Anheuser busch jobs

Profile on Sean Bailey, president of Walt Disney Studios Motion Picture Production
——
Concerning Johnny and Pirates:
Restarting the five-film “Pirates of the Caribbean” series is another priority, although nothing official has been announced. “We think we have a really good, exciting story that honors the films that have come before but also has something new to say,” Mr. Bailey said. Will the franchise’s problematic star, Johnny Depp, return as Captain Jack Sparrow? “Noncommittal at this point,” Mr. Bailey said, seemingly inching the door open.
——
Entire text:
By Brooks Barnes
June 4, 2023
For more than a decade, Sean Bailey has run Disney’s animated film “reimagining” factory with quiet efficiency and superhero-sized results. His live-action “Aladdin” collected $1.1 billion at the box office, while a photorealistic “The Lion King” took in $1.7 billion. A live-action “Beauty and the Beast” delivered $1.3 billion.
Disney likes the cash. The company also views Mr. Bailey’s remake operation as crucial to remaining relevant. Disney’s animated classics are treasured by fans, but most showcase ideas from another era, especially when it comes to gender roles: Be pretty, girls, and things might work out.
The reimaginings, as Mr. Bailey refers to his remakes, find ways to make Disney stories less retrograde. His heroines are empowered, and his casting emphasizes diversity. A live-action “Snow White,” set for release next year, stars the Latina actress Rachel Zegler as the princess known as “the fairest of them all.” Yara Shahidi played Tinker Bell in the recent “Peter Pan and Wendy,” making her the first Black woman to portray the character onscreen.
“We want to reflect the world as it exists,” Mr. Bailey said.
But that worldview — and business strategy — has increasingly put Disney and Mr. Bailey, a low-profile and self-effacing executive, in the middle of a very loud, very unpolite cultural fight. For every person who applauds Disney, there seems to be a counterpart who complains about being force-fed “wokeness.”
Many companies are finding themselves in this vise — Target, Anheuser-Busch, Nike — but Disney, which has a powerful impact on children as they are forming life beliefs, has been uniquely challenged. In this hyperpartisan moment, both sides of the political divide have been pounding on Disney to stand with them, with movies that come from Mr. Bailey’s corner of the Magic Kingdom as prime examples.
Consider his remake of “The Little Mermaid,” which arrived in theaters two weeks ago and cost an estimated $375 million to make and market. The new version scuttles problematic lyrics from the 1989 original. (“It’s she who holds her tongue who gets a man.”) In the biggest change, Halle Bailey, who is Black, plays Ariel, the mermaid. Disney has long depicted the character as white, including at its theme parks.
Support for Ms. Bailey, notably from people of color and film critics, has been offset by a torrent of racist commentary on social media and movie fan sites. Others have blasted “The Little Mermaid” for failing to acknowledge the horrors of slavery in the Caribbean. A few L.G.B.T.Q. people have criticized Disney for hiring a straight male makeup artist for the villainous Ursula, whose look in the animated film was inspired by a drag queen.
Disney has long regarded these kinds of social media storms as tempests in teapots: trending today, replaced by a new complaint tomorrow. In 2017, for instance, a theater in Alabama refused to play the live-action “Beauty and the Beast” because it contained a three-second glimpse of two men dancing in each other’s arms. It became a global news story. Ultimately, the fracas seemed to have no impact on ticket sales.
The upshot? Disney hoped “The Little Mermaid” would generate as much as $1 billion worldwide, with the furor evaporating once the film arrived in theaters. Feedback scores from test screenings were strong, as were early reviews. “Alan Menken just told me that he thinks this one is better than the animated film,” Robert A. Iger, Disney’s chief executive, said at the film’s premiere last month, referring to the Oscar-winning composer.
Instead, “The Little Mermaid” will top out closer to $600 million, box office analysts said on Sunday, largely because the film faltered overseas, where it was “review bombed,” with online trolls flooding movie sites with racist one-star reviews. The film has done well in North America, outperforming “Aladdin” and receiving an A grade from ticket buyers in CinemaScore exit polls, although attendance by white moviegoers has been soft in some parts of the United States, according to analysts. Support from Black and Latino audiences have made up the slack.
Mr. Bailey declined to comment on the racist responses to the film. “While the international opening was softer than we would have liked, the film is playing exceptionally well which we believe sets us up for a very long run,” he said on Saturday.
Mr. Bailey, 53, has survived box office shoals that were far worse, including misfires like “The Lone Ranger.” The less said about his live-action “Mulan,” the better. But Disney has always supported him. “I’ve taken some big swings and had some big misses,” Mr. Bailey said. “I’m grateful that the leadership of the company understands that is part of any creative business.”
(Cont’d in comments)

Black rock is steadily being revealed to have extreme influence over the lives of ordinary people. Using taxpayer retirement funds from pension accounts to basically force change.

Tldw former executives of companies are beginning to become more open about black rock and other similar entities are using taxpayer retirement funds to force radical change.

Caught these pictures of Alpie as I was passing on the Sky Ride yesterday. Busch Gardens is a beautiful park and has some great transportation rides.
This was my second visit while they were open (I went to an off-season ACE event one year). This visit was a great time. I got to meet up with some coaster friends I haven’t seen since 2020. We got some abbreviated ERT on DarKoaster as part of the ACE Dives event. Due to some downtime we only got two rides before the park opened. It’s a great family coaster. It definitely isn’t high thrill or have super high tech effects, but I really enjoyed it. I’d say it’s a higher budget, modern version of Skull Mountain at SFGAdv.
I also got my first ride on Pantheon. My front row ride was fantastic! Definitely the best ride at BGW. The swing launch gave some really cool backwards airtime, and I loved the top hat. Intamin does a really good job of those little wiggle transitions while not throwing you into the restraints (cough cough RMC cough cough). I don’t really rank coasters so much anymore, but this one has gotta be near the top of the steel coasters.
I also got a chance to ride the water rides that I hadn’t done yet. Escape from Pompeii was a treat. I liked the show scenes on such a short attraction, you don’t see that very often. Le Scoot was a nice classic flume. The rapids were meh, definitely not worth the wait.
Overall a great trip!