Nancy Dubuc, CEO of Vice Media, has stepped down. Dubuc, former president and CEO of A+E Networks, was named Vice Media chief executive in March 2018. Her last day at Vice was February 24. 

Dubuc had spent nearly 20 years at A+E Networks, the last five as president and CEO. She oversaw a portfolio of networks that included A&E Network, Lifetime, History, Lifetime Movies and Viceland, the latter a joint venture with Vice, along with A+E Studios, A+E Networks International and A&E Films.

When Dubuc shifted to Vice, she took over the CEO title from Shane Smith, who became executive chairman. As she came on board, Vice revenue had been decreasing and the company faced charges that female employees were subject to improper behavior in the office. 

Vice had a $5.7 billion valuation years ago, as it was seen to have the riddle of digital media figured out. Backers included Disney and A&E. Its valuation has since fallen dramatically, and it is seeking a buyer. 

Dubuc’s memo did not say what the next chapter of her career holds. She did note the strides Vice has made in terms of diversification and a more inclusive work environment. ■

When Vice Media founder Shane Smith launched pay TV channel Viceland in 2016, he told the world that he was going to teach stodgy, old content companies how to succeed in the new media space.

“Twelve months from now, we’ll be on the cover of Time magazine as the guys who brought millennials back to TV,” Smith told The Hollywood Reporter in February 2016, just days before it launched Viceland.

A year later, it looks like the brash media mogul is the one getting schooled. For starters, despite all of Smith’s chest-thumping, Viceland is struggling with low ratings — lower than documentaries on H2, the channel it replaced — after missing revenue targets by a wide margin last year.

The company is scrambling to deal with a string of sexual harassment allegations, which arose amid a testosterone-fueled culture, that rocked its executive suite after a blistering expose in The New York Times a few months ago. And hanging over the company since 2016 are reports that even the digital growth isn’t what it’s cracked up to be, as more than half of Vice.com’s web traffic was from partner sites, a common-but-frowned-upon practice.

And there has been no shortage of drama in the C-suite: Vice Media suspended former co-president Andrew Creighton and fired chief digital officer Mike Germano, both named in the Times article, after the story broke. Smith, a swaggering CEO who peppers his conversations with F-bombs and bravado, will step down from that role to focus on strategy as executive chair.

Vice Media contends it is a company in transition, and observers point to a two-year-old quote from Smith where he said he would eventually hire a CEO so he could focus on deals and strategy. To them, he’s is making good on a promise. But there is no question Vice executives are finding the TV business a lot harder than they initially thought.

And some believe major investors, including A+E Networks, The Walt Disney Co. and private-equity firm TPG, are now concerned that the heady $5.7 billion valuation — nearly twice the market capitalization of AMC Networks, home of The Walking Dead — is suddenly starting to feel tentative and inflated, and want to avoid a freefall.

Thus, an old-school cable veteran, and a woman, has been named to lead the charge. A+E Networks CEO Nancy Dubuc, whose employment deal with the programmer was scheduled to expire at the end of the year, agreed March 13 to become Vice Media CEO.

Veteran Presence Steps In
Dubuc was a candidate for the top spot at Amazon Studios, a position that was formerly held by Roy Price, who was fired after several sexual harassment allegations came to light. That job went to NBC Entertainment president Jennifer Salke last month.

Despite its edgy programming (F*ck, That’s Delicious!) and anti-authoritarian bent, Vice is really chasing a universal goal in the TV business — reach a broader audience with fresh programming at a time when traditional TV ratings are down across the board and cable operators are losing subscribers.

Related: Cord-Cutters Not Returning to Pay TV, TiVo Study Finds

Dubuc’s appointment, at first glance, appears to solve many of Vice’s immediate ills. As a board member, she is well-versed in the inner workings of the company. As an executive who has championed diversity in the workplace and in society over the years, she gives the company immediate credibility and will have a zero-tolerance attitude toward harassment.

Dubuc is also a seasoned TV executive schooled in navigating the fickle environment of media and has a proven track record. She joined A+E Networks in 1999 as director of historical programming for The History Channel and steadily moved up the ranks, becoming A+E’s CEO in 2013.

On her watch, A+E has added scripted and reality programming hits, expanded its digital content reach and created A+E Ventures to invest in early-stage technology and content companies.

It was Dubuc who spearheaded A+E’s $250 million investment in Vice Media, leading to the creation of Viceland, formerly History International (H2). Dubuc brings a proven TV business acumen to her new role, but also sends a signal that the old days are over.

“I believe they have people who have been involved running networks,” Pivotal Research Group senior research analyst–advertising Brian Wieser said. “I think the problem was they needed a change at the top.”

Smith started Vice as a punk-rock fanzine in Montreal in the 1990s, growing it into a print, digital and video content behemoth with about 3,000 employees just two decades later. Vice Media also has a popular daily news show on HBO, Vice News.

From ’Zine to Empire
Besides the publishing business — it still cranks out magazines, as well as popular online news and culture websites — Vice Media has spread its tentacles into music with in-house record label Vice Music; digital and mobile advertising through Virtue Worldwide; and television and feature film production via Vice Films.

