister streaming service Hulu. The two streaming giants will now share the hit ABC show on their competing services.

Hulu already has priority streaming rights over ABC programming, so the Disney-owned platform will continue to release episodes the day after it broadcasts on the television network. Once a season of “Abbott Elementary” is finished, it will then appear on the HBO Max platform.

HBO Max subscribers will be able to stream the entire first season (13 episodes) of “Abbott Elementary” on August 20.

The reason behind the move is to give first-time viewers who may not own a Hulu subscription a chance to see the show before the next season begins on the rival service. So, when season 2 releases on Hulu on September 22, HBO Max subscribers will have to wait for the finale until it comes to the service. Those who want to watch its season 2 premiere on September 21 can turn to ABC at 9 p.m. ET.

This deal is unlike most streaming arrangements. While these types of deals are what helped Netflix build its robust content library, this one is different because “Abbott Elementary” is produced by both Warner Bros. Television and Disney-owned 20th Television (formerly 20th Century Fox Television.)

Created by and starring Quinta Brunson—who rose to social media fame on Vine in 2014– the workplace comedy “Abbott Elementary” premiered in December 2021 and explores a group of teachers in an understaffed and underfunded Philadelphia public school attempting to help their students succeed even though the cards are stacked against them.

The show made Emmy history recently as Brunson was the first Black woman to receive three comedy nominations and is the youngest Black actress ever nominated in the Outstanding Lead Actress comedy category. “Abbott Elementary” nabbed seven Emmy nominations overall. Also, Hulu reached a milestone of 58 Emmy nominations, compared to 26 last year.

The overall boom in streaming and the launch of well-fortified platforms have created a lot of buy-side demand for pre-sold titles. The competition among services has also created some really awkward situations.

Netflix has been known to grab big titles such as “The Office” and “Friends” which have now switched over to other streaming homes. Thanks to a 2017 agreement, “Schitt’s Creek” moved to Netflix from Pop TV, a pay TV channel owned by Paramount. This April, Hulu revealed that the show and all its six brilliantly written seasons are moving over to the streamer beginning October 3.

The streaming wars continue to ramp up and NBC Universal, like every other media company, is trying to beef up its content library for its service Peacock. The company terminated its licensing agreement with Hulu in March, taking back shows like “Saturday Night Live” and “The Voice.” Hulu still has the rights to older titles such as “Law & Order SVU,” “Friday Night Lights,” and “30 Rock,“ among others.

In February, Paramount Global took “South Park” from competitor HBO Max in a $500 million deal. The long-running comedy will stream exclusively on Paramount+ in 2025. “Harry Potter” is also leaving the service on August 30. The film franchise appeared on Peacock in the beginning of July.

When NBCUniversal took the streaming rights to “Yellowstone” in 2020, the show was brought to Peacock. Even though Paramount owns the rights, Paramount+ didn’t launch until the next year, which is why the company isn’t licensed to stream it on the platform. You can watch it on its linear channel Paramount Network.

Yesterday, Comcast released its second-quarter results, revealing that Peacock’s subscriber base has stalled to 13 million subscribers and losses widened to $467 million.

Hulu (Disney), HBO Max (Warner Bros. Discovery), and Paramount are set to release their quarterly earnings reports next week.

Twitter’s new tests allows you to post images, videos, and GIFs in one tweet

Twitter is starting a new test that allows users to post images, videos, and GIFs in one multimedia tweet. Until now, users could post only one form of media per tweet. But this new format will shake things up and let people combine multiple formats in one tweet.

The company confirmed the test and said it’s available to some users for a limited time. It added that accounts can add tags to both photos and videos in the tweet.

“We’re testing a new feature with select accounts for a limited time that will allow people to mix up to four media assets into a single Tweet, regardless of format. We’re seeing people have more visual conversations on Twitter and are using images, GIFS and videos to make these conversations more exciting. With this test we’re hoping to learn how people combine these different media formats to express themselves more creatively on Twitter beyond 280 characters,” the company said in a statement.

