Walt Disney Concert Hall

Walt Disney Concert Hall, originally uploaded by smorum.

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Elephant Family Grows Again at Disney's Animal Kingdom

LAKE BUENA VISTA, Fla. (PRNewswire) – The Walt Disney World Resort's animal care team welcomed a 233-pound bundle of joy to Disney's Animal Kingdom earlier this week. The female African elephant calf arrived early Monday morning, and joins her 21-year-old mother Donna after 21 months in the womb. The calf has not yet been named. Both the calf and her mother are doing well according to veterinarians and elephant managers, who are cautiously optimistic about the calf's likelihood for survival. The first-time mother experienced a very short labor, lasting approximately 16 minutes. With assistance from the animal care team, the newborn became comfortable using her "newly-discovered" legs and began nursing successfully from Mom soon after her birth. She is already feisty and very active. Going forward, the focus of the elephant managers and veterinarians at Disney's Animal Kingdom will be on the health and welfare of the calf and her mother. In the near future, Guests will be able to see the calf's progress on camera monitors at Rafiki's Planet Watch at Disney's Animal Kingdom. It will be several weeks before the calf and her mother will join other elephants on the savanna. Breeding African elephants is a challenging process, so it is especially exciting that this is the third African elephant to be born at Disney's Animal Kingdom Theme Park. A male calf, Tufani, was born in May 2003 and has gained nearly 1,500 pounds in his first two and a half years, and Kianga, a female born in July 2004, has gained more than 500 pounds in her first year. Because many of the elephants giving birth in zoos and wildlife parks are first-time mothers – just as several of the elephant cows at Disney's Animal Kingdom are – it is not unusual for the animals (both in the wild and in wildlife parks) to lose their first calf. Animal care experts at DAK are optimistic that observation and interaction with Tufani have helped the other elephants gain additional maternal knowledge, thus improving the success rate for the Animal Kingdom breeding program.

RUMOR : Pleasure Island May Get Makeover

(Orlando Sentinel) – Don't be surprised if the new year brings some changes to Disney's Pleasure Island. Rumor has it that Mouse officials are reviewing the nighttime entertainment complex with the idea of some updates. Given the competition from places like Universal's CityWalk, that's understandable. Among the things under consideration, I'm told, is opening a bowling alley and dropping the every-night-is-New-Year's-Eve theme, which has been around since 1990. And, for certain, the West End stage on the Island, where a deejay is often found, is going away to make entering the island easier. Earlier this year, Disney got rid of the admission charge to the Island, replacing the $20.50 gate charge with individual covers at the clubs.


This is long overdue. I've been lamenting the lack of a bowling alley at Walt Disney World for years. I thought they would build a standalone one near All-Star or Pop Century, however.

You'd think a bowling alley would have been there since 1970. The Rock N Roll Beach Club started life at PI as a roller-rink, fer cryin' out loud.

RUMOR : Harry Potter Theme Park in the Works?

(Cinematical) – Does Disney have a Harry Potter theme park in the works? That's the whisper through the (animatronic) trees, thanks to a series of conversations that Jim Hill has been having with his readers. It all started with the announcement that the so-called Mouse House was planning to delve into "site-based entertainment", possibly starting with a $3.1 billion casino/indoor theme park in Singapore. "Back up!" you say. "What the hell is this 'site-based entertainment' of which you speak?" Good question. Hill explains that whilst it would be "far more ambitious" than the DisneyQuest concept, and "on a much grander scale", he likens the SBE to a "theme-park-in-a-box", likely involving "an ornate structure that occupies a full city block which is at least six or seven stories tall. With 15 different full-sized rides, shows and attrac-tions all intertwining inside that building." After posting about the general concept and receiving gobs of (mostly hateful) reader mail, Hill went on to post a follow-up, including a tip from a reader who claims to have some tangential familiarity with certain contracts currently floating around Warner Brothers – home, of course, to the Harry Potter film franchise. At the very least, he passed along an email from a friend in the WB department, who hints, "You didn't hear it from me. But there may be a certain wizard visiting the mouse kingdom in the future." Hill seems to buy the rumor, and is enthusiastic about the possibilities for its execution. But, he warns, the boy wizard may not represent the be-all and end-all of Disney's forays into SBE. "If this Harry Potter acquisition deal does fall apart," Hill writes, "I'm told that the Imagineers have another SBE concept that also might fly. One where each floor of this city-block-sized building would then celebrate a Pixar film."

Comrade Mickey

MOSCOW (Reuters) - The ultimate symbol of centuries of Russian power, the Kremlin, was taken over at the weekend by Sleeping Beauty, Snow White and Cinderella and hundreds of excited Russian children as Disney came to town.

Russian guards in dark woollen coats and fur hats looked on as crowds packed the Kremlin for a "Cinderella Ball" thrown by the Walt Disney Co. as part of its campaign to expand into Russia's booming entertainment market.

"The Russians are hungry for entertainment, and that's why we're here," said Rob Jongmans, executive vice president and managing director of Walt Disney International for northern, central and eastern Europe.

"We are surprised by the popularity of the Disney brands here only 15 years after the fall of the Iron Curtain," Jongmans told Reuters. "Look at these kids and their dresses. Even the boys are in prince costumes. I've never seen anything like it."

Outside, the Kremlin's golden domes and red stars shimmering under a gentle snowfall themselves looked part of a Disney fairy tale. But inside the Kremlin ballroom hosting the party, the scene was enough to make Lenin spin in his Red Square tomb nearby.

At the ballroom of the Kremlin Palace of Congresses, a concrete and marble triumph of Soviet 1960s architecture, girls accompanied by mothers in designerwear sat at Disney beauty stands, having their hair sprayed with sparkles and adorned with Cinderella tiaras.

On the parquet dance floor a colourful mix of Disney characters danced with children in prince and princess outfits.

Champagne flowed for parents while children were served from tables piled high with pink cakes and candies served on glass stands -- all for free.

Jongmans said the event, attended by some 2,000 people, cost up to $1 million (564,000 pounds).

Disney characters -- which have generated some $3 billion in worldwide consumer retail sales since 2000 -- are familiar in the West. But they are relatively new in Russia, which discouraged them under 70 years of Soviet rule.

SLEEPING GIANT

Disney has achieved massive revenues from character and brand licensing as well as lucrative merchandising to extend its brands. Now, it is seeking to make a business out of entertaining 150 million Russians.

Jongmans said Russia's entertainment market was the fastest growing in the world. "We think Russia will overtake China in the next five years," he said.

A recent report published by PricewaterhouseCoopers said Russia's entertainment and media market is the fastest growing in Europe, surging 27.4 percent last year. That compares to flat growth in most Western developed countries.

The Russian market including film, video, Internet products, print media, sporting events and theme parks hit $12.45 billion last year, PwC said in a study of global entertainment industry.

That is just a fraction of the global $1.3 trillion market but growing fast, driven by the film and advertising industries and fuelled by higher disposable incomes on booming oil prices.

Jongmans said Walt Disney saw big opportunity in local entertainment and productions with a Russian cast.

"We shall look at the retail market too," he said. "The Russians are family-oriented and have a lot of spending power. We think this market is a sleeping giant."

THINGS ARE PRETTY HERE

THINGS ARE PRETTY HERE, originally uploaded by deleteyourself.

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Wider Sunset on Epcot Ball

Wider Sunset on Epcot Ball, originally uploaded by sigsegv.

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Rumor Has It Prince Caspian Is a Go

(FilmForce) – Aslan and The Chronicles of Narnia roared into theaters in North America and numerous international markets last week, enjoying the year's third-largest opening-weekend box office haul. The Lion, the Witch, and the Wardrobe pulled in $65 million ($107 million worldwide) – an excellent start towards recouping the $180 million that Disney and Walden Media spent on the film. The movie also fared well among critics, earning a 76% approval rating among professional film reviewers, according to Rotten Tomatoes. There's no doubt that the studios will go ahead with the next film in the series if LWW continues its strong run. In fact, NarniaWeb already has a source claiming that Prince Caspian, the logical next book to adapt, has been greenlit for production. It's a good bet that Andrew Adamson will return to direct the second one, although this is not confirmed. Since much of the complicated technical preparations – such as the work put into Aslan – is already done, filming could get underway as early as this summer. A movie based on Prince Caspian would return all four Pevensie children back to Narnia in another age, and another time of need. Narnia is under the rule of the neighboring Telmarines, and the Pevensies can help Caspian, rightful heir to the throne, lead a revolt for Narnian independence. An official announcement on Prince Caspian could come at any time during the next month or so.

Airport Revises Rules in Response to Disney Shuttle

ORLANDO (Orlando Sentinel) – The chairman of the board that governs Orlando International Airport said Wednesday that the airport made "mistakes" when it agreed to support Disney's Magical Express. Jeffry Fuqua, chairman of the Greater Orlando Aviation Authority, said the airport should have required Walt Disney World to operate the free shuttle and baggage service from both sides of the terminal instead of one. The airport also should have limited how many people could ride the service during the 18-month pilot period that began in May, he said. "Yes, we made some mistakes," Fuqua said. "Pilot means pilot. It [Magical Express] should have been capped." The comments came after months of criticism from other ground transportation companies at the airport that say their businesses have been damaged by Magical Express' success. The free Disney shuttle averages about 10,000 people each day, according to Disney figures. On Wednesday, the airport board voted to revise some of the rules for ground transportation companies, including changes that some board members indicated could be unfair to Disney.

• The new rules say that Disney cannot post "greeters" on the second level of the airport, where most transportation companies meet their customers near baggage claim. Instead, the rules say, Mears Transportation Group – the company that operates the shuttle for Disney – can post its employees there to meet Magical Express riders. "To say to them [Disney] you can't have your two employees there, but you can have two employees of the company you hired to do this work, is really splitting hairs in my mind," said board member and Orange County Mayor Rich Crotty.
• The new rules create a new category of ground transportation companies called "resort transportation service." Only Disney currently meets the definition of that new category. But, Fuqua said, it won't be long before more companies begin to follow Disney's lead. Already two more groups, including Universal Orlando, have expressed interest in creating a baggage and shuttle service.

Disney spokeswoman Kim Prunty said the company does feel "singled out" and would prefer a Disney employee greet its guests, but it "will follow the rules" as discussions continue on the future of the program.

Disney Exec Named President of Studio

LOS ANGELES (LA Times) – Alan Bergman, Walt Disney Studios' top business strategist and operations executive, has been promoted to president. Bergman will add business and legal affairs, as well as human resources, to responsibilities that now include finance and technology. He will continue reporting to Dick Cook, the studio's chairman. Bergman joined the studio in 1996. He helped structure Disney's settlement with Bob and Harvey Weinstein when they left Miramax Film Corp. and designed a new business plan for the specialty movie unit.

Prime-Time Nielsen Ratings

(AP) – Prime-time viewership numbers compiled by Nielsen Media Research for Dec. 5-11. Listings include the week's ranking, with viewership for the week and season-to-date rankings in parentheses. An "X" in parentheses denotes a one-time-only presentation.

