As one of the first national magazines to be created on desktop computers, Entertainment Weekly depends heavily upon a new breed of journalist — our computer-savvy associate editors, whose job spans the editorial process, from assigning stories to typing in the folio you see on this page. It is at their desks that other editors, writers, and reporters converge to prepare stories for print. ”The associate editors are creative people who are also extremely disciplined, a rare combination,” says managing editor James Seymore.
The AE job, however, defies exact description. ”It’s one part whipcracker, one part air-traffic controller, and one part diplomat,” says special projects manager Alison Gwinn, who supervised this issue. Adds News & Notes AE Cynthia Grisolia, ”We’re a little like movie directors: We pilot a team until we have a picture-perfect finished project.”
Perhaps the most enjoyable part of the job is writing headlines and captions. ”Great display type is an art, and our associates are particularly gifted,” observes editorial operations manager Peter Kobel, who oversees the AEs. For a review of The Beverly Hillbillies’ video release, Caren Weiner came up with ”Smashing Bumpkins.” Beth Arky provided ”Mac a Damien” for a story on Macaulay Culkin’s The Good Son. Mitchell Vinicor billed a not-so-flattering album review ”k.d. languishes.” And Marion Hart nailed a Keanu Reeves caption with ”Buddhacious Dude.”
Entertainment Weekly benefits from such wit and dedication — and there’s no better proof than the summer double issue you hold in your hands. We hope you enjoy reading it.