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Friday, July 27, 2018

Twitter will suspend repeat offenders posting abusive comments on Periscope live streams

As part of Twitter’s attempted crackdown on abusive behavior across its network, the company announced on Friday afternoon a new policy facing those who repeatedly harass, threaten or otherwise make abusive comments during a Periscope broadcaster’s live stream. According to Twitter, the company will begin to more aggressively enforce its Periscope Community Guidelines by reviewing and suspending accounts of habitual offenders.

The plans were announced via a Periscope blog post and tweet that said everyone should be able to feel safe watching live video.

Currently, Periscope’s comment moderation policy involves group moderation.

That is, when one viewer reports a comment as “abuse,” “spam” or selects “other reason,” Periscope’s software will then randomly select a few other viewers to take a look and decide if the comment is abuse, spam or if it looks okay. The randomness factor here prevents a person (or persons) from using the reporting feature to shut down conversations. Only if a majority of the randomly selected voters agree the comment is spam or abuse does the commenter get suspended.

However, this suspension would only disable their ability to chat during the broadcast itself — it didn’t prevent them from continuing to watch other live broadcasts and make further abusive remarks in the comments. Though they would risk the temporary ban by doing so, they could still disrupt the conversation, and make the video creator — and their community — feel threatened or otherwise harassed.

Twitter says that accounts that repeatedly get suspended for violating its guidelines will soon be reviewed and suspended. This enhanced enforcement begins on August 10, and is one of several other changes Twitter is making to its product across Periscope and Twitter focused on user safety.

To what extent those changes have been working is questionable. Twitter may have policies in place around online harassment and abuse, but its enforcement has been hit-or-miss. But ridding its platform of unwanted accounts — including spam, despite the impact to monthly active user numbers — is something the company must do for its long-term health. The fact that so much hate and abuse is seemingly tolerated or overlooked on Twitter has been an issue for some time, and the problem continues today. And it could be one of the factors in Twitter’s stagnant user growth. After all, who willingly signs up for harassment?

The company is at least attempting to address the problem, most recently by acquiring the anti-abuse technology provider Smyte. Its transition to Twitter didn’t go so well, but the technology it offers the company could help Twitter address abuse at a greater scale in the future.



from Social – TechCrunch https://ift.tt/eA8V8J Twitter will suspend repeat offenders posting abusive comments on Periscope live streams Sarah Perez https://ift.tt/2uV9QJZ
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Why unskippable Stories ads could revive Facebook

Prepare for the invasion of the unskippables. If the Stories social media slideshow format is the future of mobile TV, it’s going to end up with commercials. Users won’t love them. And done wrong they could pester people away from spending so much time watching what friends do day-to-day. But there’s no way Facebook and its family of apps will keep letting us fast-forward past Stories ads just a split-second after they appear on our screens.

We’re on the cusp of the shift to Stories. Facebook estimates that across social media apps, sharing to Stories will surpass sharing through feeds some time in 2019. One big reason is they don’t take a ton of thought to create. Hold up your phone, shoot a photo or short video, and you’ve instantly got immersive, eye-catching, full-screen content. And you never had to think.

Facebook CPO Chris Cox at F8 2018 charts the rise of Stories that will see the format surpass feed sharing in 2019

Unlike text, which requires pre-meditated reflection that can be daunting to some, Stories are point and shoot. They don’t even require a caption. Sure, if you’re witty or artistic you can embellish them with all sorts of commentary and creativity. They can be a way to project your inner monologue over the outside world. But the base level of effort necessary to make a Story is arguably less than sharing a status update. That’s helped Stories rocket to over 1.3 billion daily users across Facebook’s apps and Snapchat.

The problem, at least for Facebook, is that monetizing the News Feed with status-style ads was a lot more straightforward. Those ada, which have fueled Facebook’s ascent to earning $13 billion in revenue and $5 billion in profit per quarter, were ostensibly old-school banners. Text, tiny photo, and a link. Advertisers have grown accustomed to them over 20 years of practice. Even small businesses on a tight budget could make these ads. And it at least took users a second to scroll past them — just long enough to make them occasionally effective at implanting a brand or tempting a click.

Stories, and Story ads, are fundamentally different. They require big, tantalizing photos at a minimum, or preferably stylish video that lasts five to fifteen seconds. That’s a huge upward creative leap for advertisers to make, particularly small business who’ll have trouble shooting that polished content themselves. Rather than displaying a splayed out preview of a link, users typically have to swipe up or tap a smaller section of a Story ad to click through.

And Stories are inherently skippable. Users have learned to rapidly tap to progress slide by slide through friends’ Stories, especially when racing through those with too many posts or that come from more distant acquaintances. People are quick with the trigger finger the moment they’re bored, especially if it’s with an ad.

A new type of ad blindness has emerged. Instead of our eyes glazing over as we scroll past, we stare intensely searching for the slightest hint that something isn’t worth our time and should be skipped. A brand name, “Sponsored” label, stilted product shot, or anything that looks asocial leads us to instantly tap past.

This is why Facebook COO Sheryl Sandberg scared the hell out of investors on the brutal earnings call when she admitted about Stories that “The question is, will this monetize at the same rate as News Feed? And we honestly don’t know.” It’s a radically new format advertisers will need time to adopt and perfect. Facebook had spent the past year warning that revenue growth would decelerate as it ran out of News Feed ad inventory, but it’d never stressed the danger as what is was: Stories. That contributed to its record-breaking $120 billion share price drop.

The shift from News Feed ads to Stories ads will be a bigger transition than desktop ads to mobile ads for Facebook. Feed ads looked and worked identically, it was just the screen around them changing. Stories ads are an entirely new beast.

Stories Ads Are A Bigger Shift Than Web To Mobile

There is one familiar format Stories ads are reminiscent of: television commercials. Before the age of TiVo and DVRs, you had to sit through the commercials to get your next hit of content. I believe the same will eventually be true for Stories, to the tune of billions in revenue for Facebook.

Snapchat is cornered by Facebook’s competition and desperate to avoid missing revenue estimates again. So this week, it rolled out unskippable vertical video ads it actually calls “Commercials” to 100 more advertisers, and they’ll soon be self-serve for buyers. Snap first debuted them in May, though the six-second promos are still only inserted into its longer-form multi-minute premium Shows, not user generated Stories. A Snap spokesperson said they couldn’t comment on future plans. But I’d expect its stance will inevitably change. Friends’ Stories are interesting enough to compel people to watch through entire ads, so the platforms could make us.

