The Digiday Podcast

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 capitalizing on its name recognition to stage events and the way his company is diversifying its revenue sources beyond advertising, as well as competition between legacy media companies and young digital challengers.

Eric Yang started Gear Patrol as a side hustle to his job at CBS because the publications he knew we missing the mark when it came to product coverage. "The men's magazines out there -- GQ, Esquire -- they were increasingly unrelatable to me," Yang said on this week's episode of the Digiday Podcast. "For me it wasn't about a Brioni suit and living your best lifestyle in New York. I had my own personal interests, and that for me crossed over between automotive and tech, and you had magazines that were just really focused on bro culture in men." That was in 2007. A few years later as Gear Patrol took off, Yang and his colleague Ben Bowers quit their jobs at CBS to dedicate themselves to the site full-time. They've since announced a minority stake investment from Hearst (last April), launched a print magazine and e-commerce efforts and landed about 5.5 million unique visitors in what was recently their "best month ever," in Yang's estimation. "We've been profitable every single year at Gear Patrol except for the year we took investment because we were growing," Yang said. He adds that about 40 to 50% of their traffic comes from SEO, not social media or other sources. "It's a lot of direct traffic, and the direct traffic is actually growing, for us." Yang talked about when he decided to leave CBS and make growing Gear Patrol his full-time job, the thin line between media and commerce companies and how the website's reluctance to depend on social media turned out to be a smart move.

This week's episode of the Digiday Podcast is a look ahead at what 2020 may have in store for the publishing industry. The site's reporters weigh in on the beats they know so well: Tim Peterson breaks down the streaming wars that have only just begun, the UK-based Lara O’Reilly makes predictions on a future that goes "beyond the cookie," and Max Willens explains how publishers' revenue streams may change in the New Year.

Sara Fischer, media reporter at Axios, joined the Digiday Podcast for the first of two year-end wrap-up episodes looking ahead to 2020. On this week's episode, Fischer weighs in on why the flurry of digital media acquisitions in 2019 will continue into 2020 and why next year regulation will be in the spotlight. (Next week, Digiday media reporters Tim Peterson, Lara O'Reilly and Max Willens will add their own outlooks for the year ahead in media.)

Gaming is often thought of as a subculture, but it’s just as dominant a part of youth culture today as music. For gaming companies, that means growth opportunities on par with MTV. “Music might have been at its core, or might have been its origin, but at some point the majority of content that they made had nothing to do with music,” said Lee Trink, CEO of FaZe Clan, a gaming collective that’s part professional eSports teams and part creator network. “What [MTV] had was a relationship with the audience and they understood what that audience wanted.” FaZe Clan boasts over 7 million subscribers to its YouTube channel, where its videos regularly top over 1 million views. It created branded content and also operates a merchandise store. “We reach enough people that we are tantamount to a cable network,” he said. Trink joined the Digiday Podcast to talk about FaZe Clan’s revenue streams, the brand’s signing its first (and for now, only) female member and what work is like in the Hollywood mansions these content creators all live in together.

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."

Podcasts are trendy now for publishers, but Slate has been doing them for 14 years. Slate now has 25 podcasts that drew 180 million downloads in 2018 and expects to top 200 million downloads this year. Podcasting was 28 percent of Slate's overall business last year, and this year will be half of revenue -- eight figures. "The hardest thing to do is to make something that is big," said Slate president Charlie Kammerer at the Digiday Publishing Summit. "There are 100-150 podcasts out that there that are big and then there are hundreds of thousands of podcasts that 8,000 people listen to." Slate makes money from its podcast beyond advertising, using members-only episodes to drive consumer revenue in its Slate Plus program, which boasts 60,000 members. One major challenge ahead for the podcasting world? Discoverability. It turns out that making a stellar podcast doesn't automatically get you listeners.

Chances are you've heard of Business Insider. But how about Insider, full stop? In this week's episode, Insider, Inc. CRO Pete Spande talks about growing the Insider brand that complements Business Insider, balancing subscription revenue with that coming from advertising, and Insider's reasoning behind their recent merger with eMarketer.

Building publishing products is fraught with challenges, as product leaders have to balance various constituencies -- editorial, sales, marketing -- that sometimes have competing goals -- all while keeping users top of mind. “It serves its purpose,” Barton said on this week’s Digiday Podcast. “It allows both sides of the business to be represented. It allows the newsroom to be represented, and for the newsroom to be funded. There are times we want to minimize that, but there are times to say it’s delivering our goal of delivering quality journalism to our consumers and be able to pay for it.”

