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Happy Tuesday! This is Issue 198, dated March 5, 2019.
And thanks for being a paid subscriber!

Happy Tuesday, everyone. I still haven’t left the house since the weekend’s Northeastern snowfall, and I’m running out of rats to eat.

Anyway. Last Thursday, I held the Hot Pod Summit, a small day-long podcast business conference, as part of the On Air Festival at the Wythe Hotel in Brooklyn. Had all the usual stuff associated with an event like that: panels, presentations, etc. Those events were on the record, and I will be publishing near-to-full transcripts of those conversation recordings for Hot Pod Insider subscribers soon enough.

But for now, findings from the summit will sporadically find their way into this newsletter, because the world continues to spin with or without summits. Let’s go.

Nick Quah
NYT AUDIO EXPANDS WITH NEW HIRES

 

Looks like that the New York Times is getting ready for the next phase of whatever its audio division is going to become. I’m hearing that the Times’ audio team is announcing a slew of new hires this morning that’s meant to deepen its operations with The Daily and ramp up its involvement with narrative projects.

Those hires include: Lisa Chao as a senior editor on The Daily, who joins from Gimlet where she was the host of the Startup podcast; Marc Georges as a new story editor on the production, who most recently worked on Tally Abecassis’ anthology documentary series First Day Back; and Adizah Eghan as a news producer on The Daily, who joins from Snap Judgment.

The team has also brought in Kelly Prime, most recently of WNYC Studios’ Radiolab, to work on its narrative projects, joining a team led by Larissa Anderson and Wendy Dorr.

These developments come shortly after Theo Balcomb’s promotion as the Executive Producer of The Daily and News. Also worth noting: producer Lynsea Garrison has been made The Daily’s first international producer, a role that will see her crossing the globe to produce stories for the year.

To contextualize the hires, NYT Audio EP Lisa Tobin tells me:

Right now, we're focused on two key objectives: 1. The Daily will just keep getting stronger, and pushing the boundaries of what a daily news show can be and do. That means strengthening our ability to cover the news day in and day out, and it also means expanding our capacity to use the Daily for wildly ambitious storytelling. Runs of coverage, mini-series, on the ground foreign reporting -- we are going to be doing all that in 2019… 2. And then a handful of the most journalistically significant stories of the year will want to be told at a level of scope and ambition that will break from The Daily. We'll be collaborating with several Times journalists on those.

The team is still hiring for a Managing Editor to help oversee The Daily.

Nick Quah
ENTER LUMINARY


Matt Sacks, the CEO of the forthcoming exclusives-driven podcast startup that aspires to be the Oh-You-Know of Podcasts, couldn’t-wouldn’t say much in the way of specifics when he joined me on stage at Thursday’s Hot Pod Summit. But we ended up getting much of those specifics on Sunday night anyway, when Luminary kicked off a soft launch and its first public-facing press push, through a flashy New York Times write-up.

Let's go over the details:

(1) A Luminary subscription will cost $8 a month — so, lower than the cheapest tier for Netflix and Audible ($8.99/mo and $14.95/mo, respectively), but higher than Stitcher Premium's ($4.99/mo).

(2) Despite the March press push, which was presumably timed for SXSW, the service isn't expected to actually roll out until June. That's pretty far away, and I've been told that it's somewhat uncommon for a startup to exist stealth mode well before its actual launch. A curious choice.

(3) The service will start off with more than 40 ad-free exclusives. The portfolio looks to be a mix of pre-existing podcasts, new projects from existing publishers, and brand new productions. You can view some of those offerings on this page, but the list includes:

  • New shows from Adam Davidson (through his new studio, Arrow Productions), Guy Raz (on his own, separate from NPR), and Slow Burn co-creators Leon Neyfakh and Andrew Parsons (who weren’t able to carry over the Slow Burn IP from Slate with them);
  • Projects from Jacob Weisberg and Malcolm Gladwell’s Pushkin Industries, Lena Dunham (via Pineapple Street), Topic Studios, and Alex Gibney’s Jigsaw Productions;
  • Some Wondery shows, specifically Locked Up Abroad plus Hollywood and Crime;
  • Stuff from digital media companies like New York Media, The Advocate, The Players’ Tribune, and The Ringer (which will supply three new “original shows”);
  • Two shows from WNYC Studios — Spooked and Note To Self (now a co-production between WNYC and Stable Genius Productions) — which should theoretically raise the question of public radio, its mission, and a service like this; and
  • Love+Radio, which creator Nick van der Kolk is pulling away from the indie collective Radiotopia.