Snapchat is desperate, and that’s why it’s already working on unskippable ads. If Facebook’s apps like Instagram and WhatsApp were locked in heated battle with Snapchat, I think we’d see more brinkmanship here. Each would hope the other would show unskippable ads first so it could try to steal their pissed off users.

But Facebook has largely vanquished Snapchat, which has seen user growth sink significantly. Snapchat has 191 million daily users, but Facebook Stories has 150 million, Messenger Stories has 70 million, Instagram Stories has 400 million, and WhatsApp Stories (called Status) leads with 450 million. Most people’s friends around the world aren’t posting to Snapchat Stories, so Facebook doesn’t risk pushing users there with overly aggressive ads except perhaps amongst US teens.

Instagram’s three-slide Stories carousel ads

That’s why I expect we’ll quickly see Facebook start to test unskippable Stories ads. They’ll likely be heavily capped at first, to maybe one to three per day per user. Facebook took a similar approach to slowly rolling out auto-play video News Feed ads back in 2014. And Facebook’s apps will probably only show them after a friend’s story before your next pal’s, in between rather than as dreaded pre-rolls. Instagram already offers carousel Stories ads with up to three slides instead of one, so users have to tap three times to blow past them.

An Instagram spokesperson told me they had “no plans to share right now” about unskippable ads, and a Facebook spokesperson said “We don’t have any plans to test unskippable stories ads on Facebook or Instagram.” But plans can change. A Snap spokesperson noted that unlike a full thirty-second TV spot, Snapchat’s Commercials are up to six seconds, which matches an emerging industry trend for mobile video ads. Budweiser recently made some six second online ads that it also ran on TV, showing the format’s reuseability that could speed up adoption. For brand advertisers not seeking an on-the-spot purchase, they need time to leave an impression.

By making some Stories ads unskippable, Facebook’s apps could charge more while making them more impactful for advertisers. It would also reduce the creative pressure on businesses because they won’t be forced to make that first split-second so flashy so people don’t fast-forward.

If Facebook makes the Stories ad format work, it has a bright future that contrasts with the doomsday vibes conjured by its share price plummet. Facebook has over 5X more (duplicated) Stories users across its apps than its nearest competitor Snapchat. The social giant sees libraries full of Stories created each day waiting to be monetized.



from Social – TechCrunch https://ift.tt/2NRsHwy Why unskippable Stories ads could revive Facebook Josh Constine https://ift.tt/2K22fhv
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Why unskippable Stories ads could revive Facebook

{rss:content:encoded} Why unskippable Stories ads could revive Facebook https://ift.tt/2K22fhv https://ift.tt/2NRsHwy July 27, 2018 at 08:18PM

Prepare for the invasion of the unskippables. If the Stories social media slideshow format is the future of mobile TV, it’s going to end up with commercials. Users won’t love them. And done wrong they could pester people away from spending so much time watching what friends do day-to-day. But there’s no way Facebook and its family of apps will keep letting us fast-forward past Stories ads just a split-second after they appear on our screens.

We’re on the cusp of the shift to Stories. Facebook estimates that across social media apps, sharing to Stories will surpass sharing through feeds some time in 2019. One big reason is they don’t take a ton of thought to create. Hold up your phone, shoot a photo or short video, and you’ve instantly got immersive, eye-catching, full-screen content. And you never had to think.

Facebook CPO Chris Cox at F8 2018 charts the rise of Stories that will see the format surpass feed sharing in 2019

Unlike text, which requires pre-meditated reflection that can be daunting to some, Stories are point and shoot. They don’t even require a caption. Sure, if you’re witty or artistic you can embellish them with all sorts of commentary and creativity. They can be a way to project your inner monologue over the outside world. But the base level of effort necessary to make a Story is arguably less than sharing a status update. That’s helped Stories rocket to over 1.3 billion daily users across Facebook’s apps and Snapchat.

The problem, at least for Facebook, is that monetizing the News Feed with status-style ads was a lot more straightforward. Those ada, which have fueled Facebook’s ascent to earning $13 billion in revenue and $5 billion in profit per quarter, were ostensibly old-school banners. Text, tiny photo, and a link. Advertisers have grown accustomed to them over 20 years of practice. Even small businesses on a tight budget could make these ads. And it at least took users a second to scroll past them — just long enough to make them occasionally effective at implanting a brand or tempting a click.

Stories, and Story ads, are fundamentally different. They require big, tantalizing photos at a minimum, or preferably stylish video that lasts five to fifteen seconds. That’s a huge upward creative leap for advertisers to make, particularly small business who’ll have trouble shooting that polished content themselves. Rather than displaying a splayed out preview of a link, users typically have to swipe up or tap a smaller section of a Story ad to click through.

And Stories are inherently skippable. Users have learned to rapidly tap to progress slide by slide through friends’ Stories, especially when racing through those with too many posts or that come from more distant acquaintances. People are quick with the trigger finger the moment they’re bored, especially if it’s with an ad.

A new type of ad blindness has emerged. Instead of our eyes glazing over as we scroll past, we stare intensely searching for the slightest hint that something isn’t worth our time and should be skipped. A brand name, “Sponsored” label, stilted product shot, or anything that looks asocial leads us to instantly tap past.

This is why Facebook COO Sheryl Sandberg scared the hell out of investors on the brutal earnings call when she admitted about Stories that “The question is, will this monetize at the same rate as News Feed? And we honestly don’t know.” It’s a radically new format advertisers will need time to adopt and perfect. Facebook had spent the past year warning that revenue growth would decelerate as it ran out of News Feed ad inventory, but it’d never stressed the danger as what is was: Stories. That contributed to its record-breaking $120 billion share price drop.

The shift from News Feed ads to Stories ads will be a bigger transition than desktop ads to mobile ads for Facebook. Feed ads looked and worked identically, it was just the screen around them changing. Stories ads are an entirely new beast.

Stories Ads Are A Bigger Shift Than Web To Mobile

There is one familiar format Stories ads are reminiscent of: television commercials. Before the age of TiVo and DVRs, you had to sit through the commercials to get your next hit of content. I believe the same will eventually be true for Stories, to the tune of billions in revenue for Facebook.

