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ABC Family Soars

Based on ratings for second quarter 2004, ABC Family posted across-the-board double-digit increases from the comparable year-ago period. In primetime, ABC Family was up 33 in percent in household rating (0.6 to 0.8), 32 percent in total viewers (701,000 to 922,000), and 33 percent in both adults 18-34 and 18-49 (0.3 to 0.4). Growth in total day was even more significant, with gains of 67 percent in household rating (0.3 to 0.5), 75 percent in viewers (327,000 to 571,000) and 100 percent in both adults 18-34 and 18-49 (0.1 to 0.2).

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'Bad Santa' rude, crude and hilarious

A movie that should come with a big warning sticker: If you're at all offended by rampant profanity, leering sexuality, blatant alcoholism and the unapologetic trashing of a beloved Christmas icon, you may want to see something else. For the rest of us poor, twisted souls, "Bad Santa" is a real howl. It would be easy to dismiss "Bad Santa" as simply an exercise in bad taste. But the movie actually has a heart -- a coal-black heart, but a heart nonetheless -- and it's bitingly funny. Director Terry Zwigoff -- the crazed genius behind "Ghostworld" and "Crumb" -- gleefully blows past the line of good taste in the first reel. It also features a great performance by Billy Bob Thornton, who indeed plays a very, very bad Santa. If the movie wasn't profane and sleazy enough, the comedy hits DVD in two flavors: the raunchy R-rated theatrical release and an extra-raunchy unrated "Badder Santa" version, featuring seven extra minutes. Both DVDs include deleted and alternate footage, outtakes and a behind-the-scenes featurette.

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                                                 Friday June 25, 2004
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Disneyland readying for Hong Kong weather

Hong Kong, China -- Disney plans to keep much of its Hong Kong operation under cover, to protect the rides and restaurants from the city's high humidity and heavy rains.

A unique feature of Disneyland in Hong Kong will be that 83 percent of the attractions and 90 percent of the eateries will be roofed, and mostly air-conditioned, the theme park's director of information technology, Noble Coker, said Wednesday.

The park is to open in late 2005 or 2006. Disney officials predict 5.6 million visitors the first year, 30 percent from mainland China, 30 percent local residents, and the rest from overseas, the South China Morning Post reported Thursday.

The park plans to eliminate long waiting lines by providing a "fast pass" that tells visitors what time to come back for a certain attraction.

Coker said that surveys in Asia found tourists most interested in taking photographs, watching fireworks and stage shows, and enjoying the scenery. This contrasted with the United States, where most people came for the thrill rides, he said.

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New Disneyland fireworks technology

Disney uses technology to launch fireworks with less mess.

Mickey's head sparkles in the sky and two comets cross paths high above Sleeping Beauty's castle. The fireworks at Disneyland have gotten cooler and cleaner since the park started using new technology to propel them into the sky.

"The goal is to paint a picture in the sky," said Ben Schwegler, chief scientist for research and development at Walt Disney Imagineering. "You want the shell to go to the exact spot in the sky each time."

Schwegler says using compressed air instead of igniting black gunpowder to launch the displays is mostly about protecting the environment.

Ridding the fireworks of the powder also means less smoke and less noise. Launching with compressed air also means more accurate projections.

The multimillion-dollar, compressed-air technology was put into full use June 11. Before that, the park used prototypes to project the Mickey Mouse shape and the two comets crossing in the air. Neither could have been done with the black powder method.

The new technology is used only for the evening show now, but the company is considering using it for all its shows at Disneyland and for shows at other parks.

The new fireworks launch pad has 330 launch tubes with attached air tanks and lots of software to choreograph the show.

Only occasional puffs of what Disney officials say are mostly water vapors rise from the tubes as the fireworks take off.

That's a big difference from the plumes of smoke that used to envelop the old black- powder launch pad. Ground smoke has been reduced by at least 50 percent, Disney officials said. Noise has been dramatically reduced.

But that's not nearly enough for William Fitzgerald, one of the Disneyland neighbors who protest the fireworks, arguing the residue is corrosive and harmful.

"The stuff is still dangerous," Fitzgerald said.

Even before employing this new method, air-quality studies indicated that the levels of air pollutants around the park are well below what are allowed in California.

No tests have been conducted since the new technology went into effect.

Julie Heckman, executive director of the American Pyrotechnics Association in Maryland, applauds Disney's effort to improve fireworks technology. Disney is the largest user of fireworks in the country, Heckman said.

"It takes a company such as Disney to be able to invest in the technology to get rid of black powder," Heckman said.

But it will be a long while before other fireworks users adopt the compressed air, she said.

"It makes good sense to have it for permanent equipment," Heckman said, "but most fireworks are in different venues every time, not a fixed site (like Disneyland)."

The $775 million U.S. fireworks industry is a mom-and-pop operation, Heckman said, where "recipes" are closely guarded family secrets.

Rather than selling or licensing out its new technology, Disney has decided to donate the patents to a nonprofit organization; they are still deciding which one. That group then would license the technology free to companies or organizations that want to use it.

"The principal benefit is environmental," Schwegler said. "We don't want to be in the business of making money off of the environment."

Veteran fireworks operator Harold Aronson, who goes by the nickname "Mickey" – just like, well, you know who – said he enjoys running the brand-new technology.

Aronson, 82, has worked with fireworks at Disneyland since the park began using them in 1956.

Back then the launch tubes were buried in the dirt. Aronson lit them one by one with a flare. Sandbags protected him when the fireworks blew up, which happened often.

Electricity arrived to the operation in the 1960s, and that moved Aronson in from the dirt to a control room where he lit the fuses with a turnkey and a button. The compressed-air technology is the biggest development Aronson has experienced since then.

Still, he misses some aspects of the old days.

The sparks and noise added something to the fireworks experience, Aronson said.

"You get a concussion when you light black powder," Aronson said. "Now, you just get to hear air."

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Disney comes

The wonderful World of Disney and one of its most lovable residents are on their way to the White Rose Centre in Leeds. The Yorkshire Evening Post is celebrating the magical world of Disney at the Centre tomorrow.

One of your favourite Disney characters will make a special appearance ahead of their forthcoming performances at Roundhay Park, of Disney in Concert – A Magical Night of Music and Film, brought to you by The Yorkshire Evening Post.

The Disney characters will be appearing at the White Rose Centre from 11am through to 3pm – don't miss your chance to meet them! Fans of all ages will not only have the opportunity to meet the characters, but will also be able to pose for photographs with their favourite Disney friends.

For the first time in Europe, Disney in Concert is bringing together a breathtaking combination of song, orchestra and film in two outdoor summer spectaculars at Roundhay Park, Leeds on August 7 and 8. The concerts promise to be the ultimate in family entertainment and an enjoyable evening for children of all ages!

At last, a concert for the whole family!

Disney in Concert – A Magical Night of Music and Film is coming to Roundhay Park in Leeds on August 14 & 15. The Disney Philharmonic Orchestra and a host of fantastic West End singers, along with a large screen feature film animation, take audiences on a journey through a selection of the nation's favourite fairytales. Carefully selected Disney Feature Animation moments will accompany the music, projected onto large screens during each concert. Audiences will take a Magic Carpet ride with Aladdin and Jasmine through Agrabah and see how a beautiful young girl tames the Beast in a small provincial town.

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Disney Options The Princess & the Pauper

Walt Disney Pictures has optioned the movie rights to the novel The Princess & the Pauper, says The Hollywood Reporter.

The tale is a modern, female-oriented take on the classic tale: The lives of rebellious 16-year-old twins living poles apart, one a "pauper," the other a princess, become intertwined when they swap places for what is supposed to be one night but turns into a more long-term arrangement.

The book was written by Kate Brian and published last fall by Simon & Schuster.

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Disney Sees Less Investment in Film

Walt Disney Co. plans to scale back spending on films, although it aims to remain a Hollywood staple, Chief Executive Michael Eisner and other executives said on Thursday.

"We are reducing our investment in our film businesses," Eisner said in a small meeting with investors and a Wall Street analyst that the company Webcast.

Chief Financial Officer Tom Staggs told the investors that a slate of 13 to 16 films per year for the Disney, Hollywood Pictures and Touchstone labels, produced good results since executives were forced to be selective in the movies they make and market.

"We found there is no direct correlation between spending more and making more in terms of our returns," Chief Operating Officer Bob Iger said.

"We would like to spend less, be more focused, spend more on Disney-branded properties and what I call franchise model pictures" like "Pirates of the Caribbean," he said.

"If we are going to invest in entertainment, I think there are better ways to spend our money than live-action (films), but we are going to continue to invest substantially in it," he said.

Disney's Miramax division also produces films, and Iger said the focus on fewer live-action films could affect negotiations with division chiefs Bob and Harvey Weinstein. Disney has the option to extend their current contract from 2005 to 2009.

"The desire of the company long term is to invest less in live-action movies, and in order to do that, there's got to be some give here and there, and that is sort of where the rubber might meet the road in terms of any future relationship" with the Weinsteins, he said in the meeting with Deutsche Bank's Doug Mitchelson and investors, monitored via Webcast.

FEW PLACES FOR NEW PARKS

Iger also said Disney did not see many more places to build major traditional theme parks around the world beside the one under construction in Hong Kong and a park in Shanghai that Disney is actively considering.

"But we are looking at other concepts," he said, referring to the success of the Disney cruise line pointing to "small parks, weekend concepts" as other possible projects.

Eisner said that he was still looking for the next "chapter" of growth for the company. "I think it is around technology," he said, adding that he was "pretty sure" Disney would stick with creating movies, television and other content rather than exhibition or distribution. He also said the company was focused on international expansion.

Staggs said the company's improving balance sheet was taking Disney to a level where the board could consider paying a larger dividend or buying back shares.

"A dividend stream that is sustainable with sustainable types of increases would be the kind of thing that we would philosophically try to look for and then excess -- above and beyond that, we might look at other things, whether it is share repurchase or other means," he said.

The board currently decides annual dividend policy at the end of the calendar year.

On Thursday, Disney's stock closed at $25.34, up 69 cents, or 2.8 percent, on the New York Stock Exchange. The stock hit a 52-week high at $28.41 on Feb. 12, 2004, while it recorded its year low at $18.85 almost a year ago -- on June 26, 2003.

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Disney to Reduce Movie-Making Budget

Walt Disney Co. plans to spend less on movie production, Chief Executive Michael Eisner said. Expensive flops such as "The Alamo" have cut profit at Disney's studios.

President Robert Iger said the plan to spend less making live-action films was at the heart of a disagreement between Disney and brothers Harvey and Bob Weinstein, who run the company's Miramax division.

"It's a relationship that's resulted in a lot of fine films," Iger said in a Webcast question-and-answer session with a Deutsche Bank Securities analyst. "But the desire of the company is to invest less in live-action films. There's got to be some give here."

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Eisner issues tough words for Miramax

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Donald Duck book goes missing in Comicland

Stockholm - A rare copy of the first Donald Duck comic in Swedish has gone missing from a Swedish museum, reports said on Friday.

Only a few copies of the premier Swedish issue published September 1948 are known to exist. The Donald Duck comic, known as Kalle Anka in Sweden, was estimated to be worth some 150 000 kronor (about R13 000).

It was on display at the Comicland Museum in Koinge, about 100km south of Gothenburg on the west coast.

Some collectors have questioned the missing copy's authenticity, but museum owner Peder Mauritzon has refuted those allegations.

According to the police report filed on Thursday the theft was discovered a week ago, the online edition of newspaper Hallands Nyheter reported on Friday.

The popular Disney character recently celebrated his 70th anniversary. Donald Duck first appeared in an animated cartoon called "The Wise Little Hen" that was screened on June 9 1934. - Sapa-dpa

Tetsuya Nomura and his famous pants are hard at work on at least four upcoming projects, especially the Kingdom Hearts series, but he still seems to have the time to keep the public updated. In an interview lately published in Gangan Saishin, a Square Enix comics anthology, Nomura dropped a few details on the two sequels due out later this year and farther off in 2005.
Chain of Memories, the Game Boy Advance sequel due out this fall, is meant to have a lighter tone than its PlayStation 2 counterparts, Nomura said, with an even stronger presence from the Disney cast. However, it still features those familiar hooded villains off in the background. He also revealed a new original stage, called the "Castle of Forgetfulness," which neatly fits with the theme of exploring lead character Sora's memories.

Nomura then went on to clarify the timeline between Chain of Memories and Kingdom Hearts 2. About one year passes between the two (compared to two between the original game and Kingdom Hearts 2), leaving time for some water to pass under the bridge before the second sequel.

Five main characters will appear in Kingdom Hearts 2, Nomura noted -- that total should include Sora, the three unidentified youths appearing in the preview trailer, and one more protagonist to be announced. When asked about a return appearance from Kairi and Riku, Sora's two friends from the original game, Nomura said that will have to be a secret for now.

Chain of Memories is due to arrive in Japan fairly soon, before the end of the summer, so expect a full report on both its story and its unusual card-based gameplay soon. You can also check out the latest issue of GMR for a detailed cover feature on both upcoming Kingdom Hearts games.

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Miramax Buys Rights to First Two 'Young James Bond' Novels

Five novels planned -- film rights not part of deal.

Miramax Books, the publishing division of the movie production powerhouse responsible for such films as Kill Bill and Shakespeare in Love, has purchased the U.S. publishing rights to the first two 'Young James Bond' novels by Charlie Higson, according to a report by Pamela McClintock in tomorrow's Variety.

Film rights are not part of the deal between Miramax and Ian Fleming Publications, the company founded by Bond creator Ian Fleming and wholly owned by the Fleming family. The acquisition was announced by Miramax co-chair Harvey Weinstein and Miramax Books president & editor in chief Jonathan Burnham. The deal's price tag was not disclosed, but was understood to be in the six-figure range.

"The Miramax name coupled with the James Bond brand is a powerful combination," Weinstein said. "It is an honor to be connected to the Ian Fleming estate and to be involved in one of the world's most recognizable icons."

Variety revealed that the idea for the Young Bond book series, which has not found favor among traditionalist James Bond fans [see: 007 Fans Take Aim at IFP's 'Young James Bond' Concept], came from Ian Fleming Publications with the guidance of literary consultant Kate Jones. The first book, which will be published in spring 2005, finds the 13-year-old James Bond at a Scottish Castle where he discovers that the owner is conducting ominous experiments in a secret lab. The book will be published in the United Kingdom by Penguin Books children's imprint Puffin.

There are currently five books planned in the series, reports Variety.

"It's exciting to be re-launching the Bond franchise for a new generation," Burnham said.

Burnham and U.K.-based Miramax European literary acquisitions exec Lola Bubbosh identified the series and approached Ian Fleming Publications, while Miramax VP of business & legal affairs Jon Yaged negotiated the deal with Ian Fleming Publications managing director Corinne Turner.

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SNOW WHITE GOES ON TRIAL

Snow White was declared not guilty by jurors in federal court Wednesday while the dwarves slept and sneezed near the bench.

She was faced with violating the Queen's trademark, "The Fairest of Them All" by tricking the Magic Mirror into declaring Snow White the fairest.

She also was accused of mistreating her stepmother and hurting her feelings.

The defense said, "The mirror simply spoke the truth," said Brian Masternak, a partner in Warner Norcross &Judd. "Mirrors don't lie."

The mock trial, put on by

the Grand Rapids law firm,

was played out by the firm's partners and children of its employees as part of the fourth biannual "Take a Child to Work Day."

Partner Edward Bardelli continued his four-trial losing streak with the jurors' announcement.

"I'm just a bad mock-trial lawyer," he conceded. "But you might want to bear in mind my clients -- the Big Bad Wolf, the wicked stepmother. ... What can you expect?"

Juror Fritz Coutchie, 11, said the verdict would have been different if he would have had his way -- but he was outvoted by the other jurors.

"We both found Snow White guilty," he said, standing with 10-year-old Wendell Malone in the jury box. "She tampered with the mirror!"

The American Bar Association provides the scripts for the trial, which is intended to help children learn about the court system.

The scripts include a glossary of simple definitions for legal terms.

Valerie Simmons, a partner at the law firm, shared the bench as one of the judges keeping order in the court.

"The kids really love this," Simmons said. "They have so much fun."