1. (1) "CSI: Crime Scene Investigation," CBS, 30.9 million viewers.
2. (3) "Without a Trace," CBS, 21.8 million viewers.
3. (X) "Survivor: Guatemala-Finale," CBS, 21.2 million viewers.
4. (8) "Survivor: Guatemala," CBS, 20.2 million viewers.
5. (12) "60 Minutes," CBS, 19.7 million viewers.
6. (10) "Law & Order: Special Victims Unit," NBC, 16.3 million viewers.
7. (4) "Grey's Anatomy," ABC, 15.7 million viewers.
8. (X) "A Charlie Brown Christmas," ABC, 15.3 million viewers.
9. (16) "E.R.," NBC, 15.3 million viewers.
10. (5) "CSI: Miami," CBS, 15.3 million viewers.
11. (X) "Survivor: Guatemala-Reunion," CBS, 15.2 million viewers.
12. (6) "NFL Monday Night Football: Seattle at Philadelphia," ABC, 15.1 million viewers.
13. (13) "Two And a Half Men," CBS, 14.1 million viewers.
14. (9) "NCIS," CBS, 14 million viewers.
15. (26) "My Name Is Earl," NBC, 14 million viewers.
16. (18) "NFL Monday Showcase," ABC, 13.6 million viewers.
17. (17) "Extreme Makeover: Home Edition," ABC, 13.0 million viewers.
18. (30) "Close to Home," CBS, 12.8 million viewers.
19. (24) "Las Vegas," NBC, 12.6 million viewers.
20. (28) "Numb3rs," CBS, 12.5 million viewers.

Disney Defends Its Shuttle Bus Service

ORLANDO (Orlando Sentinel) – Walt Disney World executives say their free shuttle-and-luggage service between the resort and Orlando International Airport has boosted airport revenue by $1.6 million and helps move passengers so efficiently that it could delay the airport's need for a second terminal. The analysis prepared by Disney came in response to criticism of the 18-month pilot project, Disney's Magical Express, which began in May. Critics – mostly other ground-transportation companies at the airport – have said the service has cut deep into their business and that portions of Disney's original contract with the airport gave the entertainment giant an unfair advantage. Greater Orlando Aviation Authority Chairman Jeffry Fuqua declined to comment Tuesday on the figures provided by Disney. He said airport officials are working to prepare their own analysis of the shuttle service's effect on airport finances and operations. The recent back and forth between the airport and Disney is a rare public power struggle between two dominant forces in Central Florida tourism that typically work out their disagreements behind closed doors. Since Disney's Magical Express began seven months ago, the airport has changed several key parts of the service – over Disney's objections.

• In August, the airport reduced the number of parking spaces available to the shuttle service's buses from six to four.
• And in November, it banned Disney greeters – employees who wore oversize Mickey Mouse gloves – from the main level of the terminal because no other companies were allowed to meet customers there.
  

Disney's Magical Express, which is provided free to people staying at Disney-owned lodgings, is the first large-scale passenger-and-luggage service operating at a US airport and is changing the way airports operate, said Jerry Montgomery, a Disney senior vice president. "It's transformed, in a unique way, the airport experience for folks," Montgomery said. "When you change the paradigm in the market, there's going to be some shifts. There's no doubt about that." He said the airport's $1.6 million net increase in revenue from May to September when compared with 2004 is the result of rent Disney pays, a 50-cent-per-passenger fee, and fees generated by Mears Transportation Group, which operates the shuttle, and two luggage-transport services. Still in question is how much money, if any, the airport is losing because of downturns experienced by other businesses, such as rental-car companies and limo services. In addition to the revenue, Montgomery said, the Disney service is also extending the airport's capacity. Airport operations are streamlined by the bus service, he said, because about 20% of OIA's luggage is screened outside the main terminal, in space Disney rents from Delta Air Lines. That frees up space at airline ticket counters and within the terminal's baggage system, which in turn could delay the need for the long-talked-about south terminal by seven years, he said. Montgomery said Disney's Magical Express has done with private money what backers of a high-speed rail system had hoped to do with public dollars by "approximating a high-speed rail model" with a fleet of buses. Fuqua, the airport board's chairman, acknowledged that the Disney service is a form of mass transit – something the airport will need as it continues to grow.
Today, the airport authority will consider proposals that would keep Disney from greeting customers near the baggage claim, where transportation companies typically find their passengers. Airport officials want Mears employees, not Disney workers, to perform that role for Disney's Magical Express. Both Disney and Mears have objected to that change. Meanwhile, Disney officials are trying to come to terms with airport officials on how the service will operate after the pilot program ends in December 2006. Because it plans its vacation packages a year in advance, the company wants to know by early next year what the service will look like in 2007.

Disneyland Hong Kong Surpasses One Million Guests

HONG KONG (Ultimate Roller Coaster) – More than one million guests have visited Disney's newest theme park in Hong Kong since its opening in September according to a statement released from Disney. "When we build a resort, we do so with the expectation that it's a long-term asset lasting well beyond 50 years," says Disney Parks and Resorts Chairman Jay Rasulo. "The bottom-line is this: attendance is ramping up well, which continues to give us confidence that we are on track to achieve our long-term at-tendance goals." The company also reports that guests are giving the new Hong Kong Disneyland high marks for cleanliness, cast member friendliness, hotel experiences and entertainment on surveys con-ducted at the theme park. Relying on positive guest feedback, Hong Kong Disneyland is already expand-ing and enhancing the park experience beyond today's top attractions. The first major new attraction to be added to the park since its opening will be the long-time guest favorite Autopia, debuting in summer 2006 and featuring battery-powered vehicles traveling a whimsical highway.

TARZAN BIOGRAPHIES

JOSH STRICKLAND (Tarzan) is a native of Charleston, S.C.. Josh recently completed the national tour of Rent where he performed the roles of Mark and Roger. Other credits include Guest Vocalist with Shania Twain. He has also been named Carolina Idol 2002, was a national finalist in Fox television’s “American Idol” and appeared on ABC’s season premiere of “Star Search 2004.” Josh has also performed with national jazz musician Kevin Mahogany at the International Spoleto Arts Festival USA and appeared as “Spirit of the Child” in the festival’s Opera Curly River.

JENN GAMBATESE (Jane) most recently starred on Broadway in All Shook Up as both ‘Natalie’ and ‘Ed’. Other Broadway: ‘Penny Pingleton’ in Hairspray, ‘Mouse’ et al in A Year with Frog and Toad, and ‘Urleen’ in Footloose. Off-Broadway: ‘The Statue of Liberty’ in Reefer Madness. Tours (Europe and North America): ‘Serena Katz’ in Fame. TV: “All My Children”. Film: upcoming in The Good Shepherd, directed by Robert DeNiro.

MERLE DANDRIDGE (Kala). Broadway credits include: Jesus Christ Superstar, Aida, Rent. Tours: Aida (First National: Aida/Nehebka), Ain't Misbehavin' (Europe), Smokey Joe's Cafe (U.S.). Chicago: The Kentucky Cycle (Midwest Premiere, Joseph Jefferson Award), Passion, As You Like It (Rosalind), Balm in Gilead (Ann). Television: “Third Watch,” “NCIS,” “Angel,” “The Edge” (UPN Pilot), “Pros and Cons” (ABC Pilot), “All My Children,” “Guiding Light”. Voice over: The PC/XBox game Half Life 2 (Alyx Vance/G-Phoria award for Best Female Voice Performance), Half Life2: Aftermath (Alyx Vance).

SHULER HENSLEY (Kerchak). Broadway: Jud Fry in Oklahoma! (Tony, Drama Desk, Outer Critics Circle and Olivier Awards), Phantom in The Phantom of the Opera, and Javert in Les Miserables. Off-Broadway: The Great American Trailer Park Musical. Regional: A Funny Thing Happened On The Way To The Forum, The Most Happy Fella. Opera: Regina, Don Giovanni, La Boheme, and Carmen. TV: “Ed,” “Deadline,” “Gary Powers,” “Law & Order: SVU,” “Criminal Intent,” “The Jury”. Film: Van Helsing, Monday Night Mayhem, Someone Like You, The Bread, My Sweet, The Legend of Zorro and the upcoming Opa. www.shulerhensley.com.

CHESTER GREGORY II (Terk) made his Broadway debut as Seaweed in Hairspray. This Gary, IN, native received numerous awards for his portrayal of Jackie Wilson in The Jackie Wilson Story. Other credits include Soul of Black Music (Black Ensemble, London), Scapin' (Court Theatre), Drowning Crow (Goodman) and Disney's Lion King Master Classes. Chester has performed for Michael Jackson and is working on a recording deal. His music is featured on ChesterGregory.net and Ahdae.com.

TIMOTHY JEROME (Professor Porter) most recently appeared in Broadway’s Phantom of the Opera. Nominated for Tony and Drama Desk Awards for Me and My Girl, he was also featured in Disney’s Beauty and the Beast, Grand Hotel, The Magic Show, Cats, Lost in Yonkers, The Rothschilds, Man of La Mancha, La Boheme and dozens of original plays and musicals in regional theatre companies. His films include Thirteen Days, Cradle will Rock, Billy Bathgate, Spiderman II, Woody Allen’s Husbands and Wives, Celebrity, and Everyone Says I Love You. Tim is the Founding President of National Music Theater Network and The NY Musical Theatre Festival.

DONNIE KESHAWARZ (Clayton). Broadway: Taboo. Off-Broadway: Drifting Elegant (The Director's Company), Big Ole Washing Machine (Atlantic Theatre Studio). Regional: Homebody Kabul (Trinity Rep) The Memorandum (Guthrie), Fall (Berkeley Rep, Baltimore CenterStage) TV: “Lost,” “24” (recurring role), “The Sopranos” (recurring role), “Sex & the City,” “Law & Order: SVU,” “Hack,” “As the World Turns” (recurring role). Film: Drifting Elegant, Growing Down in Brooklyn, Tony 'n Tina's Wedding (the movie).

DANIEL MANCHE (Young Tarzan at certain performances). Broadway: Nine (Young Guido); TV: “Law & Order: Criminal Intent” & “SVU,” “All My Children,” “Guiding Light,” “What's the Scoop?” Film: Headspace.