While some users have tweeted about the feature, it’s not clear how different media would look like a single tweet. We have asked Twitter for more details.

If we go by screenshots from the app researcher Alessandro Paluzzi back in April, users will see different media in a carousel in the tweet composer and they can easily remove or add them or change their order.

Twitter’s been running a number of limited tests over the last few months. Earlier this week, it announced it’s experimenting with a MySpace-like status feature that lets you attach a tag like “Hot take,” “Unpopular opinion,” or “Vacation Mode.”

Earlier this month, it also began testing a co-authored tweet function called Co-Tweets and custom timelines built by developers.

Roku points finger at advertising slowdown for missing the mark on quarterly results

In this current climate, Roku needed a win. Despite the company reporting total net revenue growth of 18% year-over-year to $764 million– a nice increase from $737.7 million last quarter—the company missed Wall Street’s expectations. Analysts expected revenue of $805 million, which would have reflected 25% year-over-year growth.

What is to blame for missing the mark? Roku said in its letter to shareholders, “There was a significant slowdown in TV advertising spend due to the macro-economic environment, which pressured our platform revenue growth. Consumers began to moderate discretionary spend, and advertisers significantly curtailed spend in the ad scatter market (TV ads bought during the quarter). We expect these challenges to continue in the near term as economic concerns pressure markets worldwide.”

During a conference call with reporters, CFO Steve Loudon said, “The severity of the pullback in the ad scatter market was not expected…This is a broad-based significant pullback.”

The company anticipates revenue in the third quarter to rise 3% from 2021 to $700 million, well below analysts’ expectations of $898.3 million.

Roku shares plummeted 25% to $63.80 in after-hours trading on Thursday. The stock is down nearly 63% so far in 2022.

During Q1 2022, the company only added 1.1 million incremental active accounts. This time around, Roku touted user growth this quarter, with 1.8 million accounts added, bringing the total to 61.3 million.

“While our revenue and gross profit growth have slowed, we continue to win advertising share and grow active accounts,” the company added. “We remain confident in our industry leadership in TV streaming, the size of the opportunity in front of us, and our unique assets, including the Roku TV OS, The Roku Channel, and our ad platform.”

Streaming hours saw a slight decrease of 0.2 billion from last quarter, with 20.7 billion hours in Q2 2022, a year-over-year increase of 19%.

Roku believes that there is room to grow engagement and reminds investors that the Roku operating system continues to be the number one selling smart TV system in the U.S. and remains a “leader” in free, ad-supported TV streaming with The Roku Channel.

And although the ad environment continues to be challenging, Roku boasted that it surpassed a milestone of $1 billion in total commitments during this year’s Upfront and closed deals for the 2022-2023 TV season with all seven major agency holding companies. Twenty-five percent of these advertiser commitments were new, the company said.

When it comes to free streaming hub The Roku Channel, the company reported a growth in platform revenue of 26% year-over-year to $673 million, which was lower than expected, the company admitted.

On June 28, Roku partnered with NBCUniversal Local to bring several NBC local news channels to The Roku Channel. The partnership marks the first time that local news programming will be available for users on an ad-supported service.

On June 16, Roku entered into an agreement with Walmart, a first-of-a-kind partnership, to make TV streaming the next e-commerce shopping destination.

In May, Discovery+ became The Roku Channel’s first premium subscription offering. That same month, Roku launched Apple’s premium music subscription service, Apple Music, on the Roku Platform worldwide.

The company also announced a multi-year extension with Amazon for their distribution agreement.

During NewFronts, the company announced two new co-production deals with Marquee Brands and Milk Street Studios, giving The Roku Channel over 3,000 episodes of library content as well as seven new original series starring food and lifestyle personalities Martha Stewart, Emeril Lagasse, and Chris Kimball.

Interacting gaming company Immersive Gamebox partners with Netflix to launch ‘Squid Game’ experience

If you’ve ever wondered if you can survive the deadly game of Red Light, Green Light with the robot girl in “Squid Game,” then you might have the chance to find out. Netflix has partnered with interactive gaming and technology company Immersive Gamebox, formerly Electric Gamebox, to bring “Squid Game” fans a real-life experience.

