I think we need to reckon in a very serious way with the emotional content of news and the way that people perceive facts and their perception of their situation and to me I think the tabloid is like fundamentally an emotional form of journalism and that kind of emotional valence is what distinguishes it from the broad sheet.

To me the sort of like, the ethos, if you will, of like tabloid is like Daily News in the 1970s. It's a news organization that thinks of its mission to speak directly to people who are kind of , the people who are sort of the foundation of the American workforce or were at one time. What I love about this conception of the tabloid is that actually everybody read it.

My father was very much a child of the counterculture movement and was drawn to the idea of alleviating poverty in the developing world, helping farmers diversify their crops and stuff like that.

To me the tabloid sensibility, in the best sense of the word, and I think people as like tabloids have receded as a kind of force in media people have started to associate the word "tabloid" with like National Enquirer and stuff like that.

I think I'm this sort of perpetual outsider, I grew up most of my life in countries that were neither where I was born nor where either of my parents were from. I was part of a weird religion that nobody had heard of.

I think, I just always carry this kind of happy sense of being able to come into any situation and know that I don't exactly fit in, but I can make a place for myself.

Anything that I'm doing I think I always come at it from an outsider perspective. The first like real front page story that I had for the Times was about how after decades of battles over public restrooms in New York City, effectively chain stores had become the public restroom of choice for New Yorkers, it's sort of a silly little thing, but coming as an outsider, I was like 'Oh this is actually really interesting.'