Several folks have already pointed out elsewhere that the line-up, as we see it, doesn't seem particularly diverse, and perhaps more pressingly, it seems disproportionately stacked towards shows that already have followings or talent that's already developed bigger name elsewhere. I'd need a more comprehensive list in order to assess the breakdowns along demographic lines and the ratios of established-upstart projects, but the murmuring here accentuates one of the community's core anxieties around an entity like Luminary: should the platform grow sufficient power to be able to actually pick winners and losers, what they fund — and what they don't fund — really matters, and strikes at the heart of podcasting's celebrated openness.

(4) This detail, which I first learned on Thursday, was a surprise to me: on top of its subscription-driven exclusives business, Luminary will also be usable as a conventional podcast app that listeners can use to consume podcasts already out in the open. Previously, I had assumed the platform to practice a pure paywall. I guess I understand the broad logic of this: it’s easier to get people to pay for a ticket when they’re already gathered in the lobby. (A tortured metaphor, but you see what I’m trying to say.) However, I suspect this might end up being a complicating factor, particularly when it comes to building a differentiating case for Luminary, whose construct is essentially the same as Stitcher Premium, albeit with a significantly bigger war chest.


(5) Finally, here’s the detail that strikes me as most astonishing: Luminary has apparently raised a total of $100 million in venture funding. This revelation comes almost a full year after the Wall Street Journal first reported the company's $40 million raise in a round led by New Enterprise Associates (where CEO Matt Sacks, now 28, once worked). 

It also comes well before the startup has converted a single paid user.


Worth further noting: the company currently employs around 70 people — 40 of which, according to the Times, are engineers, presumably well-compensated — with offices in New York and Chicago. In other words, Luminary is a fairly expensive operation pre-launch, and that’s before we even start talking about how much the company must have committed to content deals, some of which, I imagine, must be quite costly given expensive talent. (I have no special insight into this, but I’m guessing that Guy Raz alone is probably valued at the amount of a few ranch-style houses in the Midwest, given the ascent he's on.)

Look, I’m just an average schmuck who knows little beyond basic personal finance principles — not spending more than you’re earning, so on and so forth — so the notion of a largely untested content-driven startup raising $100 million to shake up a consistently unwieldy ecosystem is something that’s wildly distant from anything I’m able to wrap my head around. Sure, I'm aware that venture finance has its own universe that adheres to conventional logic as much as the bubble-world in Annihilation does to actual Florida, but I have to say: I gulp at the level of risk involved in a situation where a *consumer-facing media company* has raised that much money before validating any of its hypotheses out in the wilderness.

Again, I don't walk the venture/finance world, and I’m sure there are ~business reasons~ packed in there somewhere. And to be clear: I’m not saying that this won’t work. I’m not intellectually confident in saying that about anything, ever, until the end of time. I’m just saying that, given the details, Luminary has the feel of a wild, wild gamble.

Anyway, I stand by my initial analysis of Luminary’s principal challenge back in the Spring of 2018: within the context of podcasting — defined, to this point, by its wealth of free ad-supported options — this particular venture is in the business of consistently and perpetually beating that entire universe of free alternatives. This doesn’t necessarily mean that the venture needs to provide better programming (however defined) than all available alternatives in the open ecosystem; which is to say, to be entrenched in the highly-volatile hits-making business. It can also mean that venture can simply opt for providing a better overall experience when it comes to ordinary people interacting with the world of on-demand audio in general.

From the sounds of the press push, Luminary seems to be primarily focused on the first notion, framing its value proposition to be based on the quality of its content. Here’s Sacks, from the Times piece: “What sets Luminary apart is our exclusive content right off the bat. Nobody comes close.”

The tricky thing about “quality” is its subjectivity. To state the obvious: “quality” means different things for different people and, not to go all liberal arts college on you, the concept is tied to specific structural productions of status, prestige, social capital, taste, and power. (Perhaps relevant to this discussion of perceived quality and prestige is the nature of Luminary’s unveiling: announcement via flashy New York Times piece.) It’s one thing to build a “quality” product aimed at converting a specific group of people — say, certain demographics of existing podcast listeners as we know them — but it’s another thing altogether when the expressed north star is literally Netflix, a subscription product that’s continuously growing off the fact that it’s well positioned to be most things to most (paying) people.