Snapchat is cornered by Facebook’s competition and desperate to avoid missing revenue estimates again. So this week, it rolled out unskippable vertical video ads it actually calls “Commercials” to 100 more advertisers, and they’ll soon be self-serve for buyers. Snap first debuted them in May, though the six-second promos are still only inserted into its longer-form multi-minute premium Shows, not user generated Stories. A Snap spokesperson said they couldn’t comment on future plans. But I’d expect its stance will inevitably change. Friends’ Stories are interesting enough to compel people to watch through entire ads, so the platforms could make us.

Snapchat is desperate, and that’s why it’s already working on unskippable ads. If Facebook’s apps like Instagram and WhatsApp were locked in heated battle with Snapchat, I think we’d see more brinkmanship here. Each would hope the other would show unskippable ads first so it could try to steal their pissed off users.

But Facebook has largely vanquished Snapchat, which has seen user growth sink significantly. Snapchat has 191 million daily users, but Facebook Stories has 150 million, Messenger Stories has 70 million, Instagram Stories has 400 million, and WhatsApp Stories (called Status) leads with 450 million. Most people’s friends around the world aren’t posting to Snapchat Stories, so Facebook doesn’t risk pushing users there with overly aggressive ads except perhaps amongst US teens.

Instagram’s three-slide Stories carousel ads

That’s why I expect we’ll quickly see Facebook start to test unskippable Stories ads. They’ll likely be heavily capped at first, to maybe one to three per day per user. Facebook took a similar approach to slowly rolling out auto-play video News Feed ads back in 2014. And Facebook’s apps will probably only show them after a friend’s story before your next pal’s, in between rather than as dreaded pre-rolls. Instagram already offers carousel Stories ads with up to three slides instead of one, so users have to tap three times to blow past them.

An Instagram spokesperson told me they had “no plans to share right now” about unskippable ads, and a Facebook spokesperson said “We don’t have any plans to test unskippable stories ads on Facebook or Instagram.” But plans can change. A Snap spokesperson noted that unlike a full thirty-second TV spot, Snapchat’s Commercials are up to six seconds, which matches an emerging industry trend for mobile video ads. Budweiser recently made some six second online ads that it also ran on TV, showing the format’s reuseability that could speed up adoption. For brand advertisers not seeking an on-the-spot purchase, they need time to leave an impression.

By making some Stories ads unskippable, Facebook’s apps could charge more while making them more impactful for advertisers. It would also reduce the creative pressure on businesses because they won’t be forced to make that first split-second so flashy so people don’t fast-forward.

If Facebook makes the Stories ad format work, it has a bright future that contrasts with the doomsday vibes conjured by its share price plummet. Facebook has over 5X more (duplicated) Stories users across its apps than its nearest competitor Snapchat. The social giant sees libraries full of Stories created each day waiting to be monetized.

MoviePass borrowed $5M to end yesterday’s outage

{rss:content:encoded} MoviePass borrowed $5M to end yesterday’s outage https://ift.tt/2K0F9HG https://ift.tt/2uVAPoG July 27, 2018 at 06:48PM

More bad news for subscription movie ticket service MoviePass, which acknowledged yesterday that there was an unidentified issue preventing people from using their MoviePass credit cards to get tickets.

A regulatory filing from parent company Helios & Matheson offers more insight about what happened. The filing (first spotted by Business Insider) announces a “demand note” of $6.2 million, including $5 million in cash that the company borrowed. It goes on to explain:

The $5.0 million cash proceeds received from the Demand Note will be used by the Company to pay the Company’s merchant and fulfillment processors. If the Company is unable to make required payments to its merchant and fulfillment processors, the merchant and fulfillment processors may cease processing payments for MoviePass, Inc. (“MoviePass”), which would cause a MoviePass service interruption. Such a service interruption occurred on July 26, 2018.

In other words, it looks like MoviePass wasn’t able to pay one of its service providers, which led to the outage. In order to make those payments, it borrowed $5 million.

This doesn’t exactly inspire confidence in MoviePass’ finances. A Helios & Matheson filing from earlier this month suggested that the company was looking to raise up to $1.2 billion in equity and debt financing to fund MoviePass’ operations and growth.

Meanwhile, although the service is best-known for offering access to unlimited movie tickets for $9.95 per month, the specifics of the pricing model have been changing pretty frequently.

MoviePass borrowed $5M to end yesterday’s outage

More bad news for subscription movie ticket service MoviePass, which acknowledged yesterday that there was an unidentified issue preventing people from using their MoviePass credit cards to get tickets.

A regulatory filing from parent company Helios & Matheson offers more insight about what happened. The filing (first spotted by Business Insider) announces a “demand note” of $6.2 million, including $5 million in cash that the company borrowed. It goes on to explain:

The $5.0 million cash proceeds received from the Demand Note will be used by the Company to pay the Company’s merchant and fulfillment processors. If the Company is unable to make required payments to its merchant and fulfillment processors, the merchant and fulfillment processors may cease processing payments for MoviePass, Inc. (“MoviePass”), which would cause a MoviePass service interruption. Such a service interruption occurred on July 26, 2018.

In other words, it looks like MoviePass wasn’t able to pay one of its service providers, which led to the outage. In order to make those payments, it borrowed $5 million.

This doesn’t exactly inspire confidence in MoviePass’ finances. A Helios & Matheson filing from earlier this month suggested that the company was looking to raise up to $1.2 billion in equity and debt financing to fund MoviePass’ operations and growth.

Meanwhile, although the service is best-known for offering access to unlimited movie tickets for $9.95 per month, the specifics of the pricing model have been changing pretty frequently.



https://ift.tt/eA8V8J MoviePass borrowed $5M to end yesterday’s outage https://ift.tt/2K0F9HG

Maisie Williams shows off Daisie, an app for artistic collaboration

Maisie Williams, who’s best-known for playing Arya Stark on Game of Thrones, announced earlier this year that she’s founding a startup called Daisie. With the app set to launch on August 1, Williams and her co-founder Dom Santry came by the TechCrunch New York office to discuss her plans for the company.

Daisie will offer a way for filmmakers, musicians, visual artists, writers and other creators to showcase their work and find collaborators. The startup has already picked an initial 100 creators to kick things off.

Williams and Santry also gave us a quick runthrough of the app. At first glance, it might look like other social media services, but there are no follower counts, as Williams (who has no shortage of followers) explained: “If you have follower counts it then becomes about a competition, like a popularity contest between who can get the most.”

In addition, she noted that social media followings are generally one-sided, whereas Daisie is all about enabling a “chains” of users who aren’t just viewing your profile, but can actually view your projects and contribute.

