With so many great resorts at Walt Disney World, it can be difficult to choose which is right for your meeting or event.

You can't go wrong if you check out the Epcot resort area, primarily because the location is terrific. It includes the Yacht & Beach Club and Beach Club Villas, Boardwalk Inn, and the Dolphin and the Swan. But the best part about the enclave is its distinctly grown-up flavor: It offers some of the finest dining at Disney, as well as music and entertainment options that meeting-goers will appreciate in the evenings. Plus, its medium size gives your meeting a more-than-manageable feeling.

A canal links the resorts to Epcot and MGM Studios, and therefore ferry boats or walkways are the best ways to reach Epcot's back door — the World Showcase — another decidedly grown-up entertainment and dining venue at Walt Disney World.

Disney's 372-room Boardwalk Inn has a 20,000-square-foot conference center and is fronted by an authentic wooden-planked boardwalk. Evening strolls can encompass simple pleasures such as playing arcade games or enjoying Italian ice, or some later-night options might take attendees to the ESPN Club or four clubs and lounges, including Jellyrolls, which offers dueling pianos.

The Yacht & Beach Club Resorts combine for a total of 1,267 rooms and 73,000 square feet of convention space.

The Starwood-managed Walt Disney World Swan and Dolphin hotels expanded their meeting space last year, and now offer more than 329,000 square feet of meeting space, which features 84 meeting rooms. The Dolphin now has 110,500 square feet of contiguous indoor exhibit space.

Delegates will appreciate the Westin Heavenly Bed at the Swan, and high-speed Internet service from guest rooms in both hotels. At the Dolphin, groups can now enjoy a new dining option: bluezoo by celebrity chef Todd English. Your attendees will not be disappointed! And a new spa will open in 2005.

The relationship between Jerry Bruckheimer and video game creator American McGee grew even closer with the news that McGee will write the script for the film adaptation of his video game "Oz."

Bruckheimer has the option for a trilogy of Walt Disney Co. films based on the property, which is a prequel to the classic L. Frank Baum book "The Wizard of Oz."

McGee said the hero of the story, a teenage boy named Arthur, is whisked away from Earth to an Oz in turmoil. "Like Neo in 'The Matrix' films, the boy makes a hero's journey and comes to grips with his powers," he said. "What Jerry Bruckheimer was able to do with 'Pirates of the Caribbean' was simply brilliant, and since 'Oz' is similar in tone to that film franchise, I'd like to follow that model."

McGee will write the script for the first film and an outline for its two sequels, which will conclude with the land of Oz returned to its condition as fans of the book and the popular MGM movie know it. While this will be McGee's first commissioned Hollywood script, he's very familiar with the material. He and writer Camden Joy already have completed a generously illustrated 500-page novelization of the game, which Warner Books is on board to publish.

"People always talk about games being nonlinear, but a video game story does follow a linear structure, it's just broken into 40 acts instead of three," McGee said. "The nice thing about the Hollywood film style is that I can explore multiple character perspectives, whereas game stories are limited to one perspective for game play."

This marks the second time that Bruckheimer has enlisted a video game creator to write the film adaptation of his game; Jordan Mechner is turning his "Prince of Persia" game into a big-screen feature.

As part of the "Oz" activity, McGee's video game is being revived after Infogrames (now Atari) dropped its option during a cost-cutting sweep.

McGee said a new line of "Oz" action figures also will be released next year through a new manufacturer, the original line from Milos Workshop having sold well with limited distribution.

But "Oz" is just one of McGee's current projects. Enlight Interactive recently shipped "American McGee's Scrapland" for PC, and it will hit Xbox early next year. McGee called the game a "a film-noir murder mystery set in a world full of robots" and said he is shopping the film rights.

"The Forgotten Faery Tale" is up next. McGee has completed a movie script that follows the story of Grimm, a teenage boy who tries to bring balance to a world that has too many happy endings. McGee said that like "Shrek," the central live action story will have familiar fairy tales as a backdrop.