Ah yes, the Netflix analogy. I’ve written before that I find the analogy troublesome... not because the “Netflix for X” is overused to the point of cliche, but because the evocation almost always underplays a crucial fact: Netflix didn’t build an initial sustainable user base off the strength of exclusives; rather, it was developed through the easy provision of film and television products that were already tested in the marketplace, but were perhaps inefficiently or under-monetized. To put it another way, Netflix's early success was rooted in giving users products they already knew they wanted, that they were already habituated into paying for, and that already went through their own awareness-raising cycles — and then later layering a much harder exclusives strategy on top that allowed them to expand into a different kind of business, though one backed by the stability of the older one. Point being: Netflix’s original content journey was gradual. In contrast, Luminary is tasked with a pure dead-lift: they have to originate a new user behavior, develop a programming pipeline that not only continuously converts more people into paid members but also continuously convinces them to stay paid members, and do all of that a rate that outpaces their spend over time. Oh, and they'd have to do that beneath all the pressure that a $100 million VC fundraise brings.

But anyway, back to the point about quality and subjectivity: the thing about the value proposition for something like Luminary is that it has to be specific enough to stick. As in, what specifically about Luminary's portfolio should convince me — a ordinarily specific person with specific tastes — to pay $8/mo instead of turning to the universe of free alternatives? Is Lena Dunham enough? Is Adam Davidson enough? Is Leon Neyfakh enough? Is this particular version of Guy Raz, who I can already on other still-active podcasts on other (free) platforms, enough? More to the point: even if my answer to any of those individual questions is yes, will there be enough yeses for me to not cancel my Luminary subscription after a few weeks? (As it stands, personally speaking, I'm not sure.)

Let's re-frame this line of questioning. Someone — I can't remember who, if you recognize this let me know — once articulated a subscription or membership business not just as a transaction, but as an investment in continuous production. You give me, say, $7/mo in part because you trust in my ability to continuously surface the stuff you'd like to consume. When applied to this scenario, the question is: will you trust in Luminary's ability to develop stuff you'd want to consume? An associated question: what is a Luminary show? What does it stand for? 


Setting the notion of "quality" aside, I'm more comfortable thinking that Luminary will more likely live or die based on its marketing and user acquisition campaigns. Even if it doesn't end up producing "best-in-class" inventory, it can still persist by successfully actual human beings to become and stay paid subscribers for something they can usually get for free. And so the more appropriate question that we should focus on: how will they spend their $100 million, minus overhead and content deals, to do all that? The Times already made note of outdoor advertising targeting New York, Los Angeles, and Austin. Will we see Luminary napalm America with more ads and billboards until Americans reflexively equate the word Luminary with podcasts? Will we see an aggressive ground game operation in the vein of Skimmbassadors? Will we see Luminary’s PR team attempt to command the trades and the prestige press? Will we see Luminary attempt to mint celebrities of its signed talent? Will they ask their signed talents induce a halo effect to its platform by promoting it on Twit- … oh wait, that’s already happening. This, perhaps more so than the content game, is the principal front-line for the company.

A closing thought: note that I haven’t really argued whether Luminary is good or bad for podcasting. Frankly, I don't know. For what it's worth, I tend to be sympathetic to the view that the ecosystem needs some paid options, if only to eat the risk for things like limited-run series and provide creators with an alternative revenue source. Open podcasting that's primarily ad-supported, as we know it, is important, but it has limits for certain show types and people. The key question, in my mind, is whether a paid platform can be executed in an equitable and sensible manner, and whether it can do so without triggering some sort of winner-takes-all dynamic. Whether all of that applies to Luminary, we shall see.

Two final notes on this story:

  • Some readers wrote in asking how I think this whole Luminary business will play out. Look, I might dabble with tarot readings, but obviously, I have no idea. There is a possible future in which Luminary succeeds, but becomes a stable home for a certain kind of show and doesn’t assume a kind of landlord power over podcasting. There is also a possible future in which Luminary succeeds but does accumulate enough power to assume landlord status. There is also a future in which Luminary doesn’t really work out, and everybody there gets to fail upwards or whatever.

  • Readers also asked: should they work with them? Look, that’s between you and your god. But if I was a smaller publisher who needed cash flow for whatever reason, I’d probably do it, because if Luminary doesn't work, at the very least it’s a wealth redistribution vehicle. Go get your money. I’d just make sure I’ve got other things going. Diversification, you know?

