It's #TimehopperSays week!


You submitted your best jokes, and we put 'em in Timehop.

A little bit ago we asked you to submit some jokes for Abe to say at the end of your Timehop day. Turns out, y'all are v funny and we had hundreds of thousands of submissions! Thank you!

Seriously, we spent hours enjoying them all. They were funny, and absurd, and heartfelt, and they’re now all in Timehop!

For the next two weeks, Abe is telling all your best jokes exclusively. Maybe you'll get your amazing one liner, or maybe you'll see someone else's witty pun. It's different every time you open. And just so you know, we had:


Knock Knocks




references to potato


dino jokes

BUT, before you check your app, we wanted to highlight some the team's absolute favorites. Here are some staff picks for our favorite jokes.

Aly’s Fav

Velcro... what a rip off!

Avi's Fav

How many tickles does it take to make an octopus laugh? Ten Tickles! (tentacles)

Carissa's Fav

Why did I skip the gym? Because I was dinosore. Leave me alone.

DaviD's Fav

Seen it all, done it all, can't remember most of it.

Dmitry's Fav

I used to hate pickles but now I relish them

Inder's Fav

The brain named itself!

Jason's Fav

Watermelon, Firemelon, Earthmelon, Airmelon. The Elemelons.

Keenen's Fav

So what if I don’t know what “Armageddon” means? It’s not the end of the world...

Lila's Fav

I went to the same pre(historic) school as Little Foot

Marc's Fav

Why did the physics teacher breakup with the biology teacher? Because they had no chemistry.

Mark's Fav

Everyone thinks I’m a tea-Rex but I prefer coffee

Matt's Fav

I own the world’s worst thesaurus. Not only is it awful, it’s awful.

Meryl's Fav

What do you call a guy with a rubber toe? Roberto

Rick's Fav

On the other hand, you have different fingers

Timehop on Spotify

I guess you can say BYE BYE BYE to any last shred of the SOUND OF SILENCE because Timehop is now on Spotify! We thought YOU OUGHTA KNOW that...

Now, You may be thinking, WHERE HAVE ALL THE COWBOYS GONE? We have no idea, we're trying to talk about our new playlists here, so can you FOCUS

We 100% guarantee you'll be JUMPIN', JUMPIN' as soon as you hit play. Just as long as you don't jump in the shower, we wouldn't want you TUBTHUMPING your head.

Everyone's gonna WANNABE at your party now! So follow us on Spotify, and if you need a place to start, we recommend Queens of Pop list because MAN, I FEEL LIKE A WOMAN.

Follow us on Spotify!

How media companies engage a distracted audience


Aka how far into this article will you switch to puppy videos?

A long, long time ago, in a galaxy called 1992, Robin Williams starred in a movie about a toy factory. They called this movie “Toys”, which was not a clever name for a movie, but it was descriptive. The movie had a lot of toys, and in that year, Matt was all about it.  And so it was, that on a recent rainy Saturday (ok fine it was a perfectly nice day out), I fired up Netflix and searched “Toys.”

And thus, my adventure down the rabbit hole began…

First there was a documentary about the toys we grew up with in the 80’s.  Then an international film about a toymaker coping with his own mortality. Oh look, a Kevin Smith documentary about those little vinyl figures. Hey, a Netflix short-form series about eSports (I guess this is a toy.).  And the cartoons. So many cartoons. It was overwhelming, and I hadn’t even checked HBO. So I did what most people do, I put on an episode of Queer Eye that I’d already seen twice.

Choices are good, I’m not here to convince you otherwise. There are 500 original scripted TV shows and 750 reality TV shows in production right now. A fifth of those scripted shows were created by Netflix which, didn’t even have original programming until a few short years ago. That’s wild.

It almost makes me wistful for what the early days of television must have been like. Programming was simple. Morning cartoons, daytime soap operas, and prime time entertainment ran like clockwork, based on an average demographic of age and gender.

Not to mention if you missed it, you missed it. There was no ghostly haunting of a new show moaning through through the rafters of your queue every time you sat down to ponder what to watch next before someone spoiled it. (Too dramatic?)

I don’t know how they measure the attention span of a goldfish - Ani DiFranco once described it as “the little plastic castle is a surprise every time!” - but they say ours is even shorter. We’ve got mountains of everlasting new content every day, and if you’re one of those people looking to tell a new story you’re definitely struggling with how to find your audience.

I talked to a few publishers who are tackling this problem in a few different ways. Because audiences vary across mobile, TV, desktop, and voice-enabled platforms, they’ve been repurposing their content to adapt.  But, they haven’t lost sight of that balance of emotionally driven, human content that can learn from the data and technical capabilities we have in 2018.

So what is this? A better channel? A new approach? What does it all mean, Basil?

Screens? Where we’re going, we don’t need screens…

Yes, much of our consumption is on a screen somewhere between 3” and 70” (should you be so lucky). But think of the new platforms we’re seeing become viable in just in the last few years with chatbot APIs and new voice UI devices already crowding the market. It’s hard enough to perfect an existing channel, let alone figure out a new one.

“Today consumers have more choice than ever before when it comes to how, when and where they consume content. They’re either getting a daily app news debrief while commuting on the subway or streaming a football game via tablet while waiting in line at the airport,” said Sean Galligan, Vice President & Industry Lead, Tech & Telecom, Verizon’s Oath, referring to a Pew Research Center report that found the median U.S. household contained five devices: smartphones, desktops, laptops, tablets or streaming media devices.

“In order to stay relevant and top of mind when today’s consumer has all of these choices, brands have to build the best premium experiences. That means creating killer mobile content, trusted mobile data that performs, and mobile-first ad tech.”

Of course, what works in one place might not in another, and that’s important to remind yourself, said Chris Papaleo, Executive Director of Emerging Technology at Hearst.  

