The Digiday Podcast

Digiday

The Digiday Podcast is a weekly show on the big stories and issues that matter to brands, agencies and publishers as they transition to the digital age.

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504 episodes
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Episodes504

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Jan 31, 2023 · 50 min
Why TheSoul Publishing’s Victor Potrel isn’t overthinking how YouTube Shorts will share ad revenue with creators and publishers
For as big as the short-form vertical video market has become over the past few years, 2023 is poised to be a monumental one. YouTube will start sharing ad revenue with Shorts creators on Feb. 1, as TikTok continues to open the revenue-sharing program it introduced last year to more creators. TheSoul Publishing -- the media company behind 5-Minute Crafts and 123 Go! -- is among the short-form video makers welcoming the capital infusion. “The important thing here is that kind of direction where platforms are putting more effort into wanting to reward creators for the economic creation and so they can reinvest some of the earnings into what they do and continue to grow with this format,” said Victor Potrel, vp of content distribution at TheSoul Publishing, in the latest Digiday Podcast episode. Excited as TheSoul Publishing may be, the company isn’t about to overhaul its strategy to capitalize the YouTube Shorts revenue-sharing program. Part of the reason for that is it remains to be seen how much revenue Shorts creators will actually reap. YouTube will be using some complex calculations to determine how to divvy out ad dollars to creators and publishers that raise the question of to what extent Shorts makers’ revenue splits will be rewarded or penalized for using music in their videos. “Even if you don’t use music, then your [share of the revenue] pool may be smaller because everyone else has used music,” said Potrel. “So we’re not going to overthink that. It’s obviously good to understand the system. But I wouldn’t want to drastically change what we do based on this.”
Jan 24, 2023 · 50 min
Why entertainment expert Eunice Shin is watching streamers’ subscriber churn rates
Earnings season is officially under way, and Eunice Shin has her eye on streaming service owners’ abilities to retain their subscribers. “In a world where economic uncertainties still exist, where the quality of content continues to be hits-based and a lot of bombs, how are we thinking about churn and how are these streaming platforms keeping the customers they’ve worked so hard to gain in an increasingly competitive and price-competitive world?” said Shin, a partner at strategy consulting firm Prophet who has consulted for companies including Disney, Warner Bros. and NBCUniversal, in the latest episode of the Digiday Podcast. It’s a big question, made all the more urgent considering the streaming market’s shift in emphasis from subscriber growth to profitability. Following the pandemic-induced streaming subscriber surge, that growth started to slow in 2021 and further in 2022, to the point that Netflix actually shed subscribers. Then, with the economic downturn and looming threat of a potential recession, investors’ pivoted their attentions to how much money companies are spending -- and often, losing -- on their streaming businesses, questioning whether streamers’ subscriber counts justified their programming costs. Which is why Shin is keeping vigil on streamers’ subscriber churn rates. “If you think about all of these streamers as they’ve launched -- most of them during the pandemic -- as people have spent a lot of money to acquire these customers, meaning not just marketing dollars but content dollars in content investments to be able to lure people onto those platforms, how are they doing in keeping them.... As much as you think about subscriber growth, if your churn number is high, it’s like one step forward, two steps back,” she said.
Jan 17, 2023 · 54 min
How Betches Media is using short form, vertical video to continue growing in 2023
Many publishers pivoted to short form vertical video in the past year as platforms prioritized those content formats in their algorithms. Betches Media, however, invested more in its social-first content strategy that it’s had since its creation in 2011, according to co-founder and CEO Aleen Dreksler, to continue reaching its audience of primarily millennial and Gen Z women. It seems to have paid off in 2022, despite how challenging the ad market was for many publishers’ businesses. Betches Media saw a 40% increase in revenue year over year, according to David Spiegel, the recently appointed chief revenue officer who joined the company last July who did not provide specific figures. Despite having a long history of producing short form vertical video, Dreksler and Spiegel both said on the latest episode of the Digiday Podcast, that there is more learning that needs to be done, especially on emerging platforms like YouTube Shorts — which has been particularly helpful in the company’s launch of video podcasts.