“A chain is where you reach out to someone who is in your area — or maybe even not,” she said. “So connecting with someone you’re inspired by, reaching out to them and saying, ‘Hey, I have this 30-second video of me singing the song, but I realized I’m actually a better lyricist than I am a songwriter, a musician. And I really love what you play, I wonder if you could make me a melody and we could sort of work together on this.'”

Ultimately, Williams is hoping that people’s Daisie profiles becomes an “online résumé or portfolio of work that they’re really proud of, that can be shown to the world.” And that, in turn, could help them find paying work, ideally on their own terms.

“We want to basically give the power back to the creator,” Williams said. “Instead of them having to market themselves to fit someone else’s idea of what their job would be, they can let their art speak for themselves.”



from Social – TechCrunch https://ift.tt/eA8V8J Maisie Williams shows off Daisie, an app for artistic collaboration TC Video https://ift.tt/2LWyNuO
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Maisie Williams shows off Daisie, an app for artistic collaboration

{rss:content:encoded} Maisie Williams shows off Daisie, an app for artistic collaboration https://ift.tt/2LWyNuO https://ift.tt/2K5Q570 July 27, 2018 at 06:07PM

Maisie Williams, who’s best-known for playing Arya Stark on Game of Thrones, announced earlier this year that she’s founding a startup called Daisie. With the app set to launch on August 1, Williams and her co-founder Dom Santry came by the TechCrunch New York office to discuss her plans for the company.

Daisie will offer a way for filmmakers, musicians, visual artists, writers and other creators to showcase their work and find collaborators. The startup has already picked an initial 100 creators to kick things off.

Williams and Santry also gave us a quick runthrough of the app. At first glance, it might look like other social media services, but there are no follower counts, as Williams (who has no shortage of followers) explained: “If you have follower counts it then becomes about a competition, like a popularity contest between who can get the most.”

In addition, she noted that social media followings are generally one-sided, whereas Daisie is all about enabling a “chains” of users who aren’t just viewing your profile, but can actually view your projects and contribute.

“A chain is where you reach out to someone who is in your area — or maybe even not,” she said. “So connecting with someone you’re inspired by, reaching out to them and saying, ‘Hey, I have this 30-second video of me singing the song, but I realized I’m actually a better lyricist than I am a songwriter, a musician. And I really love what you play, I wonder if you could make me a melody and we could sort of work together on this.'”

Ultimately, Williams is hoping that people’s Daisie profiles becomes an “online résumé or portfolio of work that they’re really proud of, that can be shown to the world.” And that, in turn, can help them find paying work, ideally on their own terms.

“We want to basically give the power back to the creator,” Williams said. “Instead of them having to market themselves to fit someone else’s idea of what their job would be, they can let their art speak for themselves.”

Maisie Williams shows off Daisie, an app for artistic collaboration

Maisie Williams, who’s best-known for playing Arya Stark on Game of Thrones, announced earlier this year that she’s founding a startup called Daisie. With the app set to launch on August 1, Williams and her co-founder Dom Santry came by the TechCrunch New York office to discuss her plans for the company.

Daisie will offer a way for filmmakers, musicians, visual artists, writers and other creators to showcase their work and find collaborators. The startup has already picked an initial 100 creators to kick things off.

Williams and Santry also gave us a quick runthrough of the app. At first glance, it might look like other social media services, but there are no follower counts, as Williams (who has no shortage of followers) explained: “If you have follower counts it then becomes about a competition, like a popularity contest between who can get the most.”

In addition, she noted that social media followings are generally one-sided, whereas Daisie is all about enabling a “chains” of users who aren’t just viewing your profile, but can actually view your projects and contribute.

“A chain is where you reach out to someone who is in your area — or maybe even not,” she said. “So connecting with someone you’re inspired by, reaching out to them and saying, ‘Hey, I have this 30-second video of me singing the song, but I realized I’m actually a better lyricist than I am a songwriter, a musician. And I really love what you play, I wonder if you could make me a melody and we could sort of work together on this.'”

Ultimately, Williams is hoping that people’s Daisie profiles becomes an “online résumé or portfolio of work that they’re really proud of, that can be shown to the world.” And that, in turn, can help them find paying work, ideally on their own terms.

“We want to basically give the power back to the creator,” Williams said. “Instead of them having to market themselves to fit someone else’s idea of what their job would be, they can let their art speak for themselves.”



https://ift.tt/eA8V8J Maisie Williams shows off Daisie, an app for artistic collaboration https://ift.tt/2LWyNuO

Browser maker Opera successfully begins trading on NASDAQ

{rss:content:encoded} Browser maker Opera successfully begins trading on NASDAQ https://ift.tt/2uU37zW https://ift.tt/2Gna3ZN July 27, 2018 at 05:00PM

Opera is now a public company. The Norway-based company priced its initial public offering at $12 a share — the company initially expected to price its share in the $10 to $12 price range. Trading opened at $14.34 per share, up 19.5 percent. The company raised over $115 million with this IPO.

Opera Ltd. filed for an initial public offering in the U.S. earlier this month. The company is now trading on NASDAQ under the ticker symbol OPRA.

Chances are you are reading this article in Google Chrome on your computer or Android phone, or in Safari if you’re reading from an iPhone. Opera has a tiny market share compared to its competitors. But it’s such a huge market that it’s enough to generate revenue.

In its F-1 document, the company revealed that it generated $128.9 million in operating revenue in 2017, which resulted in $6.1 million in net profit.

The history of the company behind Opera is a bit complicated. A few years ago, Opera shareholders decided to sell the browser operations to a consortium of Chinese companies. The adtech operations now form a separate company called Otello.

Opera Ltd., the company that just went public, has a handful of products — a desktop browser, different mobile browsers and a standalone Opera News app. Overall, around 182 million people use at least one Opera product every month.

The main challenge for Opera is that most of its revenue comes from two deals with search engines — Google and Yandex. Those two companies pay a fee to be the default search engine in Opera products. Yandex is the default option in Russia, while Google is enabled by default for the rest of the world.

The company also makes money from ads and licensing deals. When you first install Opera, the browser is pre-populated with websites by default, such as eBay and Booking.com. Those companies pay Opera to be there.

Now, Opera will need to attract as many users as possible and remain relevant against tech giants. Opera’s business model is directly correlated to its user base. If there are more people using Opera, the company will get more money from Google, Yandex and its advertising partners.

Twitter vows to continue spam fight despite negative impact on user numbers

Twitter has no intention of easing up on its fight against spam users and other factors that jeopardize the “health” of its service, despite the approach costing it three million in ‘lost’ monthly active users.