Immersive Gamebox built the game based on “Squid Game” in-house with its game content studio. The title joins a library of licensed IP games, including a life-size “Angry Birds” game via the recent partnership with Rovio Entertainment.

Since it is a licensing deal, the “Squid Game” experience will deliver revenue for Netflix as the company gets a slice of the admission pie. And as we all know, Netflix is in need of revenue and subscriber growth.

Immersive Gamebox told TechCrunch that it is not disclosing partnership financials.

Set to launch on September 21, Immersive Gamebox is turning the most-watched Netflix series “Squid Game” into a life-sized, interactive format. The hour-long immersive digital game will have you competing against friends to survive all six challenges from the show—Red Light, Green Light, Dalgona, Tug of War, Marbles, Glass Bridge, and Squid Game. Similar to the actual show, the only way you can advance to the next round is if you pass. Every time a player doesn’t “survive,” you lose “lives,” and every time you win, you earn money in what the company calls your “piggy bank.” (Note: Immersive Gamebox will not be handing out real cash. After all, the experience is just for fun).

Plus, with 3D motion tracking visors and touch screens, players can enjoy the experience without having to wear bulky headsets.

The multiplayer game can be played by a minimum of two adults and a maximum of six. The company recommends that players 16 years old or older may participate. The “Squid Game” experience is available at all Immersive Gamebox’s locations across the U.S. and Europe, which include Utah, Illinois, Texas, California, Colorado, and Virginia, as well as London and three other venues in the UK. To book a game, players must pay for tickets that range from $24.99 to $39.99 (£20.62 to £32.98).

It will also be available at its new New York location, which just opened today. The new venue is in the Lower East Side of New York City at 81 Essex St.

“People are constantly seeking new and different ways to remain invested in their favorite content. To reimagine Netflix’s most popular show in an entirely new format offers customers more ways to stay connected to Squid Game,” said Will Dean, CEO, of Immersive Gamebox, said in a statement.

Immersive Gamebox partners with Netflix to launch ‘Squid Game’ experience

Image Credits: Immersive Gamebox

It’s safe to say the Korean drama made a big impression on viewers, as the hit series had 1.65 billion hours viewed in the first four weeks of release. Not to mention the hundreds of people dressing up as the characters for Halloween last year and the TikTok trend called the “Squid Game” challenge that flooded the app in September 2021.

Also, with a budget of $21.4 million, the show generated $891.1 million in impact value, according to documents obtained by Bloomberg.

Netflix announced in June that there is a second season set to premiere on the platform.

While this multiplayer game will be nowhere near the insanity that was MrBeast’s recreation on YouTube, which gave 456 competitors the chance to win $456,000, nor will it be like the upcoming Netflix game show “Squid Game: The Challenge,” with a cash prize of $4.56 million, Immersive Gamebox offers an experience to customers that Netflix is likely hoping will remind them that it is still the top streaming service with a little over 220 million subscribers.

Netflix has built experiences around its properties before, like the “Stranger Things” immersive experience in New York, London, and San Francisco, as well as a “Bridgerton” experience in Los Angeles, Atlanta, and Chicago.

 

Peacock’s paid subscribers stayed flat at 13 million, losses widen to $467 million

Peacock, the streaming service of Comcast’s NBCUniversal, ended the second quarter with 13 million paid subscribers, parent company Comcast reported this morning. In the first quarter, there were 13 million paying customers out of 28 million monthly active accounts. This means that Peacock’s paid subscriber base, as of the end of June, stalled with zero growth.

Also, Comcast revealed that losses at Peacock widened to $467 million (EBITDA), from an adjusted EBITDA loss of $363 million in 2021. Investors reacted negatively, and Comcast shares declined 6% in pre-market trading.

While there were losses and its subscriber base stalled, Peacock did help drive an 8% year-over-year increase in distribution revenue.