The 52 smiling faces spent their day touring the federal courthouse, hanging out with their moms and dads and participating in Snow White's trial.

Past trials have put the Three Little Pigs, Little Red Riding Hood and Cinderella on trial.

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Cosmo Might Be Narnia's Professor

Scottish actor James Cosmo will be starring in The Lion, the Witch, and the Wardrobe, which goes into production this summer in New Zealand. Cosmo, who is good at looking older than his 55 years, recently finished playing Glaucus in the historical adventure film Troy. Cosmo's acting credits also include The Four Feathers and Braveheart. Cosmo was just honored at the Bowmore Scottish Screen Awards, where he received the Best Actor accolade.

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From London's West End to the Videopolis

Disneyland Paris -- Since the casting process has been finished their have been numerous rumours about who got casted in the four, live singing lead parts in the upcoming The Legend of the Lion King show. Now we have been able to confirm the first names in the resort. The lead of Simba will be played alternating by Gino Amnes and Roger Wright, whom many fans of the Lion King may still remember as the original Simba from the West End production of Disney's stage musical still playing to packed houses. His Nala will be alternating Donna Odain and Angela Paul. The two remaining live singing parts are Rafiki, played by Augustus Hope, whose recent West End credits from the London include the US-hit-show Ragtime, and Scar played by Julian Canonie.

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The Day before

Disneyland Paris -- The day before the AP-preview event / two days before the press and VIP premiere of The Legend of the Lion King show preparations are in full swing. Extra light towers have been added on Central Plaza and giraff and chimpansee statue welcomes guests at the entrance of Discoveryland. In the Videopolis in the meantime all windows have been covered with black drapings to keep sunlight out. This has been necessary as the show makes heavily use of projections and lighting which would be hampered by sunlight shining through the huge, originally open facade. To add some atmosphere to the now very dim lighted restaurant area, several animals have been placed throghout the area functioning also asphoto backdrops. There is a humanized family of lions and a gepard eating fastfood on one table, a zebra, an antilope and a jung deer with a Tomon puppet on another table do the same. In th meantime a lioness with her cub, walking on two feet, is carying her tray with food from the counters to the tables, while overhead flamingos fly and an antelope in a suite watches the action on the stage - not that he can see much, as the whole lower section of the Videopolis is still hidden by a huge curtain ... but at least one can hear the rehearsals going on behind it. Castmembers will be treated to two more previews (after the first sucessful last night). Normal guests in the meantime can enjoy the performances of the African Music Festival on Pride Rock on Central Plaza.

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Banana Bread from Disney's Animal Kingdom Lodge

Yield: 3 loaves

(5-inch-by-3-inch-by-2-inch)
1 cup butter
11/4 cup sugar
2 eggs
21/4 cup all-purpose flour
1/2 teaspoon baking powder
1/2 teaspoon baking soda
1/4 teaspoon salt
3 bananas, mashed
1/2 teaspoon vanilla extract
1/2 cup buttermilk

1. Lightly spray the inside of 3 aluminum loaf pans.

2. In a small mixer bowl fitted with a paddle, cream the butter with sugar. Add the eggs.

3. Sift the flour, baking powder, baking soda, and salt. Add to the butter mixture. Add the bananas, extract, and buttermilk.

4. Pour batter equally into each loaf pan. Bake in a 340 F oven for about 30 minutes, or until a skewer comes out clean.

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Destiny's Child to Reunite on Game Show

Destiny's Child will perform together for the first time in nearly two years as part of the Pepsi "Play for a Billion" TV game show on ABC this fall.

They will sing new songs from their upcoming album before a live audience in Los Angeles this September. One song will air on "Play for a Billion" on Sept. 12, the Pepsi-Cola Co. announced Thursday.

"We are really looking forward to getting back on stage and performing together as a group," Beyonce, lead singer of Destiny's Child, said in a statement. Their next album is scheduled for release this November.

"Play for a Billion," with Damon Wayans as host, will offer a $1 billion grand prize but also guarantees that one finalist will win $1 million even if the grand prize isn't awarded.

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                                              Wednesday June 23, 2004
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FIRST-DAY-OF-ISSUE DISNEY CHARACTER POSTAGE STAMPS

Disney CEO Michael Eisner and U.S. Postmaster General Jack Potter hand-cancel the newly released Disney character postage stamps for Sarah Bolden, 6, of Modesto, Calif., on June 23, 2004 in Disneyland. The U.S. Postal Service issued four 37-cent stamps featuring Mickey Mouse, Bambi, Simba, Pinocchio and other beloved Disney characters. The set is the first in a series of three to be issued over the next few years.

Mickey Mouse, who made his big-screen debut in 1928, can now be found on a much smaller stage -- a new series of postage stamps featuring a variety of Disney characters.

Four first-class stamps were unveiled amid fireworks Wednesday outside Sleeping Beauty Castle at Disneyland.

The 37-cent stamps are the first in a series that will display various themes using Disney characters.

The first set is entitled "The Art of Disney: Friendship" and features Bambi and Thumper, Pinocchio and Jiminy Cricket, Mufasa and Simba from "The Lion King" and Mickey Mouse, Donald Duck and Goofy.

It's the third time Disney has been featured on U.S. stamps.

A portrait of Walt Disney surrounded by children was featured on a 1968 stamp. Snow White made her appearance on a stamp in 1998.

The stamps become available in booklets, a stamped stationary pad and other collectibles beginning Thursday.

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Stitch's Great Escape! Promises Pandemonium For Walt Disney World

Mischievous Alien Busts Loose at Magic Kingdom in Fall 2004

Fans of Walt Disney Pictures' hit film "Lilo & Stitch" know him as a cuddly but destructive alien prone to hilarious fits of havoc. But what was Stitch like before the movie?This fall, Walt Disney World guests will find out when they come face to face with the mischievous character in a new Magic Kingdom attraction -- Stitch's Great Escape!

Under construction on the former site of The ExtraTERRORestrial Alien Encounter, the kid-friendly Tomorrowland adventure will put guests in the middle of the mayhem caused by the naughty "Experiment 626" -- a.k.a. Stitch -- when he's captured by the Galactic Federation and teleported to a processing center for alien prisoners.

Park guests are recruited to provide additional security as the six-limbed alien arrives with a reputation for playful disobedience -- and an appetite for chaos that exceeds all limits. Sights, sounds and -- ewwww! -- smells add to the pandemonium.In addition to Stitch, the fun-filled attraction will feature several characters familiar to fans of the film, including the Galactic Federation's Grand Councilwoman, Captain Gantu and Agent Pleakley, with voices supplied by the movie's original actors. Skippy, the hapless alien "volunteered" for a teleportation demonstration in The ExtraTERRORestrial Alien Encounter, will return in a new role.

Also featured will be two "plasma cannons" that follow Stitch's DNA whenever -- and wherever -- it move.

Stitch's Great Escape! will offer Disney's FASTPASS, the innovative free service available to all guests that eliminates the need to wait in long lines for popular attractions.

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Disney closes with loss Wednesday

Mary Poppins was released on DVD in March 1998 as a movie-only edition, and then again with a trailer, a trivia game and featurettes in June 2000. At the end of 2004, the film will finally get full-on special edition treatment from Disney, to celebrate the film’s 40th anniversary.

Star Julie Andrews recently finished work on her contributions to the extra features.

“I think it’s going to be a wonderful DVD,” Andrews said. “They’ve added wonderful new material to it — not any newer material [incorporated into] the film — but they’ve found outtakes. They’ve found original wardrobe stills, personal stills, rehearsal tapes, interviews with Dick [Van Dyke] and myself now, and they’ve also added a new small cartoon which I narrate — nothing about Poppins.”

The animated short is based on another story by Poppins author P.L. Travers, The Cat That Looked at the King.

Having just finished voice work on Shrek 2, Andrews got another chance to go into the recording studio to do commentary on Poppins. “I sit in front of Mary Poppins and narrate feelings and thoughts because that’s what [people] love, and I was staggered by it. I haven’t seen it in almost that many years. I mean you might catch a moment of it on television, or something at Easter.”

What struck Andrews the most was the quality of the special effects, which included a blend of live action and animation, compared to today’s filmmaking tricks.

“The technology is so advanced today, but if you look at Mary Poppins — what they managed to do 40 years ago — it’s not at all creaky; it’s not at all dated. It holds up brilliantly,” Andrews said. “I was just so staggered at how they achieved it, because they didn’t have the equipment they do today.”

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Invite Disney officials to assess Spa City transportation

The city finance commissioner wants to see if an unlikely friendship between an upstate New York tourist and racing community and a Florida resort and entertainment giant can help the city address traffic and parking concerns.

Matt McCabe has proposed that the city invite representatives from Disney World to the city in the hopes that they might be able to offer some insight into the city's transportation situation. The city's relationship with Disney was heightened last month when the City Council -- minus McCabe --traveled to Disney World for the grand opening of its Saratoga Springs Resort & Spa, modeled after the city.

Although McCabe didn't make last month's trip, he said he's traveled to Disney on business several times and has always been impressed at the ease with which visitors travel.

'They move hundreds of thousands upon millions of people around,' McCabe said. 'Let's see if we can't get some good constructive ideas about how you keep them all smiling,' he said.

The idea came from the Transportation Alternative Advisory Board that he appointed in February. McCabe asked Mayor Mike Lenz at the council meeting last week if he would contact Disney.

'We established a positive relationship with them,' Lenz said. 'The concept of trying to tap into their level of expertise is a good one.'

Tourists negotiate the attractions at Disney World in Florida by monorail, bus, boat and shuttle. The City Council has been discussing how it can facilitate travel around the city.

A preliminary report from McCabe's Alternative Transportation Advisory Committee listed exploring the possibility of a shuttle service in the city as a top priority. McCabe also has proposed converting some all-day parking spots in the downtown core to 2-hour parking, in an effort to turn the spots over to downtown shoppers and diners faster.

Lenz recently named a committee to study how the Capital District Transportation Authority's bus service could be more effective in the city.

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Ease up; Disney World more fun than scary

I read Ted Mandell's June 12 column, "Escape to Disney World offers no reprieve from fear." As a self-professed Disney addict, I think he missed the point of a family trip to the World, as we regulars like to call Disney.

Sure, there are some scary things in the theme parks, but Disney is about good vs. evil, with good winning out. The scary stuff is usually quite silly, rather than terrifying.

Disney is a false reality, an escape from the truly bad things in the world. At Disney there are no wars and no terrorists, just a mostly happy place where the characters live. My family enjoys Disney for the pure entertainment it provides, and fortunately we recognize that there is no such thing as an 8-foot-tall purple octopus.

Perhaps when Mandell's children get older they will be better able to enjoy the fantasy and escapism from reality that a trip to Disney provides.

Linda Drumm
Carthage

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America's Heart and Soul

A Buena Vista release of a Walt Disney Pictures presentation of a Blacklight Films production. Produced by Louis Schwartzberg. Executive producer, Jake Eberts. Directed by Louis Schwartzberg.

Collection of vignettes commemorating the diversity and indomitable spirit of the country, "America's Heart and Soul" features 20-odd valiant souls treasuring their freedom and overcoming obstacles while skycams soar over purple mountains' majesty and an acrobatic pilot does loop-de-loops over fruited plains. Director Louis Schwartzberg traveled all over the country collecting pretty images and quirky individualists, then strung them together in a patriotic daisy chain. Docu, which Buena Vista releases in 100 theaters July 4 weekend (opposite Michael Moore's fiery Disney reject), will appeal primarily to those who like their armchair adventures picture-postcard pristine and sprinkled with touches of proud self-sufficiency.

Helmer Schwartzberg, who has spent most of his life shooting high-end commercials and building a sizeable stock footage company he eventually sold to Getty, here reclaims his imagery for a higher cause. The high gloss of promotional packaging, however, informs every frame.

Schwartzberg has an eye for colorful variations on the familiar, even hokey templates. His gallery of diversified Americana includes some rare finds, like Roudy Roudebush, an old cowboy from Telluride, Colo., who looks like Slim Pickins and gallops over the Continental Divide, relishing his government-free independence as he shows a young cowgirl the ropes.

Segments last an average of three or four minutes each, typically isolating the passion of Schwartzberg's subjects, demonstrating how they embody the region in which they live, and highlighting the characteristics that make them special. Certain heartfelt "heartland" themes -- dedication to a calling, love of the land and economic autonomy -- reoccur throughout the mini-narratives.

A white-haired weaver in Kentucky waxes poetical on her fierce love for Appalachia, stating that if one were to cut her open "what you'll see is a mountain range, mist hanging in the hills, that's my heart." Distinguishing between being broke and being poor, she claims that in Appalachia they know how to live off the land and have all they really need.

Schwartzberg tosses in some oddball curves for comic relief, like the "explosive artist" who wiles away the long Colorado winters by blowing up various combinations of objects (though his shrapnel sandwich made by projecting a large ham through an assembly-line of bread, knives and mustard looks less than appetizing). A visit to a nose-ringed Tlingit elder in Klukwar, Alaska, who liberates a wounded eagle into the wild, makes a tentative stab at ecological anthropology, while a Klezmer clarinetist in America's oldest synagogue and a missionary in San Francisco's Tenderloin district cover religious bases. Some add danger and daring to the mix, like a female champion acrobatics pilot and an imaginative Gotham bike messenger.

Several subjects burst into music, adding welcome respite from Joel McNeely's relentlessly upbeat score. Seventh generational Cajuns fiddle while gumbo burns; a choir leader in Mississippi positively vibrates with the joy of singing; a Vermont dairy farmer makes movies and strums bluegrass music on the side.

Then there are those paragons of exemplary courage who triumph over adversity: the spastic, cerebral-palsied, non-speaking Boston marathoner; the black teen who went to jail for seven years only to emerge a proficient boxer and become captain of the U.S. Olympics team, and the fearless blind mountain climber who scaled Mt. Everest.

Tech credits are highly polished; indeed, one wonders why the film wasn't conceived for IMAX screens, since its structure and scope seem ideally suited to larger-than-life venues.

Camera (color), Schwartzberg; editors, Brian Funck, Tom McGahm, Jeff Werner; music, Joel McNeely, with original song by John Mellencamp; associate producers, Jan Ross, Vincent Ueber. Reviewed at Tribeca Film Festival (Showcase), May 1, 2004. Running time: 88 MIN.

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Disney Records Set To Release America's Heart & Soul Soundtrack June 29

Walt Disney Records is proud to announce the release of the "America's Heart & Soul" soundtrack, available June 29, 2004, featuring the musical styling of artists such as John Hiatt, George Woodard and Joel McNeely. This soundtrack takes listeners on a musical journey to hear the voice of our nation through a collection of great American songs that beautifully capture the essence of Walt Disney Pictures' "America's Heart & Soul."

America is a vast country that spans three thousand miles from end to end, but it's not the land that makes America so special, it's the people. Filmmaker Louis Schwartzberg packed up his camera and hit the road with the goal of capturing both the unparalleled beauty of the land and the incomparable spirit of the people. Through this movie, Walt Disney Pictures' Presents "America's Heart & Soul," audiences will have the chance to meet ordinary Americans with extraordinary stories. Louis' gift is his ability to connect with people, honestly capturing their values, dreams and passion in an awe-inspiring journey that reveals the stories -- unusual, captivating, inspiring and emotional -- that forge us into something more than a collection of individuals. "America's Heart & Soul" is a celebration of a nation told through the voices of its people. "America's Heart & Soul" opens in theatres July 2, 2004.

"American's Heart & Soul" soundtrack is available at retail outlets June 29, 2004, for a suggested CD retail price of $18.98. All Walt Disney Records audio products also can be ordered by visiting http://www.disneyrecords.com/.

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                                                         Tuesday June 22, 2004
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The Walt Disney Company To Speak To Investors

A question and answer session with representatives of The Walt Disney Company will be hosted by Doug Mitchelson of Deutsche Bank Securities on Thursday June 24, 2004.

There will be two sessions, one from 1:45- 2:30 p.m. EDT and the second from 5:00-7:15 p.m. EDT. Scheduled participants include Michael Eisner, chief executive officer; Bob Iger, president and chief operating officer; Tom Staggs, senior executive vice president and chief financial officer; Jay Rasulo, president, Walt Disney Parks and Resorts; Jim Hunt, executive vice president and chief financial officer, Walt Disney Parks and Resorts; and Steve Wadsworth, president, Walt Disney Internet Group.