Whenever moviegoers exit the theater wondering, "Who is that guy?" it's a good indication a major career is about to be launched.

Consider Justin Bartha, who manages to steal Disney's "National Treasure" from Nicolas Cage.

Bartha, 26, is also funny without a script. That helped during a recent press conference and - even better - on the set of "National Treasure," where he often improvised his laugh-getting wisecracks.

Asked which lines were his, Bartha answered, "Most of them. I pretty much wrote the entire script. Print that, please."

Complimented on his chemistry with Cage, Bartha acted blase. "Oh, yeah. Nic looks up to me. He does. And that comes across on screen, I think."

Sure, he's joking, but because "National Treasure" is a Jerry Bruckheimer production, the movie really was written and rewritten as it was filmed.

Bartha is old enough to know his best-friend character is hardly original. "You might have seen him already in maybe 20 movies," he said. "My job is to try and create a new and fresh idea for him. Basically, I came up with an idea where I make this guy the audience. It's, 'What if he was sitting in the audience and someone picked him up and threw him into the screen like in "Purple Rose of Cairo"? ' He reacted in a realistic and humorous manner to the sometimes ridiculous things happening around him.

"I also wanted to make him a bit of a wild man in the sense of, 'What if he was stuck in a cubicle for his entire life?' He got hired by the NSA when he was 14 as a computer expert and he's just been in a tiny little cubicle making computer models. Then someone finally comes and gives him a chance to go on an adventure, and I think that everyone can identify with that. Most people work in a cubicle for their entire life. So I wanted to make him like a mouse in a cage, and you release him and you have to find that cheese."

Bartha hails from the Detroit area. "When I was very young, I wanted to be a baseball player and maybe a basketball player, but I'm not very tall. I broke my wrist trying out for the tennis team and started doing theater when I was 15. I never turned back after that. I never knew anything about Hollywood, didn't have any connections in Hollywood, I just loved acting."

He wrote, directed and produced an MTV pilot, directed a short film and even survived "Gigli," the Bennifer fiasco. He loves New York and single women.

"I'm always looking for the ladies," he said.

Was he nervous working with the Oscar-winning Cage?

Without cracking a smile, Bartha said, "Look, obviously he was nervous about working with me. No! Listen, basically, I'm a no-one from New York, an actor just starting his career, and I'm going to work on this Bruckheimer movie with one of the greatest film actors that there is, in my opinion and in most people's opinion. Right away I know that these guys are best friends in the movie, and I have to form some kind of relationship with him - right away, off the set. So we bonded with our sense of humor. He's a very funny guy."

Bartha visited Cage in New Orleans, where they hung out in karaoke bars.

"His house is supposed to be haunted and he enjoys that kind of culture quite a bit and I'm interested in it also. But I'm not going to go into the personal information," Bartha added, showing he's quickly learning his way around Hollywood.

In the original stage production of James M. Barrie's play "Peter Pan," the character of Tinker Bell was represented by a moving spot of light.

It took the folks at Walt Disney Studios to transform her into a nubile sprite, one that would enchant generations of children.

Not only in the animated film, but later on the television screen, Tinker Bell was used to introduce the studio's long-running series, and she was an important presence at the Disneyland theme park.

Sir James Barrie's play had been a holiday standard for children from the time it premiered in 1904. Although Disney acquired the rights to the classic fantasy as far back as 1939, the film was not completed and released until 1953.

The animation of the fairy character, who tries to protect Peter Pan, was entrusted to Marc Davis, one of Disney's legendary "Nine Old Men." It was an enchanting creation. Tinker Bell was the pixie who glowed like a firefly, leaving a trail of pixie dust behind her as she flitted about like a hummingbird, helping Peter Pan teach the Darling children to fly and speak with the sound of bells.