An aging rocker who two years ago bragged about dropping $300,000 while with friends at the Bellagio in Las Vegas, Smith has toned down his shtick considerably since his early days. He got married to a former Vice employee in 2009, had kids, bought a 14,000-square-foot, 12-bedroom mansion in Santa Monica, Calif., and apologized publicly for the company’s past “boys club” atmosphere.

But with women’s rights in the workplace finally gaining traction in the media business in the wake of the collapse of The Weinstein Co. and the downfall of media mogul Harvey Weinstein and others, the time was ripe for a regime change.

Still, in a statement announcing Dubuc’s appointment, the ever-brash Smith didn’t disappoint fans of his irreverent style. “We are a modern day Bonnie and Clyde, and we are going to take all your money,” he said of Dubuc and himself.

Then he quickly shifted to mimic the stodgy media executives he so gleefully ridiculed in the early days of Vice’s ascendance as the arbiter of millennial taste in news and entertainment. “As we go forward, Vice needs a best-in-class management team to harness all of this growth and control our destiny, whether it be staying independent, strategically partnering with someone or going public,” Smith said.

It’s possible more old-school media types are destined for the Vice payroll, and perhaps the company is tidying up for a sale or an initial public offering. But while IPOs and selling the company were both considered to be strong options just a few years ago — Disney was long speculated to be a buyer and talk of a public offering is always a hot topic — that has cooled considerably.

Disney appears to have its hands full at the moment with its pending $66.1 billion purchase of 21st Century Fox assets. And Viceland’s struggles have caused some to believe an IPO is on hold for at least this year.

“I can’t imagine how they possibly could anytime soon,” Wieser said of a sale or an IPO, adding that the cultural issues are likely the top priority.

That’s a big departure from less than a year ago, when private-equity player TPG Capital made a $450 million investment for an 8% stake in Vice, pushing its valuation to $5.7 billion.

At that current level, Vice Media is worth nearly twice as much AMC Networks (with a market cap of $3.1 billion), home of the most-watched show on ad-supported pay TV, The Walking Dead. And its market cap is more than three times higher than the next millennial-focused digital darling, BuzzFeed, valued at about $1.7 billion.

But in a short time, Vice has slipped from new media standard-bearer to a company struggling to hold its place in the ever-shifting content sands. Vice missed its 2017 revenue target by $100 million, due mostly to Viceland, and is being pressured by its investors to turn a profit in 2018, according to a February report in The Wall Street Journal.

People familiar with the channel have countered that it is extremely rare for a two-year-old network to turn a profit, adding that while Viceland fell short of revenue targets, the shortfall was a fraction of the Journal’s $100 million estimate. They said overall revenue at Vice Media was up by double-digit percentages in 2017 and that comparing Viceland, which is available in about 70 million homes, to fully distributed networks is unfair. A better comparison is with networks such as ESPNU, SundanceTV or Cooking Channel, all of which had lower ratings than Viceland, they added.

Still, according to industry researcher Kagan, a unit of S&P Global, Viceland gets about 6 cents per subscriber per month in affiliate fees, about the same as it did when it was A+E’s H2 channel. But even with a younger audience, the channel has fallen short in terms of advertising.

Kagan estimated that net advertising revenue at the channel plunged from $60.9 million at the end of 2015, when it was still H2, to $32.4 million at the end of 2016. That figure was more than halved to $14.3 million in 2017 as low ratings decimated sales; it should rise slightly to $18.1 million in 2018.

Kagan analyst Derek Baine estimates Viceland posted negative cash flow of $16 million for 2017 and will post a similar number for 2018. By comparison, H2 generated $9 million in positive cash flow in 2016 for A+E Networks.

“Viceland is not doing very well,” Baine said.

Viceland counters that although it delivers only 60% of the primetime impressions that H2 did in its target demo of adults 18 to 49 (2017 vs. 2015), it has improved its appeal with attractive advertising targets. Viceland’s audience has higher income, more education and is younger and more multicultural than H2 viewers were.

For ad buyers, Viceland has been a mixed bag.

“Generally speaking, they’ve skewed more male and younger than general TV, so it’s a success in that regard,” Horizon Media co-chief investment officer David Campanelli said. “But while the skew is generally on target, the ratings are lower than most have hoped.”

With Viceland’s ad load, clients are encouraged to use more branded content to reach consumers, similar to how Vice uses branded content online. “We have done some good branded content with them,” Campanelli said. “They have great production capabilities in-house, so it is very turnkey.”

The average age of a Viceland viewer is around 40 years old — compared with 57 for H2 — but that skews even younger for premiere airings of original shows and for different platforms. In some cases, the average age falls to the mid 30s or high 20s.

Viceland has been growing and adding sponsors, A+E Networks executive vice president for advertising Peter Olsen said. “I think the acceptance of the network is growing,” he said. “Our advertising is up, with 180 clients on board now, which is good.”

Viceland is one of the cable networks with the fewest ads, Olsen noted, at just eight minutes per hour — about half the amount of other channels. That low commercial load keeps viewers engaged.

