So we're not just competing like in most industries, with something that's a little cheaper, we're competing with something that doesn't charge at all. You spoke about transparency before. And when they're doing things that are not in those interests, we have no trouble walking away, because we've got a much clearer sense of what drives our business. Yeah, I mean, that one's actually just a traditional documentary, in the sense that it's not Times-driven. It helps us expose the journalism, and the difference of our journalism, to more people, so that they will come back, experience it in its collective form, and want to pay for it. A lot of other publishers are trying to come up with their own pay walls, including us. But again, you can see where The Times will provide a journalistic mindset and approach to parenting advice and context, which we think will give you something you can't get somewhere else.
Our crosswords was our first venture in New Products and Ventures, which is now morphing into games at large. So unlike other cooking sources where you can get, it's journalists that do the work, and they take a journalistic look, and a really deep dive, hard look into things, and then provide that back to people in the form of recipes and cooking tips. What does your relationship with the duopoly look like, in light of all these things that you just mentioned? Speedlights and strobes have color temps anywhere from k or so, and the color temperature can shift depending on power output. You spoke about transparency before. The portraits in particular stand out for the way Yajima strips them back. Is it helping that everyone else seems to be also considering getting on board? How do you balance that relationship, as partners and as companies you're reporting on? I know Droga5 worked on the campaign with you. How are you doing this? We're not trying to say, and we don't think we are saying, that The New York Times thinks it's the truth or that we're the only truth, or even that we always get it right. In the industry sense. Is it depending on what's worked traditionally, or new areas that you think The New York Times can own? When there's a story, we're gonna cover it, and we're gonna cover it fairly, we're gonna cover it independently. You mentioned being at a number of brands before the New York Times. Yes, although I think it's important to point out that what we think is the magic of that campaign is, we're talking about the reader's journey for the truth. It helps us expose the journalism, and the difference of our journalism, to more people, so that they will come back, experience it in its collective form, and want to pay for it. How do you figure out where you should be putting your resources? Ultimately, you've got to have a product, you've got to have substance. Tell me about that shift in strategy. So our cooking app has been a real success, a standout success for us. And so that's kind of easy to talk about. Giving that transparency and that clarity is actually, that openness actually draws people into the story, which makes it okay to tell. And as a subscription business, meaning that ultimately we're about long-term relationships, that's really important to us. And how do you get that data, but not be beholden to it? Again, it's about meeting the needs of our readers but in a way that other people don't offer. One is the expertise in platforms like television, which we don't have a lot of experience with making television advertising, at the Times.
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