NANCY DUBUC

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.

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

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.

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

I'm a big believer in picking your boss, not the job. Great people create great jobs.

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

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 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.

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.

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.

'Cinnamon Girl' is a game changer for our network and is exactly the type of show we want to deliver.

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

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.

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'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.

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

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.

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.

We're trying to create the connections of today that become the next generation's memories of tomorrow.

I know that when I'm watching a drama that I love, I'm disappointed when it's over at the end of an hour.

It's easy for the board to say, 'Well, add makeover shows.' The No. 1 show for women in the United States is 'The Walking Dead.' That's not a makeover show.

Each generation wants their own form of entertainment and their own form of storytelling.

We knew that bringing a level of entertainment value to the subject of history was the key to our success.

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?