“It’s the best network of all for retention through breaks, engagement through breaks,” he said, citing network research. “That’s pretty encouraging.”

Playing a Long Game
“For a network in 70 million homes, they’re doing decent ratings numbers, the revenue stream is predictable, and they’ve increased the client base,” said one person familiar with the company who asked not to be named. “It’s a long game and they’re still only two years in.”

According to media reports, Viceland drew an average primetime rating of 0.1 from Sept. 25 through Feb. 4, or about 106,000 viewers. That’s up about 10.4% from last year and in line with such networks as Smithsonian Channel, Azteca America and GAC.

It’s not uncommon for new networks to take some time to find their footing. Ratings for OWN: The Oprah Winfrey Network were dismal early on compared with Discovery Health, which it replaced in 2011.

Wieser said he can’t think of any network that became a hit from the start. And in today’s climate, with distributors and programmers looking to reduce the number of channels they offer, it’s even more unlikely.

Viceland’s attraction is its mixture of shows with edgier titles like F*ck That’s Delicious (chronicling the gastronomic adventures of rapper Action Bronson) and Slutever (where sex writer Karley Sciortino explores female sexuality), to sponsored shows like Beerland (bankrolled by Anheuser-Busch InBev and featuring Meg Gill, founder of its craft beer brand Golden Road Brewing, as she travels the country meeting home brewers) to shows in off-network syndication like It’s Always Sunny in Philadelphia.

Vice also has managed to attract a few Emmy nominations for Gaycation, a documentary highlighting LGBTQ cultures around the world, hosted by actor Ellen Page and producer Ian Daniel, and for the Gloria Steinem-hosted Woman.

But to attract ratings, the network may have to fall back on a tried and true TV tenet: More money equals more quality content.

Viceland is spending about the same on programming as its H2 predecessor did, according to Kagan — $72.4 million on original and acquired programming in 2016, versus $69.4 million for H2 in 2015. Kagan also estimated that programming spend will grow to $83 million by the end of 2018.

Wieser said Viceland’s success or failure may finally rely on how much of a commitment Vice Media is willing to make to programming. And that will depend on how much it is able to fund the business.

Vice has already raised more than $1 billion from investors like Disney, A+E Networks, TPG Capital and 21st Century Fox. Now that it is unlikely to be raising more capital in the near term, it is forced to show investors it can fund the business on its own.

Dubuc has had experience turning networks around. When she took the helm of History in 2007, she took what was then a documentary-heavy network and spiced it up with reality programming such as Ice Road Truckers, Ax Men, Swamp People and Pawn Stars, vaulting it from No. 11 among viewers aged 25-54 to No. 4. At A&E, Dubuc launched Duck Dynasty, which outpaced Fox’s American Idol in its heyday, and brought scripted hits like Bates Motel to the lineup. Viceland and its investors are hoping she can keep that streak intact.

“If you’re Vice and you invested $100 million in programming, you would get some viewership but not a lot,” Wieser said. “If you spend $1 billion to support Viceland, you’d have a business. It might lose money, but it would be a business.”

Nancy Dubuc, stepping down as CEO of A+E Networks, is becoming CEO of Vice Media, succeeding founder Shane Smith.

Smith will become executive chairman of Vice, which has been challenged by disappointing revenue growth and accusations that women who work there have been subject to sexual harassment.

Under Dubuc, A+E was one of a handful of traditional media companies that invested in Vice. A+E also formed a joint venture with Vice to create the Viceland cable network, which is aimed at younger viewers.

Related: Nancy Dubuc to Leave A+E Networks

"Shane and the team at Vice have done what all of us aspire to do - build a brand and make content that people really care about,” said Dubuc. "Vice speaks to a generation that defines today’s cultural conversation, and the opportunity to partner with all of the incredibly creative people across the entire company was one of those rare moments in a career.”

Dubuc had been a candidate to run Amazon Studios, succeeding Roy Price, who departed amid sexual harassment claims.

She was also negotiating a new contract with A+E’s owners, Hearst and the Walt Disney Co., and those talks broke down.

Smith said that in his new role he would focus on strategic deals and content development.

Dubuc gives Vice an experienced chief executive with a proven record of running a media company and producing and distributing programming.

“Why Nancy Dubuc? Simply put, because rarely in business do you get to work in a perfect partnership,” said Smith.

“First off, she is better than me at everything," he added. "Second, it allows me to move to executive chairman, where I can concentrate on the only things that I am good at - content and deals. Thirdly, as we go forward Vice needs a best-in-class management team to harness all of this growth and control our own destiny, whether it be staying independent, strategically partnering with someone or going public.,” Smith added. “Lastly, I get to work with one of my best friends and media heroes. We are a modern day Bonnie and Clyde, and we are going to take all your money.”

Here is a memo Smith sent to Vice staffers:

As many of you have read, I have been in discussions with my friend, my partner, and board member Nancy Dubuc, to join the VICE family and become my successor as CEO.