Investor panic sent Twitter’s stock price down by nearly 20 percent in early trading today following its latest financial report. Twitter posted a record profit of $100 million for Q2, but its monthly user count dropped by one million, with its U.S. number in particular down to 68 million from 69 million in the previous quarter.

The company said on an earnings call that efforts aimed at “prioritizing the health of the platform” combined with other factors cost it three million monthly users — a number which could have turned the user decline into a more favorable story of growth.

The company is anticipating another drop in the next quarter as it continues to double down on fighting spam and bots on its service. That isn’t the only factor reducing numbers, however. A reassessment of its paid partnerships with carriers worldwide — which help bring in and retain new users — in response to the development of its Lite app is also forecast to reduce MAU.

Investors may be concerned, but Twitter is bullish that an increase in the quality of users is ultimately better in the long run that the short-term gain of higher numbers.

Answering questions on an earnings call, Twitter CEO Jack Dorsey said the clean-up strategy would be ongoing as Twitter intends to “build [concerns for platform health] into our DNA.”

“When we do focus on removing some of the burden of people blocking/muting, we see positive results in our numbers,” he added. “We believe this will encourage our growth story.”

Yet the execs also played down the material impact by explaining that “many” of the “tens of millions” of removed accounts were already not counted within Twitter’s MAU metrics. Some, they added, had never been counted because they had been identified as questionable right from when they were registered.

Twitter explained as much in its earnings release:

When we suspend accounts, many of the removed accounts have already been excluded from MAU or DAU, either because the accounts were already inactive for more than one month at the time of suspension, or because they were caught at signup and were never included in MAU or DAU. We will continue to work hard to improve the health of the platform, providing updates on our progress at least quarterly, and prioritizing health efforts regardless of the near-term impact on metrics, as we believe the best driver of long-term growth of Twitter as a daily utility is a healthy conversation.

On the positive side, the executives played up the development of overseas revenue, which grew 44 percent year-on-year and now accounts for 48 percent of Twitter’s total income.



from Social – TechCrunch https://ift.tt/eA8V8J Twitter vows to continue spam fight despite negative impact on user numbers Jon Russell https://ift.tt/2NQH5Vx
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Facebook’s debacle, $100M rounds and Slack links up with Atlassian

Hello and welcome back to Equity, TechCrunch’s venture capital-focused podcast where we unpack the numbers behind the headlines.

This was one hell of a week. Happily, we had our own Connie Loizos, Matthew Lynley, and Alex Wilhelm on hand, along with Initialized Capital’s Alexis Ohanian to pick over the mix.

First up we had zero choice but to talk about Facebook. The social company’s epic repricing in the middle of the week blotted out the news sun. It may keep us in the shade for another week, too. Facebook’s dive has implications for social startups and competing public companies alike. Like, say, Reddit.

Moving along, Crunchbase News recently dropped a report digging into the rise of $100 million and larger rounds. From a turning point in 2013 to today, megarounds have been on the rise. Why? When does it stop? Whose fault is it really? And is going public really that bad? We worked through each question, even tagging the structure of the stock market along the way. (Even more data here.)

From there we took a quick pivot to a company that is known for raising megarounds — Slack — and its new IRL BFF Atlassian. Yes, the Slack-Atlassian deal dropped right before we recorded. Our take is that the agreement makes sense, especially in light of a competitive landscape that keeps getting tougher for Slack.

That said, everyone agreed that Slack is one hell of a business.

And then we ran out of time. But, happily, we also worked in an advertisement for Melbourne and riffed one of Ohanian’s recent investments.

Thanks for comin’ round, and we’ll see you all in a week!

Equity drops every Friday at 6:00 am PT, so subscribe to us on Apple PodcastsOvercast, Pocket Casts, Downcast and all the casts.



https://ift.tt/eA8V8J Facebook’s debacle, $100M rounds and Slack links up with Atlassian https://ift.tt/2Afwtxx

Facebook trips on its own moderation failures

After weeks of speculation around how it plans to handle conspiracy website Infowars, its creator Alex Jones and others that spread false information, Facebook finally gave us an answer: inconsistently.

The company hit Jones with a 30-day ban after it removed four videos that he shared on the Infowars Facebook Page.

The move is Facebook’s first that curtails the reach of Jones, who has been a major talking point in the media because he is continually allowed a voice on the social network, despite spreading “alternative theories” on events like 9/11 and the San Bernardino shootings.

Confusion

Sounds good so far, but, for a six-hour period today, it didn’t seem as though Facebook itself even knew what is going on.

CNET reported that Jones’ had been hit by a 30-day suspension for posting four videos that violate its community standards on the Infowars page that counts him as a moderator. When reached by TechCrunch to confirm the report, Facebook said Jones had only been handed a warning and that, in the event of another warning, a 30-day ban would then follow.

After hours of waiting for further confirmation and emails to the contrary, Facebook clarified that in fact Jones’ personal account was given a 30-day ban, while Infowars received a warning but no ban.

Facebook is literally shooting the messenger but allowing the page — which pushed the video out to its audience — to remain in place.

In subsequent emails, Facebook explained that the inconsistency is because Jones’ personal account had already received a past warning, which triggers the 30-day ban. Surprisingly, though, this is a first warning for the Infowars page.

At least, that’s what we think has happened because Facebook hasn’t fully clarified the exact summary of events. (We have asked.)

Beyond the four videos, there’s a lot riding on this decision — it sets a precedent. Infowars is one of the largest of its kind, but there are plenty of other organizations that thrive on pumping out misleading/false content that plays into insecurities, misplayed nationalistic pride and more.

That’s why Infowars (involuntarily) became the subject of two Facebook video events held with press his month. On both occasions, Facebook executives said that even those peddling false information deserve to have a voice on the social network, no matter how questionable or inflammatory their views may be. CEO Mark Zuckerberg himself even said Holocaust deniers have free speech on the service.

Based on today, so long as they spew their message within the Facebook community rules, they are fine.

Follow fast

In fact, you could take it further and suggest that if they don’t raise the suspicions of rival platforms like YouTube, they’ll remain untouched on Facebook.

The Jones/Infowars videos were pulled by Facebook days after being removed from YouTube. Indeed, one of the Facebook videos had even survived a review after it was flagged to Facebook moderators last month. The reviewer marked the video as acceptable and it remained on the platform — until this week.