ALEX RUTHERFORD (Young Tarzan at certain performances) made his Broadway debut as Chip in Disney’s Beauty and the Beast after traveling with the national tour. His favorite pastimes are reading, wrestling with his Dad and brother, playing Playstation 2 and riding his bike

BOB CROWLEY (Director/Scenic and Costume Design) is an Associate of the National Theatre, for which he has designed The History Boys, Mourning Becomes Electra, His Girl Friday, A Midsummer Night’s Dream, Ghetto, Hedda Gabler, Ma Rainey’s Black Bottom, Racing Demon, Murmuring Judges, The Absence of War, The Prince’s Play, Richard III, White Chameleon, The Sea, Night of the Iguana, Carousel, The Designated Mourner, The Cripple of Inishmaan, King Lear and Amy’s View. Royal Shakespeare Company: Designed over 25 productions, including: Les Liaisons Dangereuses (Tony nomination), The Plantagenetes, Henry IV, Parts 1 & II, King Lear, Hamlet. Field Day Theatre Company: Saint Oscar, The Cure at Troy (co-directed with Stephen Rea). Other set and costume designs: Donmar Warehouse: Into the Woods, Orpheus Descending. Almeida Theatre: Pinter’s Moonlight, No Man’s Land, The Iceman Cometh (Tony nomination), Cressida, The Judas Kiss. Royal Ballet Covent Garden: Pavane, Anastasia. Royal Opera House Covent Garden: The King Goes Forth to France, The Knot Garden, La Traviata. English National Opera: The Magic Flute. Chatelet Paris: The Cunning Little Vixen. Bavarian State Opera Munich: Don Giovanni. Lincoln Center Theater: Carousel (Tony Award), Hapgood, The Invention of Love (Tony nomination), Twelfth Night (Tony nomination). Public Theatre: The Seagull. Other Broadway: Paul Simon’s The Capeman (Tony nomination), Sweet Smell of Success, Disney’s Aida (Tony Award). Most recently: Mary Poppins (Prince Edward Theatre). Royal Designer for Industry Award.

PHIL COLLINS (Music/Lyrics) is one of today's most popular vocalists, songwriters and performers, and has been hailed as one of the best drummers in the world. Collins has won seven GRAMMY Awards and released solo albums with sales totaling more than 70 million copies. Among his accomplishments in film, he contributed songs to the GRAMMY-winning soundtrack of Disney's Tarzan, including “You'll Be In My Heart,” which was nominated for a GRAMMY and won the Academy Award and Golden Globe for Best Song. Most recently, Collins wrote six songs and made his film score composing debut (in collaboration with Mark Mancina) on Disney's Brother Bear and also composed the score for Tarzan II. Factoring in his work with Genesis, Brand X, and a gallery of star groups and performers (including Led Zeppelin, Eric Clapton, Brian Eno, Robert Fripp, John Cale, Quincy Jones, and Tony Bennett), Collins has left his mark on some 200 million records worldwide. His hit songs include “In the Air Tonight,” “One More Night,” “Sussudio,” “Take Me Home,” “Two Hearts” and “Another Day in Paradise.” Among his other accomplishments, Collins fulfilled a lifetime ambition by touring with his own 20-piece big band, which made its debut in London's Royal Albert Hall in the company of conductor Quincy Jones and vocalist Tony Bennett. Collins embarked on a solo career after taking a break from being front man and drummer for the band Genesis, with whom he played for 25 years. His solo albums include Face Value, Hello, I Must Be Going, No Jacket Required, …But Seriously, Serious Hits…Live!, Both Sides, Dance Into the Light, Hits, Hot Night in Paris and Testify. Collins most recently completed his successful Final Farewell Tour.

DAVID HENRY HWANG (Book) was awarded the 1988 Tony, Drama Desk, Outer Critics and John Gassner Awards for his Broadway debut, M. Butterfly, which was also a finalist for the Pulitzer Prize. For his play Golden Child, he received a 1998 Tony nomination and a 1997 Obie Award. His new book for the Rodgers & Hammerstein musical Flower Drum Song earned him his third Tony nomination in 2003. He was also a book writer on Elton John and Tim Rice’s Aida. Hwang’s other plays include FOB (1981 Obie Award), The Dance and the Railroad, Family Devotions, The Sound of a Voice and Bondage. His opera libretti include three works for composer Philip Glass, 1000 Airplanes on the Roof, The Voyage and The Sound of a Voice, as well as The Silver River with music by Bright Sheng and Ainadamar with Osvaldo Golijov. Hwang penned the feature films M. Butterfly, Golden Gate and Possession (co-writer) and co-wrote the song “Solo” with composer/performer Prince. His new play, Yellow Face, will premiere next season. Hwang serves on the Dramatists Guild Council.

MERYL TANKARD (Choreography) began her career as a classical dancer with the Australian Ballet. She later joined Pina Bausch's Wuppertaler Tanztheater as a soloist and became renowned for her performances in Kontakhof, Cafe Muller, 1980, Keuscheitslegende, Arien, Walzer and Bandoneon. Between 1989 - 1999 she directed her own dance companies in Australia creating over 15 full-length works including: Furioso, Possessed, Aurora, Songs with Mara and Inuk, which she toured internationally to New York (BAM), London, Tokyo, Amsterdam and Sydney. Since 2000, Tankard has worked freelance, creating works for Lyon Ballet (Bolero), Netherlands Dance Theatre (Merryland and Petrushka), Berlin Ballet (@ North), choreographing for Tiffany and Co. New York (Pearl) and Andrew Lloyd Webber (Beautiful Game); and creating/directing Deep Sea Dreaming for the 2000 Sydney Olympics Opening Ceremony. In 2003 she conceived and choreographed a full-length ballet Wild Swans for the Australian Ballet. In 2004 she was awarded an Australia Council Creative Development Fellowship, and is currently developing a film script and a musical.

PICHÓN BALDINU (Aerial Design) was born in Buenos Aires, Argentina. His professional career began in 1984, when, while studying at the Conservatorio de Arte Dramático, he co-founded La Organización Negra, the first underground theatre company in Buenos Aires. The quest for striking language coupled with the impact of post-dictatorship Argentina led to the creation of the theater group, UORC - Teatro de Operaciones (1986). Baldinu’s constant curiosity for new ways of expression encouraged him to experiment in non-conventional areas, including buildings and monuments throughout the city of Buenos Aires. La Tirolesa (1989) was created in this fashion. After dissolving La Organización Negra in 1993, Baldinu co-founded the De La Guarda Company, focusing on the search of a theatrical language that allowed him to move and excite audiences. Later on, De La Guarda presented five shows in an experiment called Doma (1998). This mega-show, performed in the open-air, was the greatest aerial show and production of the company.

NATASHA KATZ (Lighting Design). Recent Broadway: Aida (Tony Award 2000), Beauty and the Beast, 25th Annual Putnam County Spelling Bee, Sweet Smell of Success, Twelfth Night, Flower Drum Song, Dance of Death, The Capeman and Barrymore. National Theatre, London: Buried Child. Extensive designs Off-Broadway and for American regional theatres. Opera/dance: Cyrano (Metropolitan Opera), Die Soldatan (NYC Opera), Carnival of the Animals (NYC Ballet), Tryst (Royal Ballet), and Don Quixote (American Ballet Theatre). Concert acts: Shirley MacLaine, Ann-Margret and Tommy Tune. Permanent lighting installations: Niketown NYC and London and the Big Bang at the Museum of Natural History in NYC.

JOHN SHIVERS (Sound Design). Sound design credits include: In My Life, Billy Crystal’s 700 Sundays, Julia Sweeney’s God Said ‘Ha’ and various productions of Savion Glover, Dionne Warwick and Gregory Hines. He is also credited as the associate sound designer/production sound engineer for Broadway and worldwide productions of Hairspray, The Producers, The Lion King, Aida, Titanic, Big, How to Succeed in Business Without Really Trying, The Who’s Tommy, Guys and Dolls and The Buddy Holly Story.

PAUL BOGAEV (Music Producer/Vocal Arrangements). Executive producer of the 2004 GRAMMY-winning soundtrack and music director of the 2003 film, Chicago. Broadway: Music supervisor and orchestrator, Bombay Dreams (2004 Tony nominee); music producer and arranger, Aida (2000 GRAMMY Award); music director, Sunset Boulevard, Joseph, Aspects of Love, Chess, Les Miserables, Starlight Express and Cats. Film: Connie and Carla with Nia Vardalos and Toni Collette. Currently: Julie Taymor's new movie with songs by The Beatles, and Dreamgirls with Jamie Foxx, Beyonce and Eddie Murphy. ABC television musicals: “Cinderella,” “South Pacific,” and “Annie” (2000 Emmy Award). Conductor: Barbra Streisand, Elton John, Michael Crawford and the silent film masterpiece Napoleon, presented by Francis Coppola. Disney films: Mulan (Music Director), song arrangements for Disney’sTarzan and The Lion King.

DOUG BESTERMAN (Orchestrations) A three-time Tony Award winner, Doug's Broadway orchestration credits include: Dracula, Thoroughly Modern Millie (2002 Tony Award and Drama Desk Awards) The Producers (2001 Tony and Drama Desk Awards), Fosse (1999 Tony Award), The Music Man (Drama Desk and Tony Award nominations), Seussical, Big (Drama Desk Award nomination), Damn Yankees (Drama Desk Award nomination), Gentlemen Prefer Blondes. Off-Broadway: Weird Romance, Jack's Holiday, Johnny Pye and the Foolkiller, The Gifts of the Magi, Godspell; also in New York: King David, A Christmas Carol, and the Radio City Music Hall Christmas Spectacular. Film/television: The Producers, Chicago, Mulan, Anastasia, Pocahontas, Lincoln, Cinderella, Annie, Geppetto, South Pacific, and Superstar. Doug has also arranged for: Christine Andreas, Toni Braxton, Beyonce Knowles, Barry Manilow, Mandy Patinkin, Barbra Streisand, the LA Philharmonic, and the Boston Pops Orchestra.

TARZAN is officially cast

Full Casting Announced for 'TARZAN, The Broadway Musical'
Disney Theatrical Productions has announced the full cast for TARZAN, The Broadway Musical.
The production will star:

• Josh Strickland as Tarzan
• Jenn Gambatese as Jane
• Merle Dandridge as Kala
• Shuler Hensley as Kerchak
• Chester Gregory II as Terk
• Timothy Jerome as Professor Porter
• Donnie Keshawarz as Clayton, and
• Daniel Manche and Alex Rutherford will alternate in the role of Young Tarzan.

TARZAN will open May 10 at the Richard Rodgers Theatre; the theater is located at 226 W. 46th St. in New York. Previews begin March 24.
Here are the creative team members:

• Bob Crowley (Aida, Carousel), a two-time Tony Award® winner, will direct and design scenery and costumes for TARZAN
• Phil Collins, an Oscar® and seven-time Grammy® Award-winner, wrote the music and lyrics, expanding his songs for Disney's film into a complete theatre score
• David Henry Hwang (M. Butterfly), Tony Award-winner, wrote the book, based on the novel, Tarzan of the Apes, by Edgar Rice Burroughs, and the film, Tarzan
• Meryl Tankard did the choreography, with aerial design by Pichón Baldinu (De La Guarda)
• Natasha Katz (Aida), Tony Award-winner, designed the lighting
• John Shivers is the sound designer
• Paul Bogaev, music producer/vocal arrangements, and
• Doug Besterman, orchestrations.
  

"The creative team for TARZAN has re-imagined, and in some cases, reinvented characters from the original Edgar Rice Burroughs novel and Disney's animated film," said Thomas Schumacher, president of Disney Theatrical Productions. "We hope to bring a fresh perspective to the Tarzan legend, and we think that we have found a wonderful cast to make these roles their own."