While we tried our damnedest to have everything signed, sealed and delivered before sharing it with you and with the rest of the world, we seemingly can’t take a crap in this town without it leaking to the press.
Of course, as the bellwether for the modern media age, we should be no stranger to the rumors and speculation.

Today we put this speculation to rest and turn our focus toward executing our growth plans to maintain our hegemonic place atop the new media landscape which, in turn, will give us the ability to control our own destiny.

As founders, we take pride in the fact that we built an institution with some level of permanence, and while VICE has a strong foundation for the future, we realize that we need help for the next phase of our growth. We need to surround ourselves with the right people so our company, and our thousands of employees globally, can flourish.

In looking for a professional CEO, we are in need of one who can master; the content world, the digital world, the business world, and who is at the same time an operator extraordinaire. These people are obviously few and far between, but I believe we have found the absolute best in class with Nancy.

Nancy and I have spent much time deliberating on the best way for us to partner up in a shared mission of maximizing the great potential this company holds. She believes in VICE, she believes in our mission, and she believes in all of you.

Nancy has clearly proven herself with her stewardship of A&E Networks. As a partner, she’s helped grow VICELAND internationally and into the second fastest growing network in all of US cable among our audience.

Since joining our board, Nancy has been a trusted confidante whose every recommendation is driven by making the best programming possible. She has the rare combination of business and content chops, and an unparalleled record in running the daily operations of a sprawling global media company like our own.

A lot of people have been asking me what this means for me personally. Well, I have always said that I am good at two things, 1) creating content and 2) making deals, so that’s what I’m going to do. I will focus my energy on raising the bar for our content, and will serve as Executive Chairman of the Board.

Again, as I always say “I’Union fait la Force” or “together we are stronger.” This marks a new period in VICE’s history that will make us infinitely stronger. Nancy will run the company day to day from New York and we will work lock step with our partners, management, employees and board in making sure that VICE maintains its position as the leader of new media, and delivers on its commitment to 50/50 by 2020 as we work to become the most progressive workplace in the world.

This Friday we will be hosting a town hall in Brooklyn to welcome Nancy and introduce her to all of you. I hope that you will welcome her to the company with the same enthusiasm and open arms that I have.

Love S

A+E Networks president and CEO Nancy Dubuc is leaving the company effective April 16, A+E confirmed Monday (March 12).

Former A+E Networks CEO Abbe Raven, who retired from the company in 2015, will replace Dubuc until a new replacement is named, said company officials.

Dubuc, who spent nearly 20 years at A+E Networks – the last five as president and CEO --oversaw a portfolio of networks that included A&E Network, Lifetime, History, Lifetime Movies and Viceland, along with A+E Studios, A+E Networks International, A&E Films.

“In her roughly 20 years at A+E Networks, Nancy played a major role in building the success of A&E, HISTORY and Lifetime, and we thank her for her leadership,” said Steven R. Swartz, president and CEO of Hearst, and Ben Sherwood, co-chair, Disney Media Networks and president, Disney|ABC Television, in a joint statement.“We are also very grateful to Abbe, a former CEO of the company and one of A+E’s first employees, for agreeing to return on a temporary basis as acting chair.”

Dubuc, who was reported to be in the running for the Amazon Studios top job prior to Amazon naming NBC Entertainment president Jennifer Salke to the post, said in a statement that she is leaving to look for her “next dare and challenge,” and added she’s proud of what she and A&E have accomplished together.

“Together, we have had the privilege to build some of the most iconic brands in media,” she said. “Every step of my career, I have had the opportunity to learn and grow from some of the most inspiring and innovative minds at A+E and in both the creative and business community.” 

Raven, who worked with A+E Networks for 33 years, added in a statement: “Nancy and I have worked together for almost 20 years and I have seen the tremendous accomplishments and innovation she has brought to A+E – from its creative content to attracting award-winning talent and the digital and studio businesses she has nurtured. A+E is a special place with extraordinary and talented people.  I look forward to helping the board and leading the talented A+E teams during this transition.”

Dubuc's full statement follows:

“For nearly 20 years, I have called A+E Networks home and the team has been an extended part of my family. Together, we have had the privilege to build some of the most iconic brands in media. Every step of my career, I have had the opportunity to learn and grow from some of the most inspiring and innovative minds at A+E and in both the creative and business community. I could not be prouder of what we achieved together.   

“Anyone who knows me well knows I am an entrepreneur, creator, rebel and disruptor at heart. I have a famous neon sign in my office that blares ‘Who dares wins.’ After 20 years at A+E, the hardest thing will be to leave the people and company I love. But, as a creative executive and leader, and to stay true to my personal mantra, I need my next dare and my next challenge. 

“I owe an enormous debt of gratitude to our owners at Hearst and The Walt Disney Company for their unwavering support and belief in me over my long career here. I’d especially like to thank Steve and Ben for supporting my decision to write my next chapter.    

“I have supreme confidence in the brave storytellers and management team A+E and I will always be rooting for and watching proudly from the sidelines – even as I head off to my next adventure.”

Lifetime has promoted network programming executives Tanya Lopez and Gena McCarthy to executive vice president roles as the network's head of programming Liz Gateley departs the company, the network said Thursday. 

