Streaming Media NYC: A Conference About Disruption

By Matthew Threadgill (Assistant, Disney Branded Television ; Co-Head of Journalism, The Hollywood Assistant) &

Natalie Lifson (Executive Assistant & Agent Trainee, Buchwald ; Co-Editor-in-Chief, The Hollywood Assistant)

See Streaming Glossary for the following terms used below: FAST, CTV, OTT, Linear TV, Premium Content, VOD / SVOD / AVOD, OEM, UGC

Natalie:

Two weeks ago, Matthew Threadgill and I attended Streaming Media NYC, a self-described “conference about disruption and how to harness it.” According to Evan Shapiro, the producer of the event who generously provided tickets and allowed us to interview him, the conference was intended to be “a capstone to the Upfront and the NewFront” that connected the business of streaming with advertising and marketing tech, television wars, and programming. 

While the conference has been running for years, this is the first time it’s existed in this form— after the Upfronts and NewFronts, in New York City, and with an increased focus on the broader streaming industry, compared to the technological elements the event has historically focused on. Evan explained that this shift in focus is due to a shift in industry trends exhibiting that streaming technology, advertising, and television are increasingly, inextricably linked. 

It’s impossible to talk about streaming in the current media landscape, Evan explained, without also discussing advertising, subscriptions, FAST, and more. 

“We went from a mix of ads and subscription fees to just subscription fees and no advertising, and now we're swinging the pendulum back,” he elaborated. “Solving the advertising economy will solve the subscription economy, too.” This also plays into the rise of bundling and FAST TV, two other topics the conference explored. 

The event included a wide range of diverse programming on these subjects and more that complemented each other and explored how the various elements of streaming interact.

Panels included:

• “The Subscription Prescription,” which explored “how market shifts and strategic innovations are changing the mechanics of subscription to increase value and create a better experience.”
  

• “OS, OEM, Oh My!,” which explained shifts in the way TV (“from live linear to FAST to SVOD/AVOD/SVAD”) is distributed and monetized.
  

• “Pain in the Apps” about “streaming app design and user experience … given ongoing fragmentation in the CTV and connected device space.”

The panels were sorted into various complementary “tracks,” including “The Business of CTV,” “Modern Measurement: Who Counts Now?”,  “Sustainability in Media,” “Choosing Streaming Infrastructure,” and more. Speakers included executives from Pluto TV, Fremantle, Roku, Paramount, Google TV, Crackle, Vevo, the International Advertising Bureau (host of April's NewFronts), and dozens of other carefully curated experts.

One of the most unique parts of this conference was the “debate” format of some of the panels, a structure proposed by Marion Ranchet. Instead of traditional panels, experts had an hour to debate each other on various topics related to streaming. The biggest benefit of a debate compared to a panel, Evan explained, is it breaks down information into smaller, more easily digestible chunks. 

Personally, I found the debates helpful because they gave me an opportunity to question the information I was receiving in real time; they pushed me to think critically about the topics I was learning about and form my own opinions. 

Debates included:

•  “TO AI, OR NOT TO AI? — AI: Boon Or Bubble?,” which asked the question: “How much of AI’s insurgency is fad, and how much is the actual future of streaming?”
  

• “PREMIUM VS. SOCIAL — What Is Premium Now?,” which asked the questions: “In a world where the lines between niche and mainstream media companies are increasingly blurred, and YouTube, a platform associated with UGC and influencers, is emerging as the largest media channel on the planet, what really constitutes premium content? What makes the distinction meaningful for those with a stake in streaming?”
  

• “Brand Vs. Retail,” which asked the questions:  "In a world of increasingly commoditized impressions and audiences, where is a marketer’s money best spent—premium TV environments for brand awareness, but less attribution, or performance marketing? Can TV publishers compete with social video on performance-based advertising? Should they, or are they risking brand damage?"

The event also included one-on-one “Fireside Chats” with experts including Charlie Collier, President of Roku, and Steve Ellis, COO of Paramount Advertising. The purpose of these, according to Evan, was to “ask follow up questions and go down rabbit holes” with individuals who have insight into and an answer for everything, ranging from industry trends and predictions to leadership and management styles.

Another important segment of the conference was the various panels and discussions about diversity, leadership, and how they fit into the streaming landscape. This segment of the conference was attended by Matthew. 

Matthew:

On Streaming Media’s final day, I had the exciting opportunity to attend panels and presentations that delved deeply into FAST and DEI (Diversity, Equity, and Inclusion). Exploring the intersection of the two, the panel “Unlocking Diverse Audiences” highlighted the profitability of multicultural markets as younger audiences, which make up a large portion of streaming audiences, are more diverse than ever before. 

“Diverse audiences are driving streaming consumption,” explained Jeff Stover, VP of Integrated Sales at Fuse Media. “When we first bet on FAST in 2018, we saw the numbers backing that up. Diverse audience is the general market.”

Along with Stover, executives from Roku and Publicis Media highlighted how clearer viewership data has driven FAST channels to lean into multicultural stories. Compared to linear TV, FAST channels provide reduced barrier-to-entry for multicultural stories, and increasingly accurate data makes it easier than ever for multicultural stories to sell to buyers. 

“Traditional measurement companies have always underrepresented diverse audiences,” said Stephen Paez, EVP of Cultural Investment and Innovation at Publicis Media. “From a FAST channel perspective, you as a publisher can be very honest in terms of what you can deliver. You’re no longer dependent on a third party. There is a very clear sight of measurement.”

Despite the clear value of multicultural markets, DEI is struggling to maintain importance within corporations, as evidenced by recent mass layoffs in DEI departments. In the session “Diversity is Not Equity,” DEI leaders provided words of encouragement against these changes, noting how DEI practices bring multifaceted talent to teams and make employees feel valued. 

“The idea is that it’s not a program, it’s not an initiative, it is a leadership imperative, it is a strategic imperative,” said Judith Harris, Chief DEI Officer at Weber Shandwick. “It has to be everybody’s job everyday. And if organizations don’t embrace that and infiltrate that, then progress is achingly slow.” 

The biggest takeaway is that DEI is not just a social necessity– it is a business necessity.

The “Leadership Now” panel, in which leaders from REDspace, POLITICO, A+E Networks, and BBC Studios shared strategies on effective leadership, was particularly helpful to Hollywood assistants like myself who are aspiring to lead. Some strategies they shared include setting clear goals, mentoring promising talent, staying knowledgeable about AI, and maintaining authenticity.

Panelists also provided useful advice for future industry leaders. Mark Garner, EVP and Global Head of FAST at A+E Networks, spoke on the importance of empathy. “Have empathy and the latitude and grace to understand where people are at a given time,” said Garner. 

Natalie:

Following the conference, Evan shared some additional advice about leadership: The most important trait a leader should exhibit is “preparedness.” 

Evan explained that despite the major changes he made to the existing conference, he worked hard to mitigate risks by partnering with an event-planning company, spending months brainstorming and fleshing out formats, and carefully selecting panelists and debaters who are intelligent, eloquent, educated, and able to think on their feet. 

“It's much easier to take big risks if you give yourself the time and permission to obsess about the details of executing against that risk.”

He also left us with one final piece of advice for young people in the entertainment industry: 

“Wake up stupid every day. Wake up literally wanting to learn something new every day, or meet someone new every day.”

More from Evan HERE.

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