Jan 10, 2023 · 52 min
How Geoff Schiller is pitching Vice Media Group to the ad market amidst an economic downturn
Vice Media Group ended 2022 behind where it thought it was going to be — about $100 million short of the revenue goal of $700 million set by its leadership at the beginning of the year. But Geoff Schiller, VMG’s global EVP of commercial & sales strategy is optimistic that events, intellectual property and digital video will be the sellable assets that carry the company forward in 2023. That’s because in his first quarter on the job (Schiller joined VMG in September after leaving Group Nine/Vox Media in June after almost three years), those products were the top areas of focus for advertisers, including partnering with VMG’s brands at Art Basel in Miami. Where other publishers reported growth in quick-turn campaigns and ads, like programmatic during the fourth quarter, Schiller said branded assets were still top of mind for Vice’s clients. In the latest episode of the Digiday Podcast, Schiller discusses his team’s strategy for selling new products in 2023, like Refinery29’s Twitch programming, as well as his philosophy on how hard to lean into revenue-share programs on social media.
Jan 3, 2023 · 42 min
Digiday's top media trends to watch in 2023
The media industry is heading into 2023 faced with a lot of uncertainty, thanks to a less than stellar 2022. But based on the conversations Digiday Podcast co-hosts Tim Peterson and Kayleigh Barber have had with media executives and brand-side leaders, the murky waters could be tricky to cross without taking on collateral damage. Hear from the editors on Digiday's media beat about the top trends they'll be following in the new year.
Dec 27, 2022 · 1 hr 11 min
'The shine has definitely come off': Digiday's top takeaways from 2022
This year ended up looking quite different from what was predicted by Digiday’s editors at the beginning of 2022, but it made for a fascinating saga to follow. In this final episode of the year of the Digiday Podcast, hear from some of our reporters and editors on the media and media buying beats chat about their top takeaways and trends from 2022, ranging from the struggling advertising market to the ongoing battle between publishers and platforms.
Dec 20, 2022 · 52 min
Group Black’s Travis Montaque outlines company’s media M&A ambitions
Group Black launched in June 2021 with the goal of getting advertisers to deploy $500 million in ad dollars to Black-owned media businesses by the end of 2022. And the media company has further indicated its ambitions with multiple reports this year that it’s looking to buy either BDG, Vice Media Group or Vox Media. “We hired J.P. Morgan [Chase] and Lazard to help us in our efforts a couple months ago. We’re actively out in market looking at acquisitions to make,” said Group Black co-founder and CEO Travis Montaque in the latest episode of the Digiday Podcast. During the interview, Montaque laid out how acquiring a scaled media company would fit into Group Black’s strategy. The company’s strategy splits into three core areas: creating access to ad dollars and audiences for Black-owned media businesses; providing infrastructure — such as Group Black’s own ad exchange — for those businesses; and investing in growing Black-owned media businesses. But, you might be thinking, BDG, Vice Media Group and Vox Media are white-owned media businesses? Correct. But they are also large, general-interest media businesses that have built up the means of distributing content to large, general-interest audiences. In other words, acquiring a media company of their scale would be an investment that would help to create access and provide infrastructure to help grow the Black-owned media businesses that Group Black supports, with Group Black among them. “We are actively in market looking at scaled assets to acquire for the purpose of creating larger infrastructure for our collective to be able to grow their business. That growth means scaled distribution and other assets that will enable us to accelerate the reach and scale of Black-owned media overall,” said Montaque.
