The Digiday Podcast

Content creator, chef and soon-to-be restaurateur Tue Nguyen (who goes by @TwayDaBae on her social media accounts) started working with BuzzFeed as the host of its Tasty show, "Making it Big," in 2022. After filming two seasons of the show, and recording monthly videos for the cooking brand's channels as part of her role within the BuzzFeed Creator Network, Nguyen is now developing a new show with Tasty that will better showcase who she is as a content creator.In the past year, Nguyen has signed a cookbook deal, started the process of opening a fine dining restaurant in Los Angeles and both maintained and grew her owned-and-operated channels, all in addition to her partnership with BuzzFeed.BuzzFeed's CEO Jonah Peretti has stated that the company's path to growth will be largely dependent on its work with content creators like Nguyen, but Nguyen said during the latest episode of the Digiday Podcast that she has grown a lot as an individual creator because of what she learned while working with the digital media company.

Advertisers are beginning to see the financial benefits of reducing the carbon emissions created in their digital advertising businesses, but there is still a long way to go before sustainability becomes a shared point of focus across the media and marketing industries.Still, a lot of progress has been made by brands, agencies and publishers alike to at least begin measuring the scope of their carbon footprints. And the more carbon footprints are measured and discussed among digital advertising stakeholders, the easier it will be to create benchmarks and thresholds for the industry to ultimately reduce its impact on the environment. At least, that's how Kris Doerfler, head of innovation at CMI Media Group, sees it.On the latest episode of the Digiday Podcast, Doerfler discusses how far the digital advertising ecosystem has come thus far in the journey to becoming more sustainable, and what's still left to accomplish — from helping smaller publications and brands make changes they can't make on their own, to creating shared standards for carbon emissions measurement.

The TV advertising industry is in the midst of a measurement overhaul, and Donna Speciale sees signs that the measurement landscape will more accurately account for diverse audiences.“With the current dataset, which is panel[-based], there has been underrepresentation for minority audiences, and everyone has known it. It was hard to quantify, but everybody realized it,” Speciale, TelevisaUnivision’s president of U.S. sales and marketing, said on the latest Digiday Podcast episode.But as TV’s measurement system shifts from panel-based measurement to measurements based on data — such as viewership tracked against logged-in audiences and smart TV’s automatic content recognition technology — and TV network owners like TelevisaUnivision test the latter measurement systems, Speciale said she has been able to quantify how much Hispanic audiences have been historically undercounted.“We’ve had like six to seven months of data that we’ve been analyzing, and it’s astonishing how much the Hispanic audience was underrepresented,” said Speciale. She added, “Now we know that there’s numbers that are basically showing that [panel-based measurement] was really off. And I’m not talking 2%. I’m talking 20-30-35%, depending on how you look at it. That’s not a statistical error.”In light of that undercounting, Speciale said she feels an urgency to adopt measurement systems that offer an alternative to the traditional panel-based methodology. And so it has become a focal point in her and her team’s conversations with advertisers and agencies heading into this year’s annual upfront negotiations.“Just like every negotiation, we’re going one by one, holding company by holding company, talking to each of their investment leads and their research leads and talking about leaning into the big data set,” she said.

For beauty influencer Sarah Palmyra, Instagram Reels has historically packed the most punch when it comes to driving sales of her favorite products.Last June, Palmyra posted an unsponsored, short-form vertical video about her love of Soft Service's Smoothing Solution product. It was originally posted on TikTok, and later republished on her Instagram Reels account, and according to the company, the product sold out due to an overwhelming number of customers coming to the site via her Instagram post.And yet, most of the brands Palmyra works with still want her to create ads for her TikTok channel, rather than Instagram. As of now, the platform where her brand deals run doesn't so much matter to her, given the fact that even viral videos, like the one about Soft Services, don't often translate to much in the way of affiliate commerce commissions. The inability to easily link to product pages within a short-form vertical video on TikTok or Reels tends to result in broken affiliate links and lost attribution, she explained."[Commerce] is just a small piece of the pie for me," said Palmyra on the fourth and final episode of the Digiday Podcast's Creator Series. But it's a revenue stream she said she'd like to see grow. "It would allow all of us to take on less sponsorships, which I know our followers would love as well. I only sponsor products that I absolutely love, but still I know that my audience would love to see much less," she said.In this episode, Palmyra discusses how Instagram is able to accomplish much of what advertisers in the beauty industry are hoping to achieve with their social media campaigns, but still seem to prioritize TikTok. She also covers how earning money as a content creator in the short-form vertical video boom is still heavily dependent on said brand deals.

Like many short-form video creators, Jorge Soto got his start on TikTok. But a year and a half after uploading his first video to TikTok in March 2020, he gave YouTube’s TikTok clone a try.“In two months, I gained a million subscribers, which is crazy,” Soto said in the third episode of the Digiday Podcast’s four-part series on short-form vertical video creators.Initially, Soto would repurpose his TikTok videos — skits and what he calls “storytimes” — as YouTube Shorts. But eventually he shifted to producing first for YouTube Shorts and repurposing those videos for TikTok.“I felt like, me as a creator, I was better off on YouTube because I had the access to long-form and the algorithm is a little — I don’t want to say it’s easier on YouTube Shorts, but it just makes sense,” said Soto. For example, his storytime format, in which he recalls a story from his life, performs reliably well on YouTube, and he’s able to see if one storytime video does well, then a similar one should perform similarly.But as Soto implied, Shorts is not the be-all, end-all of his YouTube strategy. Shorts are a means of driving viewership for his long-form videos. Those long-form videos bring in the bulk of the money Soto makes on YouTube, whereas through the YouTube Shorts ad revenue-sharing program, Soto receives five to six cents per thousand views.“It’s already a privilege to make money off short-form, so anything I’ll just take, frankly. But the way that I see it is short-form brings the audience,” Soto said.