“We’re very focused on imagining what platform a person is engaging the content. What day that user is likely to encounter this content and what content format works for the device they’re using,” said Papaleo. “You can’t create one piece of content and put that everywhere. It’s very much about content that’s native to the platform. Even Facebook and Snapchat have their own unique characteristics that make our thinking about content on those platforms very different from how we might work elsewhere.”

The smart publisher views this state of affairs, not merely as a challenge, but as an opportunity. Every new platform presents an awesome new creative outlet. (Like a 4D movie with smell-o-vision!)

“The choice and variety of available devices today isn’t all doom and gloom for content creators. It’s an opportunity to connect with audiences at multiple touchpoints, like never before,” said Oath’s Galligan.

Papaleo echoed the sentiment.

“On the more established, mainstream platforms, like Snap and Facebook, it’s about reaching our existing user base where they are,” he said. “Since voice-enabled platforms are still emerging, we can potentially reach a wider audience as we position ourselves to be a quality experience that gets surfaced in response to an organic user question.”

For example, Hearst has a product called “My Beauty Chat” on Amazon’s Alexa, which Papaleo refers to as a “beauty focused content experience on voice.” It draws on the expertise of Hearst’s beauty editors across multiple magazine titles such as Cosmo and Marie Claire. If someone asks Alexa to give them a beauty tip, Alexa might surface up that content. “We believe if it is going to be more convenient for users to search with their voice, rather than type it into their smartphone keyboard or on some other screen, we need to figure out the best pathway to get our information to the user.”

I am a human and I have emotions

So to recap: we’re no longer tracking viewership in Nielsen watching journals (Which is good, I don’t need a paper trail on my Drag Race watching habits #TeamMonet). Detailed statistics on viewership are now the norm, and it means you’ve seen a lot of content driven by knowing just what gets viewed.

Demand Media has created tons of “How to” stories based on the questions most asked online, for example, “How to tie a bow tie.” (Spoiler alert: I still don’t know!) At one point, Demand Media dominated the top of Google searches for most “How to” questions.

Topix leverages a similar methodology, but takes it even further. Their stories aren’t driven by a news cycle, but by emotion.  How do they put their finger on the emotional pulse of their audience? They distill it from their 50 top-grossing stories.

“We identified four emotions that were driving the most engagement: nostalgia, schadenfreude, pride of knowledge and humor,” said Chris Tolles, CEO of Topix. “As opposed to using data to build a relationship with an individual, or deliver more personalized stories, we’re using data that can resonate with a broader population. Since then we’ve produced stories on a small budget that alone have generated three quarters of a million dollars due to the fact that, in this case, the content made people feel nostalgic.”  

As an example, stories that have a historical angle can make the reader feel nostalgic. And nostalgia is a super powerful emotion (we’re not biased at all…). Moreover, stories made to be timeless can evoke these same feelings repeatedly.

“We’re not going to create anything that’s ephemeral,” said Tolles. “If it can’t be interesting a year or a decade from now we’re not going to write about it. Cinderella doesn’t go obsolete; we’re looking at creating things like that and then use data to fine-tune the content for the audiences that are interested.”

Tolles pointed out that this approach to content production is more like following a recipe. It’s a utilitarian form of creativity, not solely artistic, he suggested.  

“I came from a background of selling packaged software. If you have a media publication background, you don’t look at stories as stand-alone products, but rather ongoing articles that lose relevance over time,” said Tolles. “For us, we’re trying to make sure people stick with our stories because they have the best emotional connection possible and for as long as possible, which then turns out to be very, very profitable.”

We must go deeper

To every yin, there is a yang. Such is the balance of life. And so it is that for every Topix, there is an Oath. In contrast to Topix’s utilitarian approach, Oath strives to create deeper reader relationships with it's trusted brands. Take for example Tumblr, a platform that creates and cultivates communities of people around specific shared interests. Fun fact: Tumblr’s audience - of which 75 percent are under 34 years old - creates one billion posts a month.

“As a user-led platform where voicing one’s opinion and creativity is encouraged, Tumblr’s community especially rallies around a spectrum of topics from entertainment to activism, allowing its audiences to not only go deeper with content but to connect with others [who are like-minded],” said Oath’s Galligan.

“Not only do users want to go deeper with digital content, brand, character and community but brands must build and reflect that affinity. What audiences are looking for is simple: brand love.” said Galligan.

In a recent study aptly named the Brand Love Index, they called out six key drivers of brand loyalty.  Among those drivers is the ability to set trends and take a strong stance on values. According to the study, “people want to be seen using brands that share their values (representing 12% of brand love globally). In the U.S. however, this drives 14% of brand love, more than almost anywhere in the world.”

In other words, if a brand reflects the values of its community, the audience is more inclined to like them. Not exactly a hot take, but it’s important to remember as we witness the polarization of news sites and the increasing number of publications willing to partake in conversations previously deemed… icky.

Pulling It All Together

Now, pair all of that brand-talk with all that new-platform-talk we made earlier. Brands are now willing to have more meaningful conversations, on platforms that feel even more personal. With robot mouth voices!

“The personalized experience is something that’s exciting to be able to do on voice platforms that I don’t believe you have the ability to do when you’re just publishing content on the Internet. That’s one powerful way that we see more personalized experiences evolving though we’re at the early stages of that,” said Hearst’s Papaleo.

“The difference between voice platforms, like Alexa or Google Assistant, vs simply listening to podcasts is the interactive nature of the voice platforms,” Papaleo added, suggesting a person can reveal a lot more about themselves through a conversation. “A small thing we’re starting to build now is tailoring our messages based on someone’s prior engagement with our products though we need a lot more people on those platforms using the products before we have a really great sense of how that pushes the product vision forward.”

And In Conclusion...

Content is tough.

Engaging, emotional, raw content is even tougher.

And there’s no easy answer, but there are a ton of new tools and platforms that sometimes seem to take over so quickly that we forget to take a step back and really think creatively about how we can use them to better connect with people.

