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ERROR: type should be string, got "https://blogs.wsj.com/cmo/2014/08/29/cmo-today-marketing-to-the-youtube-generation/\nCMO Today: Marketing to the YouTube Generation\nMike Shields\nAug 29, 2014 8:36 am ET\nHere’s your morning roundup of the biggest marketing, advertising and media industry news and happenings. Send tips, suggestions and complaints to mike.shields@wsj.com.\nClick here to read CMO Today in your email inbox daily.\nBRANDS WARM TO PEWDIEPIE: Felix Kjellberg, who as his YouTube persona PewDiePie, entertains 30 million plus subscribers by posting videos of himself playing video games while gesticulating and cursing.\nWith that kind of act, it might be easy to guess that advertisers are never going to go for him. But take a look at a recent branded entertainment deal struck between Legendary Pictures, Universal Pictures and Maker Studios, which works with Mr. Kjellberg on everything from production to ad sales, and you may start to see the marketing possibilities. A six-part online video series aimed at promoting the new horror movie “As Above, So Below,” featuring PewDiePie and his girlfriend, fellow YouTuber CutiePieMarzia, has generated close to 20 million views prior to the movie’s release, reports WSJ’s CMO Today. How? Maker executives said the advertiser in this case let Mr. Kjellberg do what he does best, create entertaining videos his fans will love--in other words, they let PewDiePie be PewDiePie. That is not going to be easy for every advertiser (it helps when you are a young-skewing horror movie) but it shows that ads have a place in these newer forms of content proliferating in Web video.\nSO LONGMIRE: A+E Network cancelled its hit show “Longmire” after its third season, Deadline.com reports. The decision was something of a surprise: the detective series set in Wyoming had been A+E’s most popular show behind “Duck Dynasty.” While its ratings were down in the third season to 4.6 million, from nearly six million in the second season, Deadline noted that its lead-in was much weaker than a year earlier and that its audience skews older than some other shows on the network. Another possible factor: A+E, like many other cable channels, such as AMC, has been pushing to own more of its content. Longmire is made by Warner Horizon. When hit shows are being cancelled in these circumstances , there has to be a question whether the own-it-here philosophy is going too far.\nWHO’S SPONSORED CONTENT IS IT ANYWAY?: When an ad agency creates a TV spot, its advertiser client generally retains ownership of that ad, and is free to run it when and where it pleases. In the often-blurry world of sponsored content, however, it is not that simple, as Digiday reports. Some online publishers say the content they create on behalf of brands remains the property of their clients, and that they can take it and republish anywhere they like, or even have it deleted if they wish. But others aren’t as happy to give up control. The Huffington Post, for example, views all the content it creates as its own, even if it has been commissioned by a brand. It’s legal kinks such as this that will still need to get straightened out before sponsored content or “native advertising” is ready for primetime.\nCONDE NAST’S STREAMING DRAMA: Print media companies have almost universally grabbed onto Web video as a possible solution to the loss of advertising to the Web. In the case of magazine publisher Condé Nast, that video push is causing some internal friction, reports Capital New York. Turns out editors at Condé Nast are feeling shut out of video being produced by Condé Nast Entertainment, the company’s relatively new video division run by former TV network executive Dawn Ostroff. The article says editors of Vanity Fair, Glamour, GQ and Wired are grumbling that they aren’t getting a chance to control the video output for their brands. That is resulting in subpar representations of their vaunted brands, these editors say. (Of course, some might counter, privately, that print people are not the right folks to be involved in producing video anyhow, and should let the pros handle this stuff). Either way, this clash speaks to painful changes that many traditional media companies face; they are all racing to get more digital and pushing into video--which requires a particular skill set that companies oriented toward cranking out issues and articles and cover shoots and layouts aren’t necessarily great at. Yet their bosses think that is where the money is these days, so they are charging ahead.\nIT TURNS OUT, KIDS LOVE NEWSPAPERS: Digital upstarts like to boast about their young readership, the idea being that generating a youthful audience will boost a publisher’s long-term health as American eyeballs continue shifting from print to online. But a new analysis from Digiday shows that the old print guys are still hanging in there. In fact, The New York Times has 20% more millennial visitors than Vice (though, of course, that is also due to the Times’ larger overall audience). BuzzFeed, Gawker, and Complex had the most millennial visitors overall, according to Digiday’s analysis of ComScore data. Still, some legacy outlets had impressive figures when it came to the percentage of their total readership made up of young people. For example, 61% of Cosmopolitan’s online readers were millennials while GQ notched 43.5%. And, in the interest of full disclosure, 28.2% of The Wall Street Journal’s readership is made up of millennials.\nELSEWHERE: Like Amazon Inc., Google Inc. is testing a series of drones that would be used to deliver packages to consumers’ homes, reports WSJ. Clothing retailer Abercrombie & Fitch plans to remove most labels from its clothing to reflect teens changing tastes, reports WSJ. Vice Media’s director of global marketing is jumping to Vox Media, reports Adweek. The chief executive of Finland's Rovio Entertainment Ltd., the maker of the popular “Angry Birds” series of mobile games, is stepping down in January, reports WSJ. A key programming executive at Turner Broadcasting is stepping down as the company undergoes a series of personnel shifts, reports Deadline. Netflix has acquired streaming rights to NBC’s hit drama “The Blacklist,” reports Variety.\nFollow us on Twitter: @wsjCMO, @digitalshields, @mvpeers, @VranicaWSJ, @JackMarshall, @nftadena, @perlberg.\nA+E Network\nbranded entertainment deals\ngoogle drones\nPrevious YouTube Power Couple PewDiePie and CutiePieMarzia Create Miniseries For Movie \"As Above, So Below\" Next The Top 10 Biggest Advertising Stories Of The Summer"