Richard Frank on working with Michael Eisner on the Paramount Television Group and learning how to work with writers
Richard Frank on his philosophy as a television executive
Richard Frank on dealing with backstage gossip and controversy
Richard Frank on his management style and the qualities he looks for in his team
Richard Frank on advice to aspiring executives
Tom Freston on his promotions at MTV - all the way up to President
Tom Freston on being one of 2 President of MTV Networks for a year
Tom Freston on Sumner Redstone hiring Frank Biondi and making Freston CEO of MTV Networks
Tom Freston on his management style
Tom Freston on running Paramount and CBS with Les Moonves; on the split of Viacom and becoming CEO of a public company; on getting fired by Redstone
Tom Freston on advice to aspiring television executives
Roger King on his desire to go into his father's business, and on his father's business philosophy
Roger King on the decision to take King World public
Roger King on creating and distributing The Roseanne Show, starring Roseanne, and on how King World dealt with failure
Roger King on the King World merger with CBS/Viacom, and on working with Sumner M. Redstone to make the deal
Roger King on what was different about King World that led to its massive success, and on working with his brother Michael King
Roger King on what attracts him to a project, and on his working style
Roger King on advice to an aspiring television executive
Roger King on the business of television syndication
Perry Lafferty on the importance of scheduling to programming a network
Perry Lafferty on the significant shows he programmed at CBS, including The Smothers Brothers Comedy Hour, M*A*S*H, All in the Family, and The Mary Tyler Moore Show
Perry Lafferty on the importance of made-for-television movies and miniseries on a network schedule
Perry Lafferty on the importance of a programming executive interacting with the creative community, and executives working with producers
Perry Lafferty on unusual pitches he heard as an executive
Perry Lafferty on casting being the most important element to a hit television series
Margaret Loesch on having an ability to understand children and know what shows they would watch
Margaret Loesch on the responsibility she felt to provide quality, non-violent programming for children
Margaret Loesch on what she enjoys about being a television executive, and on her vision for Fox Kids
Margaret Loesch on her management style, and on being a female executive in the industry
Margaret Loesch on programming "family entertainment," and how what constitutes it has changed over time, and on The Simpsons and Modern Family
Margaret Loesch on advice to aspiring television executives
Margaret Loesch on advice to aspiring television executives and producers
Margaret Loesch on what she enjoyed doing most in her career
Thomas Murphy on working with affiliates and dealing with talent at ABC
Thomas Murphy on the demographics of ABC dealing with programming
Thomas Murphy on his instincts regarding programming at ABC
Thomas Murphy on his personal success in business
Anne Nelson on being the first female CBS executive
Anne Nelson on negotiating talent contracts for CBS, and on how her department was organized
Anne Nelson on being promoted though the ranks of CBS business affairs, and eventually moving from radio to television
Anne Nelson on negotiating contracts for CBS in the 1960s, including for The Judy Garland Show and The Carol Burnett Show
Anne Nelson on her style of negotiation, and on the challenges of being a female in business affairs in her era
Anne Nelson on how contracts have changed since she started in the industry, and on working with Norman Lear
Anne Nelson on dealing with performers and contract disputes
Anne Nelson on dealing with unions and strikes
Anne Nelson on becoming director of talent administration at CBS, and on the retirement of Frank Stanton
Anne Nelson on being director of talent and program acquisition for CBS
Anne Nelson on the success of CBS during her tenure, and on working with Laurence Tisch
Anne Nelson on being senior director of business affairs at CBS, starting in 1989
Anne Nelson on advice to aspiring television executives, and on the then-current state of television
Lori Openden on differences between being a casting director and a network casting executive
Lori Openden on how involved NBC executives were with casting decisions when she was at the network, and on the then-current involvement of networks in casting
Lori Openden on not visiting sets much as a casting executive at NBC
Lori Openden on becoming a casting consultant and then executive at UPN
Lori Openden on her casting strategy at the CW
Lori Openden on a typical day for her as head of casting for the CW
Bernie Oseransky on being an Executive in charge of production; on what that job entails; on the difference between that and Production Executive
