iMedia speaks to Comedy Central's VP of digital media about how the company's perspective on comedy programming fits into its overall branding strategy.

Beth Lewand is responsible for the development and execution of Comedy Central's website, comedycentral.com. She is also in charge of the company's new media productions, including wireless and interactive TV initiatives. Under her direction, comedycentral.com has earned Webby and Interactive Achievement Award nominations. Prior to joining Comedy Central, Lewand worked as a senior producer for VH1, where she was integral to the relaunch of the company's website.

iMedia Connection: Comedy Central was one of the first networks that not only created a video channel to promote its broadcast programming, but recognized the value in developing web-only original content. Where does MotherLoad fit within Comedy Central's overall brand strategy? What challenges do you face in promoting this entity as part of the brand, while still stressing its own unique value?

Beth Lewand: Our goal is to be everywhere that our audience is-- in their living rooms, on their desktops and even with them on their commutes. Comedy Central's MotherLoad is a necessary component of this strategy. It's developed and programmed by the same people who develop and program the television network, so although it's based on short clips instead of 22-minute episodes, it has the same sensibility as the shows you see on our air.

The biggest challenge has been communicating to our viewers the breadth and depth of what's available in MotherLoad. They're accustomed to seeing TV network websites that feature a couple clips from a few different shows, but we're offering thousands of segments for them to check out, including a lot of original programming that they've never seen before. MotherLoad isn't just for fans of particular Comedy Central shows-- it's a completely new way to experience our irreverent brand of comedy.

iMedia: Recently MotherLoad began offering standup comedy routines from the Gotham Comedy Club in New York City. How does this initiative help comedy central integrate its online and offline branding strategies?

Lewand: "Live at Gotham" is the first series we developed from the ground-up as a hybrid on-air/broadband show. It's unique in that it's a single franchise with exclusive content available on different platforms. The show is taped weekly, with topical stand-up bits from each taping rolling out on Comedy Central's MotherLoad and in podcasts throughout the following week. Completely different, more evergreen segments will premiere on television in hour-long episodes starting in July. As well as being an opportunity for us to work with a lot of great new stand-up comedians, "Live at Gotham" is an excellent vehicle for us to communicate to comedy viewers the fact that we offer these different outlets with separate but related content on each-- that the various platforms each add value to the whole Comedy Central package.

Comedy Central's stand-up programming has really been a cross-platform winner for us-- it performs exceedingly well on mobile platforms and in the iTunes store too. It's reminded us of how important our original stand-up comedy is to our brand, and how the quality of our stand-up distinguishes us from other comedy outlets.

iMedia: What kind of backlash have you encountered since MotherLoad began airing shows on the web before being broadcast on Comedy Central?

Lewand: The feedback has all been positive. So far, whenever we've premiered a full episode online it's been a special event, not business as usual. For example, in late May we'll premiere the first episode of our new series "Dog Bites Man" on MotherLoad before it hits the air on June 7. The vast majority of today's online video usage is around short-form programming, not half-hours, so these events are designed primarily to introduce viewers to our new programs, not as the backbone of our programming strategy. Snack-sized clips still rule this world.

iMedia: One of the most recent developments in integrated programming is that viral videos, the staple of online entertainment, have become fodder for TV shows (for example, VH1's "Web Junk 20" and Bravo's "Outrageous and Contagious Viral Videos"). Do you expect more entertainment organizations to embrace this concept? What do you see as the next phase in this media-as-metamedia universe?

Lewand: We will see more of these shows, but the proliferation of "found" content won't let programmers off the hook. Viral video is a commodity. To succeed with these types of compilation programs, we need to add value, to contribute a point of view and some unique content that differentiates what we're doing with what's already been forwarded to our viewers' in-boxes. I predict that everyone will try to do this, but only a few will succeed.

iMedia: How is MotherLoad integrating other emerging techniques and technologies, such as mobile, into the equation? Is there a limit to how far Comedy Central can branch out into the interactive space before it risks spreading its brand equity too thin?

Lewand: Comedy Central's MotherLoad is just one niche in the expanding Comedy Central ecosystem. The key for us is that we have a single organization programming for linear television, VOD, broadband, downloads, mobile phones, portable devices and every other entertainment outlet people are bringing into their homes or putting in their pockets. We have expert groups focused on the details of creative and production for each platform, but we have a single mission in our programming, and a unified message in our marketing. This helps us keep our eyes on what Comedy Central is really all about and stayed focused on having a consistent and strong brand as we grow into these new media spaces.

Rebecca Weeks is the content director for iMedia Summits. Read full bio. Jodi Harris is the editor of iMedia Connection's Entertainment Spot. Read full bio.