The Digiday Podcast

For Telemundo, shifting to streaming platforms -- everything from parent company Comcast's Peacock to Quibi -- is an obvious choice based on a simple fact: The median age for Latinos in the U.S. is 28, much lower than that of the country as a whole. For Telemundo SVP of Digital Romina Rosado, that means the network needs to be on every new platform it can be to reach the 60 million Hispanics in the U.S. "Hispanics actually over-index on a lot of social and digital platforms," Rosado said on the Digiday Podcast. "So for Telemundo, even before covid-19, it was a big part of our mission to make sure we were available on all the platforms." Telemundo has about 3,000 hours of programming on NBCU's Peacock and two programs on Quibi, which Rosado believes will take off once coronavirus ends "There's a tremendous amount of schadenfreude here at play, which seems to be a bit of a way that media reacts to media lately," she said. "People are making very quick judgments, and I think we might all be surprised."

McClatchy CEO Craig Forman describes the local news company as more relevant than ever. "The coronavirus crisis has been a reminder to all of us in our communities of just how important it is that our communities be strong and vital," Forman said on the Digiday Podcast. "We've never seen digital traffic or even demand of the scale that we've seen for McClatchy." McClatchy -- home to local papers like the Miami Herald, The Kansas City Star and The Sacramento Bee -- has seen digital traffic increase by nearly two-thirds to reach 100 million users in March, according to Forman. “If you talk to our local customers, they’ll say that their need for local news is not met by any of the national news publications," Forman said. “The kind of coverage that you get in Kansas City -- the award-winning investigations into secrecy in the Kansas state government that force political change there, or even the national series that results in Pulitzers -- we have 54 of them over the years -- that’s not provided by the national

The news publishing industry may be getting squeezed by the pandemic economy, but for Interactive Advertising Bureau CEO Randall Rothenberg, it set itself up for failure long ago, by leaning too heavily on advertiser revenue. "When the United States became a national marketplace in the mid to late 19th century, that marketplace was so big, so vast and laden with opportunity that it just made much more economic sense to premise your revenues and growth as a publisher on advertising," Rothenberg said on the Digiday Podcast. Even the New York Times, which is riding a high of more than 6 million subscribers, is foreseeing a drop in ad revenue of up to 55% in the second quarter, leading its head of advertising to say layoffs are likely. Rothenberg said that historically, that shortsightedness extended to magazines and even television -- media products for which, in Europe, consumers paid premiums. His big takeaway: " You need to diversify your revenue streams. Period, full stop." One bright spot for Rothenberg is

Verizon Media's value to Verizon itself isn't just as a media arm that can send user data or benefits back to the conglomerate. Rather, its base of 900 million monthly active users is significant enough to bring value just across Verizon Media's properties, including Yahoo, TechCrunch, AOL and HuffPost, according to CEO Guru Gowrappan. On the Digiday Podcast, Gowrappan set up the example of an article about meditation on the newly launched Yahoo Life. "You can start not just having content but taking content and saying 'Oh, you read about something, you may want to do a meditation session,' and bringing that entire closed loop ecoysystem in the same wall," Gowrappan said. Gowrappan talked about what we can learn from consumer behavior in China, what the pandemic's effect on internet infrastructures will be and how he cut his teeth at Overture.

Growing a web publishing business from a small starter loan and your own profits "toughens you" in ways that are different than venture-backed media according to Digital Trends CEO Ian Bell. The bootstrapped tech publication has grown the old-fashioned way -- that is taking in more money than you spend -- since 2006. This year, Digital Trends expects $50 million in revenue. It has not laid off or furloughed any workers despite feeling the pain of the downturn. Digital Trends also will be profitable again this year, Bell said. "Running the old fashioned way, off of profits, creates a grittier leader," Bell said on the Digiday Podcast. "You get forced to have those tough conversations with the bank, with your team. You have to meet covenants. You have to make sure that you survive at all costs. In a lot of ways it toughens you." "We'll be profitable again this year," Bell said on the Digiday Podcast. "The momentum's there." Widespread lockdowns have led people to lean more than ever on their electronics, whethe

The Guardian's pivot to paid has a unique twist: There's no paywall. Instead, The Guardian relies on reader contributions -- a model gaining believers in news organizations caught between making their coronavirus coverage free of charge and facing ad shortfalls at the same time. "There's absolutely no doubt that we're going to see a boost to our reader revenue during this period," said Guardian U.S. and Australia CEO Evelyn Webster on this week's episode of the Digiday Podcast. "We are going to see our advertising hit hard. I do not know how hard and how deep. I don't think any of us do. [But] even in the most dire scenario that I have looked at, the Guardian would still be a profitable business in America. So are we well positioned to continue our journey to grow? Yes. And I feel very confident about that." Reader contributions from American readers at about 40-45% of the US operation's income. Thanks to this evolving revenue scheme and a serious cost-cutting effort, in 2019 the Guardian as a whole made its