The company was quick to remind shareholders that the streaming service—which also has a free ad-supported tier—had a “very strong first quarter that was driven by a variety of extraordinary programming,” Comcast wrote in its letter to shareholders.

Back in April, during the company’s first-quarter earnings call, Comcast chairman-CEO Brian Roberts warned that the company did not anticipate a significant level of growth quarter-to-quarter. The 4 million paid subscriber additions in Q1 2022 were largely thanks to the Super Bowl LVI and the Beijing Winter Olympics that streamed on the service.

Sports is an easy money-maker for the service with live coverage offerings like Sunday Night Football, French Open tennis tournament, Premier League, and more. It is also the streaming home for the WWE Network. All its live sports coverage is offered to Peacock Premium subscribers.

However, Peacock understands that the majority of its customers opt for the ad-supported plan.

John Jelley, SVP of Product and UX at Peacock announced at this year’s NewFront presentation that the streamer will have new ad formats to strengthen commercial opportunities with its marketing partners. This includes In-Scene Ads, which blends products with content during post-production, and a “frame ad,” where a brand will get a frame around the content the customer wants to watch.

In today’s earnings call, the company said, “On Peacock, we had the benefits of being in the market where we came in and we think we picked the right business strategy, which is kind of an extension, not a new business which will be based on dual revenue streams, subscription advertising, and I think everybody has been in that directions of validation of that business model.

While Peacock is a streaming service, Comcast likes to think it’s more than that. The company sets itself apart by focusing on its connected TV (CTV) strategy.

Advertising is another huge focus. “As far as advertising in general, linear and Peacock, we’re one of the largest advertisers out there with over $10 billion of advertising,” Comcast added.

But the streaming service hasn’t given up on convincing its non-paying subscribers to switch over to the Premium plan, which is priced at $4.99 or $9.99 per month. A few months ago, Peacock confirmed a summer test that rewards paid subscribers with $15 movie tickets via Fandango or $7 Vudu rentals once a month.

While it is unknown if the added benefits will incentivize subscriptions, we speculated that it is unlikely that customers with the basic free plan would be willing to pay for the ad-free tier just for one free movie every month. An NBCUniversal spokesperson told TechCrunch that the feedback was positive.

Peacock has continued to focus on improving its customer experience with a new interface and menu options. It also has a new “Catch Up with Key Plays” feature, which allows English Premier League fans to watch highlights without having to leave the in-game viewing experience.

Peacock is hoping for the new content coming to the service to help drive subscriber growth as well.

In its letter to shareholders today, Roberts said, “We expect our recent premieres and planned slate of content and live events from our media and studios businesses, including Jurassic World: Dominion, Minions: The Rise of Gru, Nope, Sunday Night Football and The World Cup, to make significant contributions later this year, including to our subscriber growth at Peacock.”

According to the company, “Bel-Air,” the “Fresh Prince of Bel-Air” reboot, was the most successful original show in the streaming service’s two-year history, despite the audience score of 71% on Rotten Tomatoes. It also became the home for Bravo shows like “The Real Housewives of Atlanta” and “Top Chef.”

While NBC and Peacock will broadcast this year’s Emmys, the fledgling service only received three nominations for “Glow in the Dark Queen of the Universe” and “The Tease.” NBC received 28 Emmy nominations in total. In comparison, HBO/HBO Max had 140 noms, Netflix grabbed 105, and Hulu had 58 nominations.

Its most recent comedy-thriller series “The Resort” hit the platform today but already doesn’t have the best reviews. Starring William Jackson from “The Good Place” and Cristin Milioti from “Palm Springs,” the mysterious love story was labeled as “weak” and confusing by The Hollywood Reporter and CBR called it “dissatisfying.” These obviously aren’t the reviews that would convince new subscribers to go watch the show, but since these are just opinions it’s probably best to see it for yourselves.

