SoftBank

Fair, the vehicle subscription startup backed by SoftBank, is loading its executive team with veterans in the tech, venture and automotive industries as it seeks to build out its Uber leasing program and expand beyond North America.

Fair.com today announced three key hires to lead the development of its car subscription app, financing department and leasing program with Uber.

Jay Trinidad, a former Google and Discovery Networks executive, is now chief product officer. Trinidad will direct the company’s app development and technology efforts. Former chief accounting officer of TrueCar John Pierantoni has been hired as senior vice president of finance and risk.

Pat Wilkison, general partner of venture firm Exponential Partners — an early investor in Fair — will run the startup’s Uber program.

The three hires are critical additions for the three-year-old startup as it tries to convince consumers to try its car-as-a-service platform over buying or leasing a vehicle from a traditional dealership or other online sales upstarts. The advantage for Fair, aside from the $1.5 billion treasure chest it has amassed — is the platform itself.

The company was founded by automotive, retail and banking executives, including Scott Painter, former founder and CEO of TrueCar, on the premise that today’s consumers, including those in the gig economy, want flexibility.

Fair has tweaked the traditional lease to give consumers more options. Users can subscribe to the program and switch vehicles through the term of their “lease.”

It’s a capital-intensive business model that requires the kind of experience that Painter believes these three executives can deliver.

The hires will help drive Fair’s aggressive efforts around payment, infrastructure and financial planning as it scales its flexible car ownership model internationally and tries to make a name for itself on the global stage.

“A critical part of our transformation effort is deepening our bench of talented executives to set us up for success now and into the future,” Painter said.

The three hires come on the heels of rapid growth, a critical acquisition and huge Series B funding round of $385 million led by SoftBank, with participation from Exponential Ventures, Munich Re Venture’s ERGO Fund, G Squared and CreditEase.

“After closing $385M in our Series B, it’s time to put that capital to work for us to buy cars and propel growth—with this new executive team providing us with important insights and leadership.” Painter said in a statement. “Jay will eliminate execution risk and bring in operational and strategic expertise, Pat is an investor-turned-employee crusader, while John is a world-class financial and accounting expert around whom we can build a sound subscription business and strong auto insurance division.”

Fair acquired in January 2018 the active leasing portfolio of Xchange Leasing, a service Uber first established in 2015 to lease new and nearly new vehicles to drivers who did not come to the service with their own cars.

That acquisition laid the foundation for what has become a big piece of Fair’s business today. Some 45% of Fair’s cars are used by Uber drivers today.

Fair also has aspirations to expand beyond the U.S., Trinidad told TechCrunch in a recent interview. The company hasn’t publicly disclosed which countries it might go to first. Europe and Asia, particularly considering Trinidad’s long background in the region, would be the most likely markets for Fair.

In the next year, the company hopes to move into international markets and grow its workforce, which will likely mean moving into a bigger office, Trinidad said.

“I really think in a year’s time, at least in the markets we’re targeting such as Los Angeles and San Francisco, you’ll start to hear ‘Why not Fair a car instead of buying or leasing one?’ It will be a third option people consider.”

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American Crime Story drama

Latest series of the US hit show will recount the former White House interns affair with the then president that led to his impeachment in 1998

America

Monica Lewinsky is among the producers on a new series of American Crime Story focusing on the Bill Clinton sex scandal.

Titled Impeachment: American Crime Story, the Ryan Murphy-helmed anthology drama will recount the notorious affair between the then US president Clinton and former White House intern Lewinsky, and the subsequent impeachment proceedings called against him by the US House of Representatives.

Booksmart star Beanie Feldstein will star as Lewinsky, with Sarah Paulson playing Linda Tripp, the civil servant who secretly recorded phone calls the 22-year-old made about her affair with Clinton, who was 27 years her senior.

The series will premiere in September 2020 in the US, and is expected to air in the UK soon after. The previous two series of American Crime Story have been shown on BBC Two in the UK, as part of the broadcasters syndication deal with the US.

Impeachment has been adapted by Murphy from Jeffrey Toobins book A Vast Conspiracy: The Real Sex Scandal That Nearly Brought Down a President. Murphy originally optioned the book in 2017, but shelved plans to bring it to TV last year as he felt that such a project would be gross without the contribution of Lewinsky.

However, with Lewinskys involvement, Impeachment is now going ahead. In a statement to Vanity Fair, she said that she had been hesitant to sign on to the series, but was swayed by the opportunity to reclaim my narrative.