Dec 13, 2022 · 51 min
IAB’s David Cohen teases updates to trade group’s standard terms and conditions
The Interactive Advertising Bureau provides a set of standard terms and conditions governing digital advertising deals. And starting next year, those standards will be in the process of being updated for the first time since 2010. “It’s time for a refresh,” said IAB CEO David Cohen in the latest episode of the Digiday Podcast. “We started this year with a survey to the industry [asking] what are the things that need to be changed, what are the things that need to be fixed, what should we focus on? We are starting an endeavor in 2023 to redo the terms and conditions.” Updating the IAB’s terms and conditions is “a pretty gnarly process,” Cohen said. The process involves other industry trade organizations, including the Association of National Advertisers (ANA) and the American Association of Advertising Agencies (4A’s) and establishes a set of generally accepted provisions that ad buyers and sellers can adopt in their contracts, such as payment terms and cancelation options. To be clear, the IAB’s terms and conditions are more recommendations than requirements. Companies can choose to not adopt them. For example, some TV network owners have opted not to support the IAB’s cancelation terms for their streaming inventory. That cancelation option is among the terms on the table for an update, though any changes are unlikely to be introduced ahead of next year’s upfront negotiations. Cohen said he expects the forthcoming update to be a two-year effort. “We’re kicking off the project in earnest in Q1, and I think just realistically it’s going to be more than a year to get this done. So it will be a 2023-24 initiative,” he said.
Dec 6, 2022 · 58 min
How Fandom's first-party data, FanDNA, is expanding to improve recommendations for advertisers and audiences
Wikipedia for all things fictional, fantasy and entertaining, Fandom has unique insight into how passionate internet users are about different shows, movies and video games. But the data doesn’t stop at the behavioral data around those curiosities. Fandom’s plethora of user generated content and community boards have also lended itself to the company’s first-party data collection. And after 18 years of accumulating data on favorite characters, plot lines and cross-over interests, that first-party data, called FanDNA, is sold to advertisers to inform everything from traditional ad campaigns to research & development on new projects and merchandise. On the latest episode of the Digiday Podcast, Stephanie Fried, CMO of Fandom, discussed how her team started categorizing this data into four, affinity-based groups to help clients understand where to invest and how to best reach their target audiences. She also covered why Fandom is interested in developing the top-of-funnel, discovery side of its business. This year, the company acquired seven brands from Red Ventures, including TV Guide, to start building out data around how audiences find new programming, and is also building a new personalization tool to help recommend content and ads based on previous searches.
Nov 29, 2022 · 45 min
How Apartment Therapy's Riva Syrop is pivoting its events business around the economic climate
For Apartment Therapy, it just makes sense to bridge its events business with commerce. Not because the expectation is to make $10 million from affiliate commissions, according to the company’s president Riva Syrop, but because it’s only fair to give attendees every opportunity to make a purchase as possible – the struggle she often faced when attending industry trade shows. So during this year’s flagship shopping event Small/Cool, as well as smaller co-sponsored events like Dine By Design, Sryop’s team worked to figure out how this model worked both for consumers and sponsors alike, including using transaction data as a KPI. That said, as the economy toughens and advertisers look for more bottom-of-funnel advertising strategies, experiential – regardless of how transaction-focused it is – is one campaign type that might get put on the back burner until late 2023. “[2022 has] definitely not been my favorite year, if I’m being honest. It has been a slog.” said Syrop during the latest episode of the Digiday Podcast. “Advertising was very difficult. A lot of our normal, big partners pulled back in the back half. So we did fine this year, but I feel much more optimistic about what's to come [in 2023] than what we're coming out of,” she added. Apartment Therapy earns about 70% of its revenue from advertising, equally split between the direct and programmatic businesses. Commerce contributes 15% and events contributes another 10%, with the remaining 5% coming from the company’s licensing businesses, which includes product and content licensing through a number of partnerships. To give more “breathing room” to both advertisers and consumers, Syrop said that Small/Cool will be moved from its Q2 timing to the back half of the year in 2023, with the hope that the economic downturn will have bounced back by then. “What we often see is consumer content consumption behaviors change, you sometimes see consumer purchasing behavior change, sometimes the advertiser behaviors change, but rarely do they all change at the exact same time. So this was definitely a readjustment year for us,” she said.