Their comments and responses will be available live via Webcast. Please point your browser to www.disney.com/investors approximately five minutes prior to the start time. A re-play will be provided through Thursday, July 1, 2004 at 4:00 p.m. PDT.

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About Tokyo Disney Resort

Tokyo Disney Resort is a totally integrated, entertainment destination that expands the concept of a theme park to a theme resort. Located on some 200 hectares of land, Tokyo Disney Resort is Japan's first "theme resort" and encompasses a number of distinct facilities, each promising a unique brand of themed entertainment. Guests visiting the Resort will enjoy a thrilling environment filled with high quality amenities, hospitality and entertainment.

Before Tokyo Disney Resort, there was Tokyo Disneyland Park, the first Disney Park to be built outside the United States. Opening in April 1983, Tokyo Disneyland brought the dreams and magic of Disney family entertainment to Japan.

Just outside JR Maihama Station is Ikspiari, which opened in July 7, 2000. Featuring nine unique themed zones of shopping, dining and entertainment, including some 130 shops and restaurants, Ikspiari is also the location of AMC Ikspiari 16, a state-of-the-art cinema complex with 16-screens, and Camp Nepos, a children's play and care center specially designed to stimulate creativity.

Disney Ambassador Hotel, the first Disney branded hotel in Japan, also opened in July 7, 2000. This elegantly designed resort hotel features 1930s American art deco design, and special Disney themed amenities. Here guests will enjoy Disney Character Dining, where Disney characters greet them while they dine. And couples can make their dreams come true with Disney's Fairy Tale Weddings in the hotel's Rose Chapel.

Tokyo DisneySea Park and the in-park Tokyo DisneySea Hotel MiraCosta opened in September 4, 2001. Tokyo DisneySea is inspired by the myths and legends of the sea. Incorporating its seaside location, Tokyo DisneySea is comprised of seven themed ports of call. The Tokyo DisneySea Hotel MiraCosta captures the ambience of old-world Italy. "Mira costa" is Italian for "view of the coast," and this luxury hotel offers accommodations with impressive views of the Park's major waterway and Tokyo Bay.

The Disney Resort Line monorail system began operations in July 27, 2001. The system connects the various Resort facilities, providing guests with a convenient means of transportation around the Resort.

Oriental Land Co., Ltd. was established in 1960 to develop large-scale leisure facilities to contribute to the nation's culture and welfare. That original mission was accomplished with the opening of Tokyo Disneyland Park. The success of that Park prompted the desire to present bigger dreams and more excitement to as many guests as possible. With the evolution from theme park to the Tokyo Disney Resort, Oriental Land will be able to do all that and more.

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Walt Disney World Resort Offers Florida Residents Discounted Room Rate During Popular Summer Season

Florida residents will enjoy big savings this summer at Walt Disney World Resort. A new offer available for travel between July 5 and August 28, 2004, allows residents to book rooms for as low as $69 per night at a value resort like the new Disney's Pop Century Resort -- a savings of $30 per night.

Rates for Disney Moderate and Disney Deluxe resorts are available for as low as $84 and $114, a savings of $60 and $85 per night respectively.

The Florida resident offer is a great option for guests with annual passes interested in combining the benefits of staying at an on-site Walt Disney World Resort hotel with the excitement of Disney's famous theme parks. The benefits of staying on-site at a Walt Disney World Resort hotel include:

• beautifully themed accommodations located in the "middle of the magic"
• legendary Disney guest service and hospitality 24 hours a day
• exclusive early entry to selected Walt Disney World theme parks and attractions with paid admission
• unlimited complimentary transportation (motor coach, ferry boat or monorail) throughout Walt Disney World Resort

Disney's four- and five-day Park Hopper tickets offer unlimited admission to all four Walt Disney World theme parks for the number of days purchased. Disney's five-, six- and seven-day Park Hopper Plus tickets offer unlimited admission to all four Walt Disney World theme parks and two additional visits to one of Disney's themed water parks, Downtown Disney Pleasure Island or Disney's Wide World of Sports Complex.

Prices for Disney's Park Hopper tickets are as follows (prices do not include tax):

Four-Day Park Hopper
Guests (ages 10+): Gate - $219 APS* - $202
Child (age 3-9): Gate $176, APS* - $162

Five-Day Park Hopper
Guests (ages 10+): Gate - $249, APS* - $230
Child (age 3-9): Gate $200, APS* - $184

Five-Day Park Hopper Plus
Guests (ages 10+): Gate - $282, APS* - $259
Child (age 3-9): Gate $226, APS* - $208

Six-Day Park Hopper Plus
Guests (ages 10+): Gate - $312, APS* - $288
Child (age 3-9): Gate $250, APS* - $231

Seven-Day Park Hopper Plus
Guests (ages 10+): Gate - $342, APS* - $316
Child (age 3-9): Gate $274, APS* - $253

*Advance Purchase Savings price: Disney's Advance Purchase Savings program provides additional value for guests booking their arrangements before leaving home outside Florida.

To qualify for Florida resident offers, guests must provide proof of Florida residency by providing a valid Florida driver's license, a valid Florida state-issued ID card (with a Florida address), a valid Florida voter's registration card with corresponding picture ID, a valid Florida university/college ID or a valid Florida-based military ID.

To book the special Florida resident room-only offer and order theme park tickets, guests can visit Disneyworld.com, call Walt Disney World Resort at 407/W-DISNEY or contact a travel agent. This room-only offer must be booked by Aug. 28, 2004.

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DISNEY CHILDREN'S PAJAMAS REACH LEGISLATION

Europe -- That this House condemns the current use of highly toxic chemicals in Disney's children's pajamas; further notes how laboratory tests show that they contain extremely dangerous chemicals, including nonylphenal which may damage human DNA, and phthalates which can damage the liver, kidney and testicles; is concerned that the Government has so far proved a stumbling block to implementing the environmentally safer REACH legislation by signing a letter with France and Germany regarding fears that the legislation would damage the economic interests of the chemical market; and calls upon the Government to support a simple change to the REACH legislation, that when substances are identified as of very high concern and if there is a safer alternative, the substitution of this alternative must become a legal requirement.

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2005 release confirmed for Kingdom Hearts sequel

Whilst we had originally been hoping for a Kingdom Hearts 2 debut later this year alongside its GBA-based little brother Kingdom Hearts: Chain of Memories, the latest news on this SquareEnix / Disney double-act has it that the console version now won't be with us until 2005. Japanese mag Shonen Jump broke the news of the delay, and also word that both new Kingdom Hearts games will be given an airing this August at an industry shindig.

A range of new Disney characters will be putting in an appearance in the sequel, whilst five Final Fantasy names will also be appearing in this innovative cross-over RPG. Numerous other Square faces (geddit?) will be getting cameos in Kingdom Hearts 2 (too), with a far broader line-up planned than the first hit title.

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Lebo M, Alexander

Disneyland Paris -- The press- and VIP-premiere of The Legend of the Lion King coming Saturday has been scheduled for 7.00 pm in the Videopolis - which means all guests visiting the park on that day will have the opportunity to spot some of the VIPs already during the day as they tour the two theme parks to have some fun or just before the actual premiere of the show when they hopefully walk down a red carpet leading into the theater. With a little bit of luck maybe a souvenir photo or a signature might be gained... But for whom to be on the look out? As usual there will be numerous French VIPs attending the event, but the press departments of the Disneyland Resort Paris in the different European countries have each invited VIPs on their own too. Unfortunately so far only two names have been droped: Lebo M, the master behind the african chants and score from the original soundtrack of The Lion King, and Alexander, the first german Pop Idol winner. Both will also perform later the same night for their fellow invited VIPs and press.

According to recent information Lebo M will give a short concert shortly after 10.00 pm Saturday night in front of the castle, followed by a performance of European pop stars who will perform "Can You Feel The Love Tonight" live. Each of them is supposed to sing one strophe solo. One of these stars will be Alexander. After the live performance a fireworks display is supposed to close the night off. All fans and guests not invited to this special event can at least watch these fireworks from outside Disneyland Park - in the past especially three areas have proofed very popular for watching fireworks from outside the parks: the restaurants / Main Street Lounge on the first floor of the Disneyland Hotel, the publicly accessible roof terraces of Disney's Hotel Santa Fe and the little hill next to the man-made lake behind Adventureland next to the public road circeling the Disneyland Park.

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Lilo & Stitch: Special Edition Bonus Features

With the new 2-Disc Special Edition of "Lilo & Stitch" arriving early next year, we wanted to give you an idea as to what bonuses might be included.

UltimateDisney.com was the first to release the bonus features from the DVD re-release in Italy, slated for this fall. It's a pretty good indication as to what will be expected in the US release early next year. Here are the new bonus features:

The new previously unreleased bonus features will include:

• Audio commentary
• Full-length documentary, "The Making of Lilo & Stitch" with scene selections and notes
• 2 Animator Conversations: "Andres Deja discusses Lilo" and "Alex Kupershmidt discusses Stitch"
• Deleted scenes & Early Concepts
• Chris Sanders' Photo gallery
• 2 new music videos: "Your Ohana", "Suspicious Minds" by Gareth Gates
• The Style Book of Chris Sanders
• The Story of Stitch
• A Conversation with Joe Grant and Dean DeBlois
• Ric Sluiter Interviews Maurice Noble
• Dean DeBlois pitches a New Sequence
• Mulan: "Mulan's Decision"
• Dumbo: "The Train Arrives"

In addition, the Italian Special Edition will include most of the previous DVD's bonus features:

• music videos: "Burning Love" with Wynonna, "I Can't Help Falling In Love With You" performed by the A*Teens
• Disneypedia: Hawaii
• "A Stitch in Time"
• "Animating the Hula"
• "How-To-Hula Lesson"
• Theatrical Teasers and Trailers
• "Gantu's Challenge" Game

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Gargoyles: Season One

It's hard to believe it's been nearly 10 years since Disney first revealed the amazing animated television drama, "Gargoyles." We now have a small but cool update concerning the Season One DVD release this fall.

For those of you who aren't familiar with who Greg Weisman is, or what the "Gathering of the Gargoyles" is, here is a little bit of background. Greg Weisman was one of the creators of "Gargoyles" and he helped create the first two seasons of the show. He also wrote the first episode of season three, "Gargoyles: The Goliath Chronicles." But then the last 12 episodes of season three kind of ruined the series and it went in a way that Greg Weisman wasn't proud of. I won't get into the reasons behind his departure from the project here (it's not relavent to this story).

Now, the "Gathering of the Gargoyles" is an annual convention held at different cities around the nation for fans of the Disney series, "Gargoyles." It has grown quite large with the inclusion of some of the castmembers who provided the voices in the series, to Greg Weisman himself, to Carl Johnson who wrote the music for the series. Pieces of memorabilia have been auctioned off at these conventions, and re-inactments of certain scenes from the series have been performed by the actors. There is also a costume contest by the fans. (Think of it as a Disney Gargoyles version of a Star Trek convention.)

Well, to get to the point of this article, the website StationEight (www.s8.org/gargoyles/) has a place where fans can write Greg Weisman about anything and everything concerning Gargoyles. He then answers the questions as often as he can and posts his responses onto the site. In one of his recent posts, he mentioned an update to the Season One set of Gargoyles, which is coming to coincide with the 10th Anniversary of the series, this October.

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Walt Disney Feature Animation Florida -- A Timeline

May 1989:

The Orlando studio opens with 70 employees, part of a tour in the Disney-MGM Studios theme park.

November 1989:

The Little Mermaid opens, reviving Disney's classic cartoon tradition.

1990-92:

Orlando animators work -- in front of tourists -- on such Roger Rabbit shorts as Rollercoaster Rabbit and Tummy Trouble.

1992-94:

The Orlando studio takes on a portion of the work in The Lion King, including the "I Just Can't Wait to Be King" musical number. The film earns more than $500 million worldwide and changes the way Disney thinks about cartoons. No longer will they be biennial "events." Disney will try to duplicate this success twice a year, vastly increasing production. The studio eventually employs 2,200 in animation worldwide.

November 1995:

Pixar's Toy Story comes out and becomes a smash. The Disney-distributed hit is in the new medium called 3-D "computer" animation.

June 1998:

Mulan, Feature Animation Florida's first feature film, opens. This comical, musical and historic 2-D cartoon retelling of a Chinese folk tale is a commercial (more than $300 million) and critical hit.

2000:

John Henry, one of the great Disney short cartoons, is an Orlando product. Stylistically daring and politically touchy, it shows up in film festivals and finds a life only years later on DVD as part of a collection of Disney shorts.

2002:

Disney lays off about 1,000 animation employees worldwide, because of flops such as Atlantis: The Lost Empire (above, from left) and years of expensive middling hits such as The Emperor's New Groove and Pocahontas. Orlando did small portions of the work on some of these.

June 2002:

Lilo & Stitch, a touching retro character farce with aliens, surfing, a motherless child and Elvis, mimics the watercolor backgrounds of Disney's great 1940s films Dumbo and Bambi. This Orlando-made film is a hit with critics and audiences (approximatelyƒs $260 million worldwide box office).

November 2002:

Disney announces the replacement of Thomas Schumacher, president of Walt Disney Co. Feature Animation, effective June 2003. David Stainton, president of Disney's successful and "economical" TV animation division, takes over. Schumacher's last Orlando projects are Brother Bear and a country music cartoon, My Peoples, later titled A Few Good Ghosts, with tunes by Travis Tritt and others, and starring the distinctive Southern accents of Dolly Parton, James Carville and others.

November 2002:

Treasure Planet, launched and mostly made in Burbank, Calif., opens to critical disdain and weak box office, spelling doom for hand-drawn 2-D animation.

June 2003:

Disney lays off 50 animators in Orlando as Brother Bear winds up production.

November 2003:

Brother Bear, a brother-bonding tale set among Aleut tribes of the ancient Northwest, opens to weak business and middling reviews. It still manages to earn more than $215 million worldwide before going to video. The 2003 Pixar 3-D smash Finding Nemo, on the other hand, has earned more than $700 million worldwide.

Nov. 15, 2003:

Disney pulls the plug on A Few Good Ghosts.

Jan. 12, 2004:

Stainton comes to Orlando to announce that he is closing Feature Animation Florida, putting 258 employees out of work.

March 19, 2004:

Disney's Orlando animators collect their final checks and clean out their desks.

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Postal Service to Issue Disney Stamps

Who:
Postmaster General John E. Potter; Walt Disney Company Chief Executive Officer Michael Eisner; and George Wendt, who played Norm on the award-winning television series “Cheers.”

What:
The U.S. Postal Service will dedicate four postage stamps depicting Walt Disney characters.

When:
10 a.m. Pacific Time.

Where:
In the forecourt of Sleeping Beauty Castle at the Disneyland Park 1313 Harbor Blvd, Anaheim, CA. The area will be marked.

The Event:
The U.S. Postal Service will dedicate The Art of Disney: Friendship, a set of four postage stamps honoring friendship as it appears in the art of Walt Disney. The stamps feature Mickey Mouse, Goofy, Donald Duck and a host of Disney friends. And thanks to a new set of stamped postal cards and stamped stationery available that day, the Postal Service and Disney are making it easy to write home. George Wendt will serve as guest narrator for the event.

Anaheim, as host city to the event, holds the unique distinction of being the only city in the nation where the stamps, postal cards and stationery will be available on June 23. Mickey and his friends, through the magic of The Art of Disney: Friendship, will be available at Post Offices and Philatelic Centers nationwide beginning the next day, June 24.

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Magic Kingdom eyeing a new home in Presidio

Psst, Minnie, pass it on. San Francisco's Presidio is being eyed as a possible home for a major museum dedicated to the man who made Mickey Mouse.

Word is, the heirs of Walt Disney have approached the Presidio Trust about turning a century-old barracks at the old Army base into a permanent showcase for the life, art and philosophy of Disney.

The barracks needs $9 million to $10 million in seismic repairs and probably at least that much in other renovations to turn the place into a real museum.

Disney grandson Walt Miller confirmed, "We're in the middle of negotiations for the building.'''

Largely unbeknownst to the public, Disney's heirs have been leasing a small, unmarked warehouse in the Presidio for the past three or four years, where they've set up a display of photos, letters and other Disney mementos, according to well-placed sources.