The moments when people are engaged with your content are happening more often and in entirely new ways. But even more so, they are happening more and more at the same time.

These goldfish are easily distracted, and these goldfish are your audience. You have to know them really, really well - even down to their goldfish values. If years ago, the lack of options made consumers beholden to the whims of creators, that script has completely flipped.

And that means putting a whole lot of effort into those little plastic castles.

Timehop + Bishop Fox

We had the opportunity to work on this report with Bishop Fox regarding security and small errors.

The takeaway from Timehop is that when small security errors do lead to the worst-case scenario, a breach, be transparent and show your customers that you are working to quickly fix the issue. The one good thing about falling prey one of these errors is that they are usually are easily fixed. There are several other lessons from Timehop’s breach and their response, but ideally you will learn from them as well as the other examples discussed...
— Alex DeFreese, Bishop Fox

Letter of Recommendation: Timehop

Thanks to the The New York Times Magazine and Daniel Kolitz for putting this into words.

Timehop’s “memories” are really more like memory aids — maps to storage spaces on the outskirts of daily consciousness, haphazardly crammed with old biology partners, forgotten nicknames, the quality of light in an old basement bedroom. Often the maps are illegible: I could spend the rest of my life staring at my post of Dec. 20, 2009 (which reads, in its entirety, “tummy sticks!”), and come no closer to knowing its secrets. But when the maps work, the results can hit as hard as a song, a scent, a familiar face in a crowd.
— Daniel Kolitz, The New York Times Magazine

Check out the full piece in the July 1, 2018 print edition of the The New York Times Magazine.

What to know about turning on mobile ads

Here's how to create successful ads that enhance the in-app experience

Online advertisements have been referred to as being part of a broken system. They’re sometimes referred to as necessary evils. They’re often avoided altogether in favor of subscription models or some other ingenious way for companies to pay the bills.

But they’re never taken lightly, meaning they’re always at least contemplated with one question in mind: how will they affect my user, reader or customer?

If determining when and how to turn on advertising on the web seems tough, imagine thinking about the same decision on a mobile app with limited screen space, where slight modifications run the risk of alienating the most loyal, and core users, the ones who are most engaged and love the app the way it is. They’ll revolt at even the smallest change, let alone the introduction of advertisements that are usually tolerable and utilitarian at best, downright infuriating at worse.

App developers have to create an ad experience that integrates with their app’s overall user experience. The questions of when and how to incorporate advertising should be top of mind from the very beginning, with an understanding of the ways ads can be incorporated without taking away from the experience, but rather enhancing it.

If done well, advertising on mobile can be very lucrative. In-app mobile ad spend will reach $45.3 billion, up $11 billion from last year, and apps make up 80 percent of all U.S. media dollars spent on mobile, according to eMarketer.

Be intentional and communicate

App developers shouldn’t be afraid to incorporate ads because they think their users will leave. Many users, after all, understand why they exist. About a third of respondents surveyed by Hubspot said “I’m fine with the current situation. I see ads to support websites.”

In fact, users now anticipate for-free apps to have an advertising component, said George Thabit, Senior Manager of Platform Sales at MoPub.

“If you think about the maturation of the app market -- it’s been over a decade since the iPhone was released -- when users come across an app that’s free, there’s probably an expectation that there’s going to be some value exchange in the future, whether it’s implicit or explicit when downloading it,” he said.

This doesn’t mean any ad is acceptable. In the Hubspot survey, 68 percent said they’re “fine with seeing ads but only if they are not annoying.” Annoying in this case means ads that are disruptive and affect download speeds.  

For that reason, app developers have to be careful ads fit well into the app experience.

“Being intentional about the implementation of the ads is important. You need to have a measured approach and be mindful of the placement and format as well as the timing,” said Thabit. “Also, making sure that you QA your build prior to launch is super important because the biggest direct relation we see with negative comments of usage is if the introduction of an ad crashes the app, or takes away from the user experience.”

To this end, it’s essential to work with users and to communicate to them how and why ads are being turned on, said Ali Jafari, VP of Business Development at Nextdoor, a social network focused around communities. His company actually uses its own users to help the broader community understand what’s happening on the platform.

“Anytime we release a new product or a feature, we work with our neighborhood leads,” he said. “Every neighborhood has a lead, it’s sometimes the founding member; other times someone who’s raised their hand and said they want to be a lead. We work with them to give them context for why we’re releasing a feature, like advertising.”

If there’s pushback in the neighborhood, the leads explain that the ads are needed to support the free service to the community. There’s a conversation that takes place that brings the community in as though they’re part of the decision-making process. If they feel left out of the conversation, or neglected, they may jump ship, Jafari explained.

Think about the product early on

If you talk to app publishers, the conventional wisdom is that the audience should be large enough before ads are even worth turning on. There’s logic to this. Users don’t like ads and might be turned off if they see them right away (as I said before, they know they’re necessary but they also don’t want to them to be annoying). And typically, for apps with a small audience base, they’re likely not to have access to the highest-quality ads.  

To be sure, by making an ad-free experience the norm, app developers are setting themselves up for significant resistance.

“My observation is that it gets harder and harder, once you’ve built a large audience that is deeply engaged in an ad-free environment, when you introduce advertising or require another mechanic, like in-app purchases,” said MoPub’s Thabit. “People react negatively when the perceived value exchange changes and ads are suddenly introduced; they become a barrier instead of a natural part of the app experience. Thinking through prior to launch how you’re going to generate revenue is paramount because when you have your app launched with ads, the expectations are set and your users will be familiar with the ad options, whether they’re in-app purchases or ads that can be opted out by paying a one-time fee.”

Moreover, apps that don’t integrate ads from the start may require a costly overhaul to fit them in later, an expensive proposition for most app developers.

