When everyone always tells you “yes,” you can become a monster. Leaders especially need honest feedback to grow. “If you look at rich people like Donald Trump and you neglect them, you get more Donald Trumps,” says Torch co-founder and CEO Cameron Yarbrough about our gruff president. His app wants to make executive coaching (a polite word for therapy) part of even the busiest executive’s schedule. Torch conducts a 360-degree interview with a client and their employees to assess weaknesses, lays out improvement goals and provides one-on-one video chat sessions with trained counselors.
“Essentially we’re trying to help that person develop the capacity to be a more loving human being in the workplace,” Yarbrough explains. That’s crucial in the age of “hustle porn,” where everyone tries to pretend they’re working all the time and constantly “crushing it.” That can leave leaders facing challenges feeling alone and unworthy. Torch wants to provide a private place to reach out for a helping hand or shoulder to cry on.
Now Torch is ready to lead the way to better management for more companies, as it’s just raised a $10 million Series A round led by Norwest Venture Partners, along with Initialized Capital, Y Combinator and West Ventures. It already has 100 clients, including Reddit and Atrium, but the new cash will fuel its go-to market strategy. Rather than trying to democratize access to coaching, Torch is doubling-down on teaching founders, C-suites and other senior executives how to care… or not care too much.
“I came out of a tough family myself and I had to do a ton of therapy and a ton of meditation to emerge and be an effective leader myself,” Yarbrough recalls. “Philosophically, I care about personal growth. It’s just true all the way down to birth for me. What I’m selling is authentic to who I am.”
Torch’s co-founders met when they were in grad school for counseling psychology degrees, practicing group therapy sessions together. Yarbrough went on to practice clinically and start Well Clinic in the Bay Area, while Keegan Walden got his PhD. Yarbrough worked with married couples to resolve troubles, and “the next thing I know I was working with high-profile startup founders, who like anybody have their fair share of conflicts.”
Coaching romantic partners to be upfront about expectations and kind during arguments translated seamlessly to keep co-founders from buckling under stress. As Yarbrough explains, “I was noticing that they were consistently having problems with five different things:
1. Communication – Surfacing problems early with kindness
2. Healthy workplace boundaries – Making sure people don’t step on each others’ toes
3. How to manage conflict in a healthy way – Staying calm and avoiding finger-pointing
4. How to be positively influential – Being motivational without being annoying or pushy
5. How to manage one’s ego, whether that’s insecurity or narcissism – Seeing the team’s win as the first priority
To address those, companies hire Torch to coach one or more of their executives. Torch conducts extensive 360-degree interviews with the exec, as well as their reports, employees and peers. It seeks to score them on empathy, visionary thinking, communication, conflict, management and collaboration, Torch then structures goals and improvement timelines that it tracks with follow-up interviews with the team and quantifiable metrics that can all be tracked by HR through a software dashboard.
To make progress on these fronts, execs do video chat sessions through Torch’s app with coaches trained in these skills. “These are all working people with by nature very tight schedules. They don’t have time to come in for a live session so we come to them in the form of video,” Yarbrough tells me. Rates vary from $500 per month to $1,500 per month for a senior coach in the U.S., Europe, APAC or EMEA, with Torch scoring a significant margin. “We’re B2B only. We’re not focused on being the most affordable solution. We’re focused on being the most effective. And we find that there’s less price sensitivity for senior leaders where the cost of their underperformance is incredibly high to the organization.” Torch’s top source of churn is clients’ going out of business, not ceasing to want its services.
Here are two examples of how big-wigs get better with Torch. “Let’s say we have a client who really just wants to be liked all the time, so much so that they have a hard time getting things done. The feedback from the 360 would come back like ‘I find that Cameron is continually telling me what I want to hear but I don’t know what the expectations are of me and I need him to be more direct,’ ” Yarbrough explains. “The problem is those leaders will eventually fire those people who are failing, but they’ll say they had no idea they weren’t performing because he never told them.” Torch’s coaches can teach them to practice tough-love when necessary and to be more transparent. Meanwhile, a boss who storms around the office and “is super-direct and unkind” could be instructed on how to “develop more empathic attunement.”
Yarbrough specifically designed Torch’s software to not be too prescriptive and leave room for the relationship between the coach and client to unfold. And for privacy, coaches don’t record notes and HR only sees the performance goals and progress, not the content of the video chats. It wants execs to feel comfortable getting real without the worry their personal or trade secrets could leak. “And if someone is bringing in something about trauma or that’s super-sensitive about their personal life, their coach will refer them out to psychotherapists,” Yarbrough assures me.
