The Digiday Podcast

Shortly after Daisy Auger-Dominguez joined Vice Media Group as its chief people officer in May 2020, the murder of George Floyd spurred companies across the media industry to pledge improvements to their organizations’ levels of diversity, equity and inclusion. VMG then took the further step of uploading its DE&I initiatives into a dashboard for all employees to see the company’s plans and track its progress.“Think of it as a project management app,” said Auger-Dominguez in the latest episode of the Digiday Podcast.VMG’s DE&I dashboard features an entry for each active DE&I project, including links to corresponding documents, updated information about its performance metrics and progress toward those goals as well as the name of the employee responsible for overseeing that project.“It not only creates transparency around accountability, but it also creates connectivity that can galvanize other employees that are interested in any of those particular projects [to see], ‘Oh, here’s the person I should be talking to,’” Auger-Dominguez said.In keeping with the dashboard’s purpose of keeping employees up to date on VMG’s DE&I efforts, the company removes completed projects and adds new projects as its overall efforts evolve. Heading into 2022, some of those newer projects will likely concern VMG’s return to the office and the part DE&I plays in an in-person workplace. However, Auger-Dominguez is cognizant of not categorizing every initiative under DE&I, which can have the effect of putting it in a silo.“I don’t want to start adding everything to DE&I, so everyone’s just like, ‘Oh, is that a DE&I initiative?’ No, actually it’s the other way around: Everything has a DE&I lens, but not everything is a DE&I initiative,” Auger-Dominguez said.

Everything has accelerated since the pandemic, including the historically slow-moving TV ad market. Not only did this year’s upfront cycle blow by, but early talks ahead of next year’s upfronts are already underway.“We’re having earlier conversations,” said Kim Kelleher, president of commercial revenue and partnerships at AMC Networks, in the latest episode of the Digiday Podcast. “Maybe it’s because I come from digital media and publishing, which were always-on mediums, that television is starting to feel a lot more like the always-on world that I came from. We’re having conversations already about next year.”To be clear, Kelleher described those conversations as “preemptive” planning discussions. “Certainly not negotiating,” she said. Still, the fact that conversations about next’s upfronts are taking place a month after this year’s deals took effect indicates how the overall TV ad market is changing as the dividing line between linear and digital blurs and advertisers reevaluate their options for reaching audiences.“There’s a level of thoughtfulness that needs to go into the media mix and the distributions you’re going to choose to tell and market your stories with,” Kelleher said. “It’s never too soon to start.”

Ten years after its debut, Vox Media’s technology news publication The Verge hasn’t necessarily changed all that much — at least not compared to its ambitions from the outset. Rather than changing course over the past decade, the outlet has followed through on its original trajectory.“The biggest difference between The Verge now and The Verge 10 years ago is that we have the staff and the capability to actually do all the things we wanted to do,” said The Verge editor-in-chief Nilay Patel in the latest episode of the Digiday Podcast.That being said, The Verge does seem to be in upgrade mode. Not only is the outlet preparing a site redesign for sometime in the next year, but within the past two months, it has opened up new product lines and revenue sources. In September, Vox Media acquired podcast newsletter Hot Pod, which has become part of The Verge and which operates a subscription business that has become the publication’s first paid product. A month later, The Verge debuted a connected TV app and hosted its first live event.The Verge hadn’t exactly planned to be making these leaps to coincide with its 10-year anniversary. “We thought 2020 would be our growth year,” Patel said. The pandemic postponed the publication’s plans by a year.“All of that energy was pent up, and it is all coming out at once because we’re turning 10. We’re excited. We want to take the next step of our evolution,” said Patel.

When the Biden administration named antitrust reform scholar Lina Khan as chair of the FTC, it didn't take long before Amazon and Facebook asked for her recusal in cases related to the two companies. But even as lawmakers call for regulators to rein in big tech algorithms, some have pushed against giving a Khan-led FTC any more money or power to help do it. And some who recall the 1980s-era episode that led congress to drastically diminish the FTC's authority warn against the risks of enacting rules or changing policy without consensus.

Condé Nast Entertainment is not a new player in the TV and film industry. Formed in 2011, the magazine publisher’s entertainment division has had a hand in adapting Condé Nast’s content into shows and movies, including an article by GQ that was made into Netflix documentary series “Last Chance U” and a short story from The New Yorker into Robert Redford-starring film “The Old Man and the Gun.” But now CNE is looking to play an even bigger role in Hollywood.“What we’re doing in film and television is a real, deliberate and intentional lean into our brands in a way that we haven’t done before,” said Agnes Chu, the former Disney+ executive who took the reins of CNE as president in September 2020.Under Chu, CNE has hired a roster of experienced Hollywood heads to help raise the magazine publisher’s profile in Tinseltown. That includes Helen Estabrook, an Oscar-nominated producer who joined CNE in March 2021 as global head of film and TV and joined Chu on the latest episode of the Digiday Podcast.Estabrook’s charge has been to have Condé Nast’s entertainment arm working more closely with its publications to identify articles, short stories as well as podcasts that can be developed and adapted into film and TV projects.“We’re creating new systems of working so that we can work with them in the ways that they have all individual systems for how they work, for how they find stories or how they tell those stories,” said Estabrook. “It is one great production company, but in some ways, it’s several different production companies because it’s GQ Studios and The New Yorker Studios and Vanity Fair Studios.”

