The Digiday Podcast

If you've been upset by something you read in The New York Times' Style section, that was by design. "[The] Style desk covers change, it covers generational change, it covers change in how we talk about gender, it covers young people," says the section's editor, Choire Sicha. "It covers technology, and it covers love, marriage and how we look. Those are all things that are incredibly fraught at this time, and they're supposed to upset people."Inter-generational conflict is a hot topic (even before the paper of record revealed the collective Gen Z eyeroll that is "OK boomer").So is the massive cross-industry known as wellness. But how do you cover that responsibly?"We're not talking about people's parents or people from the outside, we're talking to people and for people who actually do this stuff," Sicha said. "The Times historically will have been one step removed from that, which sounds funny to call out, but that is what we did: 'Hey, what are those kids doing in their bedrooms?' And it's like, 'We need to go in the bedrooms.' That sounds weird, but you know what I mean."Sicha joined the Digiday Podcast to talk about the freedom that comes with being funded by 4.9 million subscribers, his own take on Gen Z and how he feels about the end of Deadspin.

The Washington Post's CRO Joy Robins thinks ad agencies deserve a little more sympathy."We need to better understand their business, better understand how they make money," Robins said on this week's episode of the Digiday Podcast. "You start to see more and more that the agencies represent their own business model, they are facing their own challenges," she said. "So how do we stop looking at these ad agencies as essentially the purveyors of the RFP?"Part of her answer is to borrow what she sees as the successful methods social media platforms have used in working with the same agencies. Since October, some of the Post's sales teams are directed at "really working with the senior-level executives at holding companies and ad agencies, to understand what are their pain points, what are the things their clients are tasking them with, and how can we ultimately partner to create something that adds value to their businesses?"On the Digiday Podcast, Robins also spoke about brands' skittishness when it comes to displaying ads next to news about the impeachment inquiry, the broken model that is the RFP and how often she sits down with Jeff Bezos.

Condé Nast is on a journey to remake itself from a magazine company -- home to Vogue, The New Yorker, Vanity Fair and more titles -- and into what new CEO Roger Lynch calls "a 21st century media company."The exact contours of what that looks like remain a work in progress. One aspect that isn't in doubt: video and the establishment of franchises is absolutely part of that vision. Condé Nast Entertainment now creates more than 4,000 videos a year, garnering on average more than 1 billion views a month (mostly from YouTube, Katzeff said). Now, the challenge is turning those views into franchises."We haven't done a great job yet in taking that IP and giving it legs beyond print," said Condé Nast Entertainment president Oren Katzeff on this week's episode of the Digiday Podcast. "And that's no big surprise and that's no knock on anybody. For so long the magazine was the be all end all for IP. A lot of consolidation in the media space, it's about a lot of things but one of them is the opportunity to garner IP and monetize IP in long-form content. You look at Disney, HBO Max and Netflix who are spending $100 billion this year on long-form content, and we've only scratched the surface of that."

Amanda Hesser and Merrill Stubbs worked together for five years before cofounding Food52 in 2009. That was enough time for them to recognize a gap in the online landscape. Americans were getting more serious about food and cooking as rewarding pursuits and social opportunities but the internet had yet to reflect that movement."We felt that aside from food blogs, which were really exploding, there was no platform for real people to have a say, to share their knowledge and expertise, to have a social experience with one another," said Stubbs on this week's episode of the Digiday Podcast.Their answer was a website that serves as a content publisher, a forum and a good place to shop for pots and pans. And people do turn to the site for kitchenware: Food52's revenue comes roughly 75% from commerce and 25% from ads, Hesser said. The Chernin Group recently paid $83 million for a majority stake in Food52.In our latest podcast, Hesser and Stubbs discussed the 19th-century antecedent to crowdsourced recipes, the majority stake acquisition taken up in Food52 by the Chernin Group and a few straightforward recipes that everyone should know.