If Snapchat wants to prove to creators that they can make serious money by posting videos on its short-form vertical video platform, it may not need much more evidence than Alyssa McKay.“I’m on this Snapchat mid-roll [ad] program, which I’ve been part of since last May. I’ve made over a million dollars from Snapchat mid-roll,” McKay said in the second episode of the Digiday Podcast’s four-part series on short-form vertical video creators. She added, “Snapchat changed my life entirely.”Last week Snap expanded that mid-roll program to more creators who can receive a share of revenue from ads running against their Snapchat Stories. TikTok and YouTube Shorts have similarly stood up ad revenue-sharing programs for short-form video creators in the past year, but neither platform has yet had much to show for how much money creators can make directly from their platforms. With 2 million followers and an average 2.5 billion monthly views on the platform, McKay is showing the story may be different on Snapchat.“I definitely make the most on Snapchat. There’s revenue streams of course from YouTube and the TikTok Creator Fund, but Snapchat definitely has been the lion’s share of my revenue this past year,” she said.

In the possible scenario in which TikTok gets banned in the United States, TikTokers like Kat Stickler will need to rely on other platforms to maintain their followings and their brand partnerships.But Stickler, who has almost 10 million followers on TikTok, isn’t worried. That’s partially due to the fact that she already has over 1 million Instagram followers, 268,000 YouTube subscribers and 116,000 followers on Facebook. She's also heartened by brands already shifting their influencer marketing dollars to other platforms for fear that the ads they buy on TikTok won’t be as evergreen as they once were.On the latest episode of the Digiday Podcast, Stickler kicks off the third-annual Creator Series — a four-week-long span of episodes — that will look at the rise of short-form vertical video and how creators, like Stickler, have been able to grow sizable followings.

Publishers' events businesses have been a bright spot in an otherwise grim economic climate. While trade publishers and consumer publishers have different approaches to how events fit in their portfolios, both are benefiting from advertisers wanting face-to-face impressions with prospective customers.VentureBeat’s total revenue increased by 50% year over year from 2021 to 2022. And despite having an events business for more than 15 years, the company’s events revenue increased by about 100% during that same time period, said Gina Joseph, the company’s newly appointed chief strategy officer, who was promoted last month, though she did not provide exact figures.In Joseph's five years at VentureBeat, she implemented VB Lab, a structure for how the company’s sales team custom would build campaigns for each individual advertiser. During the latest episode of the Digiday Podcast, she discussed how VB Lab’s impacted VentureBeat’s bottom line in the four-and-a-half years since its launch, as well as how her appointment to CSO marks DE&I history in the publishing industry.

Advertising has been a tumultuous business for some time now, but the one section of that market that’s been holding its own for publishers is events.Part of the reason for that is that brands themselves are realizing that they need to differentiate themselves with consumers, which — according to Lindsey Abramo, the recently appointed CRO of Leaf Group, who was a guest of a live taping of the Digiday Podcast during the Digiday Publishing Summit in Vail, Colorado last month — has opened up an opportunity for Leaf Group to sell it’s existing event franchises to sponsors.Leaf Group’s art and commerce side of the business, which includes art marketplaces Society6 and Saatchi Art, is not reliant on advertising revenue, according to Abramo. That’s a revenue stream that’s pretty much specific to its media arm, which includes its editorial brands Hunker, Well + Good and Livestrong brands. But now, advertising is being added to Leaf’s other art- and commerce-based events including The Other Art Fair, and through that addition, events have become one of the more lucrative areas of the business, she said.“Not only are our ticket sales up 25%, but so are sponsorship fees, and this is not over last year, this is up over 2019 prices,” said Abramo.

Lynette Kaylor’s background does not mirror that of a traditional TV ad sales boss. But her history in data and identity technology does indicate the makeup of a modern TV ad sales boss.Before joining Fubo as the streaming pay-TV service’s svp of advertising sales last August, Kaylor worked at Dentsu’s data arm Merkle where she worked on identity tech partnerships with publishers and platforms — which is kind of a perfect pedigree for someone overseeing a streaming ad business today.“Data is only going to become more and more important. And given my background, obviously I feel that way. But it makes sense to me from a buyer and seller [perspective],” Kaylor said in the latest Digiday Podcast episode. “From a seller perspective, let me show you why you want to buy my audience, look at what makes them unique and great. From the buy side, it’s like, ’Oh yeah, I want to stop wasting money,’” she added.Among Kaylor’s most immediate tasks is building Fubo’s first-party data strategy as advertisers seek to make their streaming campaigns more targeted and more measurable. That includes developing the company’s data clean room strategy, which has become more of a focal point among TV and streaming ad businesses over the past few years.“A big conversation right now is clean rooms and where do those fit in. When I was at Merkle, those were kind of just starting out, and now they seem to be in every conversation,” said Kaylor.