And that concludes Question Time with Nick Quah. 

Classifieds


Jacob Weisberg and Malcolm Gladwell’s new venture, Pushkin Industries, is looking for a Director of Business Development and Finance to join its team in NYC. This role will report to the CEO. More info here.
Snap Judgment is hiring! The award winning public radio show and podcast, based out of Oakland, is looking for a Producer, an Operations Manager, a Technical Production Manager, a Digital Editor, and more. Please see our jobs page for more info.  
CAFE is hiring a producer/editor for its podcasts Stay Tuned With Preet (Bharara) and the Insider Podcast. We help our listeners make sense of law and politics... there is a lot to try and make sense of each week! Apply here.
Register for the free Infinite Dial webinar — 2pm ET, on Wed, March 6, from Triton Digital and Edison Research. Digital audio, radio, podcasts, smart speakers, mobile, social media. The longest-running study of consumer behaviors related to media and technology in the US. (Link)
Want PR for your podcast? McCartin/Daniels PR offers consulting services, media campaigns and tour support.  Contact Jacqui (at) mccartindaniels (dot) com
The Audio Podcast Fellowship at Stony Brook University gives podcasters tools and guidance to launch a podcasting career: from storytelling, production and marketing to guest lectures by top podcast professionals. Classes in the Hamptons and Manhattan begin in September. (Apply)
Podcast ad analysis by Magellan — Increase your return on advertising spend. Thousands of brands are advertising on the top 2,000 podcasts. Vet your media plan by quickly assessing a podcast's viability and success with other brands like yours. Sign up for a free demo. (Link)
Mission.org is HIRING! We're a podcast network (Best of 2018 by Apple!) and brand studio looking for: a designer, an editor at large, producers, hosts, and a head of community. Apply here or forward this listing to the any rockstars you know :)
Want to advertise to the fine readers of Hot Pod? Check out this page for more information.
Tracking
  • ICYMI: two top Stitcher executives, Korri Kolesa and Lex Friedman, have left the company to take up leadership positions at Art19. I broke the news last Tuesday.
  • Pandora launched a new feature called “Pandora Stories,” which will allow creators to include voice tracks in music playlists as a way of telling stories.
  • Apple caused a slight brouhaha recently after publishing an update — meant to discourage “poor quality” podcast metadata — that caused some to believe that the Apple Podcast platform would remove shows with episode numbers included in the title. The company later clarified that this was not the case. Caroline had a smart analysis on the matter in a recent Insider, but if you’re not a paid Hot Pod subscriber, go here.
  • I hear that Pinna, the Graham Holdings-owned kids-oriented podcast platform that recently spun off from Panoply, just launched an Android version of its app, and is also now available in Canada and Australia.
  • Huh, looks like Podtrac brought back the Global Downloads on the ranker.
  • For those keeping tabs: Pocket Casts now has an Alexa Skill. Read The Verge on that development.
  • WNYC's COO Depelsha MacGruder has been named interim CEO.
  • theSkimm, the newsletter-oriented news curation company, is launching its own daily news podcast, called Skimm This. Aimed at the evening commute, the first dispatch dropped yesterday.
  • On the ad tech front: Voxnest recently announced the launch of its own targeted advertising platform, called the Voxnest Audience Network. The media conglomerate Katz Media Group has signed on to be the first entity on the platform.
Caroline Crampton
BURNED OUT

 

Alongside all the recent news of big acquisitions and new launches, I’ve become aware of another theme bubbling away. Plenty of podcasters are talking about experiencing burnout, or something close to it. Again and again, in private conversations with people who make audio, I’ve heard the same view expressed: there’s all this money being thrown around and podcasting’s never been so hot, so why am I still working 70+ hours a week and unable to afford any help?

I decided to dig into this a bit further, since it’s a nuanced topic that people experience differently depending on their individual situations. And although I’ve been having more conversations about it recently, it’s by no means a new phenomenon. Among many instances: Podcasters Roundtable just put an episode out about this a few days ago, and Helen Zaltzman and Eleanor McDowall talked about it at the Audiocraft festival in Sydney in 2018. It’s discussed in this recent book about podcasting, and Megan Tan has described her decision to stop making her first-person show Millennial in this context too.