For years, the rumor was circulated and published that Tinker Bell was modeled after Marilyn Monroe. A nice thought, but Disney archivist David Smith, and others, have set the record straight, asserting that the model was actually an actress named Margaret Kerry. She posed for inspirational live-action footage along with other actors.

Unfortunately, there were many critics who felt that Tinker Bell should never have been given human form at all.

From the beginning of the Disneyland television shows, Tinker Bell has been identified with Sleeping Beauty's Castle, darting around its opening fireworks with a wave of her wand.

In 1961, that image became even more pervasive, as every summer evening she would fly about the castle, heralding the Fantasy in the Sky fireworks display.

For anyone interested in Tinker Bell (yes, it is two words – Barrie referred to her as Miss Bell) collectibles, there is a plethora of material. In fact, she had several namesake toy emporia named in her honor over the years.

First, there was the Fantasyland Tinker Bell Toy Shop that opened in Disneyland in 1957. A similar shop opened in the Magic Kingdom Fantasyland area at Walt Disney World from 1971, becoming Tinker Bell's Treasures in 1992. Yet another in the Tokyo Disneyland in 1983.

Among the higher-ticket items worth searching for, some recently made, but almost certain to increase in value, are a 25-inch bronzed figure depicting Tinker Bell struggling to get through the keyhole in Wendy's dresser drawer. There is also an increasingly rare Llandro ceramic figurine, made in a limited edition of 1500 and sold only at Disneyland.

Of course, animation art is one of the key categories. A good deal of "Peter Pan" material is in circulation, including some very fine setups of one or more painted cels overlaid on a background.

Original animation drawings are in great demand, as are painted background artwork and individual cels, a number of which were sold for a pittance at Disneyland when it first opened.

Many of these had photographic or lithographic backgrounds, and so may not be production originals. Buyer beware.

Reviving industry talk that Peter Chernin could succeed Walt Disney Co. CEO Michael Eisner, News Corp. has disclosed that its president and chief operating officer is not subject to any noncompete clauses.

Chernin must give six months' notice if he wants to leave his post early to become CEO elsewhere but only if that company is privately held, according to details of a new five-year employment contract that he signed this summer and which were made public for the first time last week. This would free him to jump to a publicly traded competitor very quickly.

The new contract, which took effect Aug. 1 and runs through 2009, guarantees Chernin a salary of $3.8 million a year with the opportunity to earn up to $25 million in bonuses that are tied to News Corp.'s financial performance. Chernin also is entitled to a cash payment of $40 million if he is terminated without cause.

Chernin has been News Corp.'s most highly paid executive. Under his old contract, he earned $17.3 million in total compensation last year. Despite the conglomerate's improved profitability, that figure was below the $17.9 million he made in 2002.

Because of his track record and industry reputation, Chernin's name has long been bandied about whenever industry insiders discuss Disney's future. Disney's board said in September that it wants to find a replacement by June for 20-year CEO Eisner, whose contract expires in 2006.

Disney chairman George Mitchell recently said the company's board does not plan to discuss possible candidates in public as it is best to conduct the search "without periodic public announcements."

Current Disney president Bob Iger is the only internal candidate and is widely considered a front-runner. Former Viacom Inc. president Mel Karmazin, whose name also had been mentioned frequently for the Disney post, recently took the CEO reins at Sirius Satellite Radio. He had previously expressed little interest in the Disney job.

Industry insiders have said Chernin's experience makes him a strong contender for the Disney slot, but they have cautioned that he has felt very comfortable at News Corp. and had a strong relationship with chairman and CEO Rupert Murdoch.

"Across the board, this organization has the most talented, creative and aggressive management team in the business, and I consider myself privileged to collaborate with them day in and day out," Chernin said in a statement when News Corp. unveiled his contract extension this summer.

He added that he is "enormously fortunate to have worked side by side with Rupert as News Corp. has become a global media company that today is without peer, and I look forward to building on our successes over the next several years."