Facebook called that decision a mistake, but arguably it’s a mistake that wouldn’t have been rectified had YouTube not raised the alarm by banning the videos on its platform first. (YouTube has well-documented content moderation problems so that it is it running circles around Facebook should draw much concern from the social network’s management.)

That Facebook is unable to communicate a significant decision like this in a cohesive manner doesn’t give the confidence to think it has its house in order when it comes to video moderation. If anything, it shows that the social network is playing catch up and winging what is a critical topic.

Its platform is being used nefariously worldwide, whether it is to sway elections or incite racial violence in foreign lands, so now, more than ever, Facebook needs to nail down the basics of handling malicious content like Infowars which, unlike those other threats, is hiding in plain sight.



from Social – TechCrunch https://ift.tt/eA8V8J Facebook trips on its own moderation failures Jon Russell https://ift.tt/2uU1bYh
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Facebook also removes 4 Infowars videos, including one it previously cleared

Days after defending its decision to give a voice to conspiracy theory peddler Alex Jones and his Infowars site, Facebook has removed four of his videos for violating its community standards.

But one of the four had already been allowed to slip through the firm’s review system. A source within Facebook told TechCrunch that one of the videos had previously been flagged for review in June but, after being looked over by a checker, it was allowed remain on the social network. That decision was described as “erroneous” and it has now been removed.

Facebook’s removal of the videos comes days after YouTube scrubbed four videos from Jones from its site for violating its policies on content. The Facebook source confirmed that three of the videos it has removed were flagged for the first time on Wednesday — presumably after, or in conjunction with, them being highlighted to YouTube — but the fact that one had gotten the all-clear one again raises question marks about the consistency of Facebook’s review process.

Contrary to some media reports, Jones has not received a 30-day ban from Facebook following these removals. TechCrunch understands that such a ban will be issued if Jones violates the company’s policies in the future, but, for now, he has been given a warning.

“Our Community Standards make it clear that we prohibit content that encourages physical harm [bullying], or attacks someone based on their religious affiliation or gender identity [hate speech]. We remove content that violates our standards as soon as we’re aware of it. In this case, we received reports related to four different videos on the Pages that Infowars and Alex Jones maintain on Facebook. We reviewed the content against our Community Standards and determined that it violates. All four videos have been removed from Facebook,” a spokesperson said in a statement.

Earlier this month, the company’s head of News Feed John Hegeman said of Infowars content — which includes claims 9/11 was an inside job and alternate theories to the San Bernardino shootings — that “just for being false, doesn’t violate the community standards.” He added: “We created Facebook to be a place where different people can have a voice.”

Facebook seemed to double down on that stance on Monday when, at another event, VP of product Fidji Simo called Infowars “absolutely atrocious” but then said that “if you are saying something untrue on Facebook, you’re allowed to say it as long as you’re an authentic person and you are meeting the community standards.”

It’s not been a good week for Facebook. A poor earnings report spooked investors and caused its valuation drop by $123 billion in what is the largest-single market cap wipeout in U.S. trading history. That’s not the kind of record Facebook will want to own.



from Social – TechCrunch https://ift.tt/eA8V8J Facebook also removes 4 Infowars videos, including one it previously cleared Jon Russell https://ift.tt/2LDZoQr
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Thursday, July 26, 2018

Atlassian’s HipChat and Stride to be discontinued, with Slack buying up the IP

HipChat, the workplace chat app that held the throne before Slack was Slack, is being discontinued. Also being discontinued is Atlassian’s own would-be HipChat replacement, Stride.

News of the discontinuation comes first not from Atlassian, but instead from a somewhat surprising source: Slack CEO Stewart Butterfield. In a series of tweets, Butterfield says that Slack is purchasing the IP for both products to “better support those users who choose to migrate” to its platform.

Butterfield also notes that Atlassian will be making a “small but symbolically important investment” in Slack — likely a good move, given that rumors of a Slack IPO have been swirling (though Butterfield says it won’t happen this year). Getting a pre-IPO investment into Slack might end up paying off for Atlassian better than trying to continue competing.

Atlassian VP of Product Management, Joff Redfern, confirmed the news in a blog post, calling it the “best way forward” for its existing customers. It’s about as real of an example of “if you can’t beat ’em, join ’em” as you can get; even Atlassian’s own employees will be moved over to using Slack.

According to an FAQ about the change, Stride and HipChat’s last day will be February 15th, 2019 — or a bit shy of seven months from the date of the announcement. So if you’re a customer on either one of those platforms, you’ve got time to figure things out.

It doesn’t sound like any of Atlassian’s other products will be affected here; Bitbucket, Jira, etc. will carry on, with only the company’s real-time communications platforms being shuttered.

Hipchat was launched in beta form back in 2009, long before Slack’s debut in 2013. It mostly ruled its space in the time in between, leading Atlassian to acquire it in March of 2012. Slack quickly outgrew it in popularity though, for myriad reasons — be it a bigger suite of third-party integrations, a better reputation for uptime, or… well, better marketing. By September of 2017, Atlassian overhauled its chat platform and rebranded it as as “Stride”, but it was never able to quite catch up with Slack’s momentum.



from Social – TechCrunch https://ift.tt/eA8V8J Atlassian’s HipChat and Stride to be discontinued, with Slack buying up the IP Greg Kumparak https://ift.tt/2JY4O3Z
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Google revamps local events search to include personalized suggestions

{rss:content:encoded} Google revamps local events search to include personalized suggestions https://ift.tt/2NNYSN8 https://ift.tt/2LFe55O July 26, 2018 at 09:23PM

Last May, Google launched a new events feature designed to help web searchers more easily find things to do nearby, while also challenging Facebook’s dominance in the local events space. Today, Google is updating event search with personalized event suggestions, and well as a new design that puts more event information directly in the search results.

When the feature first launched last year, Google said it was built in response to the millions of search queries the company saw daily for finding local events and activities.

However, it was also clearly an area where Google had ceded ground to Facebook. The social network said last fall that 100 million people were using Facebook Events on a daily basis, and 650 million were using it across the network. Those numbers have surely grown since.

The original design for Google’s events search offered web searchers a list of events they could filter by category and date. Meanwhile, the event listings themselves were powered by data from Eventbrite, Ticketmaster, SeatGeek, Meetup, Vividseats, Jambase, LiveNation, Burbio, Allevents.in, Bookmyshow.com, StubHub, Bandsintown, Yext and Eventful.

Now, Google is returning these event results in a new format – instead of more standard search results, they appear as cards, each with a little bookmark icon you can click on to save the event details for future reference.