Plenty has also been written about burnout recently in relation to all industries, but I’m interested in exploring whether there’s something peculiar to podcasting that means people working in audio are more likely to experience it. Over the past few days, I’ve been speaking to a number of producers, some independent, some employed by networks or broadcasters of varying sizes, to try and get a glimpse of what podcast burnout feels like in 2019.

For Sophie Harper, producer of Not By Accident — a personal podcast that documents her decision to become a single mother and then her life with her daughter — it was a long time building. “I began my podcast in early 2017, naively believing what I was reading: that if I made something good and released it on a regular schedule, I would gradually build an audience, find advertisers and make enough to live off,” she told me over email.

“I had success, got media attention, saw my download numbers explode, partnered with a network and started running ads. Once I had advertisers I felt real pressure to meet the agreed schedule. I’d get sick, or my daughter would, and I’d be forced to keep working around the clock regardless. I was doing the whole thing alone. I listened to the credits of other shows and thought: they don’t know how lucky they are. Once the ad revenue started coming in, I realised it was only really enough to cover the time I’d spent making the ads.”

Burnout is usually defined as a period of mental and physical exhaustion, triggered by sustained stress and anxiety. For Harper, this came in the form of “the pressure, real or imagined, to keep putting out episodes on schedule for ever and ever”. The ongoing, serialised nature of podcasts came up a lot as I was talking to podcasters who had experienced burnout — I’d go as far as saying that it’s a major contributing factor for a lot of people. Helen Zaltzman, who makes The Allusionist with Radiotopia, told me over Skype that working release deadline to deadline can really get to her.

“I tend to take January and July off in order to avoid total breakdown. Usually by November of each year I'm just kind of crawling to the finish line and looking forward to the point where I don't have to release stuff,” she said. “But in those times I’m still working — they’re times to catch up and bag interviews for the next few months and generate ideas.” In July 2018 Zaltzman was ill and had to be in hospital for weeks, so her planned hiatus from releasing episodes couldn’t be used to do behind-the-scenes work as she had hoped. “I didn't really get ahead on interviews and ideas and stuff because I was somewhat incapacitated and I'm still feeling the effects of that now, eight months later,” she explained.

Aside from the constant pressure to release — which isn’t such an issue for authors or filmmakers or musicians of a similar level, who can often put out a piece without the expectation that another of equivalent quality will follow a week later — another facet of podcasting that seems conducive to burnout is that narrative of supposed accessibility that I’ve written about before. It is theoretically possible to make a very high quality podcast completely by yourself, but that fact can also lead to unrealistic expectations and difficulties. Tamar Avishai, producer and host of The Lonely Palette podcast, articulated this dichotomy in her email to me:

“The reality [is] that if I’m not making this podcast, it’s not being made. There isn’t a single piece of the process that I could realistically outsource and still feel like the show is in my voice, and my voice is a crucial piece of it, in more ways than one. In some ways, it’s enormously liberating and self-actualizing to be the boss, when you don’t have any kind of editorial board assuring you it’s not crap or helping to guide you away from crap, you’re your own judge, jury, and executioner. And that kind of stress can be extraordinarily corrosive.”
On top of the pressure of constant releases and solo working (both classic contributors to feelings of burnout that podcasting so perfectly provides), everyone I spoke to wanted to stress how lucky they felt, despite everything, that they had been able to gain a foothold in the audio space at all. A producer from the UK, who preferred to remain anonymous, described how even at the worst point, they were reluctant to reveal the difficulties: “All I thought about was audio/podcasts. I was working quite a high-pressured day job and taking annual leave to do my audio and other projects, so I was never getting a proper break. All of my weekends were spent working and I kept telling myself 'this is your own doing, you asked for all of this' so felt I couldn't really complain.”

Zaltzman echoed this, citing it as one way she keeps the burnout at bay. “I'm aware through all of this how lucky I am to have the existence that I have and I always remember that as well. When things are kind of troubling to me, I still realize that it's a very jammy thing to get to do.” 

Taking breaks (if possible when needing to keep revenue coming in) was also a popular coping strategy many mentioned, as was working on short-run series rather than committing to constant publication. Harper also urged would-be solo podcasters to be ambitious and work towards what they really need to make their show, rather than suffering in silence. “Try for a production deal,” she said. “Do it with a budget, a production team, a marketing budget, and a salary.”