Gateley, in an internal e-mail, said  that she is departing the company to spend more time with her family. Gateley took over the head of programming role for Lifetime in 2015 and launched such shows as UnReal and Mary Kills People.

“So it is with a heavy heart that I must say that I have decided to leave my position at Lifetime,” Gateley said. “This was a dream job for me: to come back to the brand I love, where I started out 17 years ago as Assistant to the Head of Programming, and to BEthe Head of Programming. It was my Working Girl moment.”

Nancy Dubuc, President & CEO, A+E Networks said of Liz Gateley's Departure: "I would like to thank Liz for her enormous contributions to Lifetime, and I am glad she will continue to lend her expertise on some upcoming projects for us. I deeply respect her choice to spend more time with her family.” 

Lopez has been elevated to executive vice president, movies, limited series & original movie acquisitions for Lifetime and LMN. Formerly senior vice president of original movies, Lopez will oversee all original movies for the network. Lopez has overseen the development of numerous hit movies during her tenure at Lifetime, including Steel Magnolias, Flowers in the Attic, I Am Elizabeth Smart, Faith Under Fire and Cocaine Godmother.

McCarthy, who has served as executive vice president of Programming and Development for Lifetime sister network fyi since 2016, will now add the title of Lifetime executive vice presient and Head of Programming and fyi unscripted & head of programming. Prior to fyi, McCarthy served as senior vice president, reality and alternative programming for Lifetime, where she oversaw the development of such shows as Dance Moms, Project Runway All Stars and Bring It!

Joanna Klein will continue to oversee Scripted Series for Lifetime, according to network officials. 

“We are incredibly excited to have Tanya, Gena and Joanna heading up our programming efforts for Lifetime,” said Paul Buccieri, president of A+E Studios and A+E Networks Portfolio Group, and Rob Sharenow, president of programming for A+E Networks in a joint statement. “The passion and creativity they bring to the table is unmatched, and their track records speak volumes, as this team has brought some of the biggest hits in women’s entertainment to Lifetime throughout their careers.”

Gateley's full e-mail appears below, followed by Dubuc's response: 

Many of you know what has been going on in my life in the past several months. With the sudden passing of my beloved nanny of 16 years, a new nanny being a no-show and ghosting me, having stressed-out teenage kids and having to lift my dog to the curb because he has a slipped disk (I kid you not!), there have been some very clear signs from the universe to focus on my family and truly be present every day for my kids and husband, who have very generously supported a career choice that required me to fly across the country every other week for the past three years. So it is with a heavy heart that I must say that I have decided to leave my position at Lifetime. This was a dream job for me: to come back to the brand I love, where I started out 17 years ago as Assistant to the Head of Programming, and to BEthe Head of Programming. It was my Working Girl moment. I am so grateful to Rob and Nancy for this opportunity

During my three years here, I had the privilege to launch UnREAL,making the (at the time) scary decision during my first week here to launch the first three episodes digitally and then lobby for and develop three more seasons of the hit Peabody-winning show. I also had the luck to work with Meghan Hooper White and Sharon Bordas on another show that landed on every “Top 20 of the Year” list: Mary Kills People. With Joanna Klein leading her amazing team, I am proud to have attracted showrunners like Greg Berlanti, Sera Gamble and Jenji Kohan, solidifying Lifetime as a premium scripted destination. I cannot wait for the world to see the upcoming YOU and American Princess.

I am also excited that, with the leadership of Tanya Lopez and Meghan, Lifetime Movies has taken on new levels of brave storytelling (and success in the ratings!) with the award-winning and inspiring true stories like Flint, Surviving Compton, Cocaine Godmother, I Am Elizabeth Smart and Faith Under Fire. I’ll never forget Lifetime’s proud coverage of the historic 2016 Election Live with The View, the launch of unscripted hits like TheRap Game, events like Billboard Women in Music and zeitgeist moments like Glam Masters. My favorite failure, Date Night Live, was a proud galvanizing moment while Project Runwayin its 16th season embraced body diversity with “models of all sizes” for the first time. I know Brie Bryant will do amazing things to launch her inspiring vision in the next chapter of Unscripted at Lifetime.

I also love the new faces of Lifetime — Laverne Cox, Penn Badgley, Shay Mitchell and Catherine Zeta-Jones (and don’t forget Meghan and Harry!) — but perhaps my favorite thing in the world is to give people their first chance at something.   This job gave me the opportunity to give deserving WOMEN their first chances: Shiri Appleby and Constance Zimmer directing episodic television (and they did a damn good job), Stacy Rukeyser showrunning, Kyra Sedgwick directing Story of a Girl and getting a DGA nomination, and finally, presenting what had to be the first ever 100% all-female series creator panel at TCA. 

I am so happy to have had the opportunity to work with Rob Sharenow and Paul Buccieri to establish the structure of Lifetime’s programming team going forward. I am excited that Tanya Lopez will continue to oversee all the movies including our originals and will be adding acquisitions to her purview.Gena McCarthy will return to Lifetime to lead Unscripted Programming, and Joanna Klein will continue to oversee Scripted Series. I love that Lifetime’s programming future will be controlled by three powerful women who love the brand as much as I do. 

