There is a lot of content out there for the female demographic.

A lot of people make hay about 'American Idol''s ratings and 'Empire.'

I run a creative company, and the best way to support creatives is to make them fearless and willing to take big swings. That is an important part of our culture at A&E Networks.

It takes a long time for things to get off the ground.

Great managers recognize that there is no one way to manage. You may have to be 10 different managers to get the best out of your team.

I'm not a very patient person. I'll take those quick risks to see if it's going to work versus taking the long and tortuous road of trying to guarantee myself that something will work. That's like self-mutilation to me.

It doesn't make any sense for us to do a scripted series if it's not going to be big, so we have to be really disciplined about them.

Obviously, there needs to be parity. I think as more women get to the top, we need to make sure that is the case. It is our responsibility.

I think it's important for History to keep experimenting with their shows. The more documentary-driven, the returning series, are the bottom of the iceberg under the ocean that keeps it moving, and then it's important to take those swings and see if we can ignite a spark with new audiences.

I think the culture and DNA of our organization is to take risks.

As a global media company, A+E Networks continually seeks to create new and exciting content that will attract audiences today, tomorrow, and beyond. By investing in Vice, we are thrilled about our potential to further deliver content that meets the demands of the latest consumption trends.

Vice has a bold voice and a distinctive model in the marketplace. This channel represents a strategic fit and a new direction for the future of our portfolio of media assets.

Taking action against a show because of one individual's behavior could put hundreds of jobs in jeopardy.

It's hard for me to accept the argument that millennials are not watching TV. I'm not one to believe that our culture of TV consumption is changing dramatically. It's just how we consume and where we consume it that's changing.

You can't manage the creative process on a quarterly basis. The way we're structured has really helped us grow.

A show could be 10 minutes, seven minutes, 94 minutes. We just need to tell the stories that need to be told.

We aren't afraid to take creative risks, which is the main ingredient in our recipe for change.

There needs to be a bigger focus on creative innovation versus business models and cash flow.

Owning content and original content has been our lifeblood - we've never been a suite of brands that's been reliant on a movie library or on rented series from other networks.

I'm not a very patient person.

In Vice, I saw all of it in one. I saw a studio. I saw a content creator. I saw an agency. I saw a distributor. We want to learn from them. They're talking to a generation we're struggling to connect to as an industry.

In this rapidly changing media environment, business transformations need to be closely linked to communications strategies.

At our core, we are a content company. That content has to be the very best. You can't be a company of this size and be doing what everybody else is doing.

Panna is focused on the intersection of premium video content and digital product to deliver great experiences. Given those are areas of focus for FYI, we are extremely excited to partner with Panna.

I am here to tell you, TV is not dead. Rather, it is constantly evolving as we are. My view is that we are in the next Golden Age of content. If AOL, Google, Netflix, Amazon, and Yahoo felt TV was dying, they would not be so eager to play in our sandbox. It is, after all, TV content that's driving their business.

My focus - even before becoming CEO - has always been memorable and unique content. And one of the most important things we did to reinforce that was create A+E Studios.

TV is our window on the world. It's a powerful medium for great stories that become part of our very, very personal journey.

My interests were more extracurricular, more external, and more social than they were academic. My birthday is also in December, so I was one of the older kids. That meant I learned social leadership early on. I was always just much better in a team and work environment than I was in a classroom environment.

If you look at the coverage of female sports and athletics across any of the broadcasters that participate in league rights and/or sports programming, women are underrepresented, and it's a chance and an opportunity for Lifetime to support that movement and the importance of athletics and competition for girls and women.

I would love to see more swings in areas that we haven't explored. I can't necessarily tell you what that is - I think you know it when you see it - but I think we've had a lot of the same-themed shows in broadcast, but those shows are still performing.

I think people take for granted the success of the original content at A&E Networks and in building brands. People have selective memory on how long that takes.

The directness of my mother is clearly in my voice. Her opinion is always a very strong opinion at the dining room table. I think she empowered me to have the same drive.

Historically, we've had to think in increments of 30 or 60 minutes. And now we have to think in increments of six seconds to six hours and everything in between.

I'm a very goal-oriented person, and work is really rewarding. It's how I take care of my family, and ultimately, I'm never going to let that responsibility fall to anybody but myself.

'The Hatfields and McCoys' is a classic tale of American history. These are names that are widely recognized, yet few people know the real story that made them famous.

When you meet a veteran, thank them for their service.

We need to get rid of bullying. We need to get rid of abuse. We need to get rid of harassment. We need to get rid of the casting couch. Instead, we need to build the bench.

Consumers are looking for those trusted brands to help with search and discovery and streaming content choices.

I love it when a man knows his place - right, ladies?

Storytelling takes many forms, and even feature-length storytelling is often 90 minutes or two hours. There's nothing stopping us from trying to do that on a week-to-week basis.

To address what seems like an endless cycle of gender inequity in media, I believe we need to think beyond what our industry has already tried to do through mentorships and internships. We need to stop talking and start moving the needle, and one solution is to simply give women jobs.

To effect meaningful change, you have to look at who's in the boardrooms, who has the financial control of businesses, and who has the greenlighting power.

Sometimes people get fairly obscure just for the creative license of it, and that can backfire. Iconic stories are iconic for a reason, and there are so many incredible, iconic history stories that have not been told that we don't need to go too deep in the well yet.

It's my job... to push people out of their comfort zones. But we got to have a reason to do it. We don't do it gratuitously.

We'd all like to be in the business where we don't have to report our numbers, too. You're dealing with a Netflix and an Amazon that don't have to report their viewership. They're not sharing those numbers, so how do you work with a creative entity to renegotiate future seasons when nobody has metrics?

It never seems like a good idea to do something that's way out there. But usually, the thing that's way out there is where we are heading.

Lifetime never had any unscripted shows, really. It just had 'Project Runway,' which was a bit of an island.

I have an innate passion and competitive streak to win and to create, and I want our team to be better than everybody else. Some people thrive in that environment, and some people don't.

We have a powerful portfolio of brands that are well-positioned for future growth, both domestically and internationally.