I am, at heart, a curious person. 

My path to journalism wasn't a straight line. After finishing film school at NYU’s Tisch School of the Arts in the mid-80s, I didn't go straight to a newsroom. Instead, I found myself on the streets of New York City, working with the Coalition for the Homeless. What started as handing out sandwiches turned into monitoring shelter conditions, lobbying City Hall, and even organizing a national March for the Homeless to force the issues into the 1988 presidential campaign.

That experience taught me that advocacy requires evidence, and evidence requires investigation. 

In the early 90s, I joined the ABC News program DayOne, where I had the privilege to work with and learn from investigative reporter Walt Bogdanich, one of the best in the business.  He was digging into a massive exposé of the tobacco industry and brought me in to help him.   It was a story that changed public health forever.  It changed public perception, forced government action, reigned in a deadly industry, and cemented my obsession with investigative reporting. 

I spent the next several years continuing to report on tobacco, and digging into other powerful institutions—pharmaceutical giants, food manufacturers, health insurance companies, and the NRA—often producing for Peter Jennings Reporting. Later, at CBS News, I led the Evening News investigative unit, where our team’s reporting on stories like the veteran suicide epidemic and unprosecuted rape kits earned the Emmy Award for outstanding investigations three consecutive years.

But the industry was changing, and I wanted to be part of what came next. I joined Univision to help launch Fusion TV, building a young, diverse investigative team that broke away from the traditional network format. We knew the way people got their news was changing, so we found new ways to tell stories on emerging platforms, always prioritizing transparency and authenticity. The result was award-winning projects like The Naked Truth investigative series and the documentary Science Fair.  When I took over programming, we partnered with first-rate producers like Lightbox, who we worked with on projects like The Traffickers and Murder Mountain, which were later sold to Netflix.

Today, whether I’m producing a podcast like Lost Boys, consulting on a documentary, or developing a new series, I look for opportunities to pay it forward.   Working with and mentoring young journalists, producers, and storytellers is the best defense for the challenges journalism faces today.  

New York is still home. I live here with my partner, Filemon. I still enjoy exploring the city—sometimes on foot, sometimes on a scooter, but always with a camera.