Nov 22, 2022 · 46 min
Privacy expert Sarah Bruno breaks down how the California Privacy Rights Act will affect the U.S. privacy landscape
To anyone hoping that California’s updated privacy law would help to simplify privacy compliance in the U.S., sorry. That doesn’t seem to be the case. Instead, the California Privacy Rights Act (CPRA), which takes effect on Jan. 1, seems set to muddy the privacy landscape even more. “CPRA is this unique kind of beast that has complicated privacy significantly for organizations in the U.S.,” said Sarah Bruno, a partner at the law firm Reed Smith, on the latest Digiday Podcast. One aspect of the CPRA needing clarification is the difference between the law’s “contractor” and “service provider” labels. “A contractor is a company that you make data available to, and a service provider’s a company that processes the data on your behalf. That’s not super clear, is it? We need more clarity on that,” Bruno said. The CPRA does clarify some aspects of California’s existing privacy law, the California Consumer Privacy Act (CCPA), which took effect in 2020. It covers the sharing of data for cross-contextual behavioral advertising purposes, which helps to resolve the CCPA’s Rorschach-esque definition of sale that caught Sephora in the crosshairs of California’s attorney general. The CPRA’s addition of sharing data has “eliminated the question that we had with [the CCPA’s definition of] sale,” said Bruno. Besides, for as much as the CPRA may mix up the U.S. privacy picture for companies, the more prominent complicating factor remains the absence of a comprehensive federal privacy law. “We’re still going to have these nuances until there’s a federal law that addresses this,” Bruno said.
Nov 15, 2022 · 49 min
Essence Global's Therran Oliphant assesses the development of data clean rooms in 2022
In recent years, data clean rooms have grown in importance to media and advertising companies' businesses. But this year has been "a step-change year where clean rooms became more sophisticated," Therran Oliphant, svp of data and technology at Essence Global, said during the latest episode of the Digiday Podcast. The (supposedly) impending demise of the third-party cookie and increasing scrutiny from privacy regulators have pressed advertisers, agencies, tech platforms and media companies to adopt data clean rooms as a means of protecting their first-party data while activating it for advertising purposes. Already a fixture in major advertisers' dealings with tech platforms like Google, Meta and Amazon, this year data clean rooms were a key component of TV upfront ad buyers' and sellers' negotiations. Then, in October, Google announced its Publisher Advertiser Identity Reconciliation program to facilitate advertisers' and publishers' use of clean rooms for programmatic buying and selling. And in December, IAB Tech Lab plans to release its first draft of standards for clean rooms. Despite all the developments -- or maybe because of the developments -- the data clean room remains an enigmatic aspect of the advertising business because of its broad application. "There is really no one ultimate application of that data," said Oliphant. "It could be that this particular data might be used for advanced analysis. Or to join data sets together so that a brand could understand more attributes about their user. Or so that they can go to market and activate media against those users."
Nov 8, 2022 · 1 hr 4 min
Condé Nast's Craig Kostelic credits 2022 revenue growth to global ad sales, despite operational hiccups
Condé Nast's third quarter was seemingly better than what other media companies have reported, at least according to Craig Kostelic, the company's global chief business officer. In August, Axios reported that Condé Nast is on track to surpass 2021 revenues, equating to more than $2 billion, which is inclusive of both advertising and consumer revenue. Kostelic confirmed this report on the latest episode of the Digiday Podcast and added that even just the commercial and advertising side is "definitely going to exceed last year's total," though he declined to share hard revenue figures for that business in particular. This growth is primarily credited to the company's ongoing globalization process, according to Kostelic. Through this process, the sales teams in both the U.S. and Western Europe have started working in tandem, versus being siloed, to sell larger global campaigns to advertisers -- a reorganization that Kostelic has been overseeing since entering this role in 2018. Starting in the New York City office, he said the first step was switching the sales team from being brand focused to category focused, meaning instead of one salesperson only selling ads for one title like Wired or Vogue across a number of advertising categories, an individual salesperson is now category specific and has the ability to sell ads on any and all parts of the company's portfolio. Not immune to challenges, Kostelic said that while starting to replicate this same transition with the Western European teams this year, he's needed to learn from the mistakes in the first go around and really focus on clarity and transparency with the sales team to make sure that people feel supported in their new roles, especially during an economic downturn.