About a third of the MIT Technology Review's revenue comes from events, according to CEO Elizabeth Bramson-Boudreau. That piece of the pie is obviously under threat as activity in the United States remains frozen by the coronavirus pandemic. "We had to make a call on our largest event, called EmTech Digital, entirely on AI," Bramson-Boudreau said. "Our highest-yielding event." "What were we going to do? Were we going to reschedule it? Or were we going to move it to a virtual event?" A few weeks before the event -- scheduled for March 25th -- they decided on the latter route, streaming 20 hours of content over three days. As a result, they were able to save "about 50%" of their sponsorship revenue for the event, according to Bramson-Boudreau. "We then rolled the remaining 50% into other digital products," she said. Dropoff among online viewers, too, was lower than expected. She credited that relative success on a quick focus on recreating the event's interactivity. "It's the interaction that we can provide tha

Mel Magazine, a men's interest publication born from Dollar Shave Club, wants to be more than a case study in brand content. "The way we went around building the publication, it drew from a lot of the same DNA. But it's never been there just to push razors," founding editor Josh Schollmeyer said on the Digiday Podcast. "It's been there to be a thought leader on modern masculinity." As Mel Magazine launched in 2015, Schollmeyer recalled, "the core edict was 'go out there and try to do great work, and we'll figure out how this can work back toward the brand.'" Schollmeyer talked about the myth that was the archetypical men's magazine reader, providing counter-programming to all the coronavirus coverage and why his peers thought he was crazy to take this job.

For publishing companies to survive a global crisis like the one we're in, Complex Networks CEO Rich Antoniello's formula is "brand plus brain plus balance sheet." Antoniello is no stranger to tough times in media. He stewarded Complex through the 2008 financial crisis as CEO, the role he still holds now. But compared to that, the downturn brought about by the coronavirus pandemic is "infinitely more difficult," Antoniello said on the Digiday Podcast. "We have no idea when the virus is going to slow down in the United States," Antoniello said. "And we have no idea what the financial impact is going to be."

The coronavirus pandemic brings uncertainty to the advertising business as much as anywhere else, but GroupM's Brian Wieser sees it as a chance for marketers to take action versus relying on slogans. "Every brand should be trying to figure out how they could be helpful," Wieser said on the Digiday Podcast. He pointed to GM's exploration of its capacity to build much-needed medical equipment and luxury brand LVMH's pivot to manufacturing hand sanitizer for hospitals. Or think back to the financial crisis, when Hyundai rolled out the "Hyundai Assurance" program that delayed car payments for those in a tight spot. If companies act uprightly and "want to talk about it and publicize it, they're going to benefit from it from a goodwill perspective, from governments, from society, from consumers -- whether they're in the market or not," Wieser added. Wieser, the global president of business intelligence at GroupM, also sees in China a potential bellwether for the advertising industry's looming challenges around the

Much of the ad industry's ways of measuring eyeballs on the internet is flat-out wrong, according to Joe Marchese, co-founder and CEO of Attention Capital. "Every Q4, there's more ad impressions in the digital world," Marchese said on the Digiday Podcast. "Do you think more people are watching more ads in Q4, or do you think we're just trying to shove them in there?" Attention Capital sees an opportunity in all that bloat and fabrication. It's a holding company with a portfolio that so far includes Girlboss and Tribeca Enterprises -- organizer of the Tribeca Film Festival -- which it invested in alongside James Murdoch. Those may seem like unrelated assets, but they fit Marchese's standard as companies that have built confidence in their ability to "curate some aspect of the world," he said. "In this world where trust is eroding, the curator brands kind of become king." Marchese joined the Digiday Podcast to discuss his other criteria for brands worth investing in, why Wirecutter is the model to beat and the

BuzzFeed is in the midst of change. A few years ago most of the company's revenue came from native advertising -- in 2020 that category will bring in just 20%. Other parts of the revenue pie -- commission on purchases driven by BuzzFeed content, as well as BuzzFeed's own branded products -- have grown enough for the company to bring in $320 million in 2019, and for BuzzFeed to forecast profitability. "Over the last three years we've really transformed the way BuzzFeed makes money," BuzzFeed CEO Jonah Peretti said on the Digiday Podcast. Peretti joined the Digiday Podcast to discuss the growing transparency coming to attribution, affiliate revenue and BuzzFeed News' intangible benefits.

On a live edition of the Digiday Podcast, CCO Sam Toles said the company tested 67 concepts to find the next House of Highlights, its massively popular Instagram account focused on the NBA. Toles oversees B/R's animated web shows “Game of Zones” and “The Champions,” as well as longer video content including a documentary for CBS's Showtime. Being owned by Turner (and thus AT&T) "gives us that enormous ceiling of opportunity," Toles said. "The way in which B/R can grow is boundless." In this week's episode, Toles talks about B/R's various partnerships, the value of TikTok and why the company is all in on sports betting.