POST 100! 'Survivor' Finale Pushes CBS Past ABC Sunday

'Survivor' Finale Pushes CBS Past ABC Sunday

LOS ANGELES (Zap2it.com) – The end of "Survivor: Guatemala" proved a winner for CBS Sunday as the network dislodged usual champ ABC – whose "Desperate Housewives" had the night off – from the top of the ratings. CBS averaged a 12.1 rating/18 share in primetime. ABC was second at 8.1/12, and NBC took third with a 6.3/9. FOX, 5.1/8, came in fourth, and The WB finished a distant fifth at 1.5/2. Survivor" also helped CBS win among adults 18-49 with a 7.1 rating for the evening. ABC, 5.2, finished second, followed by FOX at 4.0. NBC averaged 2.4 and The WB 0.9.

w Late-ending NFL games and "60 Minutes" scored a 13.2/21 at 7 p.m. to give CBS a big lead. "America's Funniest Home Videos" averaged 5.6/9 for ABC, tying for second with FOX's "Malcolm in the Middle" and "King of the Hill" (or live football in some parts of the country). NBC was fourth with "Dateline." The WB got a 1.8/3 from the Christmas special "Grandma Got Run Over by a Reindeer."
w The first hour of the "Survivor" finale posted a 12.6/19 for CBS at 8 p.m. ABC took sole possession of second with the first half of a two-hour "Extreme Makeover: Home Edition," 7.2/11. "The West Wing," 5.3/8, gave NBC third in households, but "The Simpsons," 5.8/9, and "The War at Home," 4.5/7, brought in more total viewers for FOX. The WB aired the Family Television Awards.
w "Survivor" dipped slightly at 9 p.m., coming in at 12.0/17 as the show built to the announcement of Danni Boatwright as the $1 million winner. "EM: Home Edition" improved to 9.2/13 for ABC. A repeat of "Law & Order: Criminal Intent" scored a 6.9/10 for NBC. Reruns of "Family Guy," 4.9/7, and "American Dad," 4.3/7, were fourth for FOX. A repeat of "Supernatural" on The WB trailed.
w At 10 p.m., ABC's "Grey's Anatomy," 10.5/16, tied the "Survivor" reunion show for first (CBS had an edge in viewers, but ABC won the hour in the 18-49 demographic). "Crossing Jordan" came in at 7.5/12 for NBC.

yay.

How Bob Iger Saved Network TV

Here is an excerpt from Mark Cuban's weblog. I say follow the money, and if he is spending his time here, then maybe we should too.

On the ITunes Store, you can buy the latest episode to Lost and some other shows the day after they air on Network TV. in this case ABC, for $1.99. Sounds simple and reasonable. Not anything earth shattering right ?

Content has been available for download for years and years. That content could be played on any number of devices, from computers to DVD players to PDAs. Being able to playback a video from the new Video Ipod just like you can play a song from a current IPod, certainly is not a technical marvel.

It is a business marvel. Bob Iger has gone contrary to what every current and previous TV network head has and would have done had Bob not turned the industry on its head with his announcement with Apple yesterday. Bob Iger has saved Network TV.

How ?

By completely changing the economic model.

...

Disney's ‘Chronicles of Narnia’ Opens as Top Film

(Bloomberg) – Walt Disney Co.'s “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe” opened as the No. 1 film in US and Canadian theaters with an estimated $67.1 million in ticket sales, the second-best December debut ever. “Narnia” may give Disney and partner Walden Media, owned by billionaire Philip Anschutz, a chance to create a movie franchise similar to Time Warner's Harry Potter and Lord of the Rings. The success of “Narnia” and “Chicken Little” may help Disney turn around its studio unit, which reported a $313 million loss in the company's fourth quarter. Its success “indicates there'll be a green light for the next one imminently,” said Brandon Gray, president of Box Office Mojo, an online movie publication and box-office tracking service. “It clearly struck a chord with audiences,” he said. “That's a key factor in ongoing success for the franchise.” The best December opener was “The Lord of the Rings: The Return of the King” in 2003, with $72.6 million. “Narnia” will face competition next week from General Electric Co.'s Universal Pictures “King Kong,” directed by Peter Jackson.

ABC Takes 'Nine' Pilot to Bank

LOS ANGELES (Hollywood Reporter) – ABC has given the green light to production of a drama pilot about a bank robbery and its aftermath from "Without a Trace" creator Hank Steinberg. "Nine Lives," which Steinberg is co-creating with his sister, writer-actress K.J. Steinberg, for Warner Bros. Television, revolves around the experiences of a group of strangers who are caught in a 52-hour hostage crisis stemming from a bank robbery that goes bad. The series would follow the lives of nine of the people involved in the standoff as they struggle with post-siege traumas and re-evaluate their lives after the incident. There also is a great deal of mystery about events that unfolded during the standoff that will be revealed throughout the course of the season, Hank Steinberg said. "The show is really about what happens to these people after they come out of the bank," he said. "It's about how they have been affected in different ways and how they're forced to look at themselves in ways that they hadn't before. The idea of people coming out of the catastrophe like this feeling as though they've got a second chance at life – that's what's really interesting to me." "Nine Lives" marks the first development efforts from Hank Steinberg since he hit a home run in 2002 for CBS with "Without a Trace," the missing persons procedural that's now in its fourth season.

ABC Draws with 'Brown'; NBC Wins Tuesday

LOS ANGELES (Hollywood Reporter) – ABC packed 'em in with the holiday classic "A Charlie Brown Christmas" on Tuesday but NBC won the night with "My Name Is Earl" and "Law & Order: SVU." "Charlie Brown," the animated special now marking its 40th anniversary, averaged 15.4 million viewers and 5.5 rating/15 share in the adults 18-49 demographic from 8-9 p.m., according to preliminary estimates from Nielsen Media Research. Last year's show averaged 13.6 million viewers, and a 4.8/13. NBC didn't do much business at 8 p.m. with the return of "Fear Factor" (8.3 million, 3.2/8), which was topped by CBS' repeat of "NCIS" (14.3 million, 3.4/9). NBC spiked at 9 p.m. with "Earl" (13.9 million, 5.8/14) and ebbed at 9:30 p.m. with "The Office" (9.8 million, 4.3/10). CBS' "The Amazing Race" (11.1 million, 4.1/10) was fairly lackluster despite lessened competition from a repeat of ABC's "Commander in Chief" (10.5 million, 2.9/7) and the absence of "House" on Fox. Fox was in ho-hum territory with its 8-10 p.m. telecast of the Bill-board Music Awards (6.5 million, 3.2/8, down from last year's 6.9 million, 4.5/7). Even the American Music Awards two weeks ago did better, despite hitting all-time lows (11.67 million, 4.4/11). At 10 p.m., "Law & Order: SVU" (16.3 million, 5.9/15) ranked as the most-watched program of the night, easily besting CBS' "Victoria's Secret Fashion Show" (9.2 million, 3.8/10) special and ABC's "Boston Legal" (9.6 million, 2.6/7). NBC had no competition for the nightly bragging rights with an average of 12.1 million viewers and 4.7/12 in the key demo.


Holy crap! I watched the Charlie Brown special again this year and..WTF?! It was horrible! Almost unwatchable. It was so poorly put together I wanted to cry. I thought "Disney will pull the plug on this crap next year. It's just irrelevant next to today's more sophisticated animation and stories."

Bottom line: Don't hire me to program your December holiday shows. I am way out of touch.

Disney Lets Girl Into Winnie’s World

(USA Today) – Maybe it's just the impossibly cozy nature of the 'hood, but for 80 years there has been no change in the resident line-up of the Hundred Acre Wood. But as part of a barrel-full of Winnie the Pooh anniversary events, Disney is working on a new animated series that will replace Christopher Robin with a 6-year-old girl. To quote one loquacious Rabbit: "Oh my, oh my, oh my goodness!" Although the bear's party fare includes much Disney hoopla, the real bother is sure to be over tinkering with a classic. Details are sketchy on the as-yet-nameless new arrival, who will make her debut in the 2007 computer-generated series My Friends Tigger and Pooh. Disney execs say the idea is to bring an older audience to an iconic franchise born when British author A.A. Milne began musing about the imaginary world of his son, Chris-topher Robin. "We got raised eyebrows even in-house at first, but the feeling was these timeless charac-ters really needed a breath of fresh air that only the introduction of someone new could provide," says Nancy Kanter of the Disney Channel. The gamble could sweeten the pot of a company that already brings in $1 billion annually from Pooh merchandise, "more than all their core characters combined," says Thomas Ranese of marketing consultants Interbrand. There could be a side benefit to luring new kids to this idyllic forest. Because today's tykes often get introduced to literary characters through their cartoon counterparts, "the hope is this will bring more kids to (Pooh) books," says Rory Halperin, who covers en-tertainment for Child magazine. Disney's Kanter says the new cartoon represents not an abandonment of an old, familiar world, but rather an alternate universe for Pooh and his crew. "Christopher Robin is still out there in the woods, playing," she says. "We hope people will fall for this new tomboyish girl. The last thing we want to be is the ones who brought the franchise down."

Narnia Film Premieres, Aims to Match Potter, Rings

LONDON (Reuters) – Move over Pottermaniacs. Here come the Narniacs. In the battle of the fantasy film franchise, Disney's first Narnia installment aims to match the huge success of the four Harry Potter mov-ies and the Lord of the Rings trilogy. "The Chronicles of Narnia: The Lion, the Witch and the Wardrobe" gets its royal world premiere at the Albert Hall in London on Wednesday, with Britain's Prince Charles and his wife Camilla among those expected to grace the red carpet. No expense has been spared in one of the hottest box office battles in recent years. With an estimated production and marketing budget of $250 million, the first Narnia film is a must-win movie for the loss-making Disney Studios, and paves the way for up to six more films based on C.S. Lewis' seven-book series. A second film, based on "Prince Caspian," is expected to hit theatres as early as the summer of 2008. The parallels with the Potter and Rings mov-ies are clear. There will eventually be seven books in the best-selling J.K. Rowling saga, each of which is expected to be adapted to the screen. The four Potter films to date have grossed more than $3 billion in ticket sales worldwide. Peter Jackson's "Rings" trilogy has amassed $2.9 billion. Lewis knew J.R.R. Tolkien, the author of the Lord of the Rings stories.

Is That Lion the King of Kings?

