The New York Times builds a pod squad. Nieman Lab covered this pretty comprehensively last week, and you should definitely check out their writeup for the full skinny, but here are the highlights as I see them:
- The paper of record is assembling a new audio unit to develop a slate of “news and opinion” shows. It hopes to roll out throughout the rest of the year and into 2017. The exact number of shows to be launched is unclear.
- Some staffing details for this new unit: Samantha Henig is editorial director, Kelly Alfieri is executive director of special editorial projects, and Diantha Parker is editor and senior audio producer. Pedro Rosado and Catrin Einhorn will also be audio producers in the unit. Local podcast rabble-rouser Adam Davidson, who is also a columnist for The New York Times Magazine, will serve as an adviser.
- Some info on the long-term strategy, from an internal Times memo about the new unit: “The plan is to pursue a two-fold strategy: to launch a handful of shows with outside partners which, like Modern Love, have a strong prospect of quickly attracting a wide audience; and then use those shows as a platform from which we can build audience for shows produced within The Times that are as integral to our coverage as our live events and visual journalism efforts.” Delicious.
So, what is the significance of this development? In my mind, the distinction lies in the scale (and gumption, frankly) surrounding the design of the Times’ new audio unit: its staff size and density, show rollout expectations, intent on meaningful revenue, and scope of ambition in terms of aesthetic and goals.
As anybody shouting “bubble!” will tell you, many publications are currently dabbling in podcasts; some successfully, others less so. A big part of the strategy for networks like Panoply and DGital Media involves them serving as intermediaries for publishers, shouldering significant chunks of the creative, production, strategic, and monetization burden for partners. And for many of these arrangements, it’s not exactly “plug and play,” but it’s fairly close.
Such partnerships provide reduce publishers’ risk, as startup costs are relatively low and they don’t have to personally invest much resources into infrastructure and talent that may be difficult to shed should their audio strategy burst into flames. It’s a solid, conservative strategy, but the tradeoff here is that there’s a ceiling to what publishers can achieve in these arrangements — creatively (given the limitation on dedicated resources), monetarily (given that the responsibilities are largely shouldered by the partner network), and even from a brand perspective (given that there’s a limit to how unique you can sound when you share a network’s production infrastructure, sensibility, and possibly template with other publishing competitors).
By choosing to build a team in-house and diving face-first into audio (and not for the first time), the Times is eschewing that relatively conservative route for a more aggressive and robust podcast strategy, one that sees the paper essentially doubling down on its ability to determine an aural aesthetic that will result in a better payoff. As the internal memo indicates, that strategy does not necessarily preclude partnerships; it just suggests that they demand more from those partnerships. In these arrangements, networks (or public radio stations) would be required to serve more as collaborator than intermediary, more partner-in-crime than outsource factory. We saw the fundamentals of this with the company’s enormously successful Modern Love podcast — which launched in January, currently draws over 300,000 downloads a week, and comes out of an involved partnership with WBUR.
This is all a reflection of the basic dynamics of risk and reward: The more you’re willing to risk by pouring more resources into the strategy, the more control you’re going to have over shaping the outcome of that strategy, and the more reward — from all corners — you stand to gain from it. As the adage goes, you don’t get a win unless you play in the game.
One more thing: The announcement of the unit was accompanied by a pretty gorgeous job posting for an executive producer. From the looks of the job description, they’re looking for a veteran to quarterback the team both creatively and operationally.
I’ll be taking bets on who they end up hiring, and what shows they end up rolling out. HMU.
Related: shooting up a flare just hours after the Times job posting went live, the other paper of record The Washington Post announced on its PR blog that its Presidential podcast has topped 1 million downloads on iTunes since launching in January. The post further mentioned that “more than 100,000 listeners download the podcast each week,” not including folks who listen right off the Post’s site.
I’m all about that Gray Lady-WaPo rivalry, and I’m psyched it’ll play out on the audio front too.