Torch’s direct competition comes from boutique executive coaching firms around the world, while on the tech side, BetterUp is trying to make coaching scale to every type of employee. But its biggest foe is the stubborn status quo of stiff-upper-lipping it.
The startup world has been plagued by too many tragic suicides, deep depression and paralyzing burnout. It’s easy for founders to judge their own worth not by self-confidence or even the absolute value of their accomplishments, but by their status relative to yesterday. That means one blown deal, employee quitting or product delay can make an executive feel awful. But if they turn to their peers or investors, it could hurt their partnership and fundraising prospects. To keep putting in the work, they need an emotional outlet.
“We ultimately have to create this great software that super-powers human beings. People are not robots yet. They will be someday, but not yet,” Yarbrough concludes with a laugh. IQ alone doesn’t make people succeed. Torch can help them develop the EQ, or emotional intelligence quotient, they need to become a boss that’s looked up to.
Camera refinements are nice, but the price drop’s the thing – TechCrunch
The Galaxy S21 is a tank. It’s a big, heavy (8.04 ounces versus its predecessor’s 7.7), blunt instrument of a phone. It’s quintessential Samsung, really — the handset you purchase when too much isn’t quite enough. In fact, it even goes so far as adopting S-Pen functionality — perhaps the largest distinguishing factor between the company’s two flagship lines.
In many ways it — and the rest of the S21 models — are logical extensions of the product line. Samsung hasn’t broken the mold here. But the company didn’t particularly need to. The line remains one of the best Android devices you can buy. It’s a product experience the company is content to refine, while saving more fundamental changes for the decidedly more experimental Galaxy Z line.
Samsung certainly deserves credit for going all in on 5G early. The company was ahead of the curve in adopting next-gen wireless and was among the first to add it across its flagship offerings. 5G became a utilitarian feature remarkably fast — owing in no small part to Qualcomm’s major push to add the tech to its mid-tier chips. In fact, the iPhone 12 may well be the last major flagship that can get away with using the addition of the tech as a major selling point.
With that out of the way, smartphone makers are returning to familiar terrain on which to wage their wars — namely imaging. S-Pen functionality for the Ultra aside, most of the top-level upgrades of this generation come on the camera side of things. No surprise there, of course. The camera has always a focus for Samsung — though the changes largely revolved around software, which is increasingly the trend for many manufacturers.
There are, however, some hardware changes worth noting. Namely, the new S models represent one of the bigger aesthetic updates in recent memory. I’d mentioned being kind of on the fence about them in my original write up of the news, owing largely to that weird wrinkle of 2020/2021 gadget blogging: not being able to see the device in person. Now that I’ve been toting the product around the streets of New York for several days, I can say definitive that, well, I’m mostly kind of okay with them, I guess.
The big sticking point is that massive contour cut camera housing. Pretty sure I used the word “brutalist” to describe it last time. Having used the product, I’d say it’s fairly apt. There’s something…industrial about the design choice. And it’s really pronounced on the Ultra, which sports four camera holes, plus a laser autofocus sensor and flash. It’s a big, pronounced camera bump built from surprisingly thick metal. I suspect it’s owed, in part, to the “folded” telephoto lens.
Samsung sent along the Phantom Black model. The color was something the company devoted a surprising amount of stage time to during the announcement. It was the kind of attention we rarely see devoted to something as inconsequential as a color finish, outside of some Apple bits. Here’s a long video about it if you’re curious. I don’t know what to tell you. It’s nice. It’s matte black. I do dig the new metallic back; even with Corning on your side, a glass back really feels like an accident waiting to happen.
The curved screen looks nice, per usual, accented well by the round corners. The screen itself is striking — Samsung’s displays always are. The screens on the S21, S21+ and S21 Ultra are 6.2, 6.7 and 6.8 inches, respectively. Those are all unchanged, save for the Ultra, which is, strangely, 0.1 inches smaller than its predecessor. It’s not really noticeable, but is an odd choice from a company that has long insisted that bigger is better when it comes to displays.
Eye Comfort Shield is a welcome addition, adjusting the screen temperature based on time of day and your own usage. If you’ve used Night Shift or something similar, you know the deal — the screen slowly shifts toward the more yellow end of the white balance spectrum, reducing blue light so as to not throw your circadian rhythms out of whack. It’s off by default, so you’ll have to go into settings to change it.