People have been co-opting and telling my part in this story for decades, Lewinsky said. In fact, it wasnt until the past few years that Ive been able to fully reclaim my narrative, almost 20 years later.

This isnt just a me problem. Powerful people, often men, take advantage of those subordinate to them in myriad ways all the time. Many people will see this as such a story and for that reason, this narrative is one that is, regretfully, evergreen.

FX chairman John Landgraf said that the network would not be reaching out to Bill and Hillary Clinton for their input.

The Clinton scandal has been the subject of renewed public interest in recent years, following the rise of the #MeToo movement and calls for the impeachment of current US president Donald Trump. Last year, Lewinsky contributed to docuseries The Clinton Affair, while the subject also formed the basis of the second season of popular current affairs podcast Slow Burn.

American Crime Story has attracted critical acclaim and high ratings for its retellings of landmark events in recent US history. Its first season, 2016s The People Vs OJ Simpson, won a total of nine Emmy awards for its account of the 1994 murder case against former American Football player and actor OJ Simpson.

The drama went on to win a further three Emmys in 2018 for its second season, which recalled the 1997 murder of fashion designer Gianni Versace. A further series, about the aftermath of Hurricane Katrina, had been in production but was scrapped by FX last year.

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The truth about comedy writers’ rooms

Grubby banter, sexless flirting and the smell of pizza and ambition … writer Sarah Morgan reveals the funny business that goes on behind the scenes of your favourite shows

books

In the recent movie Late Night, Mindy Kaling plays a naive young comedy writer joining the writing team on a late-night US chat show. The staff are exclusively white, male, expensively educated and surly a running gag is that every one uses the womens restroom to defecate because no women work in the office. Kaling, as a perky diversity hire, shakes up the show and drags it into the 21st century. Its a wish fulfilment comedy: what would actually happen, with just one woman or person of colour in the room, is that the lads would carry on being sexist and racist but would then swivel their heads at her like ventriloquist dummies to check that she was cool with it.

US writers rooms have a feral romance to them, as seen in shows such as 30 Rock, which was inspired by Tina Feys real time as head writer on Saturday Night Live, when her male peers would pee into jars on their office window sill and call it sun tea. In the UK, were a little more embarrassed at the idea that comedy is written, and feel it should be hidden away, shamefully and quietly. (When a writing partner and I asked for an office at the BBC in which to write our radio series, we were grudgingly offered The Jill Dando room, an 8ft sq office in TV Centre featuring a King-Kong-at-the-window-scale mural of the tragically murdered TV personality. We laughed. Writers are horrible.)

Recently, ITV announced an initiative to aim for gender-balanced writing teams on its comedy shows, which came as a shock to some people who claim to passionately love comedy but dont know how it is made. People who think Morecambe and Wise came up with all their own material, and Angela Rippon just started doing all that mad stuff with her legs on the day. You know what though? Its sort of OK comedy writers feel deep down we are doing our job properly when you dont know were there, like God. No, not like God: we dont have that level of self-esteem. Were like people who pump out the toilets at music festivals. Thats it. Gag writers are like the portable loo people, quietly keeping your entertainment entertaining. We know that no one at home cares if Simon Cowell is being genuinely spontaneous, or if his quip about David Walliamss trousers was crafted by a sweaty nerd on a 600th of his salary. Were just happy to be in showbiz.

I love my job. Ive worked in more than 50 writers rooms, not including the shows I helped develop that never made it to air. Some days I pinch myself that Im being paid to laugh my head off. On Horrible Histories you get free lectures from historians its like being paid for school, only youre actively encouraged to make fun of the lesson afterwards. Some shows Ive proudly worked on for decades, some were just a fleeting engagement in a production company office that smelled of pizza and ambition. Food is vital to the workings of a writers room. If a producer offers to buy lunch, everyone will immediately order the most expensive thing possible, because comedy writers are tiny children, and also because you know a free lunch means you are working through lunch.

The job has changed a lot in 10 years, but some writers rooms do still feel loud and gladiatorial, as in Late Night. Often in the UK they are dominated by male Oxbridge-educated caucazoids (some of my best friends are male Oxbridge-educated caucazoids, etc, etc). Writers are generally sensitive and insecure. If you put us together in a room we will overcompensate like the advice given to someone on their first day of prison, punch the biggest bloke in the yard.