On strategy. Speaking of podcast strategy, you should totally check out Adam Davidson’s recent Medium post that refined and expanded his critique on that very subject as it pertains to NPR. There’s quite a bit to absorb from it, but I’d like to note two quick things:
- Davidson’s post contains a bunch of specific prescriptions, but here’s how I interpret the fundamentals of his critique: that the organization’s process of developing podcasts is more chaotic than not, that the pace of new podcast launches is way too slow, and that both of these things come out from an ecosystem-wide podcast strategy that’s lacking in coherence, vision, scale, enthusiasm, and intent.
- A constructive question, at this point: What, exactly, makes a podcast strategy? Seems like a simple question with an obvious answer, but I think it’s actually pretty complex. I find it helpful to think about it, above all things, in terms of goals and intent: What do we want to achieve with podcasts a year from now, and what should we do to get there? Within this framework, you can sort of begin to see the source of Davidson’s frustration: It’s probably unclear to him what NPR wants its podcast operation to look like a year from now, and when you contextualize that against the larger trends in the industry — trends that distinctly flow towards digital — you can reasonably understand why the NPR alum is unnerved. For the record, the organization’s goals on that front are pretty unclear to me too, and I spend a lot time staring into the transom. Also worth noting is the fact that it’s entirely possible there is a coherent internal strategy, and it’s just not being well communicated. In which case, the possible counterargument is: What’s the point of communicating what we’re doing right as long as we’re doing it right? To that I say: positive messaging is important for internal morale, external recruitment, and the faith of the public radio random!
By the way: The first episode of Embedded was great! It felt really raw and illustrative, and it projected a sense of place really, really well. Gonna hold my judgment until we’re a couple more episodes in, so stay tuned.
Related: NPR has finally revamped its audio player, eschewing the popup player route for a snazzier, smoother in-browser experience. The player, which now rests persistently on the right side of the site, is designed to allow users to flow seamlessly between local member station streams and NPR’s own content made available on-demand.
The revamp also affords new digital sponsorship formats, including podcast-specific matchups and multimedia mobile slots. Cool stuff.
Serial closes its second season. And just like that, it’s over. Last Thursday, the wildly popular This American Life spinoff published the final episode of its ambitious second season, which throughout its run had unambiguously moved beyond the first season’s local true crime scope and took on the subject of Bowe Bergdahl.
The season drew strong numbers. Entertainment Weekly reported that the second season had surpassed 50 million downloads going into Thursday’s final episode. Kristen Taylor, Serial’s community editor, confirmed those numbers, further noting that each episode had consistently enjoyed around 3 million downloads on its launch week throughout the season.
While the show’s numbers were not altogether surprising given the now-legendary response to the first season, it did strike me as incongruous with what feels like a relatively tepid critical response. I asked Taylor how the team has felt about the reception this season, and whether I’m erroneously reading my conception of hype or buzz as some approximation of critical response. “The second season is a really different type of story, and of course the field is in a different place than last year — what you’re seeing in the number is the dark social, the growing audience listening and writing to us and talking to each other privately,” said Taylor.
“The team is damn proud of the season,” she added.
Details are slim on the show’s third season, though a followup EW interview with Sarah Koenig and Julie Snyder suggests that we shouldn’t expect it anytime soon. The two also mentioned that they were “also looking into other projects, and other shows that are not Serial, but Serial-adjacent.”
ESPN does “longform” audio. The Disney-owned sports media empire flexed its audio muscles today, launching a five-part audio documentary series called Dunkumentaries. In case the word “dunk” means nothing to you, or if you’re one of those people who ducks behind the word “sports ball,” the series is a collection of stories all about the sport of basketball.
Radiotopia fans might find the project familiar: Back in February, ESPN and the 99% Invisible team collaborated for an episode called The Yin and Yang of Basketball about the sport’s invention and the design problem that came out from its initial conception. The Dunkumentaries podcast feed went live around the same time that episode was published, back in February.