And here’s to the F word. For me, this letter conjures up many fond words.: Fempire. Flint. Faith Under Fire. Our muse: the “Fireheart.” But most importantly, the incredible Friends I’ve made here and will miss. Keep fighting the fight for #MeToo and #TimesUp, as we have always been the leaders of equality for women. In fact, there are some exciting passion projects of mine in this space that we are about to announce, for which I may stay on board.  

You have and will change the world, Lifetime. You have changed mine.

 -------------------------------

Nancy Dubuc, President & CEO, A+E Networks

I would like to thank Liz for her enormous contributions to Lifetime, and I am glad she will continue to lend her expertise on some upcoming projects for us. I deeply respect her choice to spend more time with her family. I also echo Liz’s delight, and I am personally proud that three strong women will be leading Lifetime’s programming teams. Congratulations to Tanya and Gena on their promotion.

Conventional wisdom has it that women don’t watch live sports programming. Just don’t tell that to the approximately 47% of women who made up the huge audiences for each of the last two Super Bowls — and not just to watch the commercials.

“Making the assumption that women aren’t attracted to sports is one of the stereotype problems we have in this country,” A+E Networks CEO Nancy Dubuc told me Thursday (Feb. 2) after a press conference announcing Lifetime’s new partnership agreement with the National Women’s Soccer League (NWSL).

Lifetime is re-entering the live sports arena 20 years after its first turn at sports, televising live games during the WNBA’s inaugural pro-basketball season. It has inked a three-year deal to distribute a live, weekly Saturday afternoon NWSL match.

Unlike the earlier WNBA deal, which effectively ended in 2000 when the league shifted the games to ESPN2 amid sluggish ratings, Dubuc said the broader A+E-NWSL partnership is more aligned with today’s Lifetime media brand than the more narrowly defined Lifetime linear channel.

In addition to the live game telecasts, the deal calls for A+E Networks to take an undisclosed equity stake in the five-year-old pro soccer league and to create NWSL Media, a joint venture with the league to control its broadcast and sponsorship rights, including streaming rights and social media.

“Business is anything but traditional these days, and we don’t see the Lifetime brand as just a television brand, but we see it as a female media brand that has to represent what she is interested in up and down the spectrum in terms of all kinds of content,” Dubuc said.

During the press conference, Dubuc cautioned observers who assumed that Lifetime’s current audience — or women viewers in general — would not get a kick out of watching live sports on the reality-skewing, women’s life-styles-themed network. Recent history has proven that women will tune into compelling live sports events in a major way.

Female viewership for the 2015 Women’s World Cup finals on Fox Sports was up a whopping 57% compared with the 2011 version, according to Nielsen. The World Cup finals in both years featured the U.S. National team — many of whom now play in the NWSL — against Japan.

The July 2015 USA-Japan final drew 23.6 million viewers, then the third most watched English-language soccer match in U.S. history, with women representing an impressive 43% of that audience.

“Sports are great dramatic stories, and if those stories are served up in an entertaining, relatable and passionate way, women crave those authentic stories about aspiration and competition,” Dubuc said. “We see a tremendous amount of overlap with our audience. If you’re going to be a media brand, not just a linear television brand, you have to make sure you’re speaking to all women and all interests.”

Veteran A+E Studios executive Bob DeBitetto will leave the company at the end of the year, A+E Networks president and CEO Nancy Dubuc said Monday.

DeBitetto, who was named head of A+E Studios in 2013 after leading A&E Networks as its president and CEO over a decade prior, will leave at the end of the year, Dubuc said in an internal memo.

Under DeBitetto, A+E Studios produced such shows as Lifetime’s scripted series UnReal and History’s Emmy-nominated limited series Roots.

Dubuc said she will name a new head of A+E Studios, but did not give a timetable.

The full Dubuc memo reads as follows:

Over the last 14 years, Bob DeBitetto has been a vital force in our company. As President of A&E, he led the network to an impressive 10 year ratings growth streak and he had a hand in creating some of our biggest franchises. Nearly three years ago, when I took over as CEO I asked Bob to create and lead A+E Studios so we would participate in owning our scripted content. In a few short years, the Studio created our most critically-acclaimed series ever, UnReal, and the Emmy-nominated Roots. The studio now has over 40 series in active development including History’s upcoming series Six and Knightfall. It has become a major force in Hollywood and he has played a key role in its success. 

Bob has been a friend, partner and mentor to me over the course of his entire career at A&E. He is widely respected in our industry and is often referred to as  "the smartest guy in the room." So it is with great sadness that I am announcing his departure from A+E Networks. This summer,  Bob told me he had decided to pursue the next chapter in his storied career and I want to be the first to wish him the very best. 

Bob will be here until the end of the year and I expect to make an announcement shortly about the new leader of A+E Studios. 

Please join me in wishing Bob continued success. I know we are all going to miss him greatly.