When the FTC alleged that period tracking app maker Flo Health shared people's private health information with Facebook and Google without permission, its settlement with the company required some changes in how it gathers and uses people's data. But some believed it was just another example of a feeble approach to enforcing the agency's authority. The settlement soon led to a controversial enforcement policy update that could affect countless health and fitness app makers. And that was just one sign that the FTC is getting tougher on tech firms. It's already forced two companies to destroy their algorithms.

TV news networks are swarming streaming, and NBCUniversal News Group is no exception. The Comcast-owned news organization already operates three standalone news streaming outlets — NBC News Now, Today All Day and MSNBC’s The Choice — and is stepping up its streaming operations.NBCUniversal “is becoming a streaming company in large ways, in addition to parks and other things. And so streaming is clearly a priority for our company, with Peacock and the success that we’ve seen there. And by association with that, streaming is part of the competency that we’re building for the news group,” said Chris Berend, evp of digital for NBCUniversal News Group, in the latest episode of the Digiday Podcast.As part of building that streaming competency, NBCUniversal News Group’s digital organization has hired around 100 people in the past few months -- roughly doubling its headcount -- with the bulk of its new hires working on streaming, according to Berend. It is also adding more programming across its streaming properties, such as a nightly news show hosted by Tom Llamas that premiered on NBC News Now in September.“Right now what we’re investing in is our primetime lineup. We’ve got original hours in the morning and in the afternoon. We’re looking at prime now. We’ll be looking at weekends as well and seeing what the smart thing to do there is,” Berend said.In general, the smart thing to do seems to be plugging its streaming properties with more original programming. Viewers are spending, in aggregate, 20 million hours or more per month streaming NBC News Now, and that watch time grows in proportion to the programming. “We see the hours go up when we invest in original programming,” said Berend.

Wellness and self care became two top categories for online shopping in 2020 — perhaps second only to online grocery and toilet paper — thanks to people managing stress levels and tending to personal care from their homes, rather than seeking out those services elsewhere.For Leaf Group’s digital wellness brand Well+Good, that surge in interest was a boon to its e-commerce business, something it’s been honing for the past four years. Year-to-date, commerce revenue has increased by 129% and gross transaction value has increased by 112% from 2020 to 2021.But the brand has been trying to move away from its reliance on traditional affiliate commerce content and launched its own online wellness marketplace last year that gave its readers a one-stop shop for editorially vetted and recommended products. The idea is that shoppers will remain on the Well+Good website and buy a variety of products from different brands all at one location.

When Danielle Belton started as HuffPost’s editor-in-chief in April, she stepped into a newsroom that had spent a year in tumult. In addition to the trials of covering and living through the pandemic, the news outlet’s staff had gone through a sale from Verizon Media to BuzzFeed that eventually led to 70 HuffPost employees being laid off. And all the while, the newsroom had been without a leader.“They went so long without an editor-in-chief. The fact that there was going to be one put into place and that they were going to have their own leader independent of BuzzFeed and BuzzFeed News meant a lot. I felt like the reaction I got was actually more warm than anything else. And one of relief,” Belton said in the latest episode of the Digiday Podcast, which was recorded live during the Digiday Publishing Summit on Sept. 27 in Miami.Of course, Belton’s appointment alone wouldn’t instantaneously alleviate all stress and anxiety among HuffPost’s staff. That’s why the former editor-in-chief of G/O Media’s The Root sees her role as being the outlet’s “newsroom therapist.” It’s a role she has found herself playing since she started working in journalism and spent time roaming newsrooms where she has worked to check in with other staffers.“I used to tell my bosses, ‘You guys should just pay me to be the newsroom therapist. I can just talk to everybody all day and listen to their problems and help them figure out how to solve them and help them with their stories. And that’s basically what I’m doing now. I’m the newsroom therapist,” Belton said.This episode is the final in a four-part series for the Digiday Podcast called “The Modern Newsroom Leader,” featuring editors-in-chief as they navigate new industry challenges including staffers dealing with burnout, unsteady financial businesses and prioritizing diversity, equity and inclusion in hiring practices. Previous episodes featured The Cut's Lindsay Peoples Wagner and Vox's Swati Sharma, Houston Chronicle's Maria Reeve and Gawker's Leah Finnegan.

When the bankrupt Gawker shut its doors in 2016, it seemed unlikely that the site known for snarky opinions, celebrity gossip and haughty critiques would return. But rumblings of the site’s return — and its snippy attitude — came in July 2018 when BDG CEO Bryan Goldberg paid just under $1.5 million for the defunct website.Three years later, Gawker is back up and running (after an initial false start with a different cast of characters) under editor-in-chief Leah Finnegan.Her work is cut out for her: “[Gawker is] such a loaded place and the time I was there was so dramatic and tumultuous. It was an earlier iteration of the way digital media worked and I didn’t want to go back to that Gawker,” said Finnegan.This is the third episode of a four-part series called “The Modern Newsroom Leader,” which features newly appointed editors-in-chief as they navigate industry challenges including staffers dealing with burnout, unsteady financial businesses and prioritizing diversity, equity and inclusion in hiring practices.