CONDÉ’S DIGITAL-FACING FRONT: Condé Nast Entertainment’s third digital NewFront presentation was held in a fitting place — Spring Studios.
The space, which most recently played host to The TriBeCa Film Festival, was at capacity, as audience members were gifted plastic rings with “CNE” labeled on them and Google Cardboard Viewers.
When activated, the ring changed colors to signify different moods, which would nod, in part, to how the entertainment division defined its programming.
According to CNE president Dawn Ostroff, Millennial consumers watch digital videos to “fulfill an emotional need or mood.” As a result, the programming touched on the following moods or emotions: “creative, connected, inspired and escape.”
For “creative” CNE screened clips ranging from a GQ-branded show on rising men’s wear designers to a co-branded GQ and Glamour makeover special, in which dowdy workers of the Department of Motor Vehicles and the U.S. Postal Service get glammed up. It’s called “Insert Style.”
Shows with the “connect” theme included W’s “Screen Tests,” a black-and-white filmed video series with celebrities, interviewed by Lynn Hirschberg, as well as Style.com’s personal style show hosted by Coco Rocha. (Now that Style.com is a commerce site, one wonders if Rocha will sell her clothes, too.)
“Escape” included a series by Condé Nast Traveler, as well as a program by The New Yorker called “The Screening Room” that showed shorts by celebrated filmmakers.
The “inspired” theme included a second season of Teen Vogue’s “Strictly Ballet” series, as well as an unscripted show called “Salaam Dunk,” which chronicles the first female basketball team at the American University of Iraq.
The programs would all be on CNE’s digital hub “The Scene,” which houses content from media partners such as Buzzfeed, Univision and ABC News. The company said it would launch a new channel aimed at Latina Millennials called “Vida Belleza,” and that it would expand its partnerships with media properties like Pitchfork, College Humor and The Onion, for wider video distribution. “The Scene,” which does not yet have a mobile app, is still hard to find for most. Ostroff said that was in development, which will be helpful for viewers looking to watch The Scene’s exclusive scripted “comedic sci-fi series” dubbed “The Tyler Zone.”
The Google Cardboard gift would be a signal of Ostroff’s big unveil: two series produced in partnership with Jaunt Studios, one about a family of window washers, the other about a family who owns an events business.
Chief revenue officer Lisa Valentino wrapped up the presentation with a plea of sorts to advertisers to do business with the company’s new branded content division, 23 Stories. “What we care about is what you care about — performance,” Valentino said, explaining that swath of programming related to the ability to advertise with Condé Nast through video.
“That’s why we launched our branded content studios 23 Stories by Condé Nast,” she said. “Where else can you buy across a premium network? It’s simple — nowhere.”