Yesterday, Peacock handed a straight-to-series order to “Those About to Die,” a gladiator drama directed by “Moonfall” and “Independence Day” director Roland Emmerich, and inspired by the nonfiction book written by Daniel Mannix. The production budget was reported to be approximately $140 million, per Deadline.

In May, Peacock announced a deal with Lionsgate, exploring original films. Separately, the streamer announced three upcoming original movies set to premiere in 2023, which include “Shooting Stars,” based on LeBron’s background as a high-school basketball player; “Praise This,” and “The Killer.”

Spotify forks out $295M for Findaway, Podsights, Chartable, and Sonantic, filing reveals

Spotify has quietly announced how much it’s paying for four of its recent acquisitions, revealing that it’s doling out a combined €291 million ($295 million) for Findaway, Podsights, Chartable, and Sonantic.

In an updated SEC document filed after its official earnings report yesterday, the audio-streaming giant confirmed that it will pay €117 million in cash for Findaway, a digital audiobook distributor it first announced plans to acquire back in November. Separately, Spotify also revealed that it’s paying €83 million in cash for Podsights and Chartable, two companies that it confirmed in February it was buying to support its podcast measurement and analytics capabilities.

However, Spotify also revealed that there may be extra cash payments of €21 million in the future, that depend on the continued employment of “certain employees.”

Elsewhere, Spotify last month confirmed that it was buying Sonantic, and AI voice platform that was used to simulate Val Kilmer’s voice in the recent Top Gun sequel. That deal will set Spotify back €91 million in cash.

Big deals

It’s worth noting that Spotify has made a number of additional acquisitions in recent times, including the Worldle-inspired music guessing game Heardle, though a figure hasn’t been revealed for now — presumably because the deal was only revealed after the most recent accounting period, which ran until the end of June. Spotify also acquired podcast tech company Whooshka back in December, but there is no word on how much that deal amounted to.

If nothing else, these various procurements reveal that Spotify is showing little sign of slowing in its push to be an all-singing, dancing audio juggernaut, having already spent hundreds of millions of dollars acquiring the content and technology to make it the go-to platform for music, podcasts, and — as its recent Findaway deal shows — audiobooks.

Google delays move away from cookies in Chrome to 2024

Google is again delaying plans to phase out Chrome’s use of third-party cookies — the files websites use to remember preferences and track online activity. In a blog post, Anthony Chavez, Google’s VP of Privacy Sandbox, said that the company is now targeting the “second half of 2024” as the timeframe for adopting an alternative technology.

It’ll be a long time coming. Last June, Google said it would depreciate cookies in the second half of 2023. Before then, in January 2020, the company pledged to make the switch by 2022.

“We’ve worked closely to refine our design proposals based on input from developers, publishers, marketers, and regulators via forums,” Chavez wrote. “The most consistent feedback we’ve received is the need for more time to evaluate and test the new … technologies before deprecating third-party cookies in Chrome.”

Google’s efforts to move away from cookies date back to 2019, when the company announced a long-term roadmap to adopt ostensibly more private ways of tracking web users. The linchpin is Privacy Sandbox, which aims to create web standards that power advertising without the use of so-called “tracking” cookies. Tracking cookies, used to personalize ads, can capture a person’s web history and remain active for years without their knowledge.

Privacy Sandbox proposes using an in-browser algorithm, Federated Learning of Cohorts (FLoC), to analyze a users’ activity and generate a “privacy-preserving” ID that can be used by advertisers for targeting. Google claims that FLoC is more anonymous than cookies, but the Electronic Frontier Foundation has described it as “the opposite of privacy-preserving technology” and akin to a “behavioral credit score.”

Privacy Sandbox has also prompted regulators to investigate whether Google’s adtech aims are anticompetitive. In January 2021, the Competition and Markets Authority (CMA) in the U.K. announced plans to focus on Privacy Sandbox’s potential impacts on both publishers and users. And in March, 15 attorneys general of U.S. states and Puerto Rico amended an antitrust complaint filed the previous December saying that the changes in the Privacy Sandbox would require advertisers to use Google as a middleman in order to advertise.

