The use of Facebook to spread propaganda, distortions and disinformation should serve as a wake-up call to the platform, NBC News svp of digital Nick Ascheim said on this week’s episode of the Digiday Podcast.
Brands nowadays have any number of places to push out content, possibly too many, according to David Tinson, who heads up communications at video game giant Electronic Arts.
Longtime media watcher and columnist Michael Wolff discusses how the media got Trump so wrong. “I can’t think of another instance in which the media was so off in its predictions," he said.
Bustle CEO Bryan Goldberg sees magazine publishers as hostage to high costs — all that car service costs and those gleaming office towers cost big money — and not a lot of competition advertisers looking to reach women. He aims to change that. Bustle is trying to appeal to the “everywoman” and skip falling into the trap of focusing only on urban lifestyles. “We want to be for women who love themselves but weren’t at the popular kids table at the cafeteria,” he said on the Digiday Podcast.
Get ready for a podcast about podcasting. This episode of the Digiday Podcast features Jason Hoch, the chief content officer of How Stuff Works, a digital publisher that attracts nearly 30 million downloads every month. How Stuff Works grew into one of the largest podcast publishers in the U.S. primarily through word of mouth, but now it has to compete with A-list publishers like Time Inc., Gannett and The New York Times, which are all flexing their content distribution muscles to quickly scale up. Hoch talks about how HSW plans to build on its position of strength, where he sees the industry going, and the pitfalls it has to avoid.
The Weather Company, which owns The Weather Channel brand, is on pace to get 2.5 billion video views on Facebook this year, said the publisher’s editor-in-chief Neil Katz. And yet there is still very little revenue being made by publishers on Facebook, which holds the power in its relationship with publishers. That might change in a few years, just as the power struggle has seesawed between cable companies and TV networks over the years.
The shift to mobile and video is profound for publishers. According to Sharethrough president Pat Keane, publishers that treat both as a side project risk seeing their businesses evaporate. As an investor in Refinery29, he sees how video has risen quickly to become 30 percent of its $100 million-plus in revenue.
Thought Catalog has seen its audience chopped in half thanks to the whims of the Facebook algorithm. But that’s to a disciplined operating plan, the company has managed to remain profitable. The “new reality,” according to Thought Catalog CRO Alex Magnin, is publishers need to operate far more efficiently in a world where available supply of ad impressions dwarfs the amount of demand.
18-month-old Fatherly is building a media company based on the premise that the “doofus dad” stereotype needs to be retired. Co-founder Mike Rothman sees an opening for a nimble media property that talks to millennial parents.
David Carroll, associate professor of media design at the New School, doesn’t think technology has made advertising better. It’s made it more easy to track, but outside of that, ad targeting has led to worse advertising. Just witness the rise in ad blocking, which is a way for consumers to directly express their unhappiness with the state of advertising in digital media.
A decade ago, Huge was a bootstrapped startup agency in a 200-square foot room in Brooklyn with about 10 employees. Now, it’s 1,400 people with offices around the globe growing 30 percent a year.
Podcasts are having a moment. But with Apple providing limited data on their audiences, big brands are reluctant to throw a lot of money at the medium.
Radio and podcast veteran Andy Bowers is the chief content officer at Panoply, Slate's 1-year-old podcast network. When he started at Slate, the publisher's podcasting operations amounted to him reading Slate articles into a mic. Today, Panoply is a Slate platform that partners with publishers including The Wall Street Journal, Vanity Fair and Sports Illustrated.
Most publishers today see native advertising as the path to a sustainable online business. While each publisher's approach to this model differs, T Brand Studio, The New York Times’ brand marketing unit, describes itself as an agency rather than an in-house creative unit.
T Brand pulled in $35 million in revenue in 2015, up from $13 million in 2013. It's on track to create 100 ad campaigns this year, said Sebastian Tomich, the Times' svp of advertising and innovation.
It’s still hard to make money off news content. The problem, according to Refinery29 Co-CEO Philippe von Borries, is news isn’t advertiser-friendly — but it is critical for credibility. The tumult in the ad market will more likely to affect media brands mostly dependent on news content, he said.
Jason Kint, head of publisher group Digital Content Next, believes the ad blocking crisis is a terrible opportunity to waste. This is a chance for publishers, leaning on their direct relationship with their audience, to take back power from the array of tech intermediaries and platforms that have siphoned off most of ad revenue.
The Association of National Advertisers long-awaited report on lack of transparency in the media industry cast much of its blame on the convoluted way the industry is structured, giving cover to bad practices.
But for Interactive Advertising Bureau CEO Randall Rothenberg, clients themselves need to shoulder a good part of the blame for problems in the system. It is their responsibility, in his view, to be more technologically adept and to manage all of their partners, from agencies to ad tech providers.
The autoplay video in feeds era is a little like baseball in the 1990s: You can get numb (and skeptical) of the giant numbers media properties are putting up, some in the matter of months of those sites going live.
Business Insider’s distributed media arm, known simply as Insider, is one of those fast growth publishers that have mastered the art of getting videos in front of people on platforms, mostly Faceook. In just 11 months of existence and with a team of 30, Insider now boasts a whopping 1.5 billion -- yes, with a B -- video views in a single month.
The Atlantic Media’s global business media brand Quartz is now three-and-a-half years old. In that time, it’s won kudos for its willingness to experiment and carve out a niche in a crowded space. Publisher Jay Lauf joined the Digiday Podcast and discussed why having resource constraints is a good thing sometimes and what scale means to a focused publication like Quartz.
Digital media publishers, from BuzzFeed to Vox, are looking to TV as the next platform to master, hoping their strong online brands, built mostly in text, can be translated to TV-like video delivered through traditional broadcast and over-the-top platforms.
Digital lifestyle media company Thrillist is no different. It expects to make the leap to “TV” -- whether that’s Netflix, Go90 or other over-the-top options -- within the next year, Thrillist Media Group CEO Ben Lerer said on this week’s episode of the Digiday Podcast. All digital media companies are looking at how their brands can live in other distribution channels, TV included, he said. Thrillist is now building a TV group to manage deals with outside production companies and its own internal video group to find ideas for bringing the Thrillist brand to life in TV.
Jarrod Dicker, head of ad product at the Washington Post, joins this week’s podcast. He talks about how ad blocking can be an opportunity for publishers to re-think the environment they have created. That means putting resources to figure out ad products, not just content. Dicker’s group is focused on this, creating products like Fuse (Instant Articles, basically, but for ads.) “…the opportunity to be at the forefront of this change is great.”
As a mid-sized publisher, the Daily Beast's president is more focused on building direct relationships with readers, rather than driving scale, which gives it focus, Mike Dyer said. It's also focused on marketing campaigns, as opposed to traditional adverts, because its in house data capabilities allow it to better understand audience trends.
The roots of Vox Media -- home to digital media brands like SB Nation, The Verge and Eater -- has its roots in an era when the website was the disruptive force in publishing.
It’s a different time now compared to when SportsBlogs came into existence in 2005. These days publishers like BuzzFeed and Vox itself reach far more people on platforms than on their own sites. That presents a company like Vox, which long prided itself on a proprietary tech platform for managing multiple large properties.
In 2010, Noah Brier was director of strategy at digital agency The Barbarian Group. He noticed something fundamental happening: Clients were in need of far more assets but didn’t have increased budgets.
That insight became the seeds of what became Percolate, a software platform for marketers to streamline and manage the creation of marketing assets, which Brier and co-founder James Gross started. Today, Percolate has 240 employees and has raised $75 million in venture backing.