Two decades ago, The Fader launches as a magazine for up-and-coming music, entering a crowded space with the likes of Rolling Stone, Spin, Vibe, The Source and XXL. Times have changed. Taking a multiplatform approach, joked Fader president and publisher Andy Cohn on this week’s Digiday Podcast, is “that’s the only way for us to stay alive.”

For Dow Jones, Barron's Group -- home to Barrons, MarketWatch, Mansion Global, Financial News and Penta -- is home to its more niche publications focused on financial decision-making. Digiday's Brian Morrissey spoke to Barron's Group publisher Almar LaTour on this week's episode.

In 2014, Time Out opened its first marketplace in Lisbon, Portugal. The idea was a food hall with restaurants, bars, a cooking school and an event venue, a curated celebration of the best the city has to offer. Since its opening, Time Out has seen massive success with this market. Just last year, nearly 4 million visitors passed through its doors, and it is largely considered to be one of the best attractions in all of Portugal. Now, Time Out has expanded its marketplace strategy, with open locations in New York, Miami and Boston, and more on the way in Chicago, Montreal, London, Dubai and Prague. Although each location will have slight variations from one another in size and experience, Julio Bruno, Time Out CEO, says the at heart of each will be the Time Out brand: a curation of the best a city has to offer, that feels authentic and fosters a sense of community. On this week's episode of The Digiday Podcast, Brian Morrissey sits down with Bruno to discuss turning a brand into an experience, why print still works and the importance of brand control in licensing deals.

Since short-form video app TikTok, formerly known as Music.ly, burst onto the scene in 2018, it has captivated young audiences with its endless challenges, memes and lip syncs. The app even helped launch rapper Lil Nas X, and propel his hit "Old Town Road" to a record-holding 17 weeks on top of the Billboard charts. To outsiders, the app has a reputation for "cringey" content and comedic music videos produced by and for teenagers. But for Taylor Lorenz, a tech and internet reporter for The Atlantic, TikTok's unusual approach to social media is game-changing. On this week's episode of The Digiday Podcast, Brian Morrissey welcomes Lorenz back into the studio for a deep dive on the app that everyone is talking about, but not many understand. Here they discuss what TikTok is, what sets it apart from other platforms, and why it still has some growing up to do.

National Public Radio is no stranger to the world of audio, which is why embracing the rise of podcasts was a natural move for the company. NPR is a nonprofit media organization that creates content to distribute to its network of affiliate stations throughout the country. For a long time, that content was meant for traditional broadcast radio, but in recent years the company has begun testing out podcast-only content to expand its offering, and supplement its broadcast coverage. For Gina Garrubbo, the CEO of National Public Media, NPR's sponsorship arm, the increasing demand for podcasts has created a richly competitive landscape and an exciting era for the company. On this week's episode of The Digiday Podcast, Brian Morrissey sits down with Garrubbo for a podcast about podcasts. The two discuss whether or not we've reached the golden age of audio, trends in monetization and sponsorship, and why smart speakers are falling short of expectations.

In 2018, After a long career in media, former Politico USA president Poppy MacDonald decided to make the jump to a non-partisan, not-for-profit, data reporting publication: USAFacts. USAFacts was founded in 2017 by former Microsoft CEO Steve Ballmer, with the mission to "help inform active citizenship and fact-based debate, and advocate for transparency of and ease-of-access to public data," according to its website. For MacDonald, the organization was an opportunity to bring accurate, unbiased data back into the political conversation. In this week's episode of The Digiday Podcast, Brian Morrissey welcomes MacDonald back into the studio to discuss her new role as president of USAFacts, how staying away from projections translates to staying away from partisanship, and why the positive feedback she's received from lawmakers gives her hope for the future.

In 2015, CNN launched Great Big Story -- a video-first media company that produces inspirational micro-documentaries. For its first four years, that meant building an audience on platforms. Now, as Coupe looks towards the future, she wants to see GBS continue to grow, not just in views, but also in audience impact. On this week's episode of The Digiday Podcast, Brian Morrissey sits down with Coupe to discuss the importance of strategy in diversifying platforms, knowing when to say no and why she wants to make GBS's website their premier online destination.

When Will Welch took the helm as editor-in-chief of GQ in January, he announced that a new era of GQ had officially begun. And this new GQ is not for everyone. In the latest iteration of the men's fashion and lifestyle magazine, Welch intends to home in on the strengths of the GQ brand through a more focused content and an evolving social media strategy. In this week's episode of The Digiday Podcast, editor-in-chief Brian Morrissey sits down with Welch to discuss the new GQ, the evolving role of a magazine editor and the cultural shift taking place in men's fashion.