Google earlier this year reached an agreement with the CMA on how it develops and releases Privacy Sandbox in Chrome, which will include working with the CMA to “resolve concerns” and consulting and updating the CMA and the U.K.’s Information Commissioner’s Office on an ongoing basis.

In the meantime, Chavez says that Google will expand a trial of its Privacy Sandbox technologies to “millions” of Chrome users beginning in August. It’ll then gradually increase the trial population throughout the year into 2023, offering an opt-out option to users who don’t wish to participate.

Google now expects Privacy Sandbox APIs to be launched and generally available in Chrome by the third quarter of 2023.

“Improving people’s privacy, while giving businesses the tools they need to succeed online, is vital to the future of the open web,” Chavez wrote. “As the web community tests these APIs, we’ll continue to listen and respond to feedback.”

Switchboard creates virtual rooms to foster better collaboration

Switchboard, a collaboration app that combines features of videoconferencing and digital whiteboarding, today announced that it raised $25 million in a Series A round that values the company at $200 million post-money. Sequoia led the tranche with participation from XYZ and Spark Capital, bringing Switchboard’s total raised to $38.4 million.

Co-founder and CEO Amir Ashkenaz told TechCrunch that the fresh capital will be put toward building out Switchboard’s team and product.

“I founded Switchboard in June 2020, and it actually came out of a frustration with remote guitar lessons that I was taking. My teacher and I couldn’t bring the tools we needed into the online lesson — things like a metronome, a PDF viewer for notes and sheet music, a media player for back tracks, a second camera to see fingerpicking, etc.,” Ashkenaz said in an email interview. “What I realized was that all our current ‘collaboration’ tools are really just communication tools, enabling text, audio, video communication, or sharing a screen but not actually doing things together. This was a problem not only for my music lessons but for remote work across the globe, where teams are trying to build products, manage projects or brainstorm new ideas together. What started as technology for better guitar lessons evolved into Switchboard: a cloud co-working space purpose built for remote work.”

Ashkenaz was previously the president of AOL platforms before co-launching Tookee, an AI and voice tech company that LogMeIn later acquired for an undisclosed sum. Ashkenaz co-founded Switchboard with ex-Databricks software engineer Chris Jones, Macro Iacono and Daniel Shteremberg, the last of whom was the senior product manager at Zoox before Amazon purchased it in 2020.

Switchboard

Image Credits: Switchboard

Switchboard allows users to run multiple web-based apps including Google Docs, Figma, Trello and Jira in a single “virtual room.” Instead of toggling between tabs and apps or having to share someone’s screen, Switchboard is designed to bring materials to a shared space. For example, users can create permanent public and private rooms that keep apps and files for projects and recurring meetings open the next time they’re ready to collaborate. Each room features a “meeting memory,” which includes a history of chat threads and any of the content shared.

Ashkenaz claims that Switchboard traffic between a user’s client and the company’s infrastructure is encrypted in flight and at rest. The company doesn’t sell the data it stores and has no plans to do so.

During the pandemic, as many workers transitioned from in-office to work-from-home setups, the market for digital collaboration apps exploded. Back in 2020, a report from White Star Capital estimated that $35 billion of venture capital money was invested globally in collaboration companies including Postman, Workvivo, Slack and Zoom between 2017 and 2020.

“We started Switchboard during the pandemic as a response to tools that were not created for true collaboration,” Ashkenaz said. “It’s not a hard sell … Remote work saved our economy during the pandemic and now we’re seeing it emerge as a preference for many workers. [But companies] have firsthand experience with some of the limitations of videoconferencing: concerns about sharing their personal desktop, fatigue from staring at faces all day and frustrations with having to re-share what was shared in the meeting through screen sharing or chat.”

When asked about the competition, Ashkenaz says that he sees Switchboard’s rivals falling into a few different categories — namely videoconferencing, virtual office and vertical collaboration. But he argues that none of them adequately address the challenges Switchboard was designed to overcome.