There was one pop-based panel show writers room so notoriously toxic, the survivors talk as though it has been entombed in concrete like Chernobyl. A half-formed idea would get cut short with a Thats shit or Not funny. The writers assistant would get sent out with a complicated sandwich order and a grave warning that the star would lose his shit if she got the order wrong. (Of course, the sandwich shop didnt exist. She was terrified! Lol!)

Tina
Tina Fey in US sitcom 30 Rock, which was inspired by her time as head writer on Saturday Night Live. Photograph: NBC/NBCU Photo Bank via Getty Images

 

These rooms are raptor pits, according to Andy Riley, co-creator of Year of the Rabbit, who has compiled a glossary of writers room terms on his website How to Talk Comedy Writer. There is loads of secret lingo, such as Die-dia (from Kat Sadler), an idea that you feel dying in your mouth the second you start pitching. A bad room will crush a die-dia dead (thats not funny), a good room will toss it around a bit to see what other ideas it shakes out. A die-dia is from the same family as the bad version, which is a much derided term that a higher-up might use when pitching the shape of a joke, but not the joke itself. We need a funny reveal for what the dog is chewing. The bad version is a dildo? I dunno, youre the writers. Honestly, pitching the bad version is actually really useful, but its a thing that producers say so writers make fun of it. We dont often get to feel lofty.

Sam Bain, co-creator of Peep Show, says: Comedy writing rooms should be like improv Yes, and Rather than Thats shit. When a room is good, its heaven, a sort of sexless flirting where colleagues bat ideas back and forth and nothing is off-limits. A certain amount of inappropriateness is actually vital to the health of a room.

Executives who pop in can be startled by the filth and off-topic banter. Its our way of getting to know each other. Jason Hazeley, co-creator of Cunk on Britain, calls this doing scales the practice gags that warm you up for the real work. Ive also heard it called clearing the pipes or getting the poison out. Its not pleasant, but it is funny, if dead-baby jokes before 10am are your thing. Quite why were allowed to get away with this Im not sure, theres no other job where its expected that you need to be appalling before you can do your job properly. Sure Ill bring in this 747, but I just have to snap the legs off this heron first. Its my process.

When the Times Up movement hit Hollywood there was concern that some people wouldnt feel comfortable with the anything goes approach. There was a famous lawsuit where the writers assistant on Friends (the only female and person of colour in the room) sued because of the eye-wateringly inappropriate conversation among the chief writers (including speculations about a female cast members genitalia). The decision went in the shows favour, with the judge referring to the Friends room as a creative workplace focused on generating scripts for an adult-oriented comedy show featuring sexual themes.

Sarah
Ive been in situations where later Ive pondered the weird nature of my employment Sarah Morgan. Photograph: Karla Gowlett

 

Ive never felt unsafe or intimidated at work, but Ive been in situations where later Ive pondered the weird nature of my employment. There was a day in a small room where the head writer delivered a monologue about inserting Cadbury Mini Eggs in the non-traditional orifice of a lady friend. I didnt feel especially harassed (I almost certainly yes and-ed with egg puns) but I cant speak for the young woman whose job it was to sit and take notes all day. Crucially, Im not sure it was a super-productive way to write in-house sketches for the website of a luxury car brand.

While no one wants to think about how the sausage is made, its a fact that most shows have writers rooms panel shows, award shows, sketch shows, topical news shows, a chat show for a popular fake TV judge they are all team written. Though youd be forgiven for not knowing that if you look at the credits. Writers arent much of a thing in comedy, outside sitcoms. They are credited as programme associates (or additional material). Programme associates are the modest heroes thinking of funny captions for a photo of a puffin, or writing questions about Boris Johnsons hair, or coming up with sketch ideas a talk-show host could do based round a giant papier-mache vulva that had been commissioned by the production company for another show but didnt get used. (These are all things that have happened on programmes I have written on, sorry, been associated with.)

But the title may not be around for ever. The Writers Guild of Great Britain is starting a campaign to scrap positions such as programme associate and credit writers for their writing. Writers should always be credited as writers, says Gail Renard, former WGGB chair and member of the guilds comedy committee, or else they stand to lose their residuals, pension contributions, and other payments theyve rightly earned. Why should we be hidden in the shadows like some dark comedy secret?

Well, theres lots of reasons why comedy writers should be kept a dark dirty secret see above but a reluctance to give proper credit isnt one of them.

Late Night is showing in UK cinemas.

 

 

 

 

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