Wednesday’s 33rd Annual Walter Kaitz Foundation dinner raised nearly $1.7 million as the pay TV industry honored A+E Networks and the National Association of Independent Latino Producers (NALIP) for their efforts to foster diversity, NCTA said today. Money raised by the Kaitz dinner supports the Emma L. Bowen Foundation, the National Association of Multi-ethnicity in Communications and Women in Cable Telecommunications.  

A+E Networks CEO Nancy Dubuc accepted the Diversity Champion award for the programmer’s efforts to promote women and minorities in leadership roles. The programmer, which includes networks like History Channel, Viceland and Lifetime, has used its influence – it reaches 330 million TV watchers worldwide and 500 million digital users – to touch on topics like racial diversity and sexuality. History’s remake of Roots was a success this year and brought the groundbreaking story of slavery and individuality to a whole new generation. At Viceland, programs like travel documentary Gaycation explore sexual orientation and the cultural dynamics of foreign LGBTQ communities.  

NALIP executive director Axel Caballero accepted the Diversity Advocate award for the organization, which was formed 17 years ago to advance the professional interests of Latino content creators.

Under Caballero, who joined NALIP three years ago, the organization has expanded its outreach by creating “incubators,” a series of initiatives that allow Latino content creators to gather together, share their best work, network and receive training that take their careers to the next level. Combined with NALIP’s array of mentorship programs, media summits and showcases which bring together key players in the cable, media and entertainment worlds, the organization has expanded the meaning of what being a producer means.

The dinner, held at the New York Marriott Marquis (the theme was Inclusion. Impact. Inspiration) on Sept. 21, was hosted by CNN anchor Fredricka Whitfield. The dinner committee was headed by Turner Broadcasting System chairman and CEO John Martin and Charter Communications chairman and CEO Tom Rutledge.

FYI network has tapped digital media veteran Paul Greenberg as its executive vice president and general manager, A+E Networks president and CEO Nancy Dubuc said Wednesday.

Greenberg will oversee all activities for the lifestyle-themed channel, including planning programming development, production and marketing, according to Dubuc. He effectively repleaces former FYI head Jana Bennett, who this past September was promoted to president and general manger of History.

Greenberg takes over a network that posted a 10% year to year ratings increase in 2016 among total viewers, based on such unscripted hit shows as Married At First Sight and Tiny House Nation.

“I am very excited to be able to bring Paul into the A+E Networks fold to head up FYI,” said Dubuc. “Paul has his finger on the pulse of the dynamic lifestyle world.  Coupled with his rich background in media and technology, I know he will lead the team to take FYI to the next level in both the linear and digital realms.”

Greenberg most recently served as CEO of millennial female-targeted pop culture digital company Nylon. Prior to that Greenberg served as president of global dance music company SFX, and before that was CEO of digital company CollegeHumor.

Greenberg’s cable experience includes stints as vice president of business operations at MTV.com and an affiliate sales position at MTV Networks.

A+E Networks said Jana Bennett has been promoted to president and general manger of History, after previously overseeing FYI and LMN. She replaces Dirk Hoogstra, whom A+E said will "return to his roots in independent production." The company will seek a replacement for Bennett at FYI and LMN as her new appointment is immediate. Bennett, who came to A+E from the BBC in 2013, reports to A&E and History president Paul Buccieri and will be responsible for all strategic planning, programming, marketing and brand development at History and H2, A+E said.

In a release, Nancy Dubuc, President and CEO of A+E Networks, said: “Jana has one of the strongest track records building and shaping global brands – first at the BBC and now here at A+E Networks. She joined our company with the mandate to take our networks into new and exciting places and what she’s done with FYI in such a short amount of time is remarkable. HISTORY and H2 will greatly benefit from her creative prowess and steady stewardship.”

Buccieri said, “I have long been a fan of Jana’s work, particularly with what she’s done with FYI and LMN. Her vast experience in all genres of programming, marketing, distribution and digital is unparalleled and I’m very much looking forward to working with her at History.”

And Bennett, in the release, said: “I have a passion for HISTORY – where we’ve come from and where we are headed. I am thrilled that I have been asked by Nancy and Paul to lead the team that will bring one of the strongest and most respected brands across the globe into new and exciting territory.”

Of Hoogstra, Bennett said in the release: “We thank Dirk for his many contributions to HISTORY. He was the force behind some of the network’s greatest successes that helped propel HISTORY to become one of entertainment’s top brands.” 

A+E highlighted Bennett's work rebranding BIO to FYI in July 2014 (and later that year in Canada and Southeast Asian markets), achieving double-digit ratings growth and introducing new series and franchises including Married at First Sight, Arranged, Seven Year Switch and a pair of "Tiny House" shows. At LMN (rebranded from Lifetime Movie Network) she has added new original unscripted series and driven ratings gains in all day parts among women ages 25-54, A+E said.

History, meanwhile, has had some ratings disappointments, including the Memorial Day miniseries Texas Rising. For the summer, the network's primetime viewing average declined by 20%, to 1.525 million from 1.913 million, according to one analysis of Nielsen figures. A+E also has been making some executive realignments, such as broadening Lifetime executive vice president and general manager Rob Sharenow's duties to including being EVP and GM at A&E Network.