Much of that material is already online in a "virtual museum'' at the Disney Family Foundation (disney.go.com/disneyatoz/waltdisney), which is hosted by Disney online but is not affiliated with Walt Disney Co.

Disney daughter Diane Miller says the online museum fulfills her lifelong ambition of helping people to "better understand Walt Disney as the man behind the myth.''

It even answers some persistent questions about the man, such as:

Was Walt dishonorably discharged from the Army?

Was it true he couldn't draw?

Was he a mean boss?

What was his favorite attraction at Disneyland?

And, was Walt frozen?

(The answers, according to the Web site's FAQ section: No, no, depends on who you ask, whatever he was working on at the time, and nope.)

One question that isn't answered is how some people in lefty San Francisco might feel about the Presidio hosting such a shrine to the flag- waving animator.

"Some people are going to freak -- we know that,'' admits one Presidio insider familiar with the plans.

Then again, with some 6 million square feet of rental space inside the park, Presidio officials are casting a wide net for tenants.

As for why Disney's heirs would be interested in the Presidio:

Family members wouldn't comment, but one Presidio source familiar with the project said Walt was a very patriotic gent and his family "liked the idea of it being on a former military base.''

Besides, his daughter and son-in-law spend most of their time around here these days -- in fact, they own the Silverado Winery up in the Napa Valley.

Micro-man: After six months in office, it's becoming increasingly clear to insiders that San Francisco Mayor Gavin Newsom is taking his new job seriously -- some say too seriously.

For example, the trunk of the mayoral town car is now equipped with two trash bins -- one for standard garbage and one for recyclables -- for the litter that Newsom himself spots when being driven around town.

Then there are Newsom's "department head meetings,'' where he takes city honchos on spur-of-the-moment walking tours to point out graffiti, homeless encampments and litter.

One recent jaunt started with a walk down Market Street, where Newsom pointed out several scarred buildings and BART entrances. Then it was over to the Tenderloin, where he asked about dirty sidewalks and the fencing at Boeddeker Park.

Then, on to Civic Center Park, where the mayor peppered officials with questions about plant care -- one flower at a time.

But for all his attention to detail, there are times when Newsom could use a bit of double-checking on himself.

During the big biotech convention recently, Newsom -- who is known for his pinstriped suits -- showed up for work wearing pants that came from one suit and a jacket from another.

All through the day, Newsom made mention of how he needed to go home and change.

But when evening came and Newsom stepped out to meet some of the biggest biotech execs in the nation -- he was still wearing his mismatched jacket and pants.

Budget spin: The state budget will probably be passed by the end of the month, but that doesn't mean the books will be balanced.

Legislative insiders say Gov. Arnold Schwarzenegger's budget is full of smoke and mirrors. Apparently, however, lawmakers aren't doing a lot to clear things up.

Take, for example, the $450 million that Arnold & Co. say they expect to get from collecting 75 percent of the punitive damages awarded on legal cases around the state.

Never mind that it's still in the proposal phase. According to the legislative analyst's office, the $450 million figure is wildly inflated -- the state would be lucky to collect $60 million.

"It will probably be even lower to the extent that there is no mechanism to enforce and collect the awards,'' said leg analyst Yvette Rincon.

So why haven't legislators revised the working budget to account for the lower figure?

Rincon says her office did notify a legislative conference committee of its findings a couple of weeks ago, but the politicians just turned a blind eye.

"It would mean the Legislature would have to come up with that much more in savings if they revised the figures downward,'' Rincon said.

In other words, ignore the problem now, deal with it next year -- maybe.

Here's a thought: From KGO radio news anchor Ed Baxter: "States that are for Bush are 'red,' and the states that are for Kerry are 'blue.' Mix the two colors and what does that make the battleground states? Purple.''

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Discoveryland 2005 - Rehab Update

Disneyland Paris -- The centerpiece of the Discoveryland 2005 update moves along in a surprisingly fast pace. True, the canon on top of Space Mountain is still missing (so at least for the time being no discussions wether it is supposed to form a Hidden Mickey from a certain viewing angel) and the Columbiad is still behind scaffolding but the repainting is making major progress as the metal beams are getting their new colors, which shine bright even on an overcast day.

In the meantime, after finishing the Nautilus exterior rehab, the Star Traders rehab is moving ahead at brisk pace too. After cleaning the exterior of the building the antenna on top has been taken down for some more meticulous cleaning. The facade of the Videopolis toward the entrance of Discoveryland has finished its current rehab. Even the Audio-Animatronic pigeons in the cage on the side of the gondola have returned with cleaned feathers. Now if only they could clean the top of the Hyperion too

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The Rescuers have arrived

Disneyland Paris -- For several years Main Street Motors has been the unofficial Winnie the Pooh store of the Disneyland Park but in an unannounced surprise move Pooh has been evicted recently. Only a few cloths featuring Winnie and his friends are left. Their place in the oldtimer dominating the shopping window and in several minor decoration elments adding a special whimsy touch to the shop have been taken by the Rescuers - the two mice Bernard and Bianca. Since they have taken over the shop no special merchandise has arrived - instead Main Street Motors is now concentrating and adult clothing.
Winnie the Pooh in the meantime is the star of several boards of new merchandise that has shown up only a few meters up the Main Street in Harrington's, including several items exclusively available only at Harrington's. After adding new merchandise items in the last months the return of shop-exclusive items adds to making the shopping experience more exciting especially for return guests.

Disney is depending on word-of-mouth to sell the film America's Heart & Soul.

When Hollywood summons influential tastemakers to early movie screenings, agricultural organizations usually are not on the list.

But early last month, leaders of FFA, formerly known as the Future Farmers of America, were invited by Walt Disney Pictures to an Indianapolis multiplex for a peek at one of this summer's documentaries, America's Heart & Soul.

By the time the film opens in about 40 cities on July 2, the FFA says, it will have employed its Web site, e-mail tree and journal to recommend America's Heart & Soul to its 460,000 members. Anna Melodia, who directs the organization's education division, said: "What we are looking to do is help spread the word."

Almost every studio summer movie is backed by paparazzi-attracting stars, $50 million advertising campaigns, fast-food tie-ins and action figures.

But America's Heart & Soul, a movie chronicling the accomplishments of 26 U.S. citizens both ordinary and remarkable, from Cajun musicians to a blind mountain climber, enjoys none of that high-octane promotion.

Instead, Walt Disney Co. is selling its film through extensive word-of-mouth screenings, concentrating its efforts on the parts of the country most Hollywood executives see only from the windows of their Gulfstream jets.

It's a strategy long on labor and short on resources, patterned on the campaign behind Mel Gibson's blockbuster The Passion of the Christ.

Although America's Heart & Soul isn't about religion, the Disney studio frequently called Gibson's team for pointers on the film's sales strategy. And as with The Passion, studio executives knew the film's success would hinge on connecting with people who don't habitually queue up for the latest Tom Cruise blockbuster.

Instead of buying pricey commercials in the middle of a Los Angeles Laker basketball game, Disney will spend a meager $400,000 on print advertisements.

While some movies blanket the nation with promotional billboards, the studio will cover the country with free America's Heart & Soul preview screenings to groups as varied as klezmer musicians and horse wranglers. And mirroring The Passion's release strategy, the filmmakers are courting scores of faith-based organizations.

"It was a hugely successful model," Dick Cook, Disney's studio chief, says of The Passion release plan, which included about 50 screenings for conservative religious leaders in the weeks preceding the drama's February release.

So far, Gibson's $25 million movie has grossed more than $370 million, in part a testament to its novel personal pitch to evangelical Christians.

Controversy also contributed to The Passion's success, generating significant media attention and public debate over the film's alleged anti-Semitism.

Currently, Michael Moore's Fahrenheit 9/11, a vitriolic political documentary set to be in theaters later this week, is benefiting from a headline-grabbing firestorm that can help elevate a film above the summer blockbuster fray.

Disney isn't courting controversy -- it dumped Fahrenheit 9/11 because of its content -- but it certainly could use the bottom-line benefit a small flap can produce.

To draw attention to America's Heart & Soul, Disney estimates that it has held nearly 500 domestic screenings since January, some for audiences of no more than five, all to get people across the nation to start talking about it and, in turn, stimulate interest and ticket sales.

"It's not as if anyone is reinventing the wheel. It's going back to doing things the way we used to, before everyone fell in love with a TV spot on Friends," Cook says. "This is the way we used to release movies. We worked."

Cinematographer Louis Schwartzberg's portrait-filled movie, something of a Studs Terkel book on film, touches on so many lifestyles that earlier this month, the studio screened America's Heart & Soul to members of the Sierra Club and the International Federation of Bike Messengers in San Francisco, and to members of AARP, the American Legion and the American Association of People With Disabilities in Washington, D.C.

The film carries the upbeat message that the studio tends to embrace.

Michael Elliott conducts a weekly Bible study in his Orlando home, and when the dozen participants recently gathered, one of his topics was not Scripture but America's Heart & Soul.

Half the group, Elliott included, had seen the film at an early screening, and by the time the meeting was over the rest had heard so many recommendations that they planned to buy tickets.

Says Elliott, who also reviews movies on a Christian-oriented Web site: "And I'm sure each one of them is going to tell their friends to go, too."

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After the magic

Scores of former Disney animators and their colleagues have dispersed to launch their own studios, seek new careers and discover new identities -- determined to land on their feet.

The end -- when it came -- shocked some.

"I thought, 'Layoffs, maybe. But they're a year away,' " says key assistant animator Merritt Andrews. "We had a movie to finish.

"Then they pulled the magic carpet out from under us."

For 258 Central Floridians, the ride ended March 19, when Walt Disney Feature Animation Florida closed its doors.

It wasn't a sudden death. The studio had laid off many animators the previous summer. Then Disney announced it was abandoning the studio's next film, A Few Good Ghosts, shortly after the last Florida Disney cartoon, Brother Bear, came out in November. The survivors collected their checks, got their portfolios together, and waited for the other shoe to drop.

In January, it did. The studio was closing. Animators, cleanup artists, background painters, camera and digital animation specialists and others were out of work.

"They didn't deserve this," says Matt Gunther of Magnetic Entertainment, a local film and animation start-up. "They never made a Treasure Planet [a huge Disney flop] here."

Disney CEO Michael Eisner has pronounced "the end of 2-D animation," comparing it to the death of black-and-white films. Disney is pinning its future on three-dimensional animated films such as Toy Story and Finding Nemo -- made by Disney partner Pixar, which won't be a Disney partner much longer.

Even though Disney's Florida animation division had a large hand in the studio's recent 2-D hits -- Mulan and Lilo & Stitch were almost entirely made here -- and local animators were being trained in 3-D, Orlando fell under the budget ax. The timing made it seem as if the parent company was disappointed in Brother Bear and that it was pulling the plug on a losing operation.

"Brother Bear made a very healthy profit, thank you," says ex-Disney animator Dominic Carola.

"We had every reason to stay alive -- cost savings, efficiency, quality of product," says animator Travis Blaise, who helped bring the bear cub Koda to life in Brother Bear. "I think people would have been willing to take more pay cuts to keep us going.

"But now, I'm collecting unemployment. I just sat there the morning the announcement came and thought, 'How am I gonna support my kids?' "

Disbursement of talent

There's no arguing with Burbank management. Jobs that ranged in pay from the mid-$40,000s to well into six figures are gone. As is the studio: personal files and drawings shredded, computers, drafting tables and other equipment sold.

But what about the people? Disney's closing threw some very talented artists a curve.

"People are still trying to decide whether to stay here and try and earn a living, or to try and get on with another studio," says Kathy Schoeppner, once a digital background artist with the studio. "Of course, there's a lot of studios you can go to. But you won't have that Disney attitude. The studio here felt like a family."

And that family is scattering. A few went north to Core, William Shatner's Canadian digital animated-effects company. Others went to Blue Sky, the New York animation company that made Ice Age. A couple went to Disney Australia, home to the cheaper-to-make, direct-to-video sequels of Disney's animated hits. Some marquee names such as animator Alex Kuperschmidt (who created Stitch) and director Aaron Blaise (Brother Bear) took contracts with Disney in California.

"Everyone understands," says Aaron's younger brother, Travis, 34. "They have careers. They have families. We want them to succeed."

Some, like Andrews, took other, lower-paying jobs at Disney World, hoping to get into the nonanimation art departments still there. Fifteen Disney vets joined video-gaming company Electronic Arts' Tiburon Studio in Maitland. Many went back to school to brush up on the computer skills they didn't have.

One guy went to Arizona to learn boat building. Another went to medical school. Sean Locke, a digital production director who did the herd animation in Brother Bear and worked on Dinosaur, Mulan, Tarzan and Lilo & Stitch, "couldn't come to terms with Disney or with Blue Sky." Now Locke, 34, works in training and simulation with Boeing in St. Louis.

Ken Spirduso, 43, worked in the layout department for 11 years. Now he has sold his house and is moving his family to Lynchburg, Va., to illustrate children's books.

"There are some risks to moving, but there are to staying here as well," Spirduso says. "Overall, I think people are looking at it as more of an opportunity than a tragedy."

Opportunities and frustrations

Schoeppner, 34, is one of those. She was laid off in the September cutbacks and thought long and hard about what to do next.

"I talked with Pixar," she says. Nothing came of it.

And then she looked at who was out of work. These people weren't just her friends, they were artists, some of the best anywhere at what they do.

"I could go to California and try and stay in the industry," she says. "Or I can take advantage of this huge opportunity, having all these artists who haven't been shown here, and try my hand at this business."

"This business" is her new Manor Gallery, on Virginia Drive in Orlando. About 30 artists, almost all Disney expats, are on the walls there. Homey, with a dazzling variety of artistic media and styles, Schoeppner's gallery-cafe has become an informal clearinghouse for her former Disney colleagues to keep track of each other. Some of the artists taking jobs elsewhere have come by to buy their fellow animators' work before they leave.

But it's still frustrating to many. Jo Anne Tzuanos, 43, was a week shy of her 17th anniversary with Disney when the end came. She was a computer-generated imagery modeler and president of the local Animation Guild, the CGI modelers' union.

"I'm never going to have a job that pays as good as the one I had with Disney Animation," she says. Her best year there, she earned $74,000. "That was pretty good, for Disney. They want everybody to think all these people earned a fortune so they could play the victim [in closing the studio]. But very, very few were getting rich."

Now, when she goes to career fairs, "They suggest I go to Home Depot and design people's kitchens for $8 an hour," she says. "Yeah, I've got a college degree, and my job's obsolete. So cut me some slack here."

With two children in college, Tzuanos is trying to sell art at the Manor Gallery, teaching a class, and selling her house. She has decided to "bite the bullet and be poor for three years" by joining her older child at the University of Florida in the fall to study digital arts and science.

And she's not alone. Many of the artists at the studio are turning their backs on animation. Vincent Siracu-sano, a cleanup artist who has sculpture on sale in Schoeppner's gallery, has started his own business designing play spaces for children. He does wooden relief cut-outs and just landed a commission for a church in Alabama "where I'm doing a wall with these movable fish and sea creatures," he says.

Travis Blaise thinks of himself as an animator first and an artist second. He has teamed with various local filmmakers, including animator Mark Simon and Magnetic Entertainment's Gunther and Todd Gilbert, trying to come up with a project somebody will want to fund and film. His home studio in Orlando is packed with the gear of his trade, much of it purchased at a deep discount from Disney when Feature Animation Florida closed.

"There's a market out there for doing something melding hip-hop music and fashion and this post-apocalyptic world," Blaise says of one idea he's been sketching out. "It's new, it's different. It will be difficult. But damned if I'm not gonna try it. Because you never know."

Meanwhile, like many, he has the area's new start-ups on his mind. Genesis Orlando, a Celebration digital animation company, was able to hire a couple of Disney cast-offs to work on its new big project, a digital cartoon produced with Jeep. Legacy, another local start-up, didn't survive the spring. But a third local studio, Project Firefly, is the one that many ex-Disney animation employees are pinning their hopes on.

Project Firefly, formed by five ex-Disney employees the day Feature Animation Florida closed, is holding out the possibility that it might be needing 2-D and 3-D animators for planned projects. Company president Dominic Carola is buoyant about "the golden opportunity we have here, in this place at this time in this business." But he's a little scared that his fellow Disney veterans may be depending on Project Firefly a little too much.