“I don’t think publishers could afford to really do a 100 percent UI change,” said Sameer Sondhi, VP & GM of Business Development for NA and EU at InMobi. “There are very, very rare publishers who have taken such bold steps, and it’s basically make it big or go home. There are companies who have invested so much there’s so much risk that you can’t afford to take it.”

Go native

Another major factor to consider when integrating advertising is simply the creative.

There’s numerous formats to choose from - video, banner, native. In 2018, mobile video ad spending is expected to grow 49 percent to nearly $18 billion. But not every ad type works for every type of app. In some cases video is going to distract from the experience, in others banner ads simply don’t fit. It’s imperative to understand how your specific app will best be able to incorporate them.  

“One of the most important factors to consider is the format,” said InMobi’s Sondhi. “Do you have the right mix of video? Do you have the right mix of full screen static interstitials? Do you have sticky banners? Where we really need to make a line here is that we don’t want to overdo ads.”

For Nextdoor, using native advertisements made the most sense. They can be broken down into two categories. The first, and likely the most well known form, is the type described by Fred Wilson in 2011. They’re basically ads that look like posts on a social platform.

“I’ve never been a fan of advertising that’s intrusive or gets in the way of what the user’s trying to do. With mobile, the bar is even higher than it is on the web because the screen size is so much smaller. There’s nothing worse than scrolling through a feed, or trying to read an article, and being redirected to a different place where you have no idea what happened, and you have no idea what information is being passed on. It does damage to the platform and the advertiser as well,” Nextdoor’s Jafari said.

“I don’t think we gave consideration to much beyond the native format. We’ve always wanted to make sure that the ads didn’t get in the way of what our members wanted to do on Nextdoor, which is to create a community and interact with members. We also wanted the ads to feel like content, delivering a message that’s value-add and natural to the kinds of conversations that may occur on Nextdoor.”

The other type of native is one that that uses programmatic tools to sell ad space through machine learning. These are ads that are programmatically delivered as assets, such as a photo, a headline, body copy, a link or a logo. The app maker makes an ad template that sort of looks like their regular posts.

Programmatic native is still nascent, said InMobi’s Sondhi, and hasn’t quite taken off in the United States yet.

“Native is not as strong in the United States, as compared to other countries. There aren’t a lot of demand-side platforms or bidders who are ready to buy native. Native is so custom. The payloads can be stitched by a customer, the click-to-action has to be the way they want, the templates have to be different,” he said.

For that reason, he recommends taking native slowly.

“For native to be successful, there should be a diversity of demand and the right mix of performance-based ads to choose from,” said Sondhi. “There aren’t a lot of demand sources or platforms that are ready yet at scale. So we do advise a lot of our publishers who have the intent to go native to draw it out, slowly. Turn it 20 percent, then 30 percent. That should be the cadence for rolling out native.”


Implementing an advertising strategy is tricky. It requires forethought and patience, and the ability to read your audience and fully understand how they use the app.

Few get it right the first time. Remember that even Facebook stumbled out of the gate when it went public in 2012 because investors weren’t convinced that it could make money from its ad product. In 2017, more than one in five digital ad dollars in the U.S. went to Facebook.

It doesn’t happen overnight but as long as you’re considerate and mindful, your ad strategy is more likely to be a success.

Timehop’s journey toward conquering mobile ads

Being ahead of the curve with “in-app header bidding” led to a 1200% jump in daily revenue

For years, we’ve known that mobile usage has been greater than desktop, having surpassed the web since 2014 to be exact. Yet mobile advertising options have been less than ideal, on mobile web or in app. This has left my company Timehop with no choice but to go on an unexpected and unconventional journey to build our own solution. In the end, it wasn’t only worthwhile, it was a fortuitous decision -- one of the best we’ve made so far in our young history.

To appreciate our story, you have to understand the two ways to make money via mobile advertising: through a browser or through an app. Mobile web is a relatively robust ecosystem, thanks to being similar in technology to desktop web. Yet there are several drawbacks to this approach in mobile. Ad blockers limit your audience. Customers may prefer to consume your content in an app. And you lose all of the user experience benefits of building an app.

On top of all of this, advertisers prefer the safety, accountability and efficacy of in-app advertising. In-app mobile ad spend comprises about 80 percent of all US media dollars spent on mobile, according to eMarketer. They’re estimated to have hit $45.3 billion last year, up from $11 billion in 2016.  At Timehop, in our early years, we spent considerable effort migrating our first few million users from an email-based service to one that the user consumes in an app. These larger advertising trends were part of our motivation.

The problems and promise of in-app advertising

While consumers spend more than two hours on apps each day vs 26 minutes viewing the web on mobile, those in-app audiences are confined to the top five players, such as Instagram and Snap. These large companies with hundreds or thousands of employees and large demand from advertisers are in a position to build their own ad-serving technology in-house, and dictate to the market - who is yearning for their inventory - how to buy their ads.

For everyone else - from the smallest app to large, top publishers - the solution is more complex. The default solution is to replicate what they’ve done on the web: have an in-house staff directly selling their inventory, then turning to third-party providers for technological solutions to sell the remaining inventory.

Yet because of the challenges of in-app advertising, and its differences from web, third-party solutions leave much to be desired. The technical solutions offered by third parties are more limited than web, and those that exist often make a middling attempt at replicating desktop web technologies, often at the expense of the improved user experience of an app.

In-app advertising solutions also often lag behind their mobile web counterparts. For example, header bidding. It’s all the rage on desktop web and in-browser mobile. Header bidding is a technique where ads are auctioned in the HTML header on the web, rather than as the page loads. All the bidding is done to multiple ad exchanges before the page is rendered. This is opposite of waterfall, where each partner is contacted individually. This new, popular approach to web advertising results in improved revenue for the publisher.

Header bidding obviously makes the selling of ad space faster and more efficient. Yet in-app “header bidding” is a nightmare (never mind that there are no HTML headers in mobile, the name has stuck for simultaneous auctions.) Says Digiday, in its rundown of the situation, “Like much of ad tech, header bidding was built to solve a desktop challenge. But mobile is eating media.”