Nov 1, 2022 · 55 min
Why Semafor's CRO Rachel Oppenheim is putting clients first while building an entirely ad-based revenue model
Semafor launched on Oct. 18 with a business model that’s entirely reliant on direct-sold advertising and event sponsorship revenue – a risky business in some eyes during the current economic climate. But the company’s founding CRO Rachel Oppenheim is confident that her team’s client-centric approach, which prioritizes “innovative” branded content and running ads against “experimental” editorial products, will be the wind in Semafor’s sails, she said on the latest episode of the Digiday Podcast. Not only that, but focusing on the pockets of advertisers’ budgets that are directed to corporate reputation building will help insulate the company from the ebbs and flows of consumer and product advertising, which for now, is not a priority in the sales team’s selling strategy. Programmatic is also not a part of Semafor’s advertising mix, once again, preferring to build relationships with clients that are hopefully long term, according to Oppenheim. While having launched with partners like Verizon, Mastercard and Pfizer, Semafor recently came under criticism for having gasoline manufacturer and distributor Chevron as an advertiser on the company’s Climate newsletter in its second week, to which many criticized as tone deaf and irresponsible in the coverage of climate change. Oppenheim said post-interview in an email to Digiday that “advertisers have no bearing on our editorial coverage and we maintain a strict separation between news and third-party advertisement."
Oct 25, 2022 · 52 min
UM Worldwide’s Stacey Stewart assesses the state of the advertising market
Let’s be clear: The advertising market has hit a rough patch amid the broader economic downturn. But that hit has not necessarily been a full-on body blow. “We’re seeing some shifts [in advertisers’ spending] but not necessarily dramatic cuts,” said UM Worldwide’s U.S. chief marketplace officer Stacey Stewart in the latest episode of the Digiday Podcast. To be clear, she added, “Don’t get me wrong when I say there hasn’t been many cuts. They’re still cuts. They just haven’t been as dramatic as I think we all had feared.” Typically, advertisers are cutting ad dollars from deals that provide less flexibility, such as those earmarked for traditional TV. “That’s where we saw a lot of the cuts,” Stewart said. To an extent, advertisers are holding on to those dollars, but they are also redirecting them to places that provide greater flexibility for advertisers to cancel deals as well as more performance-oriented ad opportunities.“There’s definitely a shift to more immediate results — lower-funnel metrics if you will — focusing on revenue in the short term versus branded-building,” said Stewart.
Oct 18, 2022 · 49 min
Why LinkedIn is stepping up its original video and audio content ambitions
More than a decade ago, Dan Roth left the world of traditional journalism to join LinkedIn as the business-centric social platform’s executive editor. Eleven-plus years later, the former managing editor of Fortune.com and now editor-in-chief and vp at LinkedIn has built up the platform’s news operation into one that bears some of the hallmarks of a traditional outlet. “I had a lot of belief in what the company could create, but I didn’t know how it was going to work out. And I wasn’t entirely sure what I was getting into,” Roth said on the latest episode of the Digiday Podcast. Under Roth, LinkedIn’s news division has been getting into producing more original content, from newsletters to podcasts and videos. In September, the platform announced the hire of former CNN executive Courtney Coupe to be its first head of original programming, which appears to portend the next phase of LinkedIn’s editorial ambitions, which were already raised earlier this year with the formation of the LinkedIn Podcast Network. “The hiring of Courtney Coupe is designed to push us in a more professional way through creating original video and audio content,” Roth said. “There are about 180 people on the editorial team at LinkedIn. But half that team comes from a business journalism background, and almost all of those who come from a business journalism background come from mostly writing. So it’s a text-heavy team. When you’re creating audio [and] creating video, there’s something unique about creating that content.”