(USA Today) – The Lion, the Witch and the Wardrobe is a beloved children's book about four British school-children who pass through the back of a wardrobe into an enchanted land where a witch has made it eternally winter. There they meet Aslan, the lion of the title, who offers his own life to the witch to atone for the treachery of one of the siblings. On Dec. 9, a $150 million movie version will open nationwide, reigniting an old debate: Is the world created by British author C.S. Lewis a rip-roaring piece of fantasy – or a fairy tale suffused with Christian imagery? The answer is both, and that raises a related question: Can Disney succeed by selling the movie on two tracks – as a sort of cross between The Lord of the Rings and The Passion of the Christ? If so, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe figures to be a holiday blockbuster. Walden Media made the movie, and Disney came in as a partner to distribute and sell it. A multi-tiered marketing cam-paign targets, among others, fantasy fans and churchgoers, groups not usually known for being on the same wavelength. "My reading of the situation is Disney came to realize, 'Goodness, we have a two-fer here,' " says Alan Jacobs, a professor at Wheaton College. "We can draw in those millions of people who want heroic fan-tasy, but then we can also tap into those thousands of churches that can sell out theaters." The cycle of seven Narnia books is approaching 100 million in sales since Wardrobe was published in 1950. The trick for the movie will be pleasing old fans, many of whom are drawn to the Christian imagery, while attracting new ones, some of whom could resent it. "I don't want to sound greedy or sound like a producer saying, 'We're for every-body,' " producer Mark Johnson says. "But we are. That's the genius of C.S. Lewis: The story works on so many levels."

The book has long charmed children of any or no religion. The movie is, in many ways, faithful to the book without sounding the horn of religious orthodoxy. Johnson says you will find Christian symbolism in the movie only if you found it in the book. But the book is no staid Sunday school lesson: It is a rousing adventure tale that stands on its own, with echoes of larger themes that reverberate in young minds even when children are unsure of the source of the echoes. Bruce Edwards, a professor of English at Bowling Green University, says, "With Lewis, the story is the thing. You ought to read the lines first. Then you can read between them."

The lion's share of the film's marketing budget – reputedly $80 million – has been spent on saturation TV ads, but lesser amounts have been spent on grass-roots marketing to schools, libraries and youth groups. Johnson says just 5% was spent wooing churchgoers, but the press coverage has centered on faith-based marketing. Motive Marketing, which promoted The Passion of the Christ to a $370.6 million box office take last year, is among the companies that have sold Wardrobe directly to churches as a sort of greatest children's story ever told, complete with Sunday school lesson plans. That spadework almost certainly ensures a big opening weekend. Plans are afoot for Prince Caspian, which will be the next Narnia movie if Wardrobe succeeds. The Christian symbolism becomes more obvious in some of the later books, particularly in the last one, The Last Battle, a retelling of Revelation. Near the end, Lewis makes it clear that in his cosmology heaven is open to the good of all faiths.Other surprises come near the end of The Last Battle – including perhaps the most auda-cious plot twist in children's literature. Bowling Green's Edwards, author of Not-a-Tame Lion, wishes moviego-ers could see the film as the books' original readers read them, with no prompting from marketers or preach-ers. "This movie deserves an audience that has an ability to have the characters and the themes sneak up on them – or, as in Lewis' phrase, sneak past their watchful dragons," Edwards says. "I think the dragons are way too watchful on this one." Andrew Adamson, the film's director, seconds that emotion. He read the books as a child in New Zealand and received no instruction on deeper meaning. He hopes American children will come to his movie similarly unencumbered. "I read the books before I even knew what allegory meant, and I enjoyed them purely as an adventure," he says. "That's how the film should be enjoyed, too."

Holiday Cruises are Pixie Dusted With Magic Aboard Disney Cruise Line

CELEBRATION, Fla. (PRNewswire) – A magical tree lighting ceremony with Disney characters, festive holiday decor, carolers, gingerbread house building and even "snow" that magically falls, await all those who board a Disney Cruise during the month of December. Just in time for the holiday season, both Dis-ney ships – Disney Magic and Disney Wonder – are decked with boughs of holly and filled with holiday themed entertainment and activities for the entire family. It all starts at Disney's private cruise terminal at Port Canaveral, Fla., where holiday decorations and Disney characters dressed in their season's best await all who board a Magical Holidays sailing. Onboard, guests find highlights including:

 A nearly three-deck-tall tree-lighting ceremony in the atrium lobby, where "snow" magically falls
 A Christmas Day visit from Santa Goofy, with surprises for all the kids
 International holiday caroling by crew members from around the globe
 Families joining together to design and decorate their own gingerbread houses
 A reading of T'was the Night Before Christmas by Mrs. Claus
 Traditional holiday feasts in Disney's three themed dining rooms
 Multiple faith and inter-denominational holiday services
 A ship-wide party to ring in 2006 and a New Year's Day tailgate party

The last stop for all Disney Cruises is the line's private island – Castaway Cay – where guests are treated to a "Magical Wonderland," a themed decor package that has transformed the sandy Bahamian island into a "snowy" holiday hideaway. In addition to "snow" flurries, guests enjoy seeing Christmas trees, Mr. and Mrs. Snowman (with shell noses and tropical shirts), carolers and a sleigh full of presents in the mid-dle of the Bahamas. Even the island's tram that transports guests across the 1,000-acre island has been decorated to resemble a reindeer, complete with antlers and tail. Rates for Magical Holiday sailings start at $429 (three-night), $499 (four-night) and $939 (seven-night) and are based on double occupancy.

G-Forces On Theme Park Thrill Rides Evaluated

ORLANDO (Local6.com) – In a first-of-its-kind investigation, Local 6 News teamed up with news partner Florida Today to evaluate G-forces riders experience on Central Florida's most popular thrill rides. Offi-cials said G-forces produced by the thrill rides are harmless for healthy riders. However, most theme parks refuse to release information about the intensity of their rides. So, using scientific equipment that measures G-forces, Local 6 News measured the powerful sensations rider's experience.

 The report found that Disney's Space Mountain is still one of the more intense rides in the area – showing more than 3.5 Gs. "Surprisingly, that is about the same maximum force as Central Florida's newest thrill ride – Universal's Revenge of the Mummy," Local 6 reporter Mike DeForest said. "Nei-ther one are super tall," American Coaster Enthusiasts spokesman Chris Kraftchick said. "They're paced very well. In other words, they don't sock you with a bunch of elements and then you go through a lull."
 The report found Disney's Big Thunder Mountain Railroad to be the most tame steel roller coaster tested, registering at 2.5 Gs.
 Disney's Rock-N-Roller Coaster was found to launch riders to near 4.5 Gs in the first six seconds. "You can feel it, you can feel your body really being pulled back," Kraftchick said. "If you think about it, you're launching up what, 60 mph straight up into two inversions."
 The report found that The Hulk roller coaster at Universal's Islands of Adventure quickly changed G-forces. Going down a hill, riders feel weightless and then are pushed hard into their seats at 4.5 Gs. The Hulk coaster had the highest gravitational forces measured in the Orlando area.
 Disney's Mission Space ride, which gives riders the sensation of blasting off to Mars, produced the most surprising G-force readings. Although the spinning of the centrifuge may make some people sick, the ride itself generates just over 2 Gs, which is about the same amount as the Test Track ride located next door. However, unlike roller coast G-forces, which rapidly spike up and down, Mission Space produces long, sustained G-forces.

Amusement ride safety consultant Bill Avery said that based on G-forces alone, coasters that register more than 4 Gs like Universal's Dueling Dragons and Sea World's Kraken are typically harmless as long as the Gs are momentary. "The body can withstand G's to the 'four' level," Avery said. It is when coasters combine those high Gs with sudden directional changes that the risk of injure increases.

Number 1 in Billboard

(Billboard) – The top performers on the Album, Singles and Airplay, and Home Video charts as they appear in the current issue of Billboard. Shown are title, artist, and album or video label:

Album Charts
 Billboard 200 – “Confessions on a Dance Floor”, Madonna (Warner Bros.)
 Bluegrass – “Lonely Runs Both Ways,” Alison Krauss + Union Station (Rounder)
 Christian – “Wherever You Are,” Third Day (Essential)
 Classical – “Opera Proibita,” Cecilia Bartoli (Decca)
 Compilations – “Now 20”, Various Artists (Sony BMG / Zomba / EMI)
 Comedy – “Retaliation,” Dane Cook (Comedy Central)
 Country – “Some Hearts”, Carrie Underwood (Arista)
 Electronic – “Confessions on a Dance Floor”, Madonna (Warner Bros.)
 Gospel – “Hero,” Kirk Franklin (Gospo Centric)
 Heatseekers – “Back to Bedlam,” James Blunt (Custard / Atlantic)
 Holiday – “The Christmas Collection,” Il Divo (Syco Music)
 Independent – “Money is Still a Major Issue,” Pitbull (Diaz Brothers)
 Internet – “Confessions on a Dance Floor”, Madonna (Warner Bros.)
 Jazz – “Christmas Songs,” Diana Krall feat. The Clayton / Hamilton Jazz Orchestra (Verve)
 Kid Audio – “Kidz Bop 8,” Kidz Bop Kids (Razor & Tie)
 Latin – “P’al Mundo,” Wisin & Yandel (Machete)
 New Age – “The Disney Songbook,” Jim Brickman (Disney)
 Pop Catalog – “NOW That’s What I Call Christmas,” Various Artists (EMI / Zomba / Sony / Universal)
 Rap – “Get Rich or Die Tryin’,” Soundtrack (G-Unit / Interscope)
 R&B / Hip-Hop – “Get Rich or Die Tryin’,” Soundtrack (G-Unit / Interscope)
 Soundtracks – “Get Rich or Die Tryin’,” Soundtrack (G-Unit / Interscope)

Singles & Airplay
 The Hot 100 – “Run It!,” Chris Brown (Jive / Zomba)
 Adult Contemporary – “Lonely No More,” Rob Thomas (Melisma / Atlantic)
 Adult Top 40 – “Photograph,” Nickelback (Roadrunner)
 Christian – “Cry Out to Jesus,” Third Day (PLG / Essential)
 Christian Adult Contemporary – “Cry Out to Jesus,” Third Day (PLG / Essential)
 Country – “Come a Little Closer,” Dierks Bentley (Capitol)
 Dance / Club Play – “Hung Up,” Madonna (Warner Bros.)
 Dance / Radio Airplay – “Hung Up,” Madonna (Warner Bros.)
 Gospel – “Looking for You,” Kirk Franklin (Gospo Centric)
 Hot Digital Songs – “Hung Up,” Madonna (Warner Bros.)
 Hot Digital Tracks – “Hung Up,” Madonna (Warner Bros.)
 Hot Latin Songs – “La Tortura,” Shakira feat. Alejandro Sanz (Epic / Sony Discos)
 Pop 100 – “Run It!,” Chris Brown (Jive / Zomba)
 Pop 100 Airplay – “Because of You,” Kelly Clarkson (RCA)
 R&B / Hip-Hop – “I Think They Like Me,” Dem Franchize Boyz feat. Jermaine Dupri, Da Brat & Bow Wow (So So Def / Virgin)
 Rap – “Soul Survivor,” Young Jeezy feat. Akon (Corporate Thugz / Def Jam)
 Ring Tones – “My Humps,” Black-Eyed Peas (A&M / Interscope)
 Rock / Mainstream Rock Tracks – “Save Me,” Shinedown (Atlantic)
 Rock / Modern Rock Tracks – “DOA,” Foo Fighters (RCA)
 Videoclips – “Hung Up,” Madonna (Warner Bros.)