As many publishers zero in on consumer revenue strategies and hardened paywalls, HuffPost is taking a different tack."Look, I spent 15 years working at The New York Times, which is a fantastic news organization, and I'm thrilled to see them thriving with a subscription model that restricts access to their product," HuffPost editor-in-chief Lydia Polgreen said on this week's episode of the Digiday Podcast. "But I think what we're ending up with is a highly unequal news ecosystem in which the wealthiest, most educated, most spoiled-for-choice news consumer are the best served. I would be very worried about a world in which advertiser-supported, free-to-consumer news just went away. I think that would be a tragic loss."Polgreen discussed the diminishing returns of news aggregation, alternative sources of revenue for HuffPost and why news publishers need to think beyond the Trump administration.

Hearst Magazines' properties garner 1 billion video views per month. For its head of video, Zuri Rice, that number (and the more granular "watch time") is almost incidental: "Total watch time is something that we think about, but total watch time, of course, is really tied to volume," she said on this week's episode of the Digiday Podcast. "So I think for us it's thinking about, as we're growing, how are people connecting with our video?"As the company's senior vice president of video development and content strategy, Rice also wants to make sure they're publishing everywhere. "Platforms are parts of our audience and parts of the pie," she said. "One might be a place where we are getting more revenue, another might be a place where we're really connecting to the audience. Of course, it's always great when we have places that do both."On YouTube, Hearst counts 20 million subscribers on YouTube across their properties -- which include Seventeen, Cosmopolitan, and Men's Health.Rice joined the podcast to discuss how Facebook's potential for video is down but not out, how the company thinks about its content and the merits of short-form versus long-form video.

The prickly relationship between news publishers and tech platforms appears to be improving. Look no further than recent moves by both Apple and Facebook to pay publishers directly."We are seeing better commercial opportunity coming from the [social media] platforms than we ever have," said Josh Stinchcomb, CRO of The Wall Street Journal and Barron's Group. "We've done a couple of big deals this year with platforms and I think the general environment is one where they are valuing -- or they're being forced to value -- quality journalism and recognize they have to pay for it in some way."Stinchcomb joined the Digiday Podcast to discuss the company's digital ads business as a whole ("growing, absolutely growing"), the importance of its events division and how to convince advertisers that news and brand safety go together.

With over $100 million in outside funding, The Athletic is quickly racking up subscribers, recently crossing the 600,000 mark.Hitting 1 million paying subscribers would put The Athletic in rarefied company: "You're talking about companies like the Wall Street Journal, the New York Times, Washington Post, Financial Times, and a couple of others," said Adam Hansmann, the site's co-founder, on this week's Digiday Podcast. "Being in that kind of rarefied air, we'd feel at that point incredibly secure in the foundation we built. We see 90% engagement weekly during busy sports times. We see 80% of our subscribers renew. Getting to that point, we feel good about the platform's permanence. Long term, valuations concerns in the short term aside, we believe there is a $1 billion company to build here, which might sound crazy. But if you look at The New York Times, with their 4 million digital subscribers, they're a $1 billion publicly traded company.""We have a one of a kind business that we've started," he said. "We're going against every instinct that the industry has had."The Athletic, which now has 500 employees, has its share of detractors, who note the company's path to profitability will be perilous with its penchant for paying top salaries for writers."I think there are 50 million sports fans in the US at least," he said. "The segment of sports fans we're targeting are people that really care. That know the difference between just a headline about a story, 'who won the game,' and the true insight about the teams that you really care about."

Sam Dolnick became the New York Times' mobile editor back when the handheld revolution was only just beginning. "And from there, it kind of shifted to trying to think about how our journalism needs to change." Days after president Trump's inauguration, the paper of record launched The Daily, the blockbuster news podcast that inspired challengers at news organizations including the Guardian, the Washington Post, the Economist, Slate, ABC, and even NPR.The Daily's success also led to The Weekly, a video series that launched on FX and Hulu in June, and is averaging 1.3 million viewers per episode, according to FX. Why FX? Dolnick answers that, and talks about the differences between audio and visual journalism.

For all the hand-wringing about the digital media business, there are several bright spots, ranging from successes in consumer revenue products and wringing licensing fees from tech platforms.That being said, publishers must face the reality that the digital media businesses are likely to be smaller than once imagined, according to Bloomberg Media CEO Justin Smith, speaking at last week's Digiday Publishing Summit in Key Biscayne, Florida. "The reality is that the industry is not dying, it's not going extinct, but it's actually just going through a process of slimming down."