What was once a digital-first news brand has now become its own full fledged news network. Newsy, which got its start as a syndicator of short-form video, now is a news channel that claims to reach nearly 40 million viewers. The decision to move away from its roots, according to Newsy CEO Blake Sabatinelli, was a result of a shifting digital space. Just last year, the E.W. Scripps-owned brand took over Retirement Living Television's cable carriage agreement, to launch its own, fully-programmed network. Newsy is now on all major connected TV platforms such as Roku, Chromecast and Apple TV, with plans to push their streaming business even further. On this episode of the Digiday Podcast, editor-in-chief Brian Morrissey sits down with Sabatinelli to discuss the transition from digital to TV, what it means to be "anti-partisan" and why he believes that consolidation is inevitable in the growing world of streaming platforms.

There are many video streaming services hoping to be the next big player in the future of TV. Peter Kafka, a reporter at Recode Media and host of the Recode Media podcast by Vox, thinks Netflix has remained ahead of the curve and will retain the top spot for as long as streaming services keep positioning themselves as the answer to Netflix.

Subscriptions and advertising businesses may stand in conflict with each other, but The New York Times has been bullish on this strategy. While remaining a shining example of a successful subscription business, last year, it also had its first growth year overall in advertising since 2005. Sebastian Tomich, head of advertising at The Times discusses the advertisers’ aversion to news, how audio has become a meaningful business for the Times and more.

In the last year, Twitter and Facebook have been scrutinized for the lack of brand-safe environments for advertisers. At Cannes this year, Twitter is spending much of its time addressing those issues. Sarah Parsonette, vp of global client solutions at Twitter, discusses how the platform can contribute to brands’ bottom line, why it is open to regulation and more.

On this episode from Cannes, we talk to Andréa Mallard, the newly minted CMO at Pinterest. The platform has about 300 million active monthly users on its platform and Mallard’s pitch to advertisers and publishers includes a brand-safe environment and access to new audiences.

Despite the ever-changing methods of delivering content, Hearst, first and foremost, remains a magazine company. In the latest episode of the Cannes edition of the Digiday Podcast, Troy Young, president of Hearst Magazines, talks about culture changes at Hearst, his ambition to integrate data in every part of the organization and more.

Once known for its brash ways, Vice under new CEO Nancy Dubuc is presenting a different, more streamlined appearance for the market. Part of that is presenting a simplified structure and recent moves to bring in new leadership across the company. CRO Dominique Delport kicked off the week’s episodes of the Digiday Podcast by detailing how the company has gotten its house in order.

Millie Tran is the deputy off-platform editor at the New York Times, where she manages how The Times handles coverage and distribution of its content on social media channels and everything else that is not their owned and operated platform. In this episode, Tran talks about platform behaviors, how she approaches organizational differences, how women are over-mentored but under-sponsored and more.

The Financial Times has long charged readers for access to its content. While other publishers are pivoting to paid today, the FT is much farther along in this journey. It recently reached 1 million subscribers. CEO John Ridding cautions that the road is much tougher in execution than it looks in understanding. In this episode, Ridding talks about the biggest growth areas for the FT going forward, why the publisher's relationship with Facebook has been consistently difficult and more.

Last year, Viacom acquired Awesomeness, a youth-focused media company that is behind the Netflix success To All The Boys I’ve Ever Loved. Rebecca Glashow, co-head at Awesomeness, shares how things have changed internally for the company.

PinkNews is a U.K.-based digital publication that covers news and entertainment for the LGBT community around the world. Founded in 2005, the bootstrapped media company employs 24 people and has established a sizable audience in the U.S., India and other countries. To keep this business alive and growing, founder Benjamin Cohen has tried every trick in the trade -- and every revenue stream. On this episode of the Digiday Podcast, Cohen discussed how he manages to avoid over-reliance on any one platform or revenue stream for growth.

Many publishers are trying to diversify their revenue streams instead of relying solely on advertising for revenue growth. But for Forbes, the digital ad business is still seeing double-digit growth. In the latest episode of the Digiday Podcast, Forbes CRO Mark Howard discusses revenue diversification, why a paywall isn’t right for the publisher and more.

Bonus: This March, the bootstrapped media company Mobile Nations, a digital publisher with a focus on consumer electronics, was acquired by Future in a deal worth $120 million. On this episode, Mobile Nations co-founder and COO Kevin Michaluk, discussed why venture capital funding never made sense for the company that last reported $8 million EBITDA over $16 million in revenue.