Video Charts

 Video Sales – “Charlie and the Chocolate Factory” (Warner Home Video)
 Video Rentals – “Charlie and the Chocolate Factory” (Warner Home Video)
 DVD Sales – “Charlie and the Chocolate Factory” (Warner Home Video)
 Kid Video – “Christmas!” (Nickelodeon Video)
 Video Game Rentals – PS2 : “Star Wars : Battlefront II” (LucasArts Entertainment)
 Music Video – “Bullet in a Bible” (Reprise Music Video)

Sanderson Out in Front; Disney's Pirates Pull Out

(The Independent) - World records fell as the Double Dutch marauders put pedal to the metal on the charge for home in the Volvo Race. Mike Sanderson's ABN Amro 1 went through 543 miles in 24 hours and was still climbing as he charged at full pelt south and eastwards, while his supposed junior partners on ABN 2, skip-pered by Sébastien Josse, hit 537 miles, both beating the record of 530 miles, set by Bouwe Bekking on an-other Volvo 70-footer, movistar. That is an average of over 22 knots for every one of the 24 hours, three times the speed of the average cruising yacht at its best. Grael was 114 miles adrift in third, Neal McDonald fourth, 139 mile astern in Ericsson, and Grant Wharington's Melbourne-based Brunel Sunergy fifth, 1,200 miles be-hind.

Meanwhile the Disney-backed boat, The Black Pearl, which is also a promotional tool for the launch next July of Pirates of the Caribbean 2, starring Johnny Depp, has imposed an almost total news blackout after re-tiring damaged from the leg after less than 24 hours. It was due to be shipped from Lisbon to Cape Town to complete major repairs last Friday.

Honor for Contemporary Resort

(Orlando Sentinel) – Walt Disney World's Contemporary Resort has been honored with a spot in Meetings & Conventions magazine's "Gold Awards Hall of Fame." The Hall of Fame recognizes meeting and convention hotel properties that have won the Gold Key Award 12 times, a distinction that ranks them among the finest properties in the world. In addition, Disney's five other convention resorts also received the Gold Key Award. Award winners are nominated and selected by the magazine's readers, who base their votes on the overall professionalism and quality of the property. Meeting planners selected their winning properties based on strict industry criteria from staff attitude to the range of recreational facilities.

Disney Fires Back at Hong Kong Disneyland Critics

HONG KONG (Los Angeles Business) – The Walt Disney Co. is shrugging off claims of low attendance at Hong Kong Disneyland Resort, saying that the park has attracted more than 1 million guests in its first 100 days. The figure was the first actual attendance number released by Burbank's Disney since the park opened on Sept. 12. Rumors had circulated that attendance had been less than expected at the company's first foray into the Chinese market. The South China Morning Post reported Monday reported that its staff reporter counted far less than the expected average of 15,342 per day during two days in November. Disney fired back at the allegations in a statement. "The bottom-line is this: attendance is ramping up well, which continues to give us confidence that we are on track to achieve our long-term attendance goals. Average daily attendance calculations by the media, especially over a short period of time, have resulted in misleading and faulty con-clusions, and paint an oversimplified picture that doesn't reflect either performance or guest enjoyment of the Disney entertainment experience," Disney Parks and Resorts Chairman Jay Rasulo said in the statement. The park's attendance has been spotlighted due to its unique investment structure, with the Hong Kong govern-ment chipping in roughly HK$25 billion, or US$3 billion, toward the park's construction. It has a 57 percent ownership stake in the park.

Disney's "Chicken Little" Sparks 3-D "Robinsons"

LOS ANGELES (Reuters) – Walt Disney Pictures on Thursday said it will release an upcoming computer animated movie, "Meet the Robinsons," in a three-dimensional version following the success of current 3-D hit "Chicken Little." The 3-D "Chicken Little" is being closely watched in Hollywood as an early test of alternative types of movies made for new digital cinema systems. The industry is in a very early, tentative stage of a transition to digital projection from old celluloid filmstrip. The 3-D computer animated "Chicken Little" raked in an average $26,000 per theater in its opening weekend this month in 79 venues equipped with new digital projectors. Ticket sales in over 3,600 theaters showing a traditional film averaged $10,961, Disney said in a statement. Disney expects to be able to release the 3-D "Robinsons" in 750 to 1000 screens as a digital cinema transition expands. "Robinsons" is based on a book by William Joyce in which a young boy travels into the future and meets an eccentric family, the Robinsons, who will change his life.

Orlando Tourism Impact Increasing

ORLANDO (Orlando Business Journal) – New research on the economic impact of tourism released Nov. 14 by the Orlando/Orange County Convention & Visitors Bureau shows that Orlando had 47.7 million visitors in 2004 who spent $28.2 billion, a 13 percent increase over the previous year's $24.9 billion. The research, which covers the 2004 calendar year, was compiled and reported by Waltham, Mass.-based Global Insight Inc. While 95 percent of all 2004 visitors were domestic, they only spent 84 percent of the total – $23.5 billion. The other 5 percent of international visitors, who stay longer and spend more lavishly, spent 16 percent, or $4.7 billion, of the total. Tourism also accounted for nearly 220,000 jobs, a number that accounts for 24.2 percent of the three-county region's total employment. Another 152,000 jobs were indirectly related to tourism. The bureau notes that tourism also lowers taxes. A study by Fishkind & Associates indicates tourism generated $84.2 million in surplus revenue for Orange County and the city of Orlando in 2004. A fiscal surplus represents the degree to which tourism pays for its fair share of government expenses and subsidizes the community, keeping tax rates lower.

Prime-Time Nielsen Ratings: ABC 8 out of 20

(AP) – Prime-time viewership numbers compiled by Nielsen Media Research for Nov. 7-13. Listings include the week's ranking, with viewership for the week and season-to-date rankings in parentheses. An "X" in parentheses denotes a one-time-only presentation.

1. (1) "CSI: Crime Scene Investigation," CBS, 29.5 million viewers.
2. (2) "Desperate Housewives," ABC, 25.9 million viewers.
3. (8) "NFL Monday Night Football: Indianapolis at New England," ABC, 21.9 million viewers.
4. (3) "Without a Trace," CBS, 20.8 million viewers.
5. (6) "Lost," ABC, 20 million viewers.
6. (4) "Grey's Anatomy," ABC, 19.7 million viewers.
7. (12) "CSI: NY," CBS, 19.2 million viewers.
8. (9) "Survivor: Guatemala," CBS, 19 million viewers.
9. (5) "CSI: Miami," CBS, 18.4 million viewers.
10. (7) "NCIS," CBS, 17.8 million viewers.
11. (13) "Cold Case," CBS, 17.4 million viewers.
12. (16) "Extreme Makeover: Home Edition," ABC, 16.7 million viewers.
13. (20) "NFL Monday Showcase," ABC, 16.3 million viewers.
14. (14) "Two And a Half Men," CBS, 16.2 million viewers.
15. (11) "Law & Order: SVU," NBC, 15.8 million viewers.
16. (17) "ER," NBC, 15.4 million viewers.
17. (19) "Criminal Minds," CBS, 15.1 million viewers.
18. (10) "Commander in Chief," ABC, 14.8 million viewers.
19. (15) "60 Minutes," CBS, 14.5 million viewers.
20. (21) "House," Fox, 14.2 million viewers.

'Desperate Housewives' Actor Denies Rumors

DETROIT (AP) – Former "Desperate Housewives" actor Page Kennedy says he wasn't fired from the hit show because of any improper behavior. The Detroit native and former Western Michigan University stu-dent said officials merely wanted to recast his role. "There are a lot of stories that have been told, but the truth of the matter is that Touchstone (the show's producer) decided to go in a new direction, and they bought out my contract," Kennedy told the Detroit Free Press for a story published Wednesday. Publicists for the series have said Kennedy, who joined the show this season, was let go earlier this month after a "thorough investigation by the studio" of allegations of improper conduct made against him. Kennedy, 28, said he's concerned about the damage the allegations could do to his image, at least in the short term. "I feel that my life will be looked at under a microscope now," he told The Detroit News. "Anything that I do or am perceived to do will make news." Kennedy played Caleb, a character shrouded in mystery and seen only briefly as he was held captive in the basement of Wisteria Lane newcomer Betty Applewhite (Alfre Woodard). In the Oct. 23 episode, it was revealed that Caleb may be responsible for a teenager's murder in Chicago. The role of Caleb has been recast, and Kennedy's final appearance on the ABC se-ries aired Sunday.

Disney Exit Threatens Survival Of Australian Animation Industry

SYDNEY (Asia Pulse) – The head of Walt Disney Co's local operations says the company's withdrawal from Australia could be the death knell of the nation's animation industry. But DisneyToon Studios Austra-lia (DTSA) general manager Philip Oakes said he had faith in the local industry and he would set up a new animation business in Sydney. US entertainment giant Walt Disney Co announced its decision to close the DTSA in July, cutting about 250 jobs when the studio closed its doors mid next year. The de-mise of the Australian studio followed Disney's closure of other international facilities in recent years. "But we are still hoping to get something out of this and have the animation industry still continue in Sydney," Oakes said. Oakes, who was continuing with the studio until it closed, wouldn't give too much away about his new animation venture. "It is a world market these days so if a project comes along, we can definitely get it and that is really what I am hoping will happen in the future," he said. Outsourced work from the Walt Disney Co would be an option, he said. The DTSA began operations in Australia in 1988, starting with mostly two dimensional (2D) television cartoons, such as Winnie the Pooh, Darkwing Duck, Goof Troop and Aladdin. As technologies advanced and Australian animation staff became more skilled, the studio began working on higher profile projects. The studio's feature films included The Return of Jafar, The Lion King II: Simba's Pride and Return to Neverland. This year, the DTSA produced animated movies Tarzan 2, Lilo and Stitch 2 and Bambi 2 and animators were currently working on Brother Bear 2. The studio was due to close after production on Cinderella III. "Frankly we are the best 2D studio in the world without question," Oakes said.

Disney World Executive Promoted

LAKE BUENA VISTA (Orlando Sentinel) – Longtime Walt Disney World President Al Weiss was promoted Monday to a new position overseeing park operations worldwide – part of a sweeping change in the way the Walt Disney Co. operates its Parks and Resorts division. Weiss, who has headed the Orlando-area theme parks since 1994, will continue to oversee Walt Disney World on an interim basis until a successor is appointed, the company said. He will remain in Orlando, home of the company's largest resort. Weiss' promotion to president, Worldwide Operations, comes at a challenging time for Disney's parks as they search for ways to remain fresh amid increasing competition from entertainment options from iPods to other theme parks. Jay Rasulo, chairman of Walt Disney Parks and Resorts, said Weiss and six other executives on a new executive committee will report directly to him and will help integrate business func-tions from the far-flung parks into the global division. Rasulo said in a statement that the new structure will "streamline the decision-making process" and help the company develop consistent business practices for its 11 parks and resorts, which stretch from Orlando and Anaheim, Calif., to Hong Kong, Paris and Tokyo. Weiss said the new global emphasis from a business and operating standpoint does not mean that the parks around the world will become uniform. "They're going to continue to stay very unique," he said. Weiss said he will work with Rasulo to find a successor at Walt Disney World, a process that could take a year or more. In addition to Weiss, the only other executive whose job title is changing is Leslie Goodman, a company spokeswoman in California. She becomes senior vice president of public affairs, in charge of internal and external communication, community and governmental affairs for all the parks worldwide. Her title previously was senior vice president of strategic communications.