"We don't want people to latch onto us, cling to us as a last hope, because we can't handle that pressure yet," Carola says. "But we trust that when we're ready to rock 'n' roll, the artists will be here."

Though many profess dismay that Disney could interrupt their lives this way, none seems bitter. Disney allowed in recruiters from other studios and even Hallmark Cards in the months before the end came. And that going-out-of-business sale of animation computers, drawing tables and the like has stocked more than one potential start-up animation studio here in town.

Despite all the problems associated with a profession that has a perpetually tight job market, Blaise is upbeat. He thinks 2-D will come back. And he thinks his Feature Animation Florida colleagues will be the ones who benefit from that.

"We will get our feet back under us," he says. "We will work again. We will create good films. I believe that."

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Disney destinations top Zagat's Family Guide'

Before loading the kids in the car and heading for Gettysburg, consider: Is this really where the children want to spend their summer vacation?

Not according to 11,000 travelers who rated hundreds of family-oriented attractions across the United States for Zagat Survey and Parenting magazine. The survey's results are included in a new book, "U.S. Family Travel Guide," available for $14.95 at bookstores or at www.zagat.com.

Among the top spots: anything with mouse ears. Disney's attractions in Orlando, Fla., and Anaheim, Calif., occupied five of the top 10 most popular attractions.

Closer to home, Cedar Point in Sandusky earned top marks in the amusement-park category, while Newport on the Levee, across the river from Cincinnati in Newport, Ky., was ranked the top child-friendly shopping mall.

Respondents to the online survey were asked to rate hundreds of attractions in four key areas child appeal, adult appeal, public facilities and service using Zagat's 30-point scale (30 being perfection).

Cleveland, sadly, received not a single mention in the final survey, which included information on attractions in 22 cities. Alexa Rudin, a spokeswoman for Zagat, said Cleveland was included in the initial survey, but the city's attractions didn't receive enough votes to make the final cut.

Rudin said that some of Cleveland's most popular tourist attractions for example, the Rock and Roll Hall of Fame and Museum might not have done well in the survey because they don't appeal to children 12 and under. She said Zagat planned to add a teen section in future editions.

Another resource:

Still haven't decided how to spend your summer vacation? Author Jerome Pohlen might be able to help. His new book, "Oddball Ohio: A Guide to Some Really Strange Places," offers hundreds of bizarre tourist stops throughout the state, from the World's Largest Rocking Chair in Austinburg to the World's First Traffic Light in Ashville.

There are more traditional stops mentioned, as well, including the Great Lakes Science Center in Cleveland and the Glacial Grooves on Kelleys Island.

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Disney Was Unfairly Cast in a Bad Light

Your story regarding the marketing alliance between Disney and McDonald's deliberately distorted the relationship between the two companies to paint unfairly yet another unflattering picture of Disney. ("Fast-Food Chain Has Beef With Disney," June 14).

You deliberately set the tone to imply that McDonald's is unhappy with the relationship, when the companies were on the record saying they want to continue, perhaps in a different form, while the chief critic you cite was anonymous.

The truth of the matter is that this has been a successful and mutually beneficial relationship, and should have been portrayed as such.

John W. Spelich

Vice President,

Corporate Communications

Walt Disney Co.

Burbank

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Disney Trying to Avoid 'R' Rating for LWW

Disney is having a hard time trying to avoid an 'R' rating for the Chronicles of Narnia: The Lion, the Witch, and the Wardrobe from the MPAA, based on the current storyboards and script.

This would most likely be due to the violent war scenes, the sacrifice, and the emotional distress of the children at parts. Here's the word that we've received from Narnian Spy 'NewCreation':

I'm brand new to the site, and have yet to make it my official "Narnia Home" (however, I will be signing up tonight under the nick NewCreation). Just thought you may be interested in knowing that a woman in my church (I am a youth pastor) works for Disney, and has informed me that they are having a difficult time avoiding an "R" rating for The Lion, the Witch, and the Wardrobe. Disney, of course, does not want an R-rating on any of their movies, but as the script and storyboard sit right now, the MPAA has found the material worthy of an R. Let's hope this changes!

They might be heading in the direction of a PG-13 rating. And all this, before one frame has been shot.

The Mighty Ducks traded backup goaltender Martin Gerber to the Carolina Hurricanes on Friday for defenseman Tomas Malec and a third-round pick in next week's draft.

Malec, 22, is largely untested, having played only 43 NHL games in two seasons with the Hurricanes. He spent most of last season in the minors but did play two games with the Hurricanes. He is big, though, at 6 feet 2, 200 pounds, and talented enough to have been Florida's third-round pick in 2001.

"He's a rugged defenseman, a good-sized kid who plays aggressive and will complement the other young defensemen in our system," interim General Manager Al Coates said.

Those young defensemen may be called on sooner rather than later. Three of the Ducks' top six defensemen are on the brink of free agency.

The Ducks have to decide whether to pick up a two-year option on Keith Carney, worth about $6 million, or allow him to become an unrestricted free agent. The Ducks also have two weeks to come to terms with Ruslan Salei and Vitaly Vishnevski or both will be restricted free agents.

Salei made $1.75 million and Vishnevski $1.18 million last season. Officials from Walt Disney Co., which owns the Ducks, are cutting the Ducks' payroll, which was about $54 million at the end of last season. With Malec, the team already has committed $34 million to $36 million to 14 players for next season.

"We are reducing our payroll here one way or another," Coates said. "There are ways we would prefer to do that. We have to make sure we have contingency plans."

Gerber, 30, was a late bloomer but established himself as one of the NHL's top backups. He was eager to get a chance at No. 1 after posting a 2.26 goals-against average and a .918 save percentage in 32 games last season.

Ilya Bryzgalov will step into Gerber's role of backing up Jean-Sebastien Giguere.

Bryzgalov, a second-round pick in 2000, has progressed the last three seasons with minor league Cincinnati. He was impressive in his first NHL start in March, stopping 26 shots in a 3-2 victory over Phoenix.

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Walt Disney 'imagineer' also promotes 52 virtues

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Disney talks up expanded Moviebeam

In an effort to reach movie consumers directly, the Walt Disney company plans to compete with video rental services like Blockbuster through a low-cost service called Moviebeam that Disney is expanding this fall, company officials said.

In interviews this week, Disney executives said Moviebeam--a computer drive that connects to a television and stores and shows movies like a DVD player--is a first step in a broader technology push aimed at becoming more like a retailer in new, digital business arenas.

By shedding its current position as a wholesaler that packages films on videos or DVDs, Disney would reap all the rental revenue instead of sharing it with retail outlets.

Initially, Wall Street analysts see little financial impact on the media giant, which earns revenue of $27 billion a year from theme parks, movie studios and TV networks like ABC. But they say it could prove to be a savvy strategic move to take advantage of increasingly cheap content delivery and storage.

"This is an opportunity for us to have a direct relationship with movie consuming customers," said Peter Murphy, Disney's chief strategy officer. "We are starting at movies, but it doesn't have to stop at movies."

Moviebeam is expected to be a first step toward delivering movies, TV shows, sports and news to a range of products such as advanced cell phones or personal media players--portable gadgets the size of small books that store and play video.

But Disney executives said that before focusing on those future devices, they wanted to show they could reach consumers with a real product in a proven market.

Moviebeam is a set-top box like a satellite, cable or other TV receiver. Its hard drive can store 100 movies, and an antenna receives new films via broadcast airwaves.

Consumers rent the box for a monthly fee ranging from $6.99 to $8.99. They pay another $1.99 to $3.99, depending on the title, to rent each film for a period lasting 24 hours.

Disney launched Moviebeam last September in Salt Lake City, Utah, Jacksonville, Fla., and Spokane, Wash. Last month, it said it would be in three more cities this fall.

If the additional markets prove successful, more cities will be added in 2005, said Salil Mehta, executive vice president for corporate business development.

He declined to be specific about the number of markets Disney would tap, how quickly it would do so and the amount of subscribers who have already signed up. He did say initial customers have exceeded company and retailer expectations.

Customers can enroll at consumer electronics stores like Best Buy or Circuit City Stores.

Mehta said a primary target market is the roughly 30 million consumer homes who rent four or more movies a month and who say they pay $11 to $15 a month in late fees. Disney markets Moviebeam as a way to avoid paying past due penalties.

For consumers, two keys to Moviebeam's success are delivery directly to TVs, and immediate availability. Movielink and CinemaNow, two other direct-to-consumer services, are Web-based and need cabling to reach TVs. Online rental service Netflix takes a day or more to deliver films via the U.S. mail.

For Disney, an important factor is Moviebeam's low cost to start up--roughly $250,000 per city--because it uses standard broadcast airwaves to deliver DVD-quality movies. Mehta said Disney could "light up" the entire United States for an investment of $50 million.

Breaking even requires 2 million subscribers, Mehta said. But for now, the idea is to introduce it slowly in order to make it a success, he said.

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Bring a Friend, Share the Magic!

This summer, share the Disney magic with your friends and family by taking advantage of this special Annual Passholder ticket offer. From June 1st through September 30th, you can purchase 2-Day Disneyland Resort Park Hopper Tickets for the special Annual Passholder price of $79 for Guests over 10 years of age, $59 for Guests ages 3 to 9. It's a great way to experience the wonders of the Disneyland Resort with visiting friends and family!

Terms and Conditions: Present valid Annual Passport at any Main Entrance ticket booth to receive discount. Limit 5 tickets per Passholder per day. Tickets valid 14 days from date of first usage. First usage must be on date of purchase. Last usage must be on or before 10/13/04.

Disney character Donald Duck is among 32 new additions to the Walk of Fame on Hollywood Boulevard in Los Angeles.

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Disney targets video renters

Plans to compete against rental chains with Moviebeam, which stores and shows movies like a DVD.

In an effort to reach movie consumers directly, the Walt Disney Co. plans to compete with video renters through a low-cost service called Moviebeam it is expanding this fall, company officials said.

In interviews this week, Disney executives said Moviebeam -- a computer drive that connects to a television and stores and shows movies like a DVD player -- is a first step in a broader technology push aimed at becoming more like a retailer in new, digital business arenas.

By shedding its current position as a wholesaler that packages films on videos or DVDs, Disney would reap all the rental revenue instead of sharing it with retail outlets.

Initially, Wall Street analysts see little financial impact on the media giant that earns revenue of $27 billion a year from theme parks, movie studios and TV networks like ABC. But they say it could prove to be a savvy strategic move to take advantage of increasingly cheap content delivery and storage.

"This is an opportunity for us to have a direct relationship with movie consuming customers," said Peter Murphy, Disney's chief strategy officer. "We are starting at movies, but it doesn't have to stop at movies."

Moviebeam is expected to be a first step toward delivering movies, TV shows, sports and news to a range of products such as advanced cell phones or personal media players -- portable gadgets the size of small books that store and play video.

But Disney executives said that before focusing on those future devices, they wanted to show they could reach consumers with a real product in a proven market.

Low cost, high potential

Moviebeam is a set-top box like a satellite, cable, or other TV receiver. Its hard drive can store 100 movies, and an antenna receives new films via broadcast airwaves.

Consumers rent the box for a monthly fee ranging from $6.99 to $8.99. They pay another $1.99 to $3.99, depending on the title, to rent each film for a period lasting 24 hours.

Disney launched Moviebeam last September in Salt Lake City, Utah, Jacksonville, Florida and Spokane, Washington. Last month, it said it would be in three more cities this fall.

If the additional markets prove successful, more cities will be added in 2005, said Salil Mehta, executive vice president for corporate business development.

He declined to be specific about the number of markets Disney would tap, how quickly it would do so, and the amount of subscribers who have already signed up. He did say initial customers have exceeded company and retailer expectations.

Customers can enroll at consumer electronics stores like Best Buy or Circuit City Stores.

Mehta said a primary target market is the roughly 30 million consumer homes who rent four or more movies a month and who say they pay $11 to $15 a month in late fees. Disney markets Moviebeam as a way to avoid paying past due penalties.

For consumers, two keys to Moviebeam's success are delivery directly to TVs and immediate availability. Movielink and CinemaNow, two other direct-to-consumer services, are Web-based and need cabling to reach TVs. Online rental service Netflix Inc. takes a day or more to deliver films via the U.S. mail.

For Disney, an important factor is Moviebeam's low cost to startup -- roughly $250,000 per city -- because it uses standard broadcast airwaves to deliver DVD-quality movies. Mehta said Disney could "light up" the entire U.S. for an investment of $50 million.

Breaking even requires two million subscribers, Mehta said. But for now, the idea is to introduce it slowly in order to make it a success, he said.

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Martial arts, Disney just don’t mix

Jackie Chan takes aim at the family film genre in Disney’s new film “Around the World in 80 Days” with mixed results. There is some of the Chan charm that has made the actor an international star, but not enough to overcome a tired story that feels too much like the forgettable Disney era that included films like “The Computer Wore Tennis Shoes.”

Based loosely on the 1872 Jules Verne novel, “Around the World in 80 Days” tells the story of Passepartout (Chan) – a Chinese thief who retakes a valuable jade Buddha stolen from his village.

Passepartout is trying to find a way to return the heirloom to his homeland as quickly as possible and gets his wish in the form of a London inventor named Phileas Fogg (Steve Coogan).

Fogg is ridiculed by fellow London scientists to the point that he makes a wager that he can travel the world in 80 days. Fogg and Passepartout set out on their journey, and meet many familiar faces along the way.

The biggest problem with “Around the World in 80 Days” is the film’s script, which dissolves into nothing more than a series of stops for big name cameos. Some work – Owen and Luke Wilson have one of the film’s best scenes as the Wright brothers – while other cameos, such as California Gov. Arnold Schwarzenegger as a womanizing Turkish prince, fall flat.

Chan does what he can with limited material. The actor’s martial arts ability gets a few scenes, but it’s nothing we haven’t seen in better Chan flicks.

Another fatal flaw is the supporting cast. Chan’s best American films have come when he has a solid comedic actor to play off (such as Chris Tucker in “Rush Hour” or Owen Wilson in “Shanghai Noon”). “80 Days” doesn’t give the actor that luxury. Chan is stuck with an out-of-place Coogan (who I liked in the British film “24 Hour Party People”) and Cecile De France in the obligatory female role. This is De France’s first American film after being tabbed as one of European’s shooting stars, but I have a feeling we may not see her again after this putrid performance. Even the usually reliable Jim Broadbent is wasted.

Director Frank Coraci tries to keep the film going at a breezy pace, but he is saddled with a family film that wants to be a throwback to a bygone era. The only problem is with other superior family fare available (Shrek 2 anyone?), families might throw “Around the World in 80 Days” back out of multiplexes in record time.

Dollar dandy of the week

This week’s dollar dandy is “Hellboy” (B-) a fun comic-book-inspired action film that gets more mileage out of its material than it really should.

Ron Pearlman plays Hellboy, a demon raised from infancy by the U.S. government and used as a defender against the forces of darkness. Hellboy faces his greatest challenge when a group of Nazis, determined to continue World War II, use black magic to bring back Rasputin for their evil cause.

Director Guillermo del Toro does a nice job of capturing a comic book feel for the film and keeps the action flowing at a brisk pace. It’s one of those rare 2004 releases in which a two-hour running time is actually a positive and not a negative.

But it’s Pearlman’s performance that makes “Hellboy” work. He seems to be having a lot of fun underneath all the make up and it transcends to the rest of the film. It all adds up to action fluff that is very easy to take.

“Hellboy” opens Friday at the Plaza 6, where all movies are $1

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                                                 Thursday June 17, 2004
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Three Musketeers Gets Yet Another New Cover

Redesigning the cover art for a DVD release can go through many changes. Take Mickey's new movie, "The Three Musketeers" as an example.

In addition to the new revised cover for "The Three Musketeers," you can also view the new DVD/Plush Mickey set by clicking on the links below.

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That's no horse, it's a unicorn

George started life as a nag toughing it out in Gisborne but in a magical twist of fate has landed an enchanted role in The Lion, the Witch and the Wardrobe.

The station-bred horse was living without a rug on a patch of bare land with nine other horses when Waikanae couple Janine Sudbury and Andrew Froggatt found him.

