One of the epidemics in our industry is the abuse of power.
If you're going to be a media brand and not just a linear television brand, then you have to make sure you're speaking to all women and all interests, so it may mean that you end up smaller audiences serving individual pieces of content, but the aggregate is what's important and what we're paying attention to.
I grew up in Bristol, R.I. I had grandparents and great-grandparents nearby, and because I was the only grandchild until I was 12, I was the center of a lot of adult attention.
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.
In the media business and as a creative executive, if you don't take risks, you're dead in the water. Calculated risk taking is essential for success. No one said it was easy.
We love the Vice guys; we believe in them. We're investors. We believe in them, in the creative work that they've done... What they built is incredible.
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.
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.
One of our secret-sauce powers is that our people don't just write checks and place the ads, but our employees go the extra mile to get things done.
There's still too much filler, copycat programming that's out there. We work so hard to pioneer new ideas, and then those ideas are just regurgitated by other networks. That's not good for anybody, I think. That's not good for our business. That's not good for our audience.
If we can be changing some lives along the way, that's the holy grail on television.
Both of my grandfathers served in World War II, both in the Pacific. One wouldn't talk about it, and one would.
Successful shows will always generate great business deals in the future.
A lot of people make hay about 'American Idol''s ratings and 'Empire.'
We know romance novels are a huge thing. Can we do a romance novel show on our network? I'm not sure.
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.
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.
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.
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.
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.
