the future of longform journalism. does it develop? or decline?colm: i think we are entering a golden age for media. there is more media and more variety and more sophistication now than there ever has been in the past. more people reading than ever in the past. we happen to be in a little window of time where we are trying to figure out the new business models for a lot of it. but we will. the "new yorker" is read by more people than it was in the past. all the gloom and doom is a little wrongheaded. the core question is, is there a desire and a demand among the reading public for in-depth journalism? the answer is, absolutely. emily: how do you make your own work distinctive in this environment? malcolm: i will continue to follow my own curiosity and if nobody wants to follow along, that's too bad. i am in this because i enjoy waking up in the morning and learning about new stuff and if i have large numbers of people that want to follow me and it's wonderful but it's not the reason i do it. i am working on a television show. i have no idea what

the longform possibilities are limitless. the shortform possibilities are limitless.n, think about ferguson, or occupy central, or the plane in the hudson as now being a live broadcast. i think the next several years ahead of us with that kind of capability is going to be extraordinary, super fun, and develop all sorts of new mediums for performers, for shows, for content. i really do think it will change the entire media landscape. emily: by some measures, one measure, monthly active users, instagram is bigger than twitter. why should wall street believe this is not a plateau? dick: for the simple reason that we all inside the company believe in the future of twitter. that the world will be a better place when everybody is on twitter. emily: five product heads in the years you have been ceo. why is it hard to find a product head for twitter -- or the right product head? dick: it is important for me to be thinking about whether this is the right team for the company right now. i tell my managers all the time that your job is to improve your team, not defend your team.

the average major television longform drama costs $4 million an episode to make. my kids, i want to watch "game of thrones," which has a budget that would blow your hair off. i want to watch "breaking bad." where is that going to be funded? when you jump into original content -- what was it, a $300 million annual expense? richard: isn't it true that a la cart pricing or packages of programs are something that consumers are going to want? michael: they are not going to want. they want it now. richard: and impact of the future of cable and other industries? michael: i do not treat it as a disruption. i treated as a different market. the want to consume in a different manner. they have the same passion. they have different expectations of when and how. they have different expert patients of what they see -- different expectations of what they see as the value trade-off. we had a wonderful time when we all celebrated the -- universe. i remember this quest commercial. this guy walks into the hotel. every movie ever made. duration is still valuable. consumers still crav

he still is producing longform documentaries and providing expertise during breaking news events and of course has won every major award in journalism. in 2014 he was awarded the presidential medal of the freedom. [applauding] >> tonight, tom brokaw will talk about "a lucky life interrupted" and his struggle over the past two years. how since 2013 he has had a cancer diagnose and treatment. after he discusss his new book for approximately 20 minutes, he will be interviewed by virginia prescott host of word of mouth, of course we are thrilled to have virginia and our team from new hampshire public radio as our partner. [applause] throughout the coming hour, a wonderful house broadband -- band will be playing songs perfect for the night. if you have a question you would like virginia to ask tom brokaw please pass them out. as you know writers from the new england stage is a partnership between the music hall and new hampshire public radio who will get to work right after the event producing a radio version of what you are seeing. we are grateful for their partnership and our sponsor th

the average major television longform drama costs $4 million an episode to make. my kids, i want to watch "game of thrones," which has a budget that would blow your hair off. i want to watch "breaking bad." where is that going to be funded? when you jump into original content -- what was it, a $300 million annual expense? richard: isn't it true that a la cart pricing or packages of programs are something that consumers are going to want? michael: they are not going to want. they want it now. richard: and impact of the future of cable and other industries? michael: i do not treat it as a disruption. i treated as a different market. the want to consume in a different manner. they have the same passion. they have different expectations of when and how. they have different expert patients of what they see -- different expectations of what they see as the value trade-off. we had a wonderful time when we all celebrated the 500 channel universe. i remember this quest commercial. this guy walks into the hotel. every movie ever made. duration is still valuable. consumers s