Oct 11, 2022 · 1 hr
'Do whatever it takes': How the NewsGuild of New York is training journalists to create strong unions
Unionization has been on the rise at media companies over the last nearly three years after the pandemic upended the way publishers work. But it seems that the list of concerns shared amongst journalists, editors and other media employees is only growing and few resolutions have been met during that time. It's all created a need for more communication, community rallying and strategic training, to get workers the most leverage possible when communicating with management, said Susan DeCarava, president of the NewsGuild of New York, which represents unions including The New York Times, Insider, The New Yorker. In the latest episode of the Digiday Podcast, DeCarava discusses why unionization is on the rise and how her team has implemented programs like the Strike School to help embolden media employees to make change within their companies, be it around the return to the office, equitable pay or ensuring equal treatment amongst employees.
Oct 4, 2022 · 48 min
A year after coming under Axel Springer's control, Politico's Europe and North American businesses are closer than ever
It’s been nearly a year since German-based Axel Springer acquired Politico for over $1 billion, which included both the U.S. and EU iterations of the brand, in addition to the almost 3-year-old technology-focused title Protocol. Since that acquisition, the Politico brand has started undergoing a merger of sorts internally as well. Despite sharing a brand name and founder — Robert Allbritton — Politico U.S. and EU have operated as separate businesses until earlier this year. Now, Politico EU’s chief revenue officer Nicolas Sennegon said the Washington, D.C.-based and Brussels-based teams have developed global ambitions that include working together to sell ads across both regions, bundle subscriptions and find ways to editorially cover unfolding political news for readers around the world. Most of the cross-brand collaboration has originated at the advertising level, which represents about one-third of Politico EU’s revenue currently (the other two-thirds come from its subscriptions business, which runs about €17,000 per year), according to Sennegon. But as the brand pursues its global expansion, he added that there are opportunities to further link those two sides of the business, by turning subscribers into advertisers, where Politico EU already sees about a 50% overlap. On the latest episode of the Digiday Podcast, Sennegon said that over the next year, Politico will be further branching the two brands together, though he would not disclose exactly what a global Politico will look like or when we can expect its launch.
Sep 27, 2022 · 50 min
Why Hearst is building a commerce marketplace
Publishers’ commerce businesses can take many forms nowadays, from earning small commissions with in-article affiliate links to creating an entire direct-to-consumer (DTC) product line that turns a publisher into a retailer. But given commerce revenue is down this year for some media companies and the economic slowdown has put restraints on shoppers’ wallets, publishers may need to rethink their commerce strategies. Take Hearst which is in the process of launching a new marketplace in the fourth quarter. The marketplace is meant to be the new hub for the company’s DTC products and licensed products, but it will also be a new sales channel for the brands and products that readers of Hearst’s media brands regularly shop for as well, according to Sheel Shah, Hearst’s svp of consumer products and partnerships on the latest episode of the Digiday Podcast, which was recorded in front of a live audience at the Digiday Publishing Summit on Sept. 20. This is an expansion of the media company’s current commerce shop strategy, which consists of 20 individual online branded shops for nearly all media brands in the Hearst portfolio, including the Oprah Daily Shop and Good Housekeeping Shop. The shops currently sell branded merchandise and licensed goods and are collectively on track to make 500,000 transactions this year, a 15% increase over the previous year’s transactions, according to the company, which declined to share hard revenue figures. Ultimately, Shah hopes that the marketplace can tie together the company’s commerce business — from DTC and licensed products to affiliate links to direct brand deals — and ultimately drive digital subscriptions to the brands in Hearst’s portfolio.
Sep 20, 2022 · 51 min
Why Wonder Media Network won't sell its podcast ad inventory programmatically
Advertising is taking a hit from the economic slowdown. For some advertisers with podcast and audio budgets, they want to reach more listeners efficiently rather than invest in expensive custom branded content. For Wonder Media Network, however, programmatic advertising isn't part of its inventory. There are certain instances where programmatic advertising in audio makes sense, according to Shira Atkins, CRO and co-founder of podcast company Wonder Media Network, such as targeting people who are in one specific region versus running national ads. But on the latest episode of the Digiday Podcast, Atkins said she still believes that programmatic is “a tragedy for the podcasting ecosystem at large." Her team does not sell any of its ad space programmatically. Instead, the podcast network uses its branded content studio to make bespoke audio ads, which Atkins said creates memorable ads that listeners are less likely to skip over.