Third-party technical solutions exist, but they are less than ideal. Many of them rely on software development kits, or SDKs. This means incorporating a big chunk of code into the app. Yet one doesn’t just have to implement the SDK of the company handling the auction. Imagine working with a number of ad partners and integrating each SDK for each one. On Timehop, we have more than 10 different ad partners; if we uploaded each SDK, it would make us a 600 megabyte app. We’d be overloaded and slow, and it would hurt the user experience.

There are other reasons app developers hate SDKs. There’s lack of control, and they’re extremely rigid. If I wanted to change something to make it look right for my users, I’d have to request this change from the ad partner.   

The paradox for us and for many publishers is clear: in-app provides greater advertising revenue theoretically, yet the technical solutions aren’t as effective yet. For many publishers, the paradox is immaterial since most of their readers rely on mobile web. Think about it, how many news publication apps have you downloaded? But for Timehop, where millions of users are interacting with our app every day, the problem is acute.

Which led us to start this journey.  

Enter Nimbus and a 12x revenue jump

This all explains why we created Nimbus, our header-bidding solution, that rids us of those app-bloating SDKs and enables us to be flexible. Our company consists of 15 people, and it was a sizable commitment of resources to go down this path. But having tried several of the “best-in-class” in-app advertising solutions, we felt we had no choice.

Nimbus is our ad server, which brings the “header bidding” process to in-app mobile. Nimbus holds a simultaneous auction for 10 (and counting) major ad networks at the beginning of every user session, delivering the highest-paid ad to the user. All without resorting to implementing innumerable SDKs. Prior to Nimbus, we managed clunky waterfalls - passing our user from one ad provider to the next, waiting for someone to bid. This resulted in lower income, and a degraded user experience. On top of that, we had a bloated app. At one point, we had four ad partner SDKs in our app. Horrendous.

No more. We started Nimbus in mid-November 2017, and had a beta launch by the end of that month, just in time for the holidays. We started with video, which generates higher CPMs. And, if I may be so bold: We killed it. Daily revenue grew by 12x during November and December.

After the new year, we started implementing static images, as well as viewability scores and anti-fraud features. Even though video inventory dropped, which put some pressure on revenue, sales are still a healthy 400 percent above where we started. Moreover, it’s only been three months since launch and already the product has paid for itself, meaning we’ve already made more revenue than the cost of development. Post holidays, we’re now at around 7x our pre-Nimbus revenue, with significant room to grow.

Building your own in-house solution isn’t easy. We had our own challenges, which include having a small team. Yet fortunately, we had the right mix of expertise in mobile development and programmatic advertising on desktop. The combined knowledge enabled us to build Nimbus. This kind of talent isn’t easy to find. There are probably only a handful of people who can do this in New York. And for any person with expertise in mobile programmatic, they’re likely going to work for Facebook or Google. We were lucky to hire a programmatic partnerships exec and two engineers from the same programmatic company that was going out of business. All this to say that it’s hard to replicate what we built.  

As for the audience size, there’s little value in spending the money to build a solution if you don’t have viewers to see the ads in the first place.

Publishers backs’ are against the wall

Of course, none of this would have been possible had we not had a sizable mobile audience to begin with. We think of ourselves as “too big to be small and too small to be big.” Millions of daily actives is a sizable number, so long as you’re not comparing yourselves to Facebook or Snap.

For large publishers, this is a conundrum. One study conducted by Nielson and The Knight Foundation showed a significant imbalance that news organizations have with regards to readership on their websites and on their dedicated apps. What’s clear: consumers don’t like downloading news apps.

According to the report, “mobile users who access news through apps spend more time reading the content, but the overall audience for apps is small.”  


For large publishers, their backs are against the wall. Audiences are moving to mobile. But on mobile, their audiences are looking at a browser, when the real ad money takes place in apps. And apps are dominated by Facebook, Twitter, Snap and their ilk. Says Digiday, “Apps theoretically present a huge opportunity for publishers since eMarketer estimates that 86 percent of the time users spend on mobile is spent in apps. But publishers have struggled to monetize their content in apps, and many of the most popular apps simply do not belong to publishers. A spokesperson for App Annie said that only two (ESPN and CNN) of the top 200 most-downloaded apps last month belonged to publishers.”

Therein lies the problem for these publishers. Let’s say I’m Coca-Cola and I call a news organization with a small-in app audience and say, “I’ve got a new ad campaign for Diet Coke with Lime, and the digital side of it is $20 million. I’m going to send it out in $2 million chunks spread over in-app advertising, branded content, maybe an event, or maybe a big show. Please send me a proposal.” The news organization would make their proposal to the brand, but without a large in-app audience, they’d essentially be missing one segment the brand wants to target.

This is what sets us apart from many other apps out there. We have an in-app audience and we have beautiful ads that are full screen and highly, highly viewable (we have excellent MOAT scores!)   

Looking forward

At Timehop, now both pieces are in place in-app: audience and monetization. It’s taken years since we first migrated over from an email list, but we’re there. We have a sizable audience of daily active users - several million. And we can now effectively monetize them. We can do it quickly. We can do it with a polished user experience fully integrated into our product. We’re even ready to accept full screen vertical video ads - some brands have re-purposed their Snap ads for Timehop. We would love to see more of that.

We’ve also begun setting up Private Marketplaces [PMPs] with brands and trade desks, giving them priority access to advertise with our users, helping us maintain quality advertising for premium brands, and sparing us from the more shady corners of the programmatic world.

Not only that, having both pieces in place has allowed us to control our own destiny. Staying a small team has helped, to be sure. And now with both pieces in place we can look forward to building the many, many other product innovations we have in the pipeline.

We’re excited for what comes next.


