The Digiday Podcast

Maria Reeve didn’t set out to become the first person of color to oversee the newsroom of a major metropolis’s flagship news organization. For much of her career, the executive editor of the Houston Chronicle didn’t even have her eyes on editor roles altogether.“I really liked the process, the work of reporting in journalism. And as I became a manager, I really liked the process of helping people do their work and discover their own goals and desires in that. And just in the last few years did I begin to think about, What would that look like for me to lead a newsroom? What would I bring to this?” Reeve said in the latest episode of the Digiday Podcast.Among the things that Reeve is bringing to the role since being named executive editor in July 2021 is a desire to build up the Houston Chronicle’s coverage of underrepresented groups. That includes the creation of a culture desk. It also involves finding ways to support the people of color in her newsroom as well as to find ways to bring in more people who are members of underrepresented communities.“When you say, ‘Oh, we have an executive editor who’s a person of color. What does that look like? What is different about that?’ I think what’s different about that is just the recognition that I bring -- having been in this industry for 25-plus years -- what I’ve seen and what I’ve experienced and how I might like to make change around those areas,” said Reeve.This episode is the second 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.

The role of editor-in-chief looks a lot different than what it did 20 years ago — or even two years ago. For digital-first media companies, the nuances of what it takes to run a successful newsroom, particularly during a pandemic, are more complicated than ever before. For Vox Media, it meant having two new top editors for its brands Vox and The Cut, who have fresh perspectives on what the job means.At the beginning of this year, Swati Sharma and Lindsay Peoples Wagner took the reins of Vox and The Cut, respectively. Both are still early in their careers -- when they were appointed, Sharma was 34 and Peoples Wagner was 30 -- but they have already accomplished a goal that for many is the ultimate sign of success in the journalism career path. This is Sharma's first time leading a newsroom as the top editor Peoples Wagner previously was the editor-in-chief at Teen Vogue but is familiar with The Cut having previously been its fashion market editor from 2015 until 2018. Now both are leaning on those past experiences, and each other, to achieve success.This episode is the first 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.

In February 2018, Cheryl L. Bedford threw a party. The invite called for women of color to unite, and the event spawned Women of Color Unite, the nonprofit organization Bedford oversees that supports women of color in the entertainment industry.“We basically built Women of Color Unite on the idea of exclusion by familiarity and ending it,” Bedford said in the latest episode of the Digiday PodcastIn the fight against people hiring people whose identities and experiences are most similar to their own, Women of Color Unite operates two programs that are aimed to help women of color get in the door and move up the Hollywood ranks. The JTC List is a database of 4,500 women of color that not only provides a free tool for companies to find cinematographers, line producers, screenwriters and others, but also provides Women of Color Unite a means of analyzing the issues underpinning the challenges for women of color in entertainment.Then there is #StartWith8. This program originated after the murder of George Floyd in May 2020 and gets established people in Hollywood to commit to giving their time and energy to support eight women of color apiece. For example, Win Rosenfeld — a writer/producer and president of Jordan Peele’s production company Monkeypaw Productions — committed to meet with eight women of color, read their scripts and provide them with notes. “That means a lot to somebody, to understand what people want in this industry, to understand what kind of things get green-lit,” said Bedford.

The compensation gap is closing, albeit slowly and unevenly. In the effort to create balanced workplaces, LinkedIn occupies the position of potential catalyst. The Microsoft-owned business-centric social network not only provides a platform with tools through which hiring practices can be made more meritocratic but also offers an example of an equitable organization. It even has an executive charged with overseeing equity strategy.“I don’t know that any companies have started to unify all their efforts around ... a single role and actually set up a team that’s meant to focus on this,” said LinkedIn’s head of equity strategy Imani Dunbar in the latest episode of the Digiday Podcast.LinkedIn’s focus on equity spans inside and outside its own walls. Internally, LinkedIn has achieved a notable level of compensatory fairness among its employees. Employees of color in the U.S. earn $1 for every $1 earned by white employees, and female employees earn $0.998 for every $1 earned by male employees. But the work is far from finished.“We’ve been on our equity journey for a while. It’s also our forever work. It’s not something that’s like a six-month or couple-year project,” Dunbar said.