Many also are questioning whether Chernin would get comparable pay at Disney. Eisner's pay package for fiscal 2003 amounted to $7.3 million, according to a regulatory filing at the beginning of the year.

Also in a regulatory filing last week, News Corp. confirmed that its board recently affirmed a poison pill provision that will for at least one year make it more difficult for anyone to take control of the conglomerate. The provision came in response to a recent move by John Malone's Liberty Media to raise its voting stake in News Corp.

Seemingly endless lines were everywhere. Rides were breaking down left and right, and sections had to be closed down because of a gas leak. Vendors started to run out of food. On top of that, the California sun was so hot that women's shoes were sinking into the asphalt on Main Street.

It was July 17, 1955 and Disneyland had opened its doors for the very first time. Things seemed to go so wrong that day that it came to be known as "Black Sunday."

But Doug Rochelle loved every minute of it.

"It was wonderful," Rochelle said. "I was just so excited."

Disney opened the park that day with these words: "To all who come to this happy place: welcome. Disneyland is your land. Here age relives fond memories of the past ... and here youth may savor the challenge and promise of the future. Disneyland is dedicated to the ideals, the dreams and the hard facts which have created America ... with the hope that it will be a source of joy and inspiration to all the world."

Rochelle took those words to heart and never looked back, and the Kinston man's love of all things Disney has grown today into what he says borders on obsession.

From that first look into Walt Disney's dream all those years ago, Rochelle has spent a considerable amount of time and resources into amassing all things Disney. It's a hobby he loves to share with the world.

Earlier this month, Rochelle threw a birthday party for a friend of his who has managed to maintain his youthful looks despite reaching the ripe old age of 76.

Mickey Mouse, the one who started it all, could be found in just about every nook and cranny of Rochelle's office, Quixote Travels, along with most of his friends.

Pictures, posters, statuettes and a hundred other pieces of Disney memorabilia filled the room to the point where it almost looked like a gift shop at the Magic Kingdom. From the Mickey Mouse Club song lyrics to original artwork signed by Disney animators, the office stood as a tribute to Walt Disney's legacy.

"I just like the idea of what Walt started," Rochelle said. "It's made so many children happy and they really are our future."

Even so, Rochelle said he gets excited every time he gets a new toy. He pointed to one of his latest acquisitions, an extremely detailed replica of Cinderella's pumpkin coach complete with reins made from gold.

"Walt himself inspired me," Rochelle said. "He was true leader."

Rochelle was even arranging special deals for Mickey's special day to people wanting to make the trip down to Orlando, the crown jewel of Disney's theme park world. Others who had already made the trip were smiling from more than a dozen photos sent in from their trip to Disney World, obligatory mouse ears included.

He sports a round badge with his name on it, similar to those worn by Disney World's employees.

"I always wanted to work for Disney," Rochelle said. He even had an interview once. "But they wouldn't hire me at the time because they didn't allow employees to wear beards," Rochelle said, putting a hand on to his own crop of facial hair. "I love Disney, but I don't want to shave my beard."

Despite the Disney-decorated walls and tables in every direction, those who know Rochelle said the display was nothing compared to his house.

"This is just a small part of my collection," Rochelle said. "I have to find places to keep it all."

Rochelle has loved Disney most of life, and today he enjoys sharing that love with his grandson. Still, there are a few toys he keeps for himself.

"He would love to play with all of my toys," Rochelle said with a laugh.

He talks of Disney's creations as if they were old friends, Mickey, Minnie, Donald, Goofy and all. And as far as Rochelle is concerned, they are.

But does he have a favorite?

"That's hard," Rochelle said. "It depends on what the newest is."

But there's definitely a favorite Disney movie in Rochelle's collection.

"Peter Pan," Rochelle said laughing. "I don't want to grow up."

