Connie Chung on becoming a news writer and an on-air reporter
Connie Chung on getting hired at CBS News
Connie Chung on being co-anchor of CBS Evening News with Dan Rather and women anchoring the news
Connie Chung on the double standard with on-camera older women and men
Connie Chung and Maury Povich on Chung as a trailblazer
Barbara Corday on pitching Cagney & Lacey in 1974 and on being involved in the women's movement at the time
Barbara Corday on the premise of Cagney & Lacey and on dealing with women's issues on the show
Barbara Corday on the challenges of being a female executive in television
Barbara Corday on how the status of women in television has changed since she started
Katie Couric on wanting a solo female anchor to be an accepted norm on television
Katie Couric on feeling like most of the women at ABC News were in subservient positions
Katie Couric on what being a female journalist means to her
Katie Couric on becoming the first solo female news anchor
Katie Couric on why a solo female news anchor may not work for some people
Judith Crist on Al Morgan of Today being a big supporter of women
Judith Crist on why she left Today and feeling the decision to let her go was sexist
Judith Crist on getting to know women in television
Judith Crist on not encountering sexism in the television industry
Madelyn Pugh Davis on being one of the first female writers hired at CBS radio
Madelyn Pugh Davis on working on the "social page" as opposed to news in radio
Madelyn Pugh Davis (with Bob Carroll, Jr.) on the early treatment of female radio and television writers and producers
Bob Carroll, Jr. & Madelyn Pugh Davis on the treatment of female producers
Rebecca Eaton on finding out she was pregnant on the same day she was offered the job of executive producer of Masterpiece Theatre
Rebecca Eaton on the roles women had at PBS in the early 1970s, and how that has changed over time
Rebecca Eaton on the challenges of balancing her professional life and personal life as a female producer
Jeannie Epper on her few close fellow stuntwomen and the passing of her brothers and sisters
Jeannie Epper on being one of the founding members of the Stuntwoman's Association of Motion Pictures
Jeannie Epper on the challenges that stuntwomen face that stuntmen don't
Jeannie Epper on the lack of women stunt coordinators
Dorothy Fontana on the challenges of being a woman writer and using D.C. Fontana on her scripts so that she would be given a chance
Dorothy Fontana on "Uhura" and "Number One"- one of the first major female black characters, on Star Trek
Dorothy Fontana on the Star Trek episode "Friday's Child", over which she argued with Gene Rodenberry about the portrayal of women; she had a different ending
Dorothy Fontana on writing for The Streets of San Francisco
Winifred Hervey on getting accepted to the Warner Bros. Writing Workshop
Winifred Hervey on being the only female writer on The Cosby Show
Winifred Hervey on the writers' room of The Golden Girls
Winifred Hervey on her biggest challenge in the business - being female and a minority
Winifred Hervey on opportunities for women and minorities in writing
Julie Ann Johnson on the challenges of being a female stunt person in the 1960s, and on founding the Stuntwoman's Association
Julie Ann Johnson on the changes she's trying to make in the stunt industry to improve safety, and also for minorities and women
Julie Ann Johnson on the then-current state of the stunt industry for stunt women and safety standards
Julie Ann Johnson on the course of action stunt women have if they feel discriminated against or harassed, and what she would like to see happen
Irma Kalish on the dearth of women in writer's rooms in any television show when they first began working in TV and how they helped change the dynamic
Irma Kalish on her status as a woman writer in the early days of television and the pressure to be "twice as good as a man" and how Rocky supported her career
Irma Kalish on how writing the All in the Family episode dealing with cancer helped her friend, and impacted her feeling about her profession
Irma Kalish on her status as a woman writer in the early days of television and the pressure to be "twice as good as a man" and how Rocky supported her career
Irma Kalish on the dearth of women in writer's rooms in any television show when they first began working in TV and how they helped change the dynamic
Irma Kalish on how writing the All in the Family episode dealing with cancer helped her friend, and impacted her feeling about her profession
Millie Moore on being one of the sole women in the A.C.E. when she joined
Millie Moore on women being more welcomed into the A.C.E. as editors, not just librarians, after the studio system began to crumble
Millie Moore on how women editors have progressed through the years
Anne Nelson on becoming the first female executive at CBS, and the difficulties she encountered getting there
Anne Nelson on her style of negotiation, and on the challenges of being a female in business affairs in her era
Anne Nelson on being a female television executive
Barney Rosenzweig on giving Aaron Spelling criticisms of Charlie's Angels and wanting to incorporate the themes of the Women's Movement into the show
Barney Rosenzweig on the idea for Cagney & Lacey
Barney Rosenzweig on what Cagney & Lacey was about at its core
Barney Rosenzweig on the legacy of Cagney & Lacey and what it did for the portrayal of women on television
Marlene Sanders on the number of women in television when she started
Marlene Sanders on other female journalists when she came along
Marlene Sanders on being the first woman to anchor an evening news broadcast (for one night) and later for three months; on more women entering the business
Marlene Sanders on her role in the women's movement
Marlene Sanders on publishing the book "Waiting for Primetime" and her conclusions about women in broadcasting
Marlene Sanders on advice for women in broadcast journalism
Jay Sandrich on the impact the women's movement came to have on The Mary Tyler Moore Show
Jay Sandrich on a scene in Soap which deals with sexual tension, written from a woman's perspective
Jay Sandrich on how Susan Harris brought a woman's perspective to the writing on Soap
Jay Sandrich on what good comedy can do for us socially
Treva Silverman on the challenges of being the only female on the writing staff of The Dean Martin Show
Treva Silverman on being the only female writer to work on The Monkees
Treva Silverman on writing The Mary Tyler Moore Show's "Rhoda Morgenstern," played by Valerie Harper, and on the female characters of the show
Treva Silverman on the male writing staff of The Mary Tyler Moore Show, and helping them write for female characters
Treva Silverman on how the role of women has changed since she started in television
Treva Silverman on being the first female writer to win an Emmy Award
Lesley Stahl on the jobs women had at NBC News when she started in 1967
Lesley Stahl on getting hired at CBS' Washington D.C. news bureau, and how affirmative action played a part in her hiring
Lesley Stahl on being told to re-do an on-camera piece without smiling (to exude more authority) while a correspondent for CBS in Washington in the 1970s
Lesley Stahl on encountering sexism within news crews when she was a rookie reporter for CBS in Washington D.C. in the 1970s
Lesley Stahl on consciously trying to convey authority as a reporter
Lesley Stahl on women in broadcast journalism during her day
Barbara Walters on being able to "write for men" on the Today show
Barbara Walters on being denied the opportunity to travel overseas for reporting in her early career
Barbara Walters on being the first female network news anchor (she was co-anchor from 1976-1978 on ABC Evening News)
Barbara Walters on the rise of women in television and her advice to women on getting ahead