Ms Sudbury and Mr Froggatt, a horse whisperer, bought 10-year-old George for about $2500 several months ago.

They also snapped up four other horses from Gisborne and took them to their farm at Te Horo, on the Kapiti Coast, the site of their horse training business Horsesense.

Initially unhappy with life, George blossomed with the love and tasty morsels his new owners lavished on him.

The couple advertised horses for sale in a horse trading publication. A woman called and told them she had looked everywhere for a white horse, about 15 hands high, for a role in The Lion, the Witch and the Wardrobe, soon to be filmed in New Zealand.

Having seen photos of George, she bought him for $4500 and asked the couple for help finding more horses.

Ms Sudbury was told George would play the part of the unicorn and she understands he will be ridden by the wicked witch in The Lion, the Witch and the Wardrobe.

British actress Tilda Swinton has been cast as the White Witch.

"He's got lovely big eyes so he will make a wonderful unicorn," Ms Sudbury said.

It would be hard to part with him because he was a real character but she has the chance to buy him back after filming. "He's come a long way from living on that patch of dirt to being a superstar," she said.

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Phil of the Future Premieres Friday, June 18th

Phil of the Future premieres on the Disney Channel, Friday June 18th.

Official Site Click Here

Akira Matsumoto has been named vice president and general manager for Buena Vista Games, Asia Pacific, the global interactive entertainment arm of Disney Consumer Products; it was announced today by Graham Hopper, senior vice president and general manager of Buena Vista Games, Inc.

Effective July 1, 2004, Mr. Matsumoto will assume the position from Buena Vista Games Asia Pacific's current vice president and general manager, Shuji Utsumi, who will be leaving the company to pursue personal interests. "We would like to thank Mr. Utsumi for making a very strong contribution over the years and we wish him well in his new endeavors," said Hopper.

Mr. Matsumoto will lead the Buena Vista Games Asia Pacific business and drive video game publishing and development in the region. He will also manage the company's many relationships with Japan-based video game companies such as Square-Enix, developers of the PlayStation 2 game "Kingdom Hearts," and Capcom, currently developing "Tim Burton's The Nightmare Before Christmas: Oogie's Revenge" video game. In addition to growing the substantial business in Japan, he will also focus on growing the business in important markets such as Korea and China. Mr. Matsumoto has been with The Walt Disney Company for more than 10 years, and was most recently vice president and general manager of Disney Consumer Products Hardlines business in Japan.

"Matsumoto-san is a strong team leader, a great business manager and an avid gamer. I am confident that with his experience in business building and his excellent track record in developing and managing franchises, he will lead our video game business in Asia to further success." continued Hopper.

About Buena Vista Games

Buena Vista Games, Inc. is the interactive entertainment arm of The Walt Disney Company's Consumer Products business unit. The division publishes, markets and distributes a broad portfolio of PC and multi-platform video games worldwide. The company also licenses properties and works directly with third-party interactive game publishers to bring products for all ages to market. Titles for Buena Vista Games fall under two publishing labels: Buena Vista Interactive, which publishes high-profile, multi-platform games based on creative content from the numerous businesses within The Walt Disney Company, and Disney Interactive, which markets and distributes the company's interactive entertainment based on Disney branded properties.

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Disney knows how to reel in the tweens

It makes almost no sense for a cranky critic to evaluate a program like The Disney Channel's "Phil of the Future." The appeal of the show's hammy acting and its ceaseless parade of tinny boinging, screeching, clunking sound effects are lost on the fully grown. But make it through the first 10 minutes, a chunk that could drive you to Britney levels of insanity, and you'll get used to it. You'd better, since tomorrow the show premieres in four back-to-back 30-minute episodes starting at 7 p.m., and your resident Disney addict will demand that you watch.

Honestly, though, adult opinion doesn't matter here. It's the kids, the audience that forced us to live with Barney and The Wiggles, that'll make or break this show. And given Disney's success rate over the past couple of years, Mom and Dad, you'd better get used to hearing about Phil Diffy and the star who plays him, Ricky Ullman.

Disney's shows aren't so much schedule fillers as tween idol generators. If Michael Eisner could have enslaved the Olsen twins, he would have. But Raven-Symone and Hilary Duff did quite well instead, thank you very much.

Ullman could be next. With his straight, white teeth and sweet, yet barbed, sense of humor, Ullman's the sort of squeaky-clean dreamboat your tween daughter's bound to feel a little funny about. If he doesn't become the channel's next franchise driver, perhaps Disney can make a multimillion-dollar cookie out of his cute-as-a-button co-star, Alyson Michalka, who plays Phil's best friend, Keely.

Before any of that can happen the audience must embrace the series' inherent dippiness, a trait made to appeal less to pre-adolescents than tiny kids, especially ones who want to grow up to become not a vet or a doctor, but a teenager.

Fifteen-year-old Phil certainly makes that time of our lives more appealing than the angst-filled, multilayered characters on a tween-driven show on The N, Noggin's high-quality preteen lineup, but that could be caused by Phil's from-the-future status.

You see, along with sister Pim (Amy Bruckner), dad Lloyd (Craig Anton) and mother Barbara (Lise Simms), Phil took a time-traveling vacation from the year 2121, an era of world peace and understanding. Unfortunately they got stranded in our time, which had to stink on a number of levels.

It's really too bad we don't get to experience that moment, or any other scene of the family acclimating to a forced sentence in "The 2004 House." When we join them, they're a happy bunch, and Phil is flanked by two sweet gal pals whose perpetual crushes and dating become a wellspring of rim shots for the savvy 22nd-century lad.

Actually, very little about Phil would indicate the Diffys are from the future, other than the family's chronic, spaced-out bliss and an assortment of cool toys.

We're talking about amazing devices -- futuristic flying cars, remotes that can transform one's appearance, meatloaf in a can -- that have the potential to become the bane of any parent's existence if this TV show takes off. "Phil" isn't the best kids TV show, but it has merchandising potential and the accompanying astronomical nag factor coming out of its tailpipe.

Other than introducing some object of Jetsonian significance in every episode -- or Flinstonian, since they pick up caveman pal Curtis (JP Manoux) along the way -- Phil's a typical teen boy. Oh, sure, he also is stuck in Keely's Friend Zone, but he doesn't seem to dread that in the least. Wrestling with how to become more than Keely's friend would entail imbuing the script with depth, which may be asking too much of a Disney series.

But what does it say about "Phil" that the pratfalls and shallow goofiness of "Lizzie McGuire" and "That's So Raven's" eccentric cheese look absolutely sophisticated in comparison to "Phil of the Future"? Probably not much.

The main thing is, "Phil of the Future" is fun. That's what matters to a kid's tough judgment more than a refined plot, dialogue or acting skills. And in Disney's competitive point of view, they're the customers who are always right.

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Kids Flock To Disney ICE For Summer Fun At Mighty Ducks Hockey Camp

The Mighty Ducks are holding a two-session summer hockey camp for kids of all skill levels, ages six through 15 at Disney ICE. Kids participating in the camp will learn hockey fundamentals such as stick handling, skating and teamwork, gain on-ice game experience as well as street hockey skills. Week one of the camp will take place from June 21-25 and week two will be August 16-20.

The camp includes, a Mighty Ducks jersey, on-ice instruction and appearances by Mighty Ducks players and coaches from the Anaheim Junior Ducks and Disney ICE, two and a half hours of on-ice practice and two hours of off-ice teaching each day, and video and chalk board instruction for a cost of $375.00.

All campers are required to have their own hockey equipment to participate in the camp.

To register or for more information regarding the Mighty Ducks Hockey Camp, contact Art Trottier at (714) 518-3201.

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Sensations return to Disney World

First impressions mean a lot and it's good to be remembered. That's what got the Stage Right Sensations their second booking at Walt Disney World, in Florida, where on Monday they performed at Epcot Center for the theme park's Magical Music Day.

Two years ago, the Greensburg-based performing arts company got the gig the first time they tried. This year when they applied, that memory lingered on.

"The people at Disney said they were so impressed last time that they're looking forward to us coming back," Stage Right artistic director Tony Marino said before they left for Florida. "They are very selective about who they pick because they have to be of high quality and live up to the standards of Disney entertainment."

Stage Right was founded about seven years ago, and the theater company and the Sensations were created two years later. The Sen sations includes 45 performers from 8 to 18 years old, with 12 teens in the Select Sensations.

"This is one of the biggest groups to ever perform at Disney World," Marino said. "They usually have groups of about 20 to 25."

The Sensations performed a medley of Disney songs and then have the remaining days, until their return on Thursday, to have fun at the park and to attend a one-day workshop.

"Last time, we did a choreography and vocal workshop and the kids were so wonderful that we were asked if they could tape them in this workshop to use as a promotional," Marino said.

Members of the Sensations raised money to pay for their trip, and John Noble, of Greensburg, who has children in Stage Right, sponsored Atilla Yuessel, a foreign exchange student who studied with Stage Right and was in the recent production of "Les Miserables." He is returning to Germany next week.

"The kids just loved Atilla, and he's going along with us as a roadie so he can have the experience at Disney World," Marino said.

The trip also included a number of parents, musical director Hazel Braun, and Marino's wife Renata, who is the company's choreographer.

The Stage Right Sensations appear at many local events, including church festivals, the Westmoreland Arts and Heritage Festival at Twin Lakes Park, at St. Clair Park in Greensburg, and at Idlewild Park, near Ligonier.

Four members of the group have graduated from high school and will study theater arts in college. Annie Brady is in the theater program at Seton Hill University, Brian Karcher is in Clarion University's theater and communications program and Jaimie Gensamer will study theater at Kent State.

"Tara Geisler is one of only eight girls selected from the entire country for Penn State's musical theater program, which is a pretty big deal," Marino said. "This trip to Disney World is a really neat way for the four of them to sign off, and it's a tremendous outreach for all the members' talent. This will be a really great summer for everyone."

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College student will be lifeguard for Disney College Program

Now a student studying sports broadcasting at North Central College in Naperville, Kip Michalak, 20, of Plainfield, recently was accepted into the Disney College Program, said his mother, Carol Michalak.

Kip, a certified lifeguard, will work in that position at Disney World.

"A lot of times, they don't give the desirable jobs to the students; they work in maintenance, in food service or as maids," said Carol.

Kip will fly to Disney World in Florida on Monday and live there for the next six months.

He will live in an onsite apartment with several other college students who also are part of the program and will take business courses while participating in the program.

"He'll learn a lot," said Carol. "There will be kids from all over America, as well as international kids who are also college age."

At North Central College, Kip is still the same sports-centered young man he was as a student at Plainfield High School.

During his senior year, Kip took three gym classes: one focused on team sports, another on individual sports and the third allowing him to assist the teachers. In college, he plays three sports, soccer, basketball and track, something that does not happen too often, said Carol.

"He made the president's list with his high grade point average," she said. "And we said, 'All right, if you can play three sports and make the president's list, go for it."

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ABC Plucks Another Exec from Touchstone

The newest hire at ABC probably won't have to move her office furniture very far. Francie Calfo, a producer and former development executive at ABC's studio cousin, Touchstone TV, will join the network as executive vice president of development. In the newly created position, she'll oversee the making of all scripted series and report to ABC Entertainment president Stephen McPherson. "Francie is one of the most gifted, determined and competitive executives around, and her development instincts are second to none," says McPherson, who was president of Touchstone TV before moving over to the network in April (both are owned by Disney). "We're lucky to have her join our team as we begin to chart a new course for ABC."

Calfo most recently worked as an independent producer with a deal at Touchstone. In this spring's pilot season, she served as an executive producer of "Life As We Know It," which found a spot on ABC's fall schedule, and "The Service," another drama that wasn't picked up. She worked in drama development at Touchstone from 1999-2002, rising to senior vice president, drama series, at the end of that time. She had a hand in bringing such shows as "CSI" and "Alias" to life in those years. Calfo also worked in Touchstone's creative affairs division and as vice president of research at Buena Vista TV, another Disney division.

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                                             Wednesday June 16, 2004
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Technical Glitch Delivers a Big Dose of Disney

Cable giant Comcast Corp. spent much of the first half of this year trying to buy the Walt Disney Co., a move the entertainment giant rebuffed. For many Washington Comcast subscribers on Monday night, however, it looked like Disney had taken over Comcast.

On Monday night between about 8:30 and 11:30, many of Comcast's digital-cable subscribers in Washington were shown nothing but the Disney Channel on all of the company's channels. The clicker was useless for about an hour solid and then several times thereafter for several minutes each time.

Comcast subscribers who tuned in to the "Law & Order" repeat on TNT, for instance, suddenly found themselves watching the Disney Channel's "Kim Possible," an animated series about a crime-fighting schoolgirl. Then, it was back to "Law & Order," but with occasional interruptions of one to three minutes, viewers reported.

Some may have thought Disney chief executive Michael D. Eisner was exacting his revenge on Comcast. But the programming glitch actually was caused by a malfunctioning piece of equipment at Comcast's Michigan Avenue technical headquarters.

In the event of an emergency, every cable company has assigned one of its channels to broadcast the government's emergency alert signal, which would instruct viewers as to the nature of the situation and what they should do. In Washington, Comcast picked the Disney Channel for its central location on the lineup (it's Channel 45), its wide bandwidth and its strong signal to ensure the alert would be widely seen, said Mitchell Schmale, a Comcast spokesman.

On Monday night, a piece of equipment regulating the emergency system malfunctioned. It switched Washington digital-cable subscribers (Comcast will not say how many it has) over to the Disney Channel. (Schmale said the Disney Channel was chosen well before Comcast made the unsolicited $56 billion bid to buy Disney in February, which Comcast withdrew in April.)

When the emergency system is activated, viewers' remote controls are disabled, which gave the unintentional Disney coup d'TV an eerie feeling, harking back to the opening monologue of the 1960s television sci-fi anthology, "The Outer Limits," which told viewers, "we are controlling transmission."

Comcast said the problem began about 9:30 p.m. and was fixed after about an hour, though there were intermittent interruptions after. Some customers, however, noticed the unasked-for Disney programming an hour earlier.

Yesterday, the Disney Channel expressed tongue-in-cheek delight with the impromptu schedule change.

"As a result of the great programming, we're used to rapid growth with Disney Channel, but this exceeds even our expectations," said Patti McTeague, a Disney Channel spokeswoman.

For some viewers, the incident probably was the manifestation of their worst fears about corporate media consolidation, an Orwellian vision of a future where Big Brother is replaced by Mickey Mouse. For the less conspiratorial, it was a major annoyance, an interruption for viewers trying to watch the Cubs-Astros baseball game on ESPN or to find out who won the WB's "Superstar USA" reality show.

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Disney has a triumph in NBA finals

Yes, the Detroit Pistons upset the Los Angeles Lakers and won the NBA championship Tuesday night, signifying a major accomplishment.

Through the first four games, ABC had easily surpassed its NBA ratings from a year ago. In the fifth game broadcast, ABC said, the network had a 15.4 overnight rating, the highest for an NBA Finals game in five years. Each ratings point represents 755,000 viewers.

Disney's stock fell 5 cents to $24.66 in Wednesday trading, but still outperformed other media stocks on a day when many were wallowing in red ink..

Other media stocks fared less well. Viacom dropped 29 cents, or 1 percent, to $37.30. (Viacom is a significant investor in the publisher of this report.) Knight-Ridder tumbled 2 percent, or $1.47, to $73.23, amid a report that its circulation revenue fell 3 percent in May, as analyst Ann Straub of UBS pointed out..

Further, Blockbuster, still reeling from the alliance of Starz Encore and Real Networks on Monday, declined 18 cents, or 1.2 percent, to $15.29.

Starz and Real Networks are teaming up to provide a plethora of movies on broadband, a significant step to hurting such companies as Blockbuster and Hollywood Entertainment, which rent and sell movies in brick and mortar stores across the country.

Disney's sports 'synergy'

Disney has needed all the help it could get in its handling of ABC. The network has often been ranked behind its competitors, CBS, NBC and Fox.

ABC has been blasted for its inability to devise successful situation comedies and dramas -- as well as for its failure to keep pace with CBS and Fox when it came to coming up with popular reality-TV ideas.

Remember, a year ago, in the maiden year of ABC showing the NBA games, the low-ranked television network was blasted by critics for airing dull broadcasts and the ratings suffered because of the sluggish play of the two finalists, the victorious San Antonio Spurs and the vanquished New Jersey Nets.