How apps broaden utility while staying simple


Stay true to a mission and take away the burden of complexity

Close your eyes, and imagine a time in the not-so-distant past. A time when technology finally made the leap from research facility to the living room. When the future vision of what daily life would become started to include a lot more robots. That time was called the 1970’s, and it was magical. It introduced a whole new concept in helping humans connect with technology without needing to be a software engineer. It was called being “user-friendly”

The idea still rings true half-a-century later as technology increasingly pervades every aspect of our daily lives pre-robot revolution, including talking virtual assistants, smartphones, VR headsets, tablets, and, of course, mobile apps.

There’s around five million apps available for download on any given day and in one quarter alone more than 17 billion of them were downloaded. Or roughly 5.7 billion a month, 188 million each day, 131,000 each minute. It’s a crowded world, and people very quickly developed a sense of what was worth their time as 80 percent of all downloaded apps are deleted after a single use. It’s like dating, am I right?

Vying for a piece of one’s valuable time and space (quite literally the precious space on their phones not taken up by pictures of food) you have to fight for that quick “A ha!” moment. For Timehop, that’s the moment we show you your first photo from this day last year. It’s surprising. It’s delightful. It makes sense, instantly.

Our main goal has been to get users to that moment as quickly and painlessly as possible. It’s the apps that really know their “A ha!” moment and focus on it that rise above the noise. Apps that you just know what to do, like Lyft, Uber, Instagram, and Google Maps. What’s common across these apps is that certain je ne sais quoi. Except we do know what. It’s being “user-friendly.”

And such is the big challenge for companies trying to grow or broaden their functionality while staying elegant, simple and frictionless. It’s a constant concern staying true to a clear overall mission while tackling real complexities of a problem for your user. Oh, and it should feel personal. And delightful. And innovative. Easy enough, right?

Staying on the golden path and avoiding impending doom 

It’s incredibly easy to be distracted by shiny objects and new opportunities. When you’re working towards growth, every idea is a siren song, pulling your ship towards some rocky outcrop and impending doom. That may seem dramatic, but many underestimate how important it is for an app, or company as a whole, to have a clear vision of what they are solving.

If you don’t know that yourself, how can you be sure you’re communicating it well to your users? (This sounds a lot like RuPaul’s advice for a company Mission.) With Snapchat, for example, they’ve talked ad nauseam about leading with a live camera feed, steering users to always be creating and sharing.

Raj Kapoor, Chief Strategy Officer at Lyft, refers to this lead-to-action flow as “the golden path.” It’s where the app leads its users and, no matter what features or functionalities are added, this path never changes.

“We never want to interfere with the simplicity of the main process,” said Kapoor, adding that Lyft’s golden path is getting customers from point A to point B, while providing the most delightful experience throughout. “But when we do create new features, the final implementation is highly-debatable as the additional functionality shouldn’t ruin the golden path.”

Sounds easy, but consider that even the smallest change to the initial experience can reverberate throughout the app. Even the smallest of new features threatens to disrupt the balance of added value with your golden path.

“The challenge in all of this is that every action has a reaction. It’s like the Heisenberg uncertainty principle, whereby just observing an atom may cause its location to move because the energy of the observation moves it,” Kapoor illustrated. “The same thing applies here: by changing a feature, you’re impacting something else. People love to say that you can isolate it but if you really truly look at all the data, there’s nothing you can do in isolation.”

Of course, as always, there’s a downside. Staying too focused makes it easy to feel accustomed and accepting of non-change, thereby reinforcing the status quo vs encouraging out-of-the-box thinking, said Jack Chou, Head of Product at Affirm, a financial services app to buy products.

“By holding ourselves to such a high bar in terms of not adding features that clutter and detract from the existing experience, building something new can require a bit more inertia,” he said. “Another downside I can see is that you could become narrow-minded and myopic rather than open to to other opportunities and other ways people could be using the app.”

Apps have to find a middle ground, a way where they are able to open up new experiences for their users, while also not messing around with what makes that app special in the first place.

Take away the burden of complexity, and put it on yourself

But obviously it’s crazy to think about shutting out all new opportunities and experimentation. There’s a world of experiences to explore surrounding nostalgia at Timehop and we give ourselves freedom to have fun all the time. But how do we find that balance? For starters, we default to simplicity. We kiss: keep it simple, stupid.

“As long as it seems simple to the user, then we’re doing our job,” said Niki Sri-Kumar, Chou’s colleague at Affirm and Senior Product Manager focused on building out the company’s biggest feature rollout yet: Affirm Anywhere, which turns the Affirm app into a mobile phone credit card.

“If we’re not extraordinarily careful we’re going to start putting some of that burden of complexity on the user,” said Sri-Kumar. “We say that you can come to our app to manage your loans or to take out a new loan to pay for anything you want online. That sounds simple but, in reality, it’s complex from a technology perspective because we have to know how each change impacts everything from our handling of interest accrual to regulatory compliance.”

This sentiment was echoed by Chris Erickson, COO & Co-Founder of Apartment List, a popular app to find apartments. Part of keeping an app simple is to still tackle the complex and tedious problems for the user so they don’t have to do it themselves, he said.

“As it relates to keeping things simple while adding functionality, I think there’s two ways to do it: first, make sure your UI is intuitive and easy for people to accomplish the primary task,” Erickson said. “Second, take any other steps away from them that they’d likely have to do to accomplish that task. Do this in the background for them, so they don’t have to.”  

To personalize or not personalize, that is maybe the question or maybe not

Stay focused. Got it. But that doesn’t mean that simplicity is the same for all your users. The nuance of nostalgia is a little different for everyone. We’re humans with different lives, experiences, and technology. Not everyone wants the same Timehop experience and understanding this world of difference can make a big difference in the way they use your app.