Leftover 'Chicken' Still Tempting

(Hollywood Reporter) – Sony Pictures' "Zathura," Paramount Pictures' "Get Rich or Die Tryin' " and the Weinstein Co.'s debut release "Derailed" will try to knock Walt Disney Studios' "Chicken Little" off its perch this weekend, but it looks as if the CG-animated hit will join the illustrious group of such Pixar animated films as "The Incredibles" and "Monsters, Inc." that each opened in November and held on to the top spot for two con-secutive weeks. After bowing to $40 million last weekend, the first homegrown film from Disney's animators should drop less than 50% its second week in theaters, giving it a $22 million-$23 million weekend gross and the top spot for its sophomore session. The G-rated film also might take a bite out of Sony's highly regarded family film "Zathura," from director Jon Favreau.

‘Not Disney but culture is India’s USP’

HANGZHOU, NOVEMBER 11: India should not depend on Disney and other foreign brands to woo foreign tourists to the country but use its splendid culture as its Unique Selling Proposition (USP) and build adequate infrastructure to boost tourist arrivals, a leading global tourism expert said here.
"I would hope that India would not rely on the Disney co for example, however successful they are in many places. People would want to go to India to see India," Director of 2006 world leisure expo, Dr Gerald s Kenyon said.

"Indian domestic tourists, like the Chinese may like to see Disney. But in my view, attracting international tourists to India will depend upon Indian culture at its best. Indian culture is so rich and so varied.

That is India's USP. "India has a good opportunity to attract more international tourists to the country," Kenyon in the eastern Chinese city which was one of the seven ancient capitals of the country. he noted that the number of visitors to both India and China has been going up very rapidly. "this has major implications, including the economic gains for both countries," he said on the sidelines of the just-concluded 'third globalisation forum on world cultural diversity' organised by the people's daily, the mouthpiece of the ruling communist party of China.

According to latest figures from the department of tourism, foreign tourist arrivals in India till October this year has registered an increase of 14.2 per cent.

Foreign exchange earnings, in Rupees term, also recorded the growth of 20.4 per cent during January-October, 2005. Total earnings during the period was Rs. 20512.68 crore.

Last according to the latest Chinese tourism statistics, the country reported a record foreign exchange earning of $22 billion in the first nine months this year, up 18.2 per cent year-on-year. China received 89.63 million tourists from outside the mainland during January-September, up 12.2 per cent year-on-year.

In 2004, the number of tourists from outside the mainland reached 109 million, including 41.76 million who stayed over night; and foreign exchange earnings from tourism reached 25.7 billion dollars. "in the long-term, our concern is to provide quality experience for the visitors," Kenyon, whose world leisure organisation is going to host the 2006 world leisure expo in Hangzhou, said. "you want people to come back again.

The visitors would come back if they have good experience. So it is very important for the governments to get tourism and leisure policies right. If you get these things right, people will definitely come back," he said.

"It starts with policy, commitment, adequate infrastructure and programming," Kenyon added.

The world leisure expo is first of three mega-events to be hosted by China in this decade. The other two being the Beijing Olympics in 2008 and the Shanghai World Exposition in 2010.

Philbin Gets New 'Life' with ABC

LOS ANGELES (Hollywood Reporter) – Regis Philbin is returning to ABC primetime next year, this time as host of the network's revival of "This Is Your Life." "This Is Your Life" was a prototypical reality show that began on radio in the late 1940s and was a staple of television's infancy. The show details the life story of its guests, complete with surprise walk-on appearances by long-lost relatives or other influential people in their lives. The original series, which featured a mix of celebrities and everyday people as its testimonial subjects, was hosted by its producer, Ralph Edwards. "The show is a roller-coaster of emo-tions – there's comedy, anticipation, tears of joy – and no one can take an audience on that ride better than Regis," said ABC executive vp alternative programming Andrea Wong. Philbin's long association with ABC most recently included his stint as host of the wildly popular primetime game show "Who Wants to Be a Millionaire" from 1999-2002. He co-hosts the syndicated morning show "Live With Regis & Kelly," which has been carried by most ABC-owned stations since 1989.

REVIEW : “Chicken Little”

(Chicago Tribune) – Feathers fly in Disney's "Chicken Little," a new spin on an old fable with a big promo-tional budget and high expectations. It's Disney's first 3-D animation production without Pixar, and Pixar's possible departure from the Disney family next year means the Mouse House has a lot riding on "Chicken Little." With this one film, Disney hopes to establish itself at the top of the animation pecking order and perhaps prove it doesn't need Pixar after all. That's a lot of pressure on one little clucker. The results are mixed, though there are signs of promise.

When Chicken Little (voiced spot-on by "Scrubs" star Zach Braff) is conked on the noggin by an octagonal "piece of the sky," no one believes him, including his dad (voiced by Garry Marshall). His bell-ringing warning sends the town into a panicked frenzy and he's made a laughingstock. As it turns out, that piece of the sky may be the harbinger of an alien invasion--which, again, no one believes. So, it's up to Chicken Little and his friends Abby Mallard (Joan Cusack), Runt (Steve Zahn) and Fish (gurgled by Dan Molina) to save the Earth. Director Mark Dindal ("The Emperor's New Groove") stretches the form, using all manner of camera acrobatics to expand the notion of what 3-D animation can do. He borrows a few live-action tricks (notably the 360-degree "bullet time" visual style of "The Matrix") and bends perspective to show Chicken Little scrambling through town after missing the school bus. Lightning-quick zooms also accom-pany more detail and close-ups (watch as Chicken Little sings Queen's "We Are the Champions" into a shiny spoon). For all the whiz-bang visuals, however, "Little" could use a little consistency in tone. The comic-relief character – an obese, whiny piglet obsessed with Barbra Streisand – just isn't that funny. (Fish, in a role without dialogue, steals the show with a King Kong pantomime, complete with a paper re-production of the Empire State Building.) Dindal's animated cast has plenty of kiddie appeal, and the movie's pacing is on par with hummingbird-quick editing of Saturday morning cartoons. Older adults might be put off by the whiplash eye-candy, but a few vintage songs (the Bee Gees' "Stayin' Alive" and Carole King's "It's Too Late") are cast out to reel them back in. But in trying to be all things to all popcorn-buyers, "Chicken Little" comes off as a manic scramble to please everyone. The odd bodily function joke gets thrown in to cover all the bases. There are other signs of strain, too, notably the saturation of music cues. When characters don't have anything to say, in comes the music montage. At one point, Dindal gives us two of them back to back, as Chicken Little feels dejected (to the tune of Five For Fighting's "All I Know"), then goes through baseball training (Patti LaBelle's "Stir It Up"). To top it off, the filmmakers stop a full-on alien attack so Chicken Little and his dad can have a heart-to-heart that goes on way, way too long.

Pixar reigns supreme because its formula strikes a balance between visual wizardry and characters who inspire a strong emotional tug. Like Motown at its height, Pixar's process and talent pool have turned it into a hit factory that's unrivaled. With "Chicken Little," it's still unrivaled. Disney proves that, yes, it can compete and merchandise the heck out of its properties. But Pixar-quality, it is not. Though entertaining and occasionally innovative, "Chicken Little" and its future siblings might take a tumble or two out of the nest before they can fly as high.

Desperate Housewives Bets on Edie for November Sweeps

LOS ANGELES (Reuters) – The ABC network is letting trampy, vampy Edie Britt out to play this month on "Desperate Housewives," betting that the popular supporting character will give the top-rated show an added boost for Nielsen's November "sweeps" survey. The bad girl of Wisteria Lane, played by actress Nicollette Sheridan, was never meant to be central player on the darkly comic prime-time soap, which centers on the intrigues of four women who live on a seemingly quiet suburban cul-de-sac. Sheridan began the show's first season last fall as a mere plot device to keep klutzy Susan, played by Teri Hatcher, from snagging hunky plumber Mike. "I had to cast someone who was sexy and gorgeous that would make Susan feel uncomfort-able," the show's creator, Marc Cherry, told Reuters on Friday. "I never intended for Edie Britt to be one of the regular characters." But Sheridan was so good as serial-divorcee Edie, and the storyline about two forty-something women competing for the neighborhood's only single man was so compelling, that ABC executives insisted she be written into the show as a regular, albeit subordinate to the four starring "Housewives." Her role will be expanded more this month as ABC and rival networks go all out to attract bigger audiences for "sweeps," the special Nielsen survey used by local TV stations to set future advertising rates. A sweeps sub-plot involving Edie's 6-year-old son and her romance with Susan's ex-husband, Karl, will take center stage on the show starting on Sunday.

Disney World Gone Wild

HARTFORD, Conn. (Hartford Advocate) – In hindsight, I realized the shirt was a mistake. I showed up to the Oct. 21 Disney character audition in Glastonbury, wearing the beat-up, faded EuroDisney T-shirt. I thought the shirt, which had a picture of Mickey Mouse that through wear had become distended into a Ralph Steadman-esque parody, would earn me some brownie points from the judges. When I walked into the Greater Hartford Dance Academy, where the auditions were held, I was met with a modest smack of laughter from the group of Disney character hopefuls and their parents. Most of the 30-odd auditoners sitting in the main room were young women who looked to be in their senior year of high school or fresh-man year of college. They wore dancers' clothes and looked for the most part like they competed in re-gional beauty pageants. I was one of four males trying out and was at least 10 years older than the me-dian auditioning age. When I sat down among the Disney character hopefuls, indulgent stage parents and framed paintings of young children in ballet gear, I almost immediately zipped up my jacket, covering the shirt. The Disney people brought the candidates into the main room five people at a time to check them in. I couldn't figure out the cattle call order, so I ended up going in last. Once inside, I signed my name to a document, got measured and had my photo taken. Then I was given a sticker with my assigned number written on it.

The advertisement for the audition, which ran for two successive weeks in the Advocate, didn't include a couple of pertinent details. The ad featured a picture of Snow White smiling with one of the seven dwarfs (Dopey?), and a little girl looking up toward the dwarf, perched to kiss his bulbous nose. Stars, no doubt for wishing upon, were littered through the background. The ad said "Disney animated character look-alikes" must have a "positive attitude," a "good speaking voice" and should "resemble the character." Qualified candidates would be asked to "demonstrate effective non-verbal communication skills." It ad-vised interested parties to wear tennis shoes and comfortable attire and to arrive a half-hour before the audition began. What it neglected to mention was that a) there would be no costumes involved and b) dancing would be required. I was shocked and mortified when the casting director told me that we'd be performing a "fun, simple dance routine." In my defense, I was definitely not the only one surprised by the expectation of dancing. One girl complained loudly that while she was fully prepared to sing, dancing was another matter altogether.

