Tina Brown

I think it's because...

This was when work was so much fun.

You know, it's like all the fun has come out of work.

Because now, for the journalism media world, it's all about, like, how do you get a platform that anybody will look at?

How do you raise the money for it?

What can you say that, you know, some sponsor doesn't want you to say?

It's like this was a period that I lived through where it was this hell for leather pursuit of...

great stuff, you know, and I had a ball doing it.

And the offices of Vanity Fair were just the HQ of interesting, adventurous talent.

And the same at the New Yorker.

I realize now how terribly lucky I was at the New Yorker to be sitting there with people like Art Spiegelman and Adam Gopnik and David Remnick and Jane Mayer and all these wonderful writers arguing about

what we were going to say in the pieces, you know, whether we wanted to reuse that story, whether it was accurate, whether it was fair, whether it was all these stored things that we talked about were nothing to do with, like, is our business going up in flames?

And that's unfortunately what this latest, the newer generation have experienced ever since they've begun their careers, which is very, very sad.

Of course they do.

I mean, the gatekeepers have gone.

Everyone goes, yes, well, as if the gatekeepers were some kind of terrible, you know,

inhibition to doing anything good.

The gatekeepers were also the tastemakers, you know.

So the thing about not having any gatekeepers means that there is no one person who's got the flair, the taste and the courage to say, I like that.

I want to do it.