“If you talk to a million different Lyft users, you’ll find a wide variety of potential improvements as transportation is so personal,” said Lyft’s Kapoor. “The challenge in product development is that if you solved every single problem, and applied it to everyone, you would make the experience potentially worse for everyone because the problems are not relevant to all use cases.  That’s where the art and skill really comes into play”

For example, in some areas of the country, particularly more rural parts, they tend to use the scheduled ride feature more than those in the city, where there are plenty of cars at any given time. “The question is: how do you deal with that? Do you change the interface if we know someone’s in a rural area? If you change it for everyone it distracts from the experience. So those are the kinds of tradeoffs that we have to go through,” he said, adding that the interface isn’t changed for rural users.

There’s a whole life of experiences every person has before ever opening up your app that makes for a different way to tailor to them. On top of that is an effort to understand how society’s collective habits may be changing and what that means for you.

“In general, we focus on where we think the world is heading,” said Chou. “We don’t really focus on showing different things to different folks or different demographics. But, there’s a reason that millennials are more scared of credit card debt than their own mortality, which is obviously born from many years or decades of seeing other generations of folks fall into credit card debt. When you combine that with the mobile expectations that they have, we really try to skate collectively as a product to where it’s all going and build for the larger audience that we expect to have over the decades.”

While doing that, the company goes on a journey with its users, building up a history of experiences. “Our goal hasn’t changed -- connecting renters with the best place for them,” said Apartment Lists’ Erickson. “What has changed is our ability to go deeper into the experience with them. As we stay with renters for a longer and longer time, we can add functionality that helps them, not just from that search for a place, but to communicate, decide and actually move into that place. 

In this case, the company’s main goal has not strayed, but it has more data, a richer understanding of people’s context, and better expertise to understand how to make that core use-case better.

Less is more

Apps have to walk a fine line between staying true to their mission and evolving to stay alive. But for every Facebook, which has embraced become something like 10 businesses in one, there’s a Twitter, a company that has openly admitted that it needed to be less confusing to entice more users. We’ll obviously see how that goes.

Clearly, there isn’t a one-size-fits-all rulebook for how apps evolve. Sorry if you came here looking for that. 404. It doesn’t exist. But underlying best practices and collective experiences, not the least of which is staying on that unfettered golden path and delivering on your promise, before promising more.

“The biggest factor in terms of growing is ensuring that people are excited about hiring you for one thing,” said Affirm’s Chou. “If you do a great job with that one assignment, it’s a lot easier to get them to hire you for a second job.” Erickson concurred: “Until we feel like we’ve really solved helping renters find the perfect place, we are going to be building features that solve tangential renter problems like managing their utilities or scheduling maintenance requests.”

There is a sense of calm and purpose in focusing on one job, one problem, one golden path--not only for the end user, but also for the teams trying to deliver who want clarity of mind. It’s a fascinating challenge for designers and engineers alike, as our instinct sometimes drives us to build more, not to build better. For Timehop, this means learning more about our collective experiences and focusing on the simplest path to reliving those memories together.

There is truth to the late 19th century mantra: Less is more. For app developers, this means having a clear vision of what your golden path is. This means embracing the beauty in how different every person’s experience is before they ever open your app. This means, every step of the way, asking themselves, “Are we making this easy for them?”

Society's obsession with nostalgia


Making an oldie a goodie to create a brand-spanking new adventure

We’re often told that if you want to move forward, don’t dwell on the past. Rather learn from it and live in the present since the past can’t be changed. Yet more often than not, people find themselves getting lost in their past experiences; the idealized versions of their memories both good and bad.

Here at Timehop, we obviously see the power that old memories have and their ability to shape our future. We’ve been reliving our awkward school photos for years, so it’s no surprise to us to see nostalgia back in vogue.

This fixation on our past is big business, just ask Hollywood. More than 60 percent of the top grossing movies released between 2005 and 2014 were adaptations, sequels, spin-offs or remakes. NBC, Fox and Netflix are bringing back shows, such as Will & Grace, The X-Files, Prison Break, Heroes, 24, One Day at a Time and Arrested Development. Advertisers also leverage nostalgia marketing: remember Domino’s Pizza ad last year with the guy from Stranger Things playing Ferris Bueller?

While we’ve seen a lot of success, bringing fan favorites back isn’t always easy. We’ve seen plenty of cases where something goes wrong and the remake lacks the same heart as an original. We saw the difficulty with the first remake of Planet of the Apes, a big-budget version of The Lone Ranger, and don’t get me started on I Love the 2000’s.

So how exactly do you make an oldie a goodie? It‘s a subtle balance of understanding why nostalgic content seems to have exploded; knowing how to re-engage original fans while creating a new generation of them; and overcoming the challenges in knowing when and how to use old-time favorites.

Technological change driving nostalgia

The 70s. What a decade. We saw the birth of the floppy disk, the mobile cassette player, and yes that brick-sized mobile phone. It was a time when more and more technology was brought to the consumer. During that decade, shows like Happy Days and movies like American Graffiti pulled in audiences yearning for the perceived simplicity of the 1950s. In those moments of collective progress when we see a new future opening up, we reminisce, perhaps as a way of making sure we don’t lose some essential part of ourselves even as we evolve.

I think it’s cyclical,” said Fell Gray, Executive Director of Verbal Identity at global brand consultancy Interbrand, a subsidiary of Omnicom. “I look at it as part of the next stage of technology that we are embarking on and imminent in the next few years with changes to the Internet of Things, and machine learning and voice interaction changing a lot of our behaviors. It seems natural for us to want to connect back to things that feel emotionally resonant and sometimes comfortable terrain.”

In other words, the nostalgia boom may be so prevalent because we’re in another age of fast technological innovation, with advancements in spaces like virtual reality and, most notably, artificial intelligence. The world has seen amazing leaps forward in the last 25 years; the world we live in now would be almost unrecognizable to someone from 1992. Yes, 1992 was 25 years ago.