Many media companies have set out to be the Disney of X. But Jubilee Media seems to have carved out a niche for itself by aiming to become the “Disney for empathy,” according to the media company’s founder and CEO Jason Y. Lee. Empathy is a pretty unusual content category, though, of which Jubilee Media is well aware.“A lot of people have trouble putting us into a particular category or box. And we see that as a tremendous whitespace that we want to kind of own and grow into,” Lee said in the latest episode of the Digiday Podcast..Jubilee’s empathetic bailiwick also seems to present a timely opportunity for the media company to attract audiences in search of some positivity amid all the day-to-day gloom and doom. “It’s no coincidence that Jubilee really starts picking up momentum because people are hungry [for empathetic content]. That’s what we need, right? We want to connect with each other,” said Mike Su, director of Snap’s accelerator program Yellow and an individual investor in Jubilee Media, who joined Lee in the episode.

The media and marketing industries seem to be approaching another inflection point. The delta variant is beginning to put the brakes on the return to normal that had been underway since the start of the year. That makes mid-August — already a typically slower part of the year — an opportune time to catch up on the top trends of the ever-changing moment.In this week’s Digiday Podcast, co-hosts Kayleigh Barber and Tim Peterson talk about the delta that marketers and media companies are finding themselves in. Spring’s stability has given way to a summer of uncertainty, cracking open the question of how businesses will fare in the fall. Fortunately, the swings of the past year and a half has positioned companies well for this state of flux.The conversation spans the status of companies’ plans to return to the office and host in-person events, the advertising rebound that businesses have experienced this year, how companies continue to build up their commerce businesses, publishers’ shifting subscription strategies as retention becomes the priority and the latest wave of media consolidation.

Travel, to no surprise, was one of the largest industries impacted by the pandemic and publishers like Atlas Obscura that cover exploration, wanderlust and gastronomy had to quickly adapt and figure out both what content output and brand deals would like in this new reality. Luckily for Atlas Obscura, the concept of exploration meant more than its tourism and trip-planning business, which accounted for about half of the company’s revenue in 2019. In the latest episode of the Digiday Podcast, CEO Warren Webster talked about how his team adapted exploration to mean everything from learning about new subjects or trying out new skills from experts online in a new courses business, as well as leaning into the road trip model for discovering a new place. And while some travel-related advertisers had to pull back on spending, others in the auto and food categories filled the gaps and Atlas Obscura walked away from 2020 in a strong position, Webster said, though he did not provide exact figures. Now as travel is slowly returning, the company is bringing back some of its paused 2019 revenue streams and adding its successful 2020 innovations to build toward a successful year.Of course, some hesitations still loom around the coronavirus variants, but Webster said that both his team and advertisers are optimistic and eager to get back into in-person experiential events and programming.

Good Housekeeping set a standard at Hearst UK that the rest of the portfolio wants to replicate.For nearly 100 years, the homelife magazine has cultivated a following of readers who trust its product recommendations, reviews and seals of approval enough to spend their money on those tried and tested items. Now, the Good Housekeeping Institute has expanded into the Hearst Institute, enabling the rest of the UK-based titles to use the same resources, experts and testing facility that has strengthened the GH brand's trust with readers.In the latest episode of the Digiday Podcast, Laura Cohen, Hearst UK’s head of accreditation, talks about what the expansion means for both the physical operations of the Hearst Institute as well as its ability to drive revenue from working with more brands and producing more content that can be monetized through affiliate commerce.

Yahoo is on a mission to drive brand affinity across its portfolio by turning casual readers into fanatics who are willing to spend money with the media company.That strategy has led the company to experiment with new mediums and types of content, as well as new innovative partnerships, said Joanna Lambert, head of consumer at Yahoo. In the latest episode of the Digiday Podcast, she said she wants to reach 900 million monthly, paying users by further enticing them with shoppable videos, online sports betting partnerships, cross-brand content offerings, and more.Lambert and her team now has more to work with: in May, Verizon Media was sold to private equity firm Apollo for $5 billion, in a deal that would make the suite of brands — including the Yahoo portfolio, Techcrunch, Engadget, In The Know and others — renamed to Yahoo. This deal has yet to close, so Lambert did not speak much about it, but did say that as a remaining 10% stakeholder in the new media company, Verizon will remain a partner on 5G projects, which has been a large focus for innovation, she said.

Many athletes have made moves into the media business, from Derek Jeter with The Players’ Tribune to LeBron James with Uninterrupted and SpringHill Entertainment to Alex Morgan, Sue Bird, Chloe Kim and Simone Manuel with TOGETHXR. That list also includes Kevin Durant.Through their company Thirty Five Ventures, the NBA star and his business partner Rich Kleiman have been building a media business that has evolved from a channel on YouTube and show on ESPN+ into a media company called The Boardroom.“Boardroom was an evolution of us wanting to have a voice, knowing we had a voice but wanting to have our take and our point of view on the sports world and on what was happening in the culture around the sports world,” Kleiman said in the latest episode of the Digiday Podcast.