But this year Disney, which also owns ESPN, looked like champs.

Disney demonstrated that "synergy" -- to use that dreaded word that the media giants love to employ -- can exist in conglomerates. ABC showed the games in primetime and afterward, the network handed the postgame coverage to its sister network, ESPN.

The all-sports network was able to show the post-game hubbub throughout the series -- the most memorable sight was the long face in loss after loss of the shocked Lakers center, the 7-2 and 340-pound Shaquille O'Neal, fielding questions from reporters. The notion that the dominating player suddenly looked very human was striking and ESPN did a good job of projecting it.

Plus, ABC improved the quality of its broadcasts. It brought in Al Michaels, the voice of ABC's "Monday Night Football" broadcasts. While an argument could be made that Michaels can appear to be a bit on the bland side, he is a professional play-by-play announcer who can handle the ebbs and flows of the action on the court. Glenn "Doc" Rivers who ably assisted Michaels in providing commentary, was also an excellent addition.

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Around the World in 80 Days

Disney's 80 Days is fun -- just not out of this world.

Jackie Chan is a movie sidekick's dream -- a guy who carries the action, the story and the comedy in his movies, leaving room for that second banana to score laughs and "get the girl." Because Jackie almost never does.

Steve Coogan is the latest Chan-banana. The 24 Hour Party People star is inventor Phileas Fogg to Chan's Passepartout in Disney's genial, good-looking goof on Around the World in 80 Days, a martial arts comedy and digital travelogue of the Jules Verne novel. In this World, it's all about Passepartout.

Chan plays Lau Xing, an intrepid thief who comes to London to steal back a jade Buddha that was swiped from his Chinese village. But robbing the Bank of England puts the bobbies on his tail. Luckily, he falls in with quixotic inventor Fogg, whose creations have made him unpopular with Lord Kelvin (Jim Broadbent). Lau tricks Fogg into taking Kelvin's bet that he can circle the globe in 80 days so that Lau can escape the law and return the Buddha.

Fogg's inventions should make the trip easy. He has cooked up inline skates, steam carriages and flying machines. But somehow, as they bounce from Paris to Munich, Istanbul to India, it's always Lau (who renames himself Passepartout) who keeps them on task.

A dragon lady, Fang (Karen Joy Morris) is out to foil Lau and have her legions of kung fu minions steal the Buddha. And Inspector Fix (Ewen Bremner) is assigned the job of stopping Fogg by the sneaky Lord Kelvin.

The travelers take up with a young French lass played by Cecile de France, who lands them in trouble with a lecherous hot-tubbing Turk (Arnold Schwarzenegger).

Director Frank Coraci did travel documentaries before making Adam Sandler's The Wedding Singer. He strikes a nice, jokey road-trip tone here. The film does a decent job of hiding the production's limited travel budget with digital transitions that look like cartoons that dissolve into real trains, ships and the Great Wall of China.

Chan's marvelous battles -- pie fights without the pastries -- are staged here in an impressionist art gallery, a Chinese village and the warehouse holding the unassembled pieces of the Statue of Liberty. Less welcome distractions are the cameos, from Arnie (dreadful) and Rob Schneider as a San Francisco bum (worse) to Macy Gray (!?) and others. At least there's a cute bit with the Wright Brothers (the Wilson brothers, Owen and Luke) in the desert Southwest.

The most promising adaptation to the story is the inclusion of the Chinese Robin Hood, Wong Fei Hung, played by Chan's pal, Sammo Hung. But they do nothing with him.

And they do little more with Coogan. The heart of 80 Days is missing, of a proud Anglo-centric gambler and man of science who learns that "it is a small world after all." These Days feel like a future ride at the Magic Kingdom, a feeling reinforced by a certain annoying theme-park song pasted over the closing credits -- credits which, doggone it, don't include the usual Chan outtakes.

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Disney offers olive branch to smooth over row with Pixar

The Walt Disney Company has held out an olive branch to Pixar, the computer-animation firm behind hits such as Finding Nemo and Toy Story, in the hope that the two might resume talks over a lucrative distribution deal.

Bob Iger, the president and chief operating officer of Disney, told The Times that the media conglomerate would like to continue distributing films for Pixar when an existing deal, which has generated more than $2.5 billion (£1.4 billion) in box office receipts, ends next year.

The two companies fell out in January after spending more than a year trying to agree on the terms for a new contract. Pixar has since held informal talks with several rival distributors, including Time Warner, Sony and Viacom.

The loss of the deal with Pixar increased the pressure on Michael Eisner, Disney’s long-serving chief executive, at a time when the former board members Roy E. Disney and Stanley Gold were mounting a campaign for his removal.

Steve Jobs, Pixar’s chief executive, is not thought to have had good relations with Mr Eisner. However, Mr Iger, who is seen as a strong candidate to succeed Mr Eisner and spoke of his ambition to do so, said that he was interested in reopening talks.

“The door is certainly open, from our perspective,” Mr Iger said. “It has been a very successful relationship between Disney and Pixar, and I think it would be better for us to be partners than apart.”

Analysts estimate that the Pixar deal has accounted for up to half the profits at Disney’s film division in the years when one of the Pixar titles has been released. Finding Nemo, released last year, generated more than $850 million.

Disney currently distributes all of Pixar’s films in exchange for 12.5 per cent of box office revenue, and the two companies split the profits from spin-offs.

Disney also has the future rights to make sequels of all movies made by Pixar, including the forthcoming Cars and The Incredibles. However, the deal ends after the release of Cars next year.

Earlier this month Mr Jobs indicated that a fresh deal between Pixar and Disney was not impossible. “We try to stay flexible. We’re willing to rethink anything, but so far our phone hasn’t rung with any new thoughts from anybody,” he said. Pixar was unavailable for comment yesterday.

Disney’s financial returns have beaten market forecasts for the first two quarters of the year, but its film division is one of two business units that are worrying investors. The other is ABC, its underperforming US television network.

Disney Studios has followed up a record year in 2003 with two films that failed at the box office — Hidalgo and The Alamo. However, Mr Iger said he was confident that forthcoming films such as King Arthur and The Incredibles would offset earlier disappointments.

Meanwhile, Mr Iger said he was hopeful that Disney’s investment in Euro Disney, the loss-making French theme park operator, would eventually pay off. “It’s the most popular attraction in Europe, but it’s always been saddled with enormous debts,” he said.

Disney, which owns 39.1 per cent of Euro Disney, is thought to have committed €100 million to a €250 million rights issue at the company and is helping to negotiate a new deal with banks covering €2.3 billion in debts.

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New GameCube memory card woes

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French or English?

While not yet confirmed officially it seems as if the guests of the AP preview the night before will be treated to the French version.

Walt Disney Co. Chief Financial Officer Tom Staggs said on Tuesday that the rise in sports programming costs was decelerating as Disney prepared for new talks with the National Football League.

"I think you will see in general a moderation of the programming cost increases at ESPN from what we've seen, say, over the last five to seven years," Staggs said at an investment conference hosted by Thomas Weisel Partners.

"The next big negotiation is likely to be the NFL," he said. "We are expectant that we will be able to acquire that programming at a reasonable price level that continues our ability to grow ESPN going forward."

The current eight-year contract has two more seasons, 2004-2005 and 2005-2006.

Disney's ABC network recently cut coverage of the National Hockey League, and ESPN trimmed the number of NHL games it shows on its channels as well. The two coordinate on sports coverage and advertising sales.

Staggs said that the sports cable network was still selling advertising space for the coming NFL season. ESPN has sold 40 percent of ads during advance sales in previous years and would probably sell about that amount this year, he said.

Prices for advertising, in terms of cost per thousand subscribers, were rising higher this year than for broadcast. ABC had increases of 5 percent to 6 percent by that standard.

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New "Chronicles of Narnia" Banners Revealed

New banners were revealed at the New York Licensing Show for the upcoming Disney film, "The Lion, The Witch, and the Wardrobe." This will be the first film in the "Chronicles of Narnia" series that Disney is planning.



The images were from 7 tall banners that can be pieced together in sequence to create a looping of one giant image. In other words, as long as you keep them in order, you can start with any of the 7 images and they piece together to make one picture.

A second piece was revealed that gave a good look at the artwork for the title of the film. All of these can be downloaded by clicking on the links below.

Official word was also announced about when filming will begin. On June 28, about 2/3 of the production will be based in Auckland. Then they will head to the South Island around mid-October to complete filming. The film is planed to open worldwide in December 2005.

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DISNEY-MIRAMAX SPLITSVILLE?

WALL Street is salivating over the prospect that Disney will cut loose the Weinstein brothers.

As tensions escalate between Miramax — the studio founded by Bob and Harvey Weinstein — and its corporate parent Disney, investment bankers are making the rounds pitching an idea that would rock Hollywood: for the Weinsteins and Steve Jobs' Pixar Animation Studios to join forces, sources told The Post's Tim Arango.

Both Harvey Weinstein and Jobs are creative geniuses, and both have been waging their own battles with Disney's Michael Eisner, who couldn't come to terms on a new contract with Pixar ("Toy Story" and "Finding Nemo") after belittling Pixar's importance to Disney as part of a bizarre negotiating strategy.

Eisner has recently said that Miramax is a drain on Disney profits. "What is the point of degrading one of your assets?" asked one insider. "This is exactly what Eisner did to Pixar and look what happened there." Pixar is now looking for a new distributor for its computer-generated hits.

While there have not yet been negotiations between Jobs and the Weinsteins, bankers are busy drawing up such plans, sources said.

In a television interview on Sunday, Harvey Weinstein said, "I'd be more than happy to work out everything amicably with [Disney]."

However, all signs point to an ugly divorce. Disney and Miramax have long been at odds, but sources say the relationship has never been worse and that it appears increasingly likely that the Weinsteins will be cut loose from their Disney deal before their contract ends next year.

The two sides have been fighting over compensation and how much to spend making movies. Most recently Disney refused to allow Miramax to distribute Michael Moore's George Bush-bashing flick "Fahrenheit 9/11."

Alternatively, the Weinsteins could buy Miramax back from Disney, and Eisner has lately indicated he would consider entering negotiations.

A separate pitch bankers are making is for a Weinstein-led group to acquire MGM, which is on the block for roughly $5 billion. Under this plan, sources said, the Weinsteins could revive MGM's production arm while continuing to milk the studio's vast film library.

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Ten Years on Broadway

Ten years ago today, The Lion King opened in New York and Los Angeles. Disney's 32nd animated classic would go on to become the top-grossing animated film, top-selling videocassette, and winner of two Academy Awards.

Michael Eisner saw a gem when Disney paid $5 billion for a kids cable channel. But nothing was as it seemed.

The scent of money was in the mountain air.

Walt Disney Co. Chief Executive Michael Eisner had come to the resort town of Sun Valley, Idaho, with his company's wallet wide open — a risky move at a gathering of voracious moguls.

The year was 2001, and Eisner was under pressure to bulk up Disney, much as his competitors had done through mergers and acquisitions. America Online was now the owner of Time Warner. Media giant Viacom had gobbled up CBS, along with some cable channels.

Everyone but Disney, it seemed, was in the hunt.

"Acquisitions are a tricky business," Eisner had cautioned shareholders a year earlier. "Companies often pay too much for other companies … because they are afraid to let cash burn a hole in their pockets."

But Eisner thought he finally had found a plum, and he was determined to snatch it at the luxurious Sun Valley confab. The private gathering, hosted each July by investment banker Herb Allen, brings together the world's most influential media leaders for recreation, speeches and deals. It was there, six years earlier, that Eisner had earned wide acclaim with his surprise purchase of Capital Cities/ABC.

This time, the story would be different.

Eisner left the mountain summit with an ailing cable channel called Fox Family, along with some foreign assets, for which he agreed to pay $5.3 billion. The negotiations lasted less than an hour. One of the beneficiaries, News Corp. Chairman Rupert Murdoch, would later kick himself. He told associates that Eisner was so eager he might have paid a billion more.

Amid the many financial problems Disney has encountered in recent years, few have revealed more about the company's inner workings and shortcomings than the saga of the cable channel now called ABC Family.

Today, three years later, the channel is worth billions less than its purchase price.

The acquisition has suffered through a series of miscalculations and missteps, many of which may have been foreseeable, current and former Disney executives say. The financial projections were flawed from the start, they say, and the programming strategy never got off the ground.

When the former chief executive of BBC America takes over as president of ABC Family next week, he will inherit a troubled financial asset that has become a professional liability for Eisner.

Eisner's critics — including former board members Roy E. Disney and Stanley P. Gold, who approved the deal — have used the channel's struggles as an illustration of the kind of management that they contend led to the company's financial slide. The ex-directors said they had no way of knowing that management's projections would fall so short.

Eisner and other Disney executives today concede that they overpaid. But they say the obstacles to success had more to do with the shifting economics of television than with any failures of management.

During a recent session with media analysts in New York, Eisner assured them that the channel's fortunes were turning, with ratings and revenue on the rise. Viewership jumped 18% this year, bringing in the biggest audiences since Fox's ownership.

"The Family Channel," he told the assembled skeptics, "is the definition of a dog in the minds of everyone in this room, which is turning into a show dog."

Others aren't so sure. They think it may take years, if ever, for Eisner's canine Cinderella story to find a happy ending.

A Plan to Revolutionize TV Broadcasting

Murdoch and his partner, TV mogul Haim Saban, needed someone with deep pockets to bail them out.

They had paid nearly $2 billion in 1997 for a cable channel in the competitive world of children's television. At the time, Murdoch's Fox TV network was losing ground to cable outlets such as Nickelodeon. Saban, whose television library included the "Mighty Morphin Power Rangers," feared being shut out by channel owners that were increasingly airing shows that they produced or financed.

But within three years — after management changes and failed programming strategies — Fox Family Channel was struggling. The two men sent word to Wall Street that they were ready to sell.

Before the first private jet touched down in Sun Valley, Eisner hoped he'd be leaving with a new trophy. He'd been discussing the possible purchase with his most trusted lieutenants for months. When the parties secretly met at the retreat, it became clear that these would be no ordinary negotiations.

Eisner stunned the sellers by promptly asking them to name a price that would shut out potential competitors, sources familiar with the meeting said. Smelling desperation, Murdoch and Saban said they wanted $5.5 billion, far above the approximately $3-billion value Murdoch's own bankers had privately placed on the asset.

They also told Eisner there would be no dickering over price or they would put the channel up for auction. When Eisner balked at paying for a costly and money-losing Major League Baseball contract that was included in the purchase price, the response was the same: Take it or leave it. In the end, he took it all.

When the deal was pitched to Disney's board of directors, some wondered aloud whether the company was paying too much. Eisner conceded that the price was on the high end. In fact, it was the richest cable channel purchase of its day.

But Eisner and his top executives assured the board that their financial projections justified the cost, especially at a time when cable channels were hot properties.

Eisner said Disney would revolutionize broadcasting. His vision: to take shows on the company's ABC broadcast network and rerun, or "repurpose," them that same week on the cable channel. This, he predicted, would open up a second stream of advertising revenue for the same program, on top of the money cable operators would pay Disney to carry the channel.

"There won't be many opportunities like this one," then-board member Andrea Van de Kamp quoted the chief executive and his management team as saying. The directors gave their unanimous consent.

Wall Street was not so trusting. Disney's revenue projections were dismissed as unrealistic. The company's credit rating was downgraded.

To some in the investment world, it appeared that Disney either bungled its forecasts or pumped up the numbers to make the channel's price look better.

For example, two knowledgeable insiders said, Disney executives based their advertising projections in part on the rates USA Network was charging. The problem was that USA was always near or at the top of the cable ratings, whereas Disney's new acquisition had been languishing at No. 17 in daily viewership.

Compounding the problem were the Sept. 11 terrorist attacks, which led to a general erosion of the advertising market.

Beyond all this, the sources said, Disney executives believed they could muscle cable operators into paying huge increases of up to 35% to carry the channel. They were wrong.

Operators refused to shell out that kind of money for a flagging channel. In some cases, Disney ended up getting less than Murdoch and Saban did.

Still, according to regulatory filings, Tom Staggs, Disney's chief financial officer, and Peter Murphy, its chief strategist, each were rewarded $1-million bonuses "for extraordinary services" that included bringing the cable channel into the Disney family.