The company has also introduced a Dynamic Refresh Rate feature, which cycles between 46 and 120Hz, depending on the app you’re using. This is designed to save some battery life (a 120Hz along with 5G can be a big power hog). The effect is fairly subtle. I can’t say I really noticed over the course of my usage. I certainly appreciate the effort to find new ways to eke out extra juice.
The new era of Samsung is equally notable for what it left off. The new S models mark the end of an era as the company finally abandons expandable storage (following in the footsteps of the Z line). I mean, I get it. These devices range from 128 to 512GB of storage. For a majority of users, the microSD reader was superfluous. I certainly never needed to use it. Per the company, “Over time, SD card usage has markedly decreased on smartphones because we’ve expanded the options of storage available to consumers.”
Of course, expanding the built-in memory is going to cost you. Mostly, though, it’s always a bit of a bummer to say farewell to a long-time distinguishing factory. Speaking of, the company also ditched the in-box headphones and power adapter, notably deleting some ads in which it mocked Apple for recently doing the same. It’s the headphone jack all over again.
The company offered up a similar sustainability explanation in a recent statement. “We discovered that more and more Galaxy users are reusing accessories they already have and making sustainable choices in their daily lives to promote better recycling habits.” As a consequence, the box is nearly half as thick as those from earlier S lines, for what that’s worth.
As mentioned above, the cameras are remarkably similar to their predecessors, with a few key differences. The S20 Ultra sported an 108-megapixel wide lens (f/1.8), 12-megapixel ultrawide (f/2.2) and 48-megapixel (f/3.5) telephoto (4x zoom), while the S21 Ultra features a 108-megapixel wide (f/1.8), 12-megapixel ultrawide (f/2.2), 10MP (f/2.4) telephoto (3x zoom) and 10MP telephoto (f/4.9) (10x zoom). The dual telephoto lenses are the biggest differentiator.
The device will switch between telephotos, depending on how much you zoom in. The device performs a lot better than many competing handsets at distances requiring around 10x. Though, while the ability to zoom up to 100x is an extremely impressive thing for a phone to do on paper, the images degrade really quickly at higher levels. At a certain point, the image starts taking on the style of an impressionist painting, which isn’t particularly useful in a majority of cases.
Once Samsung (or whoever) can properly crack the code on translating that noise into signal, it will really be a breakthrough. Still, Zoom Lock is a nice addition in helping to minimize hand shake while zooming. Accidental movements tend to increasing exponentially the tighter you get in on an image. The Super Steady, too, has been improved for video recording.
Portrait mode has been improved. There still tends to be trouble with more complex shapes, but this is a problem I’ve run into with pretty much all solutions. Samsung gets some points here for offering a ton of post-shot portrait editing, from different bokeh levels, to adjusting the focal point to other effects. As with much of the camera software, there’s a lot to play around with.
Other key additions include 8K snap, a nice addition that lets you pull high-res images from a single frame of 8K video. There’s also Vlogger Mode, which shoots from the front and back simultaneously. Someone will no doubt find some social use for this, but it feels a bit gimmicky — one of those features a majority of users will promptly forget about. Additional options are generally a good thing, though the camera software has gotten to the point where there are a ton of menus to navigate.
I get the sense that most users want a way to quickly snap photos and shoot videos. The lower-end S21 entries are great for that. The hardware is strong enough to give you great shots with minimal effort. If you’re someone who really enjoys drilling down on features and getting the best images on-device without exporting to a third-party app, the Ultra is the choice for you. In addition to being a kind of kitchen sink approach, the high-end device is all about choice.
The addition of S Pen functionality is probably the most notable — and curious — thing the Ultra has going for it. On the face of it, this feels like the latest — and most pronounced — in a series of moves effectively blurring the lines between the company’s two flagships. Perhaps Samsung will make a move to further differentiate the next Note, or maybe the company is content to simply let the device meld over time.
There is one major difference off the bat, of course. Namely the fact that there’s no pen slot on the S21. This means that:
- The stylus is sold separately.
- You need to buy a case with an S Pen holder (also sold separately, naturally) if you’ve got any hope of not losing it.
I happened to have a Note S Pen lying around and found the experience to be pretty smooth. I’ve been upfront about the fact that I’m not really a stylus person myself, but Samsung’s done a good job building up the software over the years. The S Pen is a surprisingly versatile tool, courtesy of several generations of updates. But I would say if the peripheral is important to you, honestly, just buy a Note.