Bennett was president of BBC World Wide Networks & Global BBC iPlayer before coming to A+E Networks, which is a joint venture of Disney-ABC Television Group and Hearst Corp. Earlier in her career, she was general manager of TLC network.

Abbe Raven's long career with A&E Networks will come to an end in early February.

Raven, who rose through the ranks from production assistant to chairman, will retire on Feb. 2. Well-liked and respected throughout the cable industry she helped expand, Raven let company employees know about her plan on Sunday evening in a memo. 

Her exit will be followed by Nancy Dubuc's full ascension in heading the programmer, whose portfolio is led by A&E Network, History and Lifetime. A&E Networks is a joint venture of The Walt Disney Co. and Hearst Corp.

Dubuc was named president and CEO of A&E Networks in April 2013, succeeding Raven in those roles as she assumed day-to-day operational leadership.  As chairman, Raven has continued to lead the company's long-term business and revenue opportunities, public policy initiatives and corporatre outreach. 

After stints as a stage manager for theater productions and a school teacher, Raven started at Lifetime predecessor Daytime. Over the course, she saw the launch of A&E, History and the women's-targeted network. She will continue as chairman emeritus and plans to enjoy her retirement by traveling with her husband. 

Here is her letter to A+E employees:

Thirty-three years ago, I dreamed of breaking into the almost newborn cable business. By sheer good fortune, I saw an announcement in the NY Times heralding a promotional event for the launch of a brand new cable service called DAYTIME. With resume in hand, I went to the event at – of all places – the lingerie department at Macy’s – to meet the new network’s programming executives. I jumped at the chance and with an eagerness to do anything—to copy scripts — to answer phones —to get coffee– indeed, to do whatever I was asked to help in the launch. And what a ride it has been!

And now, after nearly 33 years at A+E Networks, my true and dear professional home – I wanted all of you to know first– that I have decided to retire on February 2 as its Chairman. My years here have been truly rewarding and exciting. I was fortunate to grow up and be mentored through the programming and production ranks, and then to develop as an executive. Together with many of you, I have had the privilege of helping to build what I believe to be the finest, most distinctive and most successful brands on the media landscape.

It is hard to believe that in 1984, A&E started out with one programming network and today we have a portfolio in over 350 million households and 180 territories around the world together with successful ancillary businesses. I remember being in the control room at the launch of A&E, Lifetime and History — like it was yesterday.

When I started out xeroxing scripts and answering phones as a few dollars an hour assistant in 1982 – I would never have imagined I would become a manager, director, and senior executive–not to mention the President and CEO and then Chairman of a major media company. That was never my goal. My goal was to find something I would love to do, something I could contribute to in my own way–something to be part of. I instantly became passionate about this business and this company. I love that we get to tell stories that touch people’s lives – stories that can make a difference –and that resonate with people all around the world. It has been the thrill of a lifetime watching this company grow, lead and thrive.

One of the universally recognized hallmarks of A+E Networks that has made me so proud has been our unique culture and our incredible people. It has been a testament to this organization that for over three decades we have consistently attracted and developed the finest talent in order to compete in the marketplace and to succeed.

No one person, since birth of this company, did more to build this company, to create its culture and to guide and develop its people than my predecessor, mentor, and dear friend, Nick Davatzes. We all owe a great debt to Nick and the company continues to reflect his commitment, his leadership, his energy, and his principles. I am thrilled that Nancy, who has been my business partner, my successor and my dear friend, will be guiding you and this company into a future of great opportunities and challenges. Nancy is a superb leader and a true visionary.

We also have the best and brightest management team in the business. I thank my Executive Assistant extraordinaire of ten years, Heather Graham, who has been my trusted and invaluable right hand. And, most important, A&E has the most talented, most dedicated employees in our industry—of this, I am most proud. I would like to thank both Nancy and the management team for their leadership, their friendship and their role in the company’s success. And I know they are going to keep growing this company to new heights.

This company and its people have been close to my heart for three decades. So many of you have become my extended family and good friends. I thank you from the bottom of my heart for your commitment and for the contributions you make every day. We come together here from all walks of life to create our own brand of magic, and that magic has had, and will continue to have, a unique and lasting impact on popular culture.

I will miss seeing you here in the office on a daily basis. I will miss the daily excitement and energy that runs through our halls. It’s hard to say goodbye to the people and the company I love, the place I have been thinking about every day for most of my adult life. But it’s time. Time for me to explore new ideas, new interests, new callings—new chapters in my life. And as Chairman Emeritus of the company in the future, I look forward to serving the company when called upon as an ambassador and advisor.

And so, as I enter this next chapter, I envision a busy and fulfilling life, including continued involvement in the television industry and on corporate and non-profit boards and with issues I care about. And, of course, I also look forward to more and longer walks on the beach with my husband, and to having the time to really explore the world.

I will be rooting for each and every one of you all across this great company. Continue to make magic every day, be bold, make a difference, and have passion for and appreciate what you do. I wish each of you, and the great company that you serve, all the success in the world.

With great respect and affection,

Abbe