Disneyland Paris - Guests boarding the trains of Space Mountain till mid-January are shot into the sky by the Columbiad Canon aiming for the moon ... as of April the target will be even further away in the depths of space - a super nova which will replace the moon as the projection effect at the top of the lift hill inside the mountain, and which therefore the trains will never reach as they slow down and then turn around to the right dropping into a black hole instead. But you all know the storyline of Space Mountain Mission 2 already, don't You? But what is brand new is a strong yellow light canon that got installed at the top of Space Mountain recently now beaming it's bright ray into the night sky as if shining out of the canon illuminating the way the trains would take if really shot out of the canon's top. This is on top of another new light effect introduced earlier this fall since when the lighting around the top of Space Mountain flickers when ever a train is shot out of the canon to emphasize this (for the riders) dramatic moment.

Backstabbing, mutual deception and extravagant transfers of wealth. Add a larger-than-life cast of characters, and the Disney shareholder lawsuit now unfolding in Delaware Chancery Court comes as close as corporate law can to an overblown Italian opera.

We should not, however, let the melodrama obscure the tremendous implications for all corporations if the court holds that the Disney board wrongly approved Michael Ovitz's $140-million severance package.

Many observers see the case as a trial over whether Disney board members made a stupid decision. And it certainly seems they did. First, they followed the advice of Disney's imperial CEO, Michael Eisner, and hired Ovitz — once known as "the most powerful man in Hollywood" — as Disney's president and Eisner's heir apparent. Then, 14 months later, the board fired him, again at Eisner's behest. But because the board did not fire Ovitz for gross dereliction of duty or illegal behavior — "cause" — Ovitz was entitled to a $140-million consolation prize under the terms of his contract. It is this payout that prompted the lawsuit accusing Disney's board (which included Ovitz and Eisner) of breaching their fiduciary duties.

The case seems easy. The Disney board made a huge and costly mistake. It should be held liable. Shareholders should be made whole. Right?

Wrong. The Disney case is a hard one, due to a basic doctrine of corporate law called the business judgment rule. This rule allows disinterested corporate directors to make foolish, even disastrous, decisions without being second-guessed by courts, so long as their process was reasonable and their decision "informed." The rule says, in effect, that it is the process, not the outcome, that matters.

This makes sense for several reasons. First, the business world is complex, fluid and risky. Even the most dedicated board will occasionally make decisions that don't pan out. Second, it can be hard for observers outside a firm — shareholders, judges or juries — to understand the many factors and considerations that go into a business decision.

The Disney case illustrates the perils of passing judgment from a distance and in hindsight. Ovitz's $140-million severance package seems obviously excessive. But Ovitz was earning tens of millions of dollars annually at Creative Artists Agency before Eisner approached him. Moving to Disney required him to take a huge risk. After Ovitz left Disney, his career was a shambles. From this perspective, the severance package no longer seems so outrageous.

Courts historically have focused on process in judging the actions of disinterested corporate board members — even when their decisions proved unwise, and even in cases, like Disney, where some of the personalities involved seemed unsavory. If the courts tried instead to evaluate substance, two predictable results would follow.

First, if the members of Disney's board are held personally liable, as the lawsuit seeks, it will become more difficult to get good people to serve as directors. The typical corporate director is paid an annual fee that can be measured in thousands of dollars. In contrast, an unlucky business decision can cost hundreds of millions, even billions, of dollars. The prospect of catastrophic personal liability would discourage all but the most wealthy (or most foolish) from serving as outside directors of large firms.

Second, people who serve on boards will become reluctant to take even minor business risks. Like jack rabbits caught in headlights, they are likely to freeze. Such directors can't do a good job for their shareholders or their firms.

Eisner's heavy-handed CEO style has caused Disney to become something of a poster child for poor corporate governance. But because so many large corporations are incorporated in Delaware, it is important to remember that the decision in this case will apply not only to Disney but to thousands of other companies as well. For the sake of these other companies, if the Delaware court decides to hang the Disney directors, it should hang them for process — not for poor results or difficult personalities.