The components are what you’d expect from a high-end Samsung. That includes the brand new Snapdragon 888 (in some markets, at least), and either 12 or 16GB of RAM and 128, 256 or 512GB of storage on the Ultra. The battery remains the same as last year, at 5,000mAh. In spite of 5G and a high refresh rate, I’ve gotten more than a day and a half of moderate use on a single charge.
In the end, the S21 isn’t a huge change over the S20. It’s more of a refinement, really. But it does represent a big change for Samsung. The company has implemented a $200 price drop across the board for these products. The S21, S21+ and S21 Ultra start at $799, $999 and $1,199, respectively. None are what you would call cheap, exactly, but $200 isn’t exactly insignificant, whether it means easing the blow of getting in on the entry level or taking the pain out of going for a higher-end model.
It’s a clear reflection of a few years’ worth of stagnating smartphone sales, exacerbated by some dire numbers amid COVID. It’s nice to see a company take those issues — and concern around spending $1,000+ on a smartphone — to heart beyond simply offering up a flagship “lite.”
6 investors on 2021’s mobile gaming trends and opportunities – TechCrunch
‘We are definitely fearful of Apple’s ability to completely disrupt/affect the growth of a game’
Many VCs historically avoided placing bets on hit-driven mobile gaming content in favor of clearer platform opportunities, but as more success stories pop up, the economics overturned conventional wisdom with new business models. As more accessible infrastructure allowed young studios to become more ambitious, venture money began pouring into the gaming ecosystem.
After tackling topics including how investors are looking at opportunities in social gaming, infrastructure bets and the moonshots of AR/VR, I asked a group of VCs about their approach to mobile content investing and whether new platforms were changing perspectives about opportunities in mobile-first and desktop-first experiences.
While desktop gaming has evolved dramatically in the past few years as new business models and platforms take hold, to some degree, mobile has been hampered. Investors I chatted with openly worried that some of mobile’s opportunities were being hamstrung by Apple’s App Store.
“We are definitely fearful of Apple’s ability to completely disrupt/affect the growth of a game,” Bessemer’s Ethan Kurzweil and Sakib Dadi told TechCrunch. “We do not foresee that changing any time in the near future despite the outcry from companies such as Epic and others.”
All the while, another central focus seems to be the ever-evolving push toward cross-platform gaming, which is getting further bolstered by new technologies. One area of interest for investors: migrating the ambition of desktop titles to mobile and finding ways to build cross-platform experiences that feel fulfilling on devices that are so differently abled performance-wise.
Madrona’s Hope Cochran, who previously served as CFO of Candy Crush maker King, said mobile still has plenty of untapped opportunities. “When you have a AAA game, bringing it to mobile is challenging and yet it opens up an entire universe of scale.”
Responses have been edited for length and clarity. We spoke with:
- Hope Cochran, managing director, Madrona Venture Group
- Daniel Li, partner, Madrona Venture Group
- Ethan Kurzweil, partner, Bessemer Venture Partners
- Sakib Dadi, investor, Bessemer Venture Partners
- Alice Lloyd George, founding partner, Rogue VC
- Gigi Levy-Weiss, general partner, NFX
Hope Cochran and Daniel Li, Madrona Venture Group
Does it ever get any easier to bet on a gaming content play? What do you look for?
Hope Cochran: I feel like there are a couple different sectors in gaming. There’s the actual studios that are developing games and they have several approaches. Are they developing a brand new game, are they reimagining a game from 25 years ago and reskinning it, which is a big trend right now, or are they taking IP that is really trendy right now and trying to create a game around it? There are different ways to predict which ones of those might make it, but then there’s also the infrastructure behind gaming and then there’s also identifying trends and which games or studios are embracing those. Those are some of the ways I try to parse it out and figure out which ones I think are going to rise to the top of the list.
Daniel Li: There’s this single-player narrative versus multiplayer metaverse and I think people are more comfortable on the metaverse stuff because if you’re building a social network and seeing good early traction, those things don’t typically just disappear. Then if you are betting more on individual studios producing games, I think the other thing is we’re seeing more and more VCs pop up that are just totally games-focused or devoting a portion of the portfolio to games. And for them it’s okay to have a hits-driven portfolio.
There seems to be more innovation happening on PC/console in terms of business models and distribution, do you think mobile feels less experimental these days? Why or why not?
Hope Cochran: Mobile is still trying to push the technology forward, the important element of being cross-platform is difficult. When you have a AAA game, bringing it to mobile is challenging and yet it opens up an entire universe of scale. The metrics are also very different for mobile though.