Bernie Oseransky on being an Executive in charge of production on Hill Street Blues; on the challenges of that show and working within a budget
Bernie Oseransky on the difference between a comedy series and a drama series from a production point of view; on a typical production workweek
Herbert S. Schlosser on his philosophy of programming
Herbert S. Schlosser on his day-to-day duties as president of NBC, and on the issues he faced during his tenure
Herbert S. Schlosser on his managerial style as a television executive
Herbert S. Schlosser on the qualities he looked for when hiring a television executive, and on how he'd like to be remembered
Herbert S. Schlosser on advice to an aspiring television executive
Alfred Schneider on working in Standards & Practices at ABC
Alfred Schneider on the criticism he received over the course of his career and being the "conscience of the company"
Alfred Schneider on advice to aspiring Standards & Practices professionals
Alfred Schneider on advice to show creators in dealing with Standards & Practices professionals
Herbert F. Solow on becoming head of West Coast Daytime television for NBC
Herbert F. Solow the importance of an executive -in- charge, understanding the crew's various responsibilities
Herbert F. Solow on his proudest career achievement
Herbert F. Solow on advice he would give to an aspiring television executive
Frank Stanton on his day-to-day duties as the President of CBS
Frank Stanton on the people who followed him as CBS President
Frank Stanton on the creative aspects of being an executive
Frank Stanton on his most important decisions at CBS, and on the then-future of broadcasting
Frank Stanton on how he feels looking back over his time at CBS, and his hopes for the then-future of the network
Donald L. Taffner, Sr. on his management style
Donald L. Taffner, Sr. on negotiating a deal
Donald L. Taffner, Sr. on advice to aspiring television executives
Nina Tassler on her responsibilities as Vice President, Drama Development at Warner Bros. Television
Nina Tassler on her responsibilities and duties as President of CBS Entertainment and Chairman of CBS Entertainment
Nina Tassler on what she looks for when hearing a pitch for a television show
Nina Tassler on advice to aspiring television executives
Dean Valentine on the differences between working on the network side as a buyer, and on the studio side as a seller
Dean Valentine on his position and his responsibilities at NBC
Dean Valentine on his philosophy for family and children's programming
Dean Valentine on his frustrations as president of UPN, and on the Paramount/Viacom deal
Dean Valentine on programming ABC's TGIF Friday nights, and on Boy Meets World
Dean Valentine on advice to an aspiring television executive, and to a creator of programming
Susan Whiting on her rise from working in sales to becoming CEO of Nielsen
Susan Whiting on a typical work week for her as Vice-Chairman of Nielsen; on how her role has evolved over the years
Susan Whiting on her management style
Susan Whiting on being a female executive in the media world
Susan Whiting on advice to aspiring Research Executives
Lauren Zalaznick on completely rebranding VH1
Lauren Zalaznick on her programming strategy for VH1
Lauren Zalaznick on programming the Trio network
Lauren Zalaznick on the challenge of building on the success of Queer Eye for the Straight Guy as head of Bravo, and on shows she programmed early in her tenure there
Lauren Zalaznick on creating a marketing strategy when she started at Bravo, and on creating the logo
Lauren Zalaznick on the importance of casting strong personalities for Bravo's reality programming, and "fake" reality
Lauren Zalaznick on the importance of passion for one's occupation on Bravo's reality shows
Lauren Zalaznick on the Bravo audience demographics
Lauren Zalaznick on how Bravo's brand stands apart
Lauren Zalaznick on programming scripted series for Bravo
Lauren Zalaznick on what she feels is her biggest contribution to Bravo
Lauren Zalaznick on the challenges of taking over Telemundo, and bringing the World Cup to the network
Lauren Zalaznick on heading up the Oxygen network, and on The Bad Girls Club
Lauren Zalaznick on being President of NBC/Universal Women and Lifestyle Entertainment Networks
Lauren Zalaznick on targeting women as a demographic as President of NBC/Universal Women and Lifestyle Entertainment Networks
Lauren Zalaznick on her favorite parts and biggest challenges of her jobs at NBC/Universal
Lauren Zalaznick on what she has loved most about television and her jobs in it
Lauren Zalaznick on valuable advice she has received, and on her advice to aspiring television executives
Jeff Zucker on his management style as Executive Producer at Today
Jeff Zucker on the job responsibilities of being the President of NBC Entertainment
Jeff Zucker on dealing with shows that fail, and knowing when to take a show off the air
Jeff Zucker on his management style as the CEO of NBC Universal Television Group
Jeff Zucker on advice to aspiring television producers and executives