Keith Grossman, seven months into the job as president of Time, doesn't mince words when it comes to Time's recent history. "It's gone through, I would say, 10 years of neglect, through mismanagement, through transition of owners," Grossman said on the Digiday Podcast. Meredith Corporation completed its purchase of Time, Inc. in early 2018. It sold the group's flagship magazine -- which had suffered a years-long decline in advertising, circulation and profits -- to Marc and Lynne Benioff for $190 million later that year. But with that new ownership, Grossman is optimistic. "Now that it has dedicated, focused resources, I think we're in a really strong position to evolve the Time brand to really capture the attention of the next generation of consumers," Grossman said. Grossman sees the main challenge as getting consumers to recognize Time as a standalone brand that goes beyond the red-bordered weekly. The publication recently recreated Martin Luther King Jr.'s "I have a dream" speech using virtual reality. It

Vox Media CRO Ryan Pauley sees the company's acquisition of New York Magazine, last year, as pairing up complementary parts -- and he figures advertisers will see it that way too. "Less than 35% of customers spent significant advertising budgets with both companies," Pauley said on the Digiday Podcast. Vox's typical ad categories included tech, auto, financial services and food and beverage. New York Media, on the other hand, leaned toward luxury, fashion and beauty. "Where there was overlap was media and entertainment," Pauley said. But even there, Pauley said, the merged companies could very well attract advertisers more effectively. "All clients are looking for fewer, bigger, better partnerships." Pauley joined the Digiday Podcast to discuss Vox's "hyper-growth areas," its new marketing platform and the death of the third-party cookie.

Protocol president Tammy Wincup is quick to remind people that her just-launched tech publication isn't a subsidiary of Politico but a standalone news site. Still, Protocol, also funded by Politico owner Robert Allbritton, will be applying the Politico playbook -- offering a morning newsletter (Source Code) and seeking a wide audience for a set of premium, insider products of the sort found in a trade publication. With a staff of more than 30, Protocol will be able to "begin thinking much earlier about what our audience needs from the services and tools perspective," Wincup said. She added that Protocol is a business-to-business publication more than a business-to-consumer one -- although it blurs the lines between the two genres. "Your business audience is also your subscription audience [and] is also your, in many cases, sources." Wincup joined the Digiday Podcast to discuss the infiltration of tech into every industry, the Source Code newsletter and Protocol's plan to credit tech companies where credit is

Bustle Digital Group might not seem like a natural home for The Outline, the website once described as "a New Yorker for millennials." And that's the point, said Josh Topolsky, founder of The Outline. After its acquisition by Bustle, he now serves as the parent company's editor-in-chief of culture and innovation, overseeing The Outline, Mic and Inverse. "The opposites thing is actually part of the attraction and why it makes sense," said Topolsky. "We had this conversation about should media businesses exist where everything isn't trying to get to 40 million uniques. Let's figure out what those different brands are and build them to the right size, and find the right brands that want to advertise on them, find the right audiences that want to come and visit them. And the collection of those things makes the overall business stronger." This week on the Digiday Podcast, Topolsky discussed Bustle Digital Group's newly launched tech news site, Input; his previous declaration on the Digiday Podcast that "everythin

Goop's got its share of haters, who pillory the Gwyneth Paltrow site for peddling wacky wellness products, including the infamous jade egg. "People like to say it's pseudoscience," said Elise Loehnen, Goop's chief content officer, on the Digiday Podcast. "But pseudoscience is when you present something and say, 'The science shows that this can cure cancer,' which we would never do," she added. "We're never saying, 'Oh there's all this conclusive evidence.'" Paltrow started Goop in 2008 as a free weekly email newsletter. Now Goop offers a website, a podcast (hosted by Loehnen) and a Netflix show (as of last week). Goop also sells its own clothing line and consumer packaged goods online and from a brick-and-mortar store. It is, in many ways, the model of a modern media brand, with a sharp differentiation and diversified business model that includes commerce. On the Digiday Podcast, Loehnen discussed the merits of sharing information without necessarily critiquing it, various publishing and e-commerce trends as

A large portion of the world's TikTok videos have been created by individuals (and many are quite young) on a mission to say something funny. But Flighthouse has made the crafting of TikTok videos into a company business, relying on a content studio with all trappings of a Gen Z-styled television production set. "Flighthouse is basically the largest entertainment brand on TikTok right now," said the company's CEO Jacob Pace on this week's episode of the Digiday Podcast. "We're really the only ones producing original content." If TikTok becomes a stalwart media channel as opposed to being a mere flash in the pan, content production companies like Flighthouse will have something to do with it, Pace said. On the podcast, Pace shared his insights about TikTok's similarities with YouTube, the advent of Quibi and what kind of content works best on TikTok.

Geoff Schiller served as chief revenue officer of PopSugar until stepping into a similar role for Group Nine, the company that acquired it late last year. And some aspects of the two companies' strategies remain much the same. The PopSugar playbook was all about its verticals: "pets, finance, food, all the way through," Schiller said on this week's episode of the Digiday Podcast. "With how that scales across Group Nine, it works even better because now you have five brands to play with," he said, referring to Thrillist, NowThis, PopSugar, Seeker and The Dodo. Group Nine's editorial emphasis on a young demographic and optimism seems to have rubbed off on Schiller as he goes about his work trying to diversify his company's revenue streams, with advertising remaining a big piece of the pie. Young readers "spend more time with us than anyone else in the entire competitive set," Schiller boasted, referring to estimates the company has made based on Comscore research. Schiller discussed how his media group is capit