Now things are ready to take off in an unprecedented way, and people may find some amount of comfort in what’s familiar. This sentiment was echoed by Todd Shallbetter, COO of Atari.

“Life has become so mile-a-minute and rapid-fire with our handheld devices and content overload, I think there’s a certain yearning and wistfulness to return to some of those comfortable, simpler experiences,” said Shallbetter.

If technology is sparking the need to hold on to the past, it’s also facilitating the ability to do so as well, noted Kevin Allocca, Head of Culture and Trends at YouTube.

We are in an era of increased engagement with nostalgia because of technology and digital media, essentially because of platforms like YouTube, social media platforms and Timehop,” he said. “There’s this broad accessibility to so many different types of content: snippets of movies that studios upload to YouTube or snippets uploaded to Giphy, images posted on image sites, which all allow for those kinds of connections to the past. At the same time, there’s now access to so many moments relevant and personal to us. And we’re enabled to experience nostalgia in our own way with our own moments.”

We’re journaling more of our lives than ever before. Technology has brought us to where we are now in terms of both wanting to, and being able to, relive the past in ways we have never been able to before.

Tapping loyal fans; gaining new ones

If we’re living in a time of yearning for the past, all you have to do is serve up old content with a few twists and fans will be forever fans, right?. Well, not so fast. If you’ve ever actually spent time on the internet, you know that hardcore fans have passionate opinions. The memories they’re attached to are an expression of themselves and any perceived threat creates unease and friction.

“I think part of my identity, and how I see myself, was shaped by the entertainment that influenced me at different points in my life,” said YouTube’s Allocca. “The new Blade Runner just came out and it’s not just that I love the whole aesthetic and incredible art of that film, but also I want to see it because I see myself as someone wanting to be associated with that film. I think that a huge driver of social interaction is expressing ourselves and expressing our identity and I think nostalgia content is part of the story of ourselves and sharing it allows us to share that story with other people.”

In other words, fans have an extreme emotional attachment to the content and an idealized and possibly lofty version of it in their minds. They have years of personal experiences to wrap around something as simple as an old movie. Attracting new fans is hard enough, meeting the expectations of the old ones is far more complex, requiring a deep understanding of its value and some clever tuning to modernize.

For example, Atari bridged generations of Barbie fans by incorporating newer elements [a more modern game] with older content [Barbie characters]. Atari recently did a Barbie integration inside Rollercoaster Tycoon Touch, one of the company’s mobile games. In the Fall Barbie event, players could add attractions to their theme park inspired by old Barbie toys. They we’re able to reconnect with the fans who grew up with these toys, now parents themselves, and reach a whole new generation.

“It worked quite well as a way to generate multi-generational nostalgia,” said Atari’s Shallbetter. “We know we’re not going after that three-to-five-year old girl but, in fact, we’re going after the mother who’s collected Barbie dolls her whole life and who has a fantastic 1968 Cher version.”

Bridging these generations requires a keen sensibility to cultural changes and market shifts.

“I think the secret sauce is really paying attention to the marketplace more than anything and analyzing your products or services or ideas against that marketplace and deploying as best you can with those influences in mind,” Shallbetter went on to say. “In developing products we will look at market competition or other games that we respect in the business, either for their financial performance or artistic excellence. And we may adapt our development ideation around what’s working well.”

The challenges of making nostalgia work

Beyond just appealing to original fans, there are other challenges in making nostalgia work, particularly in advertising. This has less to do with older content itself and more to do with how it’s being used.

What shouldn’t you do? Using nostalgic content as a shortcut or as a way of covering up for lack of a real message for a brand will likely fail, said Interbrand’s Gray. “Where it’s thoughtfully done is when a brand has already established a clear point of view and a clear emotional connection with their audience, then nostalgic content can be used as a bridge to another generation.”  

And then there is the risk of a legacy brand appearing out of touch by trying to tap into nostalgia where it doesn’t belong. The "How Do You Do, Fellow Kids?” problem, as I call it.

“If you’re a heritage brand, and your legacy is seen as old or tired, then tapping into that may feel tone deaf to what people are telling you. It may be more an opportunity to first start and look at the experiences you’re creating and that may be a way to find new relevance rather than looking back to go forward,” noted Gray. “I think there are some cases where if you’re looking across brands where there’s heritage and there’s already an existing behavior where people are harkening back or reapportioning some of the artifacts, symbols or content of your brand, if that behavior is already starting then I think there are thoughtful ways that you can feed that and encourage that and help that carry you into new conversations, new points of view,” she said.

Creating a ‘brand-spanking new adventure’

Whether it’s a blurry photo from our phones camera roll, an old and seemingly mundane tweet, or the cartoon you watched non-stop as a kid, it’s no debate that nostalgia has become a powerful emotional connector.  Some say it’s a driving force of our behavior as we seek to attach ourselves to idealized versions of our past to thereby bring them forward. Others, like us at Timehop, believe it’s one of the best ways to learn and grow from our personal and collective experiences. Apparently, we all do this. And we’ve been doing this since the beginning of time.

You might have heard this before, “What has been, will be again. What’s been done, will be done again. There’s nothing new under the sun.” It originated in the Ecclesiastes book of the Bible, re-hashed in a Shakespearean sonnet, and has been echoed ever since. It may seem to paint a bleak picture of monotony, but we think there is actually beauty in this sentiment. In contemporary parlance, we hear: “What’s old is new, again.” Everything gets a second chance with new experience and purpose.

This is not a message to rely solely on the old. It is an appeal to embrace the power that memories have to transport us. It is that nostalgic connection that can take something like an 80’s cassette tape mix and use it to take us on a completely new journey in 2017. Just look at Guardians of the Galaxy, the sequel. As one movie critic observed: Guardians of the Galaxy “was definitely the Marvel movie to beat… until Vol. 2 came out… offering the same blend of winning ingredients, but amping up the story… the result is a brand-spanking new adventure.”