I’ve really only scratched the surface of this subject here — the more I explore it, the more podcasting, with its apparent level playing field between big budget productions and independent side hustlers, seems so perfectly designed to produce a boom in burnout. I’ll be writing more about this soon, and in the meantime if you have experiences or thoughts to share on this subject, you can find my email address here.
Nick Quah
GIMLET AT SPOTIFY: BUSINESS AS USUAL... FOR NOW

 

Also at Thursday’s Hot Pod Summit (gotta keep the #brand strong, friends), I was joined on stage by Courtney Holt, Spotify’s Head of Studios and Video, along with Gimlet co-founders Alex Blumberg and Matt Lieber, who both now hold Managing Director titles at the company, to talk through some details about the Swedish streaming platform’s splashy dive into podcasting and its big to transition into an all-consuming audio content provider.

We touched on a bunch of different topics — intentions, view of the market, original content production, Holt’s time at Maker Studios, potential comparisons to what happened at YouTube, existential anxiety and miserablism — but I reckon the key takeaway that you’d want to know comes in the form of a Matt Lieber quote from the conversation. “We’re going to continue to experiment,” he said. “We don’t have a master plan, and we didn’t come here to reveal a master plan about how all of this is going to work, but I think our goals are to get more people listening to podcasts, and to get more people checking out podcasts on Spotify. We’re going to figure out how that works.”

That very quote shows up in Fast Company’s write-up of the interview (“Spotify’s promise to worried Gimlet fans: We won’t ‘disrupt’ podcast magic”), courtesy of Melissa Locker, who also highlights the details that Gimlet’s shows will continue to be available everywhere, at least in the immediate future. On-stage, Holt himself emphasized not wanting to “disadvantage users to prove a point.”

Another detail that struck me: while the details of the relationship between Gimlet and Spotify continues to be ironed out, the trio expressed that Gimlet will proceed to exist as its own world within whatever Spotify’s original podcast strategy turns out to be. To put a fine point on it: I was told that Gimlet will not be in charge of developing all of Spotify’s upcoming new podcasts.

A development that happened the very next day appears to bear out this configuration. On Friday, Spotify announced that Liz Gateley, a TV veteran who was most recently the EVP and Head of Programming at Lifetime, is joining as the company’s new Head of Creative Development, where, as she outlined in a LinkedIn post, she will “be overseeing their original content development teams on both coasts and their expansion into Comedy, Sports, YA Fiction & Scripted, News/Docs and obviously more Music formats in the podcast space.” The entertainment trades seem to be directly tying Gateley’s responsibilities to the company’s growing podcast activities.

So, it seems that Gimlet will continue to move forward as it always has… for now. I spent yesterday morning reading about Richard Pleper’s recent resignation as HBO chief in the wake of Time Warner’s acquisition by AT&T, and I wonder.

Anyway, two more Spotify developments to note — that weren’t directly touched on in the panel — before moving off this story.

  • The first you might have already heard: recent job postings have surfaced suggesting that the company is looking to develop sports podcasts. Here’s Music Business Worldwide on the matter.
  • The second you might not: Joel Withrow, the Director of Product at Panoply, has recently moved over to Spotify to serve as a senior product manager.
This time last year. To refresh: I'm copping this new feature from the very smart Ali Griswold, who writes a damn good newsletter on the sharing economy called Oversharing, where we go over the headlines from this point last year.

In the March 6, 2018 issue, kids start Chomping, folks are trying to figure out how to make money off Alexa, Spotify gets ready to IPO, Marc Maron moved garages, and Stitcher performs another windowing test with Dear Franklin Jones.
Heads up. Doing some traveling this month:
  • I'm going to be in Austin, Texas for SXSW on March 7-9, to do this panel. If you're heading that way and wanna say hi, hit me up.
  • And then I'm going to be in Boise, Idaho for Treefort/Storyfort to do this panel (but also to see Vince Staples in person) on March 20-23. Again, if you're heading that way and wanna say hello, hit me up.
Post Note: Today I am introducing...

The Netflix of Rosé. The Chatroulette of Food. The LastPass of Opinions. The Techmeme of Office Gossip. The Panera Bread of Weddings. The Amazon of Life Events. The Peloton of Complacency. The AirBnb of Second Families. The Hipmunk of Secrets. The Pornhub of Broken Hearts. The IMdB of Scandals. The Salesforce of Reconciliation. The Taskrabbit of Divorce. The GroupOn of Regrets. The Uber of Forgetting.
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