Dunkumentaries comes out of ESPN Audio, and its being billed as the unit’s “first longform podcast” — signaling a trendy expansion in offerings for an operation that’s long favored talk radio fare like Jalen & Jacoby and audio-only versions of television broadcasts like Pardon the Interruption. The documentary will feature a rather unconventional ad integration with SeatGeek (a growing staple in sport podcast advertising), according to the Hollywood Reporter. Instead of a conventional host read, the campaign will involve a serialized story spread out across the five episodes’ pre-rolls.
The series was published in its entirety this morning, using a tactic last adopted by Panoply with its Pregnancy Confidential podcast. (The so-called binge method was also partially adopted by American Public Media’s Codebreaker podcast, albeit as part of a larger transmedia project.)
Episodes are on the short-side in podcast terms, ranging between 12 to 20 minutes.
Digg dabbles in podcasts. The social curation site (and erstwhile Reddit competitor) launched a podcast project yesterday, and it’s part of a fascinating piece of multimedia journalism. What The Hell Happened In East New York? is a four-part podcast series, hosted by Sports Illustrated’s Alexander Abnos, that follows journalist Kevin Heldman as he investigates East New York’s status as one of the worst neighborhoods in the country. It’s…a little hard to provide a more substantial explanation of the podcast without diminishing one of its core hooks, but I will say that it’s vaguely Sherlock Holmesian in the sense that it presents Heldman as a character in a larger narrative.
Much like Dunkumentaries, the whole series was published simultaneously (noticing a trend, anyone?), and the project culminates this Friday with the publication of Heldman’s investigation as a feature on the Digg website. The project is a co-production with The Big Roundtable, the narrative nonfiction site founded by Columbia Journalism School professor Michael Shapiro.
This isn’t Digg’s first involvement with podcasts. In the past, the site has partnered with podcasts like Reply All and The Sporkful to package their episodes with rather lovely visuals and extensive writeups before serving them to the Digg readership through its various channels. But this is Digg’s first direct editorial involvement with an audio project, expanding on the original editorial work they’ve previously done for text features and video.
“I couldn’t be more pleased with how the project came out,” Anna Dubenko, Digg’s editorial director, told me over email. “There were moments where we were all nervous about how it would come together — there were so many moving parts…that we wondered if it would be too confusing for our readers. But, as we’re seeing in this first day of promotion, people get what the project is about and, I think, like the fact that we’re trying something with multimedia approach. More than anything, I think people appreciate that we’re not trying to do something gimmicky with audio, but really trying to honor the medium.”
When I asked if we should more audio stuff coming out of Digg in the future, Dubenko replied: “YES to more projects! Specifically with The Big Roundtable.” Fabulous.
Wonk. I spoke with Atlantic Media Strategies’ Jim Walsh the other day about the state of the podcast industry and where it’s going, and Walsh published a cleaned up transcript of our conversation over on the AMS’ Digital Index blog. It should be stated that Walsh’ efforts to transcribe and string together my chaotic, unstructured rambles made up almost exclusively of run-in sentences are nothing less than heroic, and that upon reading the article for the first time, I have swiftly concluded that I am, indeed, an insane person.
- Here’s a sweet spinoff coming out of the HBO-Bill Simmons partnership: The Watch’s Chris Ryan and Andy Greenwald will host a weekly Game of Thrones recap show on Mondays which will be distributed through HBO Now, HBO Go, and HBO On-Demand. WATCH THE THRONES. (The Ringer)
- SoundCloud rolled out its new subscription streaming product, dubbed SoundCloud Go, last Tuesday. The new feature pushes the company more directly in competition with existing streaming companies like Spotify and Apple Music. The future of its status as the go-to free audio hosting platform, which has made it popular with budding podcasters, remains unclear. (The Verge)
- Speaking of Spotify, the Swedish streaming company raises a billion in debt financing. (Wall Street Journal)
- PodcastOne, the Adam Carolla-centered network led by Norm Pattiz, launched its own premium subscription play. From the press release, it appears that much of the network’s archives will be stored behind the paywall. Priced at $7.99 a month. (All Access)
- Distribution responsibilities for On Being to shift from American Public Media to PRX. (Current)
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