Switchboard

Image Credits: Switchboard

“Virtual conference tools like Zoom or Google Meet are great for communication. But they won’t work with any web-based app, don’t make any website instantly collaborative and don’t offer permanent rooms for meetings and projects, nor do they offer an expansive space for visual collaboration,” Ashkenaz said. “Meanwhile, vertical collaboration tools like Figma and Miro offer a space for visual collaboration and some communication tools but are more focused applications for design and whiteboarding, respectively.”

Ashkenaz declined to say how many customers or users Switchboard has. But he asserts that the platform is “growing quickly” and seeing sign-ups from “startups to agencies to higher ed.”

“The communication tools and apps we use to get work done are only loosely connected and the only option we have to connect them is screen sharing. The industry is suffering from too many tools and not enough cohesiveness,” Ashkenaz said. “We think remote will be the future of work if we have the right tools to truly support it. Collaboration tools should combine communication and the applications we use seamlessly. The challenge is really one of workforce behavior, where video conferencing and screen sharing is deeply ingrained in our behaviors. But most workers also realize how inadequate those tools are and want something better.”

Switchboard has 22 employees currently and plans to increase that number to 36 by the end of the year.

Netflix gives ‘The Gray Man’ its own universe with a confirmed sequel and spin-off

Netflix will be giving its spy thriller “The Gray Man” its own universe. The film was just released on the platform last week and is already a global hit, garnering broadly positive reviews. Seemingly inspired by “John Wick,” the action movie starring Ryan Gosling and Chris Evans will get its very own sequel and spin-off under Netflix’s umbrella, the latter written by the team behind “Deadpool.”

The sequel is currently in development, and Gosling and directors Joe and Anthony Russo (“Avengers: Endgame”) will return. The Russo brothers, AGBO’s Mike Larocca, and Joe Roth and Jeffrey Kirschenbaum are producing. Stephen McFeely, the co-writer of “The Gray Man,” is writing the sequel.

“We are so appreciative of the enthusiasm that fans across the world have had for this film,” Joe and Anthony Russo said of the movie’s warm reception. “With so many amazing characters in the movie, we had always intended for The Gray Man to be part of an expanded universe, and we are thrilled that Netflix is announcing a sequel with Ryan, as well as a second script that we’re excited to talk about soon.”

The streaming service has been on shaky ground recently and is hoping for the new IP to become a major spy franchise that new and returning subscribers will want to see. Viewers are drawn to franchises, with Paramount’s Sheridan universe (“Yellowstone”) getting spin-off after spin-off and rival Disney+ punching out hits like “The Mandalorian,” “The Book of Boba Fett,” and “Loki.” Disney had the Marvel Cinematic Universe in the spotlight at Comic-Con over the weekend, announcing multiple projects that fans are eager to watch, including a revival of “Daredevil,” which Netflix canceled back in 2018.

Anxious to collect more hits in order to keep up with rivals, Netflix spent $200 million on “The Gray Man” — the most expensive film the company has ever made. The streaming giant is likely banking on the movie’s success to pick itself up after its not-so-promising second quarter. The question remains if Netflix can pull it off, but this isn’t the streamer’s first attempt at a big budget movie franchise either. Netflix dropped $450 million for the rights to “Knives Out 2” and “Knives Out 3.” The company also commissioned sequels and spinoffs for Zack Synder’s “Army of the Dead.”

Last year, the company acquired the Roald Dahl Story Company in hopes of creating a unique universe but has since canceled projects including the animated series “The Twits” after letting go members of its animation department back in May.

On the original series side of things, Netflix has seen success with its mega-hits “Stranger Things” and “Squid Game.” “Stranger Things” will be getting a fifth season and a spin-off, the Duffer Brothers, confirmed last month. Netflix also announced a second season of “Squid Game,” plus a game show that aims to break reality TV records.

Still, with a loss of 970,000 subscribers, Netflix is feeling the pressure to perform. Maybe the company hopes that bringing Ryan Gosling and his Ken doll-like hair on board could be the solution to its woes.