Daniel Li: It seems like the big monetization innovation that has happened over the last couple of years has been the “battle pass” type of subscription where you can unlock more content by playing. Obviously that’s gone over to mobile, but it doesn’t feel like mobile has had some sort of new monetization unlock. The other thing that’s happened on desktop is the success of the “pay $10 or $20 or $20 for this indie game” type of thing, and it feels like that’s not going to happen on mobile because of the price points that people are used to paying.
Alice Lloyd George, Rogue VC
Apple’s new editorial franchise, Apple Podcasts Spotlight, to highlight interesting creators – TechCrunch
Apple today announced a new editorial franchise called Apple Podcasts Spotlight, which aims to highlight rising podcast creators in the U.S. The editorial team at Apple will select new podcast creators to feature every month and then give them prominent screen real estate in the Apple Podcasts app and promote them across social media and elsewhere. This will allow creators to reach a wider audience, similar to how the App Store showcases a selection of recommended apps and games with large banners at the top of its screen.
The first Spotlight creator is Chelsea Devantez, who hosts the podcast Celebrity Book Club. On Fridays, Chelsea and special guests including Emily V. Gordon, Gabourey Sidibe, Ashley Nicole Black and Lydia Popovich will meet to discuss the memoirs of “badass celebrity womxn,” as an announcement describes it.
The idea for the show began a year ago when Devantez was reading Jessica Simpson’s memoir and started recapping it on Instagram. The reaction from her followers prompted her to expand the concept into a podcast.
Upcoming episodes will feature Oscar-nominated writer and producer Emily V. Gordon talking Drew Barrymore’s “Little Girl Lost;” actress Stephanie Beatriz discussing Celine Dion’s memoir “My Story My Dream;” Leighton Meester on Carly Simon’s “Boys in the Trees;” and a special Valentine’s Day episode where Chelsea and TikTok star Rob Anderson read Burt Reynolds’ and Loni Anderson’s competing divorce memoirs.
“Apple Podcasts Spotlight helps listeners find some of the world’s best shows by shining a light on creators with singular voices,” said Ben Cave, Global Head of Business for Apple Podcasts, in a statement about the launch. “Chelsea Devantez has created a fun, vibrant space with Celebrity Book Club for listeners to gain new perspectives on the celebrities we thought we knew. We are delighted to recognize Chelsea and Celebrity Book Club as our first Spotlight selection and look forward to introducing creators like Chelsea to listeners each month,” he added.
Apple says future Spotlight creators will be announced monthly from across a range of podcast genres, formats and locations, and will often focus on independent and underrepresented voices. The content is previewed ahead of selection to ensure quality, but there are no specific requirements about the podcast size and reach.
In general, the new Spotlight creators will debut toward the front of the week, but the specific days are fluid to adapt to holidays, major cultural events, and others. The next Spotlight selection, for example, will launch in mid-February.
The Spotlight creators will be featured at the top of the Browse tab of Apple Podcasts and will be promoted through the Apple Podcasts social media accounts. Some form of in-app featuring will continue throughout the entire month the creators are in the “spotlight.”
Apple says it will also collaborate with the featured creators on their own channels. And, over time, you’ll see promotion via additional Apple-operated channels including outdoor advertising in major U.S. metros.
The news of the new editorial program comes shortly after a report from The Information suggested Apple is working to expand its podcasts platform with the introduction of a podcast subscription service, threatening rivals like Spotify, SiriusXM and Amazon.
Though Apple Podcasts still leads the market, Spotify has been catching up by spending over $800 million on podcast companies, like Anchor, the Ringer, Gimlet Media, and more recently, podcast ad company Megaphone.
SiriusXM, meanwhile, bought podcast management and analytics platform Simplecast, ad tech platform AdsWizz, and podcast app Stitcher. Not to be left out, Amazon just a few weeks ago announced it was acquiring the podcast network Wondery.
Beyond helping the creators grow their audience, Apple says the larger goal with the program is to welcome new audiences to podcasts, in general.
Though podcasts are growing in popularity, the monthly podcast listener base is just 37% in the U.S., according to Edison Research. That means it’s nowhere near being an activity that’s popular among a majority of the U.S. population at this time. Before Apple can effectively monetize podcasts as a subscription service, it needs to help get more people listening to podcasts on a regular basis.
Apple declined to say if the program would expand outside the U.S. at a later date.
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