Barstool Sports CEO Erika Nardini believes Barstool can be a $100 million revenue company "within the next year and a half." That will have to come from growing channels of revenue and not depending on any one of them, especially advertising. Nardini discussed how Barstool is building out these revenue streams, why personalities matter, how podcast revenue is lucrative for Barstool and more.

The Mueller Report confirmed a lot of reporting already done around the Trump administration and Russian meddling in the 2016 election. One of the many newsrooms whose reporting was vindicated in the process is The Daily Beast, a mid-sized publisher that seized the opportunity to compete with big news organizations like The New York Times and The Washington Post. Noah Shachtman, editor-in-chief at The Daily Beast, discussed how the Beast approaches scoops, the progress on its membership model and more.

In this special four-episode series of the Digiday Podcast, we invite executives from bootstrapped media companies to talk about how they run a sustainable and profitable media business. Courier, a London-based, bimonthly magazine, is focused on modern business and startup culture around the world. The bootstrapped media company is about six years old and has 12 people on staff with a network of contributors globally. On this episode, Jeff Taylor, the founder of Courier magazine, talks about why he never went down the venture capital route.

Meredith, which acquired Time Inc in 2018, is home to a stable of female-focused media brands like People and Every Day with Rachel Ray. The company's long relied on print revenue, but like everyone else, is now looking to diversify revenue streams, especially in digital. Jon Werther, president of National Media Group at Meredith, discusses their roadmap to revenue diversification, competing with platforms and more.

Programmatic advertising is playing a larger role in the future of publishing. Recent Digiday research found that over half of publishers now generate more revenue from programmatic advertising than any other channel. On this episode of the Digiday Podcast, Mike Smith, chief data officer at Hearst, joined Digiday editor-in-chief Brian Morrissey in an attempt to break down the current state of programmatic advertising.

The pivot to paid is not on the cards for Group Nine, the holding company founded in 2016 that houses brands including The Dodo, NowThis and Thrillist. The goal for the media company: Use advertising, including branded content and entertainment, to build a sustainable media business. At a live recording event of the Digiday Podcast, Group Nine president Christa Carone said the strategy has paid off. Sign up to subscribe to Digiday Plus for three months for only $49. Use code INTRO at checkout.

IMGN Media, the digital media company that owns Daquan, the meme account with 12.3 million Instagram followers, is focused on creating content for teens and young adults primarily on Instagram and Snapchat. Barak Shragai, co-founder and CEO of the company says the company isn't just a social media account but also a media brand. On this episode, Shragai makes a case for why Instagram accounts with massive audiences are not just a cultural phenomenon but also sustainable and profitable media brands. He also also talks about creating video for Snapchat and Instagram when most other publishers have cooled off on video for platforms. Get Digiday+ for three months at only $99. Enter code INTRO at checkout.

2018 was a year of organizational restructuring at Condé Nast, followed by a decision to offset the decline in print business by focusing on the growth areas, including on longform video and of course, implementing a paywall at all of the publisher's properties by the end of 2019. Pamela Drucker Mann, Condé Nast CRO, discussed how the subscription plan across all Condé Nast properties in the U.S. will roll out, why Conde is putting its Snapchat efforts on pause and more. Get Digiday+ for three months for only $49. Use code INTRO to subscribe.

Local journalism is in crisis. Emily Bell, director of Tow Center at Columbia University, sees hope in policy and regulation to provide a solution. Sign up for the three-month Digiday+ subscription plan. Use code INTRO. Offer available for a limited time only.

Whether big tech platforms need to be broken up in order to rein them in is now a matter of public debate -- and will be a big topic during the U.S. presidential election next year. Dina Srinivasan is an academic, who went from being an ad tech entrepreneur to writing about the anti-trust case against Facebook, most recently for the Berkeley Business Law Journal. She doesn’t think breaking up big tech is the answer. Instead, she advocates for the anti-trust approach. Srinivasan discussed why antitrust is the way to deal with Facebook, how the dominance of Facebook and Google is different from the fleeting power of Myspace and Yahoo and what a likely federal regulatory remedy would look like. Sign up for the three-month Digiday+ subscription plan. Use code INTRO. Offer available for a limited time only.

One-year-old startup NewsGuard is trying to turn the problem of unreliable and fake news into a real business. The company, which raised $6 million in an initial funding round, creates "nutrition labels" for news organizations, rating them red if they are unreliable and green if they are trustworthy. The rating is not based on an algorithm but traditional reporting by a team of 35 journalists. Steven Brill, co-founder and co-CEO at NewsGuard, says the goal is to get a license fee from technology companies to rate all news websites. On this episode, Brill talked about the company's business model, where growth lies and being the alternative to algorithms