At a little after 10, the toxically perky dance instructor herded the group into the studio dance floor space. She showed us a multi-step dance routine that we were expected to follow. It started simply, with march-ing in place, then moved on to hand claps, spinning, kicking and a dramatic, cartoonish flourish called "present to your neighbor." I was lost after about the fifth move. My commitment to participatory journal-ism had reached its limit. I ripped my sticker off, and sulked back into the waiting room to watch the rest of the audition process on the television monitor. The next stage looked easier, but far stranger, than the first. It was an animation exercise, and basically amounted to a bunch of sloppy miming. The candidates were supposed to mimic an action of their choice, in big, humorous gestures. I couldn't tell what a single one of them was trying to do.

After a break, the prospective employees were called back into the studio two at a time for a second wave of auditions. The curtains on the windows into the room were pulled shut, and the television monitor which had been broadcasting a feed from the room was changed to Dr. Phil . Several candidates prac-ticed the dance routine inside the first room, as well as outside in the packed parking lot. There was a lot of nervous energy, but people seemed upbeat and positive. I left, assuming that there was nothing more to see. That turned out to be a mistake. Apparently the organizers hadn't notice that I had taken myself out of the competition and called my name. I regret not being around for that. It could have been fun. But, apparently, even if I had not been totally inept, I would have blown my chances anyway. They were look-ing for a specific height range; I would have missed the cut by three inches.

Disney Greeters Moved Out of Sight

ORLANDO (Orlando Sentinel) – Walt Disney World's airport greeters, whose job was to direct tourists to the resort's free shuttle, were removed from their controversial station on Orlando International's main floor this week and assigned to a place where they are out of travelers' sight. The relocation from the third to the first floor of the airport was the latest blow to Disney's Magical Express, the free shuttle that began in May and now daily carries as many as 8,000 tourists from the airport to the resort. Disney had ex-pected to be stationed on the second floor near baggage claim. Airport attorney Douglas Starcher notified Disney Senior Vice President Jerry Montgomery and attorney Jim Stockton that Disney would not be al-lowed to station employees on the second level where other taxi, limo and shuttle drivers often wait for passengers. Only Mears Transportation Group, which contracts with Disney to operate Magical Express, would be allowed there and Mears workers "may not be dressed in Disney uniforms or wear the white Disney hands." Airport officials ordered Disney in September to remove its greeters, who wore oversized white Mickey Mouse gloves, from the third level after other transportation companies complained that the location gave Disney an unfair competitive edge. The other companies were prohibited from the third floor, where passengers disembark. Disney moved its greeters to the second-floor baggage claim area on Tuesday, the date they agreed upon, only to be told they weren't welcome there. "We were surprised and disappointed that the airport asked us to remove Disney's Magical Express greeters from the airport's second level – the location where all other transportation providers and destination management compa-nies meet their guests," said Disney spokeswoman Kim Prunty. Taxi and luxury car drivers staged strikes and protests in recent weeks over the free Disney service, which they say dug deep into their businesses, in part, because the airport allowed Disney to advertise the service on the third level. Disney has said only 2% of the customers who rode Magical Express did not already have reservations to do so when they stepped off their airplanes. Prunty said the greeters played a "critical function" in improving the air-port's efficiency and keeping passengers from getting lost.

Walt Disney Sees Options Costing $160M

LOS ANGELES (AP) – Walt Disney Co. said Thursday that it expects its new option expensing plan to reduce earnings for the just-ended fiscal year by $160 million, or 8 cents a share. Disney is expected to report earn-ings for its fourth quarter, which ended Sept. 30, on Nov. 17. Disney previously reported a stock-expense charge of 12 cents for fiscal 2004.

ABC Hit 'Lost' to Spin Off Cross-Promotional Novel

LOS ANGELES (Reuters) – The ABC television network and sister publishing label Hyperion Books are taking the concept of product placement into a new direction – by turning an imaginary product into a real one. Producers of ABC's mega-hit castaway thriller "Lost" plan to introduce a new storyline centering on the discovery of a fictitious manuscript that will become the basis for a real-life novel that Hyperion will publish this spring. The book will then be promoted as the work of an author, named Gary Troup, who supposedly delivered the manuscript to Hyperion days before perishing in the show's stage-setting event, a plane crash that maroons a group of survivors on a spooky island. Advertisers have increasingly ex-plored novel product-placement schemes in the face of new technologies that allow TV viewers to skip over conventional commercials when watching their favorite shows. But the "Lost" book tie-in may be the first to use imaginary TV events and characters as the basis for a real-life marketing campaign. As part of the plan, Hyperion said it has commissioned a "well-known" mystery writer to anonymously adapt the ficti-tious manuscript into an actual, printed book it hopes will automatically appeal to the show's large and loyal following. "Fans of the show are obsessive. We think a lot of them will be buying the book just to look for clues" to the series, Hyperion President Bob Miller told Variety. The "Lost" novel, titled "Bad Twin," is described as a private eye mystery about a wealthy heir's search for his evil sibling. "Lost," one of the several surprise hits that helped ABC bounce back from a lengthy ratings slump last season, cur-rently ranks as the fourth most-watched show on US television, averaging over 20 million viewers a week.

El Capitan Theatre Adds a New Dimension to Disney's 'Chicken Little'

HOLLYWOOD, Calif. (PRNewswire) – Hollywood's legendary El Capitan Theatre will offer moviegoers a glimpse into the future of theatrical exhibition from November 4th through December 4th, with the debut of Walt Disney Pictures' "Chicken Little" in Disney Digital 3D, a brand new state-of-the-art technology provid-ing the first true three-dimensional digital experience in movie theatres. The film is also playing in 3D in 84 other theatres across the country, where Dolby Laboratories (in collaboration with Disney) is installing its Dolby Digital Cinema systems. Visual effects giant Industrial Light & Magic rendered the movie in 3D so it could be played on Dolby Digital Cinema servers at these theatres. The El Capitan's special 3D en-gagement of "Chicken Little" will feature the characters from the movie in a special live appearance be-fore each show. Also, an innovative art exhibit called "Chickinterpretations," in which modern art pioneers from across America have created a series of 200 masterpieces based on Disney's newest hero, Chicken Little, will be showcased throughout the run of the entire engagement.

Hong Kong Gov’t May Sell Controlling Stake in Local Disneyland

HONG KONG (AFX) – The government may sell its controlling stake in the territory's recently opened Disneyland theme park, Secretary for Financial Services & the Treasury Fred Ma told legislators. Ma said the government's 57-pct stake in the resort could be sold off in keeping with the administration's belief that the private sector is best suited to run major businesses. "In the long run, the government may con-sider in the light of the 'Big Market, Small Government' principle to divest its shareholdings in the com-pany at an appropriate time when it is in the overall economic interests of Hong Kong to do so," Ma told legislators. The territory's leaders were criticized in 1999 when they decided to foot most of the bill for Walt Disney Co's first resort in China. Disney hopes the park, which opened in September, will help it promote its brand in China's growing lucrative market. Similarly, the government here hopes it will attract more mainland tourists to the former British colony.

Hong Kong Disneyland Seeks Loan

HONG KONG (AFX) – Hong Kong Disneyland is seeking a syndicated loan of about 3.2 bln hkd (US$412.8 mil) to refinance a similar-sized loan taken out in 2000 to partially fund construction of the theme park, the Standard reported citing an unnamed source. The new loan will be arranged through Hong Kong International Theme Parks, the joint venture of US-based Disneyland and the Hong Kong government, which owns a majority 57 pct stake, according to the daily. Chase Manhattan Asia stitched together the old loan, bringing in more than 20 other banks to fund construction of the park, including Bank of China, BNP Paribas and HSBC.

Devoted Fan Rides Haunted Mansion for 999th Time

LAKE BUENA VISTA, Fla. (Orlando Sentinel) – He did it. Early Monday afternoon – on Halloween, Gary Estrada hit his mark, riding Walt Disney World's Haunted Mansion ride for the 999th time. "Whenever you reach your goal it's just a relief," Estrada told a Disney employee. Estrada rode 999 times because that's how many "ghosts" are in the attraction. He's the first person – to Disney's knowledge, anyway – to hit that goal in just 10 months. Estrada began his marathon riding in January.

Disney and Pixar Waiting for Chicken to Restart Talks

(Cinematical) - Considering how loudly most studio business is carried out nowadays, it's somewhat surprising that we haven't heard more about the supposedly ongoing renegotiation talks between Pixar and Disney. According to Laura M. Holson of the NY Times, that's because they're not really ongoing at all. Apparently, both sides are waiting to see how Chicken Little (opening this weekend at a theater, presumably, near you) performs before any new deal is made. Chicken will be the first major non-Pixar film from Disney Animation in quite awhile. If it does well, it bodes doubly well for Disney, who will be able to return to the table safe in the knowledge that they don't need Steve Jobs to produce an animated hit. However, if Chicken Little fails to catch on with critics and/or audiences, many feel that Disney would move to out-and-out acquire Pixar, even if it costs them $5 billion or more. There's also the fact that Steve Jobs just seems to get along a lot better with new Disney head Bob Iger than he did with ousted CEO Michael Eisner. But those in the know warn that Jobs' apparent friendliness with Iger means approximately nothing. "Mr. Jobs," Holson writes, "would evaluate any Pixar partnership based on where he could get the best deal for the studio."

After Three Years, Cowen Reverses Disney View

LOS ANGELES (AFX) – What a difference, um, three years makes? OK, so maybe it took a while, but broker-age SG Cowen finally found a reason to get excited about Walt Disney Co. again. Cowen analyst Lowell Singer on Thursday upped his rating on the entertainment giant to buy after staying neutral on the Burbank, Calif.-based company for more than three years. "Our bullish view is driven by an expected significant year-over-year improvement in studio entertainment operating income in [fiscal 2006] and a still nascent recovery at ABC," Singer wrote in a note to clients. "We expect at least 15% out-performance versus the market over the next 12 months." The ratings upgrade, though it had little effect on slightly down Disney shares Thursday, con-tinues the string of good news the company has had since changing chief executives at the beginning of the month. The company appears to be patching up strained relations with animation partner Pixar and is embark-ing on new strategies to spread its content across a number of platforms. Disney also recently took complete control of Miramax, and plan far fewer releases under the label now that its principals, Harvey and Bob Weinstein, have left and started their own studio. Singer also said ratings at the ABC Television Network will continue to improve as the network still is in the early stages of its recovery. Further, concerns about pro-gramming costs at ESPN and operating margins at its parks already are priced into the company's stock. Singer estimates that the company's fiscal 2006 earnings per share will be $1.53. Analysts polled by Thomson First Call expect earnings will reach $1.48 for the year, which will end Sept. 30.