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Posts Tagged ‘Shana Naomi Krochmal’

An Epic Swimmer Gets an Epic Profile

At age 55, Burt Lancaster starred in The Swimmer, a feature film based on the John Cheever short story. “The Swimmer” is also the deceptively straightforward title for a rip-roaring profile in the August issue of Out magazine of 63-year-old Cuba-to-Florida athlete Diana Nyad.

The feature interview was put together by Shana Naomi Krochmal who, along with being a contributing editor for Out magazine, is also a full-time supervising producer of digital with Current TV in Los Angeles. Krochmal has already gotten some nice traction with this interview at outsports.com, Jezebel and elsewhere. It’s easy to see why. From the get-go, the article dives right in:

“I was swimming every stroke with anger at that man and that sexual abuse,” she says. “That man” was her high-school coach back in Florida, an Olympian and Hall of Fame vet, and “that sexual abuse” was the four years of rape she endured under his tutelage. “I was so naïve. I hated him and loved him and felt humiliated and denigrated and so afraid, so terrified to be the last one left or the first one there in case I might be taken or attacked. At the same time, I felt like the chosen one.”

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FishbowlLA Set Visit: The Young Turks

Watching yesterday from the second floor Culver City control room as The Young Turks’ tireless host Cenk Uygur conducted a split-screen interview about – what else – contentious DC politics, FishbowlLA marveled at the talent everyone there talks about. His ability to do an entire, fast-paced current affairs program without benefit of a teleprompter.

“I’ve worked over the years with Matt Lauer, Katie Couric, Chris Matthews…” raved senior producer Roland Woerner. “I’ve never seen anyone with the ability to do a program like this without a teleprompter.”

The same goes for Uygur’s control-room brain trust. When a host and program run off a teleprompter, all sorts of cues can be “tagged in,” to help coordinate when to throw to a graphic, guest, specific camera shot and so on. With Uygur, there is no such safety net; the resulting flow, presided over with a masterful, arms-wide touch by director Genji Keen, is infectious. TYT’s ultra-modern and even-tempered operation is the kind of 21st century outlet many unemployed journalists would kill to be able to work for.

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