In addition, when you tap on one of the event listings’ cards, you’re directed to a more information-rich page, offering the date, time, location, and shortcuts to save the event, buy tickets, get directions, or share it with others. The design looks even more like a Facebook event page, albeit without a discussion section for posts and comments.

Clicking on the “Get Tickets” button will pop up a window that links to ticket resellers for the event in question – like Ticketmaster or StubHub, for example.

As users continue to click, browse and save events, the system will also be trained to know what sort of events users like.

This data will be used to power the new personalized recommendations feature, found in the bottom navigation bar’s “For You” tab, which organizes suggested events by category, like “concerts,” “festivals,” “shows,” free events, and more. This page will also show you trending and popular events in the area, if you need ideas.

The feature is not currently live for everyone, but is rolling out to mobile users over the next few days, says Google.

Jeffrey Katzenberg’s NewTV closes a billion dollar round, says report

Jeffrey Katzenberg’s new mobile video startup NewTV, which snagged Meg Whitman as CEO in January, has now closed on $1 billion in funding, according to a report out today in CNN. Investors in the round include Disney, 21st Century Fox, Warner Bros, Entertainment One and other media companies, with a combined $200 million investment, while institutional investors from the U.S. and China made up the rest.

The news follows a May report from Bloomberg, which said NewTV had then raised around $800 million. It had also said 21st Century Fox and Warner Bros. were investors.

Last fall, an SEC filing revealed WndrCo was looking to raise as much as $2 billion.

Details are still fairly sparse on NewTV, which is being incubated by Katzenberg’s WndrCo, a holding company that’s also invested in startups including Mixcloud, Axios, Node, Flowspace, Whistle Sports, and TYT Network.

So far, we know NewTV aims to bring high-quality Hollywood production values and storytelling to mobile, but in a different format. Instead of producing regular-length TV shows, it aims to release content in “bite-sized formats of 10 minutes or less.” This will also involve custom-designed technology built specifically for mobile, it claims.

But it’s unclear why – beyond having Katzenberg and now Whitman’s names attached – this makes the company worth a billion dollar investment. The market for this type of content hasn’t really been proven out. After all, today’s youngest video consumers are happy with YouTube – their TV alternative of sorts – which is filled with short-form video.

And while YouTubers’ grasp of production values and storytelling chops may fall short of “Hollywood” standards, streaming services like Amazon, Netflix, Hulu and others are filling in the gaps in terms of quality, and are growing sizable subscriber bases.

If there is actually demand for “high-quality short-form” video, it seems content producers could just sell to existing distributors directly.

It’s also unclear for now if NewTV aims to own and distribute its content to others, act as its own standalone streaming service, or plans for a mixture of both.

In any event, as CNN points out, even a large round like this is a small bet for the bigger media companies involved. In addition, they don’t want to miss a shot at backing Katzenberg’s latest – especially given his prior successes at Paramount, Disney and DreamWorks.

 



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Facebook finally hands over leave campaign Brexit ads

The UK parliament has provided another telling glimpse behind the curtain of Facebook’s unregulated ad platform by publishing data on scores of pro-Brexit adverts which it distributed to UK voters during the 2016 referendum on European Union membership. The ads were run on behalf of several vote leave campaigns who paid a third company to use Facebook’s ad targeting tools.

The ads were run prior to Facebook having any disclosure rules for political ads. So there was no way for anyone other than each target recipient to know a particular ad existed or who it was being targeted at.

The targeting of the ads was carried out on Facebook’s platform by AggregateIQ, a Canadian data firm that has been linked to Cambridge Analytica/SCL — aka the political consultancy at the center of a massive Facebook data misuse storm, including by Facebook itself, which earlier this year told the UK parliament it had found billing and administration connections between the two.

Aggregate IQ is now under joint investigation by Canadian data watchdogs. But in 2016 the data firm was paid £3.5M by a number of Brexit supporting campaigns to spend on targeted social media advertising using Facebook as the primary conduit.

Facebook was asked by the UK parliament’s DCMS committee to disclose the Brexit ads — as part of its multi-month enquiry investigating fake news and the impact of online disinformation on democratic processes. The company eventually did so, releasing ads run by AIQ for the official Vote Leave campaign, BeLeave/Brexit Central, and DUP Vote Leave.

Several of the Brexit campaigns whose ads have now been made public were also recently found to have broken UK election law by breaching campaign spending limits. Most notably the Electoral Commission found that the youth-focused campaign, BeLeave, had been joint-working with the official Vote Leave campaign — yet the pair had not jointly declared spending thereby enabling the official campaign to overspend by almost half a million pounds. And that overspend went straight to Aggregate IQ to run targeted Facebook ads.

The committee has now published the Brexit ads that Facebook disclosed to it, more than two years after the referendum vote took place. Facebook also provided it with ad impression ranges and some targeting data which it has also published. The committee’s enquiry remains ongoing.

In a letter to the committee, Facebook says it’s unable to disclose ads run by AIQ for another Brexit campaign, Veterans for Britain, saying that campaign “has not permitted us to disclose that information to you”. So the view of the Brexit political ads we’re finally getting is by no means complete. Facebook’s platform also essentially enables anyone to be an advertiser — so it’s entirely possible other Brexit related messages were distributed using its ad tools.

In the case of the Brexit ads run by AIQ specifically, it’s not clear how many ad impressions they racked up in all. But total impressions look very sizable.

While some of what runs to many thousands of distinctly targeted ads which AIQ distributed via Facebook’s platform are listed as only garnering between 0-999 impressions apiece, according to Facebook’s data, others racked up far more views. Commonly listed ranges include 50,000 to 99,999 and 100,000 to 199,999 — with even higher ranges like 2M-4.9M and 5M-9.9M also listed.

One ad that generated ad impressions of between 2M-4.9M was targeted almost exclusively (99%) at English Facebook users — and included the claim that: “EU protectionism has prevented our generation from benefiting from key global trade deals. It is time we unite to give our country the freedom to be a prosperous and competitive nation!”

A spokesperson for the DCMS committee told us it hadn’t had a chance to compiled the thousands of ad impression ranges into a total ad impression range — but had rather published the data as it had received it from Facebook. We’ve also asked the company to prove an estimate on the total ad impressions and will update this story with any response.

