We were an entertainment brand, and if we were going to compete in an era of incredible growth in the cable industry, I felt we actually needed to be entertaining.

As a former college athlete, I know the importance of sports in the lives of women and girls, and I couldn't be more thrilled to join forces with NWSL and U.S. Soccer to ensure professional women athletes are elevated as the entire country can watch and be inspired by their strength and athleticism.

'The Client List' represents everything we want to be - fresh, exciting, and original with attitude.

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

'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.

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.

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

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.

With a strong foundation in scripted programming firmly established by 'Army Wives' and 'Drop Dead Diva,' Lifetime is aggressively expanding its drama series development plate with powerful programs from creative auspices who have strong pedigrees in producing stand-out programming.

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.

Hearst makes smart investments and partnerships across important industries, and HearstLive is the perfect opportunity to highlight the amazing innovations coming out of all of those brands.

The beauty of the media business is all about what is next. You put your mistakes behind you. Learn from them and move on to the next project. Having some degree of success is integral to a risk-taking balance.

From Abby Lee Miller's intensity and her students' incredible performances to their devoted moms and its high drama, 'Dance Moms' has become one of the most compelling shows on television.

A+E Networks has been my home for over a decade. I am so proud of these brands and my A+E colleagues who are truly the best in the business.

You had a generation of women, of which I'm part, where it was a stigma to be associated with feminism; there was a backlash. Now you have a generation that is clearly embracing feminism because, at the end of the day, the definition of feminism is just equality.

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.

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

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.

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.

There are very few black-and-white truths in management or in business, but one that I have found is that people either hire people who are smarter than them, or people hire people they can control.

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.

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

Both of my grandfathers served in World War II, both in the Pacific. One wouldn't talk about it, and one would.

If we can be changing some lives along the way, that's the holy grail on television.

It's not enough just to put great television shows out anymore.

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.

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.

It's an honor to be the only woman in the room a lot of times, but I wish I weren't the only woman in the room. I still have to think in a calculated way about how to speak and what to speak about.

Personally, I feel a strong responsibility to make sure that we have women equally represented in our executive suites and that we employ women in front of and behind the camera and in our writers' rooms.

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.

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.

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

When I think about too much content out there, one of the things that comes to mind for me is just the volume of really outstanding creators there are.

When you look at the increase in the number of scripted series and the number of unscripted hours, the pool of producers hasn't grown at the same rate. So I think there's a bit of a creative tax on the system.

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

We've learned that you can't just put your promos up in a digital environment and expect the consumer will accept that as shortform content. It needs to have a unique point of view and style and execution that is tailored to that platform.

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.

I'm not a very patient person.

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.

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

I'm enormously proud that I can do a deal with the National Women's Soccer League to showcase the power and passion of women athletes as positive role models, not only for my daughter but also for my son.

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

Celebrating failure is key. Half of what we do fails, at least.

We have to take a really close look at making sure that we are more surgical and more tailored in dealing with the production community and our producing partners.

I think that the strategy around FYI is really a corporate strategy, and that's that every one of our brands that we invest in have to matter and that we need to commit to building brands and investing in those brands, or we need to get out of that business.

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.

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

The History brand has long been a supporter of not only our troops but organizations that support our troops.

We knew in our gut that History needed to be more than a timeline.

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