In theory, Eisner's strategy to recycle ABC programs was good. After all, NBC's hit drama "Law & Order" had found a second life on cable after airing earlier in the week on the network. In execution, though, the idea was a no-go.

That harsh realization came during a meeting of high-level executives from throughout Disney's television and studio empire, who weren't consulted before Eisner's $5-billion handshake deal.

When the group began talking about "repurposing" ABC's shows, a hand went up, witnesses say. It belonged to Mark Pedowitz, the network's business affairs chief.

"We can't do that," he said of the plan, delivering a gut punch to the room's upbeat mood.

Pedowitz explained that the company could not simply take a show and put it on another channel without renegotiating contracts with the actors and others involved in the productions. He said such renegotiations, although possible, would be time consuming and expensive.

Some of the network's most watched shows — those that might succeed on cable — were untouchable because they were headed to syndication. Among them: "The Practice" and "Spin City."

Although Pedowitz signed up some shows to repurpose, mostly those produced by Disney's Touchstone Studios, none were close to the stature of a "Law & Order" to draw viewers.

Eisner's public boast that ABC Family represented "the beginning of a new trend in the American broadcast and cable environment" now seemed premature, at best.

As the months advanced, viewers tired of B-list movies and reruns of "7th Heaven." Ratings and revenue dived.

Deciding that dramatic changes were needed, Disney management pulled in television executive Angela Shapiro, who had spent seven years overseeing ABC's daytime lineup. She was promised free rein to create a new strategy for ABC Family.

Among other things, about $1 million was spent on consultants, who concluded that viewers 18 to 34 were ripe for the plucking. A marketing firm came up with a relatively hip name: XYZ, a bookend to ABC. Advertisers, hungry for shows with youth appeal, were impressed.

So were Disney executives, until they were blindsided by some fine print. The word "family," they were told, must remain in the name — a certain turnoff for the young crowd being targeted, the marketing experts said.

That mandate was contained in contracts Disney and previous owners signed with cable operators. The requirement dated back to the channel's creation in 1977 by evangelist Pat Robertson, who wanted an identifiable family haven for his show "The 700 Club."

Disney worried that changing the name would give cable operators ammunition to drop the floundering channel or provide them with leverage to negotiate better deals.

Said one former Disney executive: "Months of work, an entire summer, was just thrown away."

Noticeable Climb in Ratings and Ad Revenue

Last year, an internal study disclosed that ABC Family was worth about $2 billion less than the company had paid. Some at the top of Disney debated whether federal rules required them to inform shareholders of the drop and adjust the company's books. They decided neither was necessary.

By the fall, ABC Family had hit a low-water mark. Instead of doubling cash flow to $300 million, as it had projected to investors, the channel had pulled in just a third of that, according to Merrill Lynch & Co.

Murphy, one of the deal's architects, proposed a solution to the whole problem: "Blow up" the channel and start over.

"People were getting a bit frantic looking for a quick fix," one executive said.

Instead, management tried with varying success to ignite ratings with reality-based series and movies created specifically for ABC Family — the exact opposite of repurposing.

One of the most successful new shows, "Switched," chronicles the exploits of teens who change places.

The channel's experiment with original movies has been mixed, despite the involvement of some big names.

In spring, the channel heavily promoted "Brave New Girl," based on a book by pop star Britney Spears and her mother. But the premiere generated the channel's "lowest original-movie marks in quite some time," a Disney memo said.

Still, company executives say they are encouraged by a noticeable climb in recent ratings and advertising revenue.

"I have a strong belief in the value of our channel," said Anne Sweeney, who co-chairs Disney Media Networks.

"You must go through the experimental phase, but we've worked extremely hard to clarify our vision and now we are going to carry it out."

Former board member Van de Kamp, who was ousted last year amid clashes with Eisner, said everyone involved — including the board — must shoulder blame for the challenges facing ABC Family.

"None of us really understood to what extent we overpaid," Van de Kamp said.

"We all got carried away with the enthusiasm and concept of the purchase. But at some point you have to rely on management's projections."

Network holdouts CBS and ABC are wrapping up early sales of television commercial time after a standoff on prices that stretched negotiations for several weeks, media buyers and network executives said Monday.

Viacom Inc.'s CBS and Walt Disney Co.'s ABC are the last of the top four U.S. networks to finish advance advertising sales for the 2004-05 broadcast season. Advertisers commit to buying commercial time up to 12 months in advance in the annual market known as the upfront.

CBS, which benefited from strong ratings for such shows as its "CSI" crime drama franchise, appeared to be the only top network to significantly raise its take, with about $2.4 billion in sales — up from $2.2 billion a year ago. The network also took the lead in price increases with an estimated 10% rise.

Network UPN, also a Viacom unit, closed about $350 million in commitments, up from $250 million a year ago, with average price increases close to 9%.

Nearly a dozen new advertisers booked time on CBS, including four food companies, while returning fast-food chains and movie studios remained strong buyers.

ABC performed slightly better than expected, given flagging ratings. The network secured price increases of 5% to 6% and took in $1.5 billion to $1.6 billion, excluding sports and other special events, compared with about $1.7 billion a year ago.

"It shows that we still value broadcast television," said one media buyer. "With cable, you can still walk away from a network. It's a little harder to walk away from broadcast."

In all, the networks appear to have taken about $9 billion in upfront commitments compared with a record $9.3 billion a year earlier, with average price increases of about 7%, said Jack Myers, industry analyst and editor of the Jack Myers Report.

Cable networks are still writing deals but appear to have boosted their take as much as 20% from a year ago to $6.3 billion, with average price rises of 6% to 7%, he said.

The upfront market was vastly different from last year's heated horse trading session, which closed within a few days and drew double-digit price increases for the networks.

Advertisers warned the networks this year against demanding similar price increases per thousand viewers as broadcast TV loses viewers to cable and other media.

"Everything came off in almost a best-case scenario," Myers said of this year's upfront. "The marketplace didn't get out of hand and the networks really held to their guns in terms of pricing."

ABC and rivals NBC and Fox also sold about 5% less commercial inventory than a year ago, betting on a strong scatter market for shorter-term ad purchases.

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TV veteran fires first shot in fight for Disney job

BOB IGER, president and chief operating officer of the Walt Disney Company, has for the first time publicly expressed his wish to take over control of the Magic Kingdom from Michael Eisner, its long-serving and controversial chief executive.

Mr Iger, a television industry veteran, has thrown his hat into the ring in a pre-emptive strike against a line-up of potential challengers led by Mel Karmazin, the former Viacom chief operating officer, who quit the rival media conglomerate this month and is thought to be a top candidate to succeed Mr Eisner.

Other possible contenders include Meg Whitman, chief executive of eBay, Jeffrey Bewkes, the veteran Time Warner executive, and Steve Burke, who ran the ABC network.

Disney’s second-in-command told The Times that the company’s board “is aggressively dealing with the subject of succession” and that he saw himself as a prime contender to assume the top job.

“I would like to succeed Michael. Looking at internal and external candidates, I consider myself to be in the running, so I think it’s fair to say that the subject of succession is a fairly important one for me,” Mr Iger said during a visit to London this week.

He added: “Disney is a company I’m obviously very committed to and I love. I have found that over the years when I have done my job well I have been fully rewarded, and I suspect that whatever my future holds it will be very much based on my performance.”

Mr Iger said that Disney’s non-executive board members discuss the issue of a successor to Mr Eisner at every board meeting. “There is an ongoing and very aggressive process, involving the whole nonmanagement board,” he said. “They’re planning for an emergency, they’re also planning for voluntary and involuntary succession.”

The issue of succession at Disney gained momentum when dissident shareholders and former board members Roy E. Disney and Stanley Gold began campaigning for Mr Eisner’s removal at the annual shareholder meeting in March. A hostile $62 billion takeover bid for Disney from Comcast, the US cable company, increased the pressure for a change of management.

The campaign to unseat Mr Eisner eventually won support from several state pension funds and corporate governance groups, resulting in an unprecedented show of no-confidence as 43 per cent of shareholders withheld their votes for the chief executive’s re-election to the board.

Mr Eisner lost his role as chairman to George Mitchell, a serial board member and former Majority Leader of the US Senate. As he enters his 20th year as Disney chief executive there is strong speculation that Mr Eisner may not last into his 21st.

Since the height of the turmoil, however, Disney has reported a second consecutive month of strong financial results and its leading executives, including Mr Iger, have held talks to soothe the dissident pension funds. That process broadly outlined succession plans without naming names or dates. “The plan does not necessarily require, at this point, naming anyone,” Mr Iger said.

Mr Iger said that the shareholder unrest and the Comcast takeover bid, which eventually failed, had galvanised Disney’s management rather than damage the company.

“There was never any friction. We were right behind Michael,” he said.

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Radio Disney to bring young stars to Musikfest

The Radio Disney AM640 Showcase is bringing some of today's hottest young performance stars to Musikfest this year, according to a news release from ArtsQuest, Musikfest's parent organization.

Among the acts scheduled are teen heartthrob Aaron Carter, FeFe Dobson, Greg Raposo and the Beu Sisters. Other special guests are expected to be announced in the weeks to come.

The Radio Disney AM640 Showcase is scheduled 5 p.m. Aug. 8 at the Straub Chrysler Jeep RiverPlace stage. The concert is sponsored by Disney AM640 and AAA Travel: Authorized Disney Vacation Planner, the release says.

Aaron Carter, who performed to a sold-out RiverPlace audience in August of 2001, is the youngest male solo artist ever to have four Top 40 singles, according to All Music Guide.

Canadian-born FeFe Dobson in 2003 released her self-titled Island Records debut, featuring the hit single "Take Me Away," which climbed to the top of Billboard's Heatseekers charts. Television viewers can currently catch her on Fox's Saturday morning television show "The Menu."

Greg Raposo, former member of Dream Street, is making his second visit to America's Music Festival, having performed at Musikfest in 2003.

The Beu Sisters -- Candice, Christie, Jilaine and Danielle -- offer melodious harmonies and savvy melodies. Their debut album, "Decisions," was released in 2002. This past spring, they opened on the Kelly Clarkson/Clay Aiken tour.

Tickets for the Radio Disney Showcase are $14-$26. They went on sale to Club Musikfest members, employees of Musikfest sponsors and festival volunteers on Friday and to the public at 10 a.m. June 18.

Tickets are available by calling 610-332-FEST or visiting www.fest.org. To join Club Musikfest and get the best seats, call 610-861-0678 or visit www.fest.org.

Musikfest, America's Music Festival, is presented by the nonprofit arts organization ArtsQuest and is scheduled Aug. 6-15. The event showcases more than 300 performers on 13 indoor and outdoor stages throughout the city's plazas, parks and streets. The festival also features food, children's activities, visual arts and crafts displays and closing-night fireworks.

According to his official website the first German POP IDOL, Alexander Klaws who just released his latest single Sunshine after the Rain and will release his second album in July, will join numerous other artists to welcome the Lion King to the Disneyland Resort Paris on Saturday June 26th - the day of the official press premiere of The Legend of the Lion King show. The website states that Alexander Klaws together with numerous other stars will perform one classic Disney song live at this occassion. So far no word which song this might be (even so unconfirmed rumours indicate "The Circle of Life") and who the other stars might be.

70 fans of Alexander Klaws have the opportunity to join him for an exclusive Meet & Greet and watch him perform a song from The Lion King in the Disneyland Park that Saturday. Interested fans can book a special bus package including transportation, a room at the Kyriad Hotel of Val de France, theme park admission and exclusive access to the Meet & Greet.

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ABC has ratings surge for NBA Finals

This year, ABC loves the reception that the NBA final series is getting on television.

If the Pistons can win one more game in the series, the franchise will celebrate its first National Basketball Association title since 1990.

Big ratings

The network's broadcast of the NBA Finals on Sunday -- Game 4 in which the Detroit Pistons defeated the Los Angeles Lakers 88-80 to take a 3-1 lead in this surprising best-of-seven series - had ratings of 14.4/23, ABC said, to qualify as the top-rated TV show of the night.

The ratings in this case represent about 755,000 people as well as the percentage of TV households that are tuned in to a certain program. That is, 23 percent of all households watching TV were watching the game, said an ABC Sports spokesman. Normally, the ratings signify 1 million people, but so far only two-thirds of the results have been accounted for.

The rating is 66 percent higher than last year's NBA Finals' Game 4, pitting the San Antonio Spurs and the New Jersey Nets, which had achieved a rating of 8.7/14, and 20 percent higher than Game 4 of the Nets/Lakers NBA Finals series in 2002.  

The Lakers were expected to win handily based on the dominance of the team's two best players, center Shaquille O'Neal and shooting guard Kobe Bryant. O'Neal has played brilliantly and Bryant has supported him ably, but their teammates have all but disappeared during the series.

Helping itself

ABC has worked hard to help itself this year as well. The network has installed Al Michaels, the voice of "Monday Night Football" to do the play-by-play during the Finals. Michaels has given the NBA broadcasts more credibility than the telecasts had a year ago, during ABC's first year of showing the NBA on TV.

ABC has also done a good job of incorporating its blue chip, ESPN. Both ABC and ESPN are units of the Walt Disney Co.

As soon as the basketball games end, viewers can switch to ESPN's News channel to watch the press conferences. Further, ESPN's "SportsCenter" nightly shows air highlights and post-game interviews.

ABC has proven to be a good luck charm for Bill Davidson this spring. He owns both the Pistons and the Tampa Bay Lightning of the National Hockey League (as well as the Detroit Shock, which won the WNBA championship a year ago).

Earlier this month, Tampa Bay won the first Stanley Cup in the franchise's history - in a game shown on ABC.

"Shrek 2," the movie about the big green ogre and his princess bride Fiona, topped last year's "Finding Nemo" to become the highest-grossing animated film of all time in the United States and Canada, DreamWorks said on Monday.

Through Sunday, the computer-animated film had sold $354 million worth of tickets at U.S. and Canadian box offices, according to box office tracking service Exhibitor Relations Inc.

That beats "Nemo," last year's big hit from Pixar Animation Studios Inc. and the Walt Disney Co. which earned $339.8 million on a comparable basis as well as 1994's Disney hit "The Lion King," which for years reigned as the leading animated box office hit with $328.4 million.

"Shrek 2" is now No. 9 on the list of all-time box office hits in North America, ahead of No. 10 "The Lord of the Rings: The Two Towers" ($340 million) and poised to overtake No. 8 "Jurassic Park" (356.7 million).

"Shrek 2" was produced and distributed by privately held DreamWorks SKG.

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ABC Cuts Away From Buick for 'Videos'

Television viewers got only a few glimpses of the final two holes of Sergio Garcia's playoff victory in the Buick Classic on Sunday after ABC ended its coverage to show "America's Funniest Home Videos."

Garcia, Rory Sabbatini and Padraig Harrington were on the second tee of the second playoff hole when the network cut away at 7 p.m. EDT.

Garcia ended up beating Sabbatini on the third extra hole, with ABC's sister network, ESPN, showing only a few shots on its "Baseball Tonight" program.

"Their agreement with the tour does give them the right to leave the telecast at 7 p.m. Eastern," said Bob Combs, the PGA Tour's senior vice president of public relations and communications. "We're disappointed with the amount of coverage once they switched over. We expected them to show more shots. ... The balance wasn't what we expected."

The playoff added to a tedious weekend for ABC, which ended its Saturday coverage at 6 p.m. EDT as scheduled with the final groups in the middle of the back nine.

"We stayed as long as we could," ABC spokesman Mark Mandel said. "The show went more than a half an hour longer than was programmed.

"When we can, we try in these circumstances to switch the programming, in this case over to ESPN or ESPN2. Obviously, they couldn't accommodate. We're very sorry about having to frustrate our viewers.

"It was just a matter of trying to make sure that we lived up to our commitment to viewers who were expecting to see certain programming."

Some players took more than five hours to complete their rounds Saturday and Sunday, in large part because most attempted to reach the par 5s in two and many tried to drive the two short par 4s, creating a logjam on the short Westchester Country Club course.

Because of the problem, the players were grouped in threesomes in the final round with 11-minute intervals between groups. They played in twosomes Saturday with eight- and nine-minute intervals.