How are the changes in platforms and the way people consume TV changing the way you tell stories?

I think every year the audience gets more sophisticated and more demanding in terms of the amount of information and narrative that they can process. I like things that are full and stuffed and go in a lot of directions at once. I like stories with a collision of disparate tones. Look at Shameless or House of Lies. They go from big, silly, and comedic to very real dramatic moments in the wink of an eye. I think audiences more than ever are willing to go there. I think you just have to remain interesting and try really hard not to be boring. We also have some of the deepest engagement shows anywhere in the media business, Dexter, for one example, Homeland, for another. The fans of these shows have an incredible hunger for new content. Some of the comedy content that has been done to support House of Lies has been outrageously funny. Ben Schwartz comes out of the Funny or Die world, Kristen Bell has done some amazing comedy pieces as well, and we have a pretty distinguished House of Lies app. We have a whole division that’s making games around Dexter. You have to constantly feed the beast and give people fresh new high-quality material. That’s a challenge when your primary business is making A-level expensive programming for television. You have to support the TV experience with engagement experiences that can continue between and after episodes.