The ad creative used by these campaigns has been published as well and — across all of them — the adverts display a mixture of (roundly debunked) claims about suddenly being able to spend ‘£350M a week on the NHS’, rousing calls to ‘take back control’ (including a bunch of ‘hero’ shots of Boris Johnson), coupled with ample fearmongering about EU regulations ‘holding the UK back’ or posing a risk to UK jobs and wages; plus a lot of out-and-out ‘project fear’ messaging — with the official Vote Leave campaign especially deploying direct dogwhistle racism to stir up fear among voters about foreigners coming to the UK if it can’t control its own border or if the EU expands to add more countries…

 

At a glance, the Brexit ad creative is not as ‘out there’ as some of the wilder stuff the Kremlin was pumping onto Facebook’s platform to try to skew the 2016 U.S. election.

But the blatant xenophobia leaves a very bad taste.

In the case of Brexit Central/BeLeave, their ad creative was more subtle in its xenophobia — urging target recipients to back a “fair immigration system” or an “Australian-style points based system” but without making any direct references to any specific non-EU countries.

The youth campaign also created a couple of ads (below) which invoked consumer technology as a reason to back Brexit — with one appealing to users of ride-hailing and another to users of video streaming apps to reject the EU by suggesting its regulations might interfere with access to the services they use.

Ironically enough, it was London’s transport authority that withdrew Uber’s license to operate last year — in a regulatory decision that had absolutely nothing to do with the EU. (Uber has since appealed and got a 15-month reprieve.)

Though, also last year, the EU’s top court judged that a spade is a spade — and Uber is a transport company, not a mere technology platform. Though the ruling has not prevented Uber from continuing to operate and even expand ride-hailing services in Europe. Sure, it has to work more closely with city authorities now, but that means meshing with local priorities rather than seeking to override what local people want.

In a further irony, the EU also took steps to liberalize passenger transport services, back in 2007, issuing a directive that makes it harder for cities authorities to place their own controls on ride-hailing services. Albeit, evidently facts didn’t get a starring role in the vote leave Brexit ads.

As for quotas on streaming services, it’s a curious thing to complain about — especially to a youth-focused audience which you’re also targeting with ads claiming they’ll have better job prospects outside the EU.

The EU has merely suggested online streaming services should provide for and subsidize up to a third of their output of films and TV as being made in Europe.

Which seems unlikely to have a deleterious impact on European creative industries, given platforms would be contributing to the development of local audiovisual production. So — in plainer English — it should mean more money to support more creative jobs in Europe which many young people would probably love to have a crack at…

The publication of the Brexit ads is, above all, a reminder that online political advertising has been allowed to be a blackhole — and at times a cesspit — because cash-rich entities have been able to unaccountably exploit the obscurity of Facebook’s systemically dark ad targeting tools for their own ends, leaving no right of public objection let alone reply for the people as a whole whose lives are affected by political outcomes such as referendums.

Facebook has been making some voluntary changes to offer a degree of political ad disclosure, as it seeks to stave off regulatory rule. Whether its changes — which at best offer partial visibility — will go far enough remains to be seen. And of course they come too late to change the conversation around Brexit.

Which is why, earlier this month, the UK’s data watchdog calling for an ethical pause of political ad ops — saying there’s a risk of democracy being digitally undermined.

“It is important that there is greater and genuine transparency about the use of such techniques to ensure that people have control over their own data and that the law is upheld,” it wrote. “Without a high level of transparency – and therefore trust amongst citizens that their data is being used appropriately – we are at risk of developing a system of voter surveillance by default.”



from Social – TechCrunch https://ift.tt/2nO49ZQ Facebook finally hands over leave campaign Brexit ads Natasha Lomas https://ift.tt/2mJo387
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IGTV carousel funnels Instagram feed traffic to buried videos

{rss:content:encoded} IGTV carousel funnels Instagram feed traffic to buried videos https://ift.tt/2mM3pV8 https://ift.tt/2LGJGUS July 26, 2018 at 06:21PM

IGTV didn’t get the benefit of being splayed out atop Instagram like Stories did. Instead, the long-form video hub is a bit more distant, located in a standalone app as well as behind a static orange button on the main app’s homescreen. That means users can go right on tapping and scrolling through Instagram without coming across IGTV’s longer videos that range up to an hour.

IGTV has only been out a month and Instagram’s feed has been around for 8 years so it makes sense to try to push views from the app’s core feature to this new one. That’s why Instagram is experimenting with a way to show off a carousel of IGTV videos in its main app’s feed. Spotted by app researcher Jane Manchun Wong, we asked Instagram about it. A spokesperson confirmed it was testing the carousel, and provided this statement: “We’re always testing new and different ways to surface interesting content for people on Instagram.”

The IGTV carousel appears below the Stories tray, pushing down the traditional feed so less of the first photo or video immediately appears on the screen. It shows a preview tile of the IGTV videos with overlaid titles and lengths, plus the creator’s name and profile pic. They look similar to Snapchat’s Discover page and the carousels of “Recent Stories” Instagram began running mid-feed last year.

By teasing IGTV’s actual content rather than just slapping a logo buton atop the screen, Instagram might get more users to check out the feature and standalone app. More views could in turn lure more content from creators. If they don’t see IGTV’s audience as significant, they won’t go to the trouble of shooting long-form vertical video for the platform or editing their landscape Instagram feed and YouTube videos for the format.

Given yesterday’s bloodbath of a Facebook earnings report, there’s more pressure than ever on Instagram to pull its weight. Facebook sunk to its slowest growth rate in history, losing users in Europe and going flat in North America. In fact, it revealed a new “family of apps audience” metric of 2.5 billion people using at least one of Facebook’s apps (Facebook, Instagram, WhatsApp, or Messenger) to distract from the bad news. That stat will let Facebook hide how younger users are abandoning it in favor of Instagram.

The big concern is that vertical videos and Stories are the future of content creation and consumption, but Facebook hasn’t figured out how to monetize these formats as well as its tried-and-true News Feed ads. Concerns about eyeballs shifting away from feeds faster than ad dollars contributed to Facebook’s 20 percent share price drop erasing $120 billion in market cap.

But Facebook’s saving grace, and the reason the stock might bounce back, is that it ruthlessly cloned Snapchat Stories for two years before it was obvious that it had to and now has 1.1 billion daily Stories users across its apps. If Facebook said Stories were the future but it was way behind, it could have been beaten down even worse by Wall Street.

Still, short-form Stories are best paired with short-form Stories ads. If it can make IGTV a hit, it could run longer o unskippable ads that earn it more. So you can expect to see more and more of IGTV in the Instagram feed.

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