Tag: disney

9 articles

How to Succeed in Television

Meet Ben Sherwood, the new head of the Disney/ABC Television Group.


Disney CEO Bob Iger's Empire of Tech

How he made big and early bets on new technologies — and won.


Magical Thinking: Bitcoin Gathers at Disney

Bitcoin partying at an Orlando hotel with worshippers of the blockchain.


Reaching My Autistic Son Through Disney

How Owen came to communicate again.


The Machine-Tooled Happyland

A trip to Disneyland in the mid-1960s.

Previously posted on Longform.org on January 25th, 2012.

Weekend At Kermie's: The Muppets' Strange Life After Death

To this day, no one (outside of the movie's own crew) knows how the Muppets rode bicycles in The Great Muppet Caper, the classic Henson movie from 1981. In that scene, Kermit stands up on one frog-leg on the seat of his bicycle to impress Miss Piggy, and then the whole gang joins them on their bikes, doing circles and figure eights, singing “Couldn’t We Ride?” It's a wonderful piece of filmmaking, and still a complete delight to watch because the effect relied on the ingenuity and bravado of the puppeteers and crew, not CGI wizardry. Contrast the joy and ebullience of this scene to the elegant chiaroscuro slickness of the post-Henson Muppet Christmas Carol in which we see old fogies Statler and Waldorf, as the Marley brothers, floating in mid air. No viewer is impressed; no one really thinks about it at all. And that's because when a then 29-year-old Brian Henson directed that film, he threw the rules out the window. Statler and Waldorf “float” because Goelz and Nelson, the men working the old guys, were standing behind them during filming and then were removed in post production. It’s an elegant fix—a cutting of the Gordian knot—but it is a complete break with an aesthetic 35 years in the making.

You Blow My Mind. Hey, Mickey!

A journey to Disney World with kids and weed.


Father of the Year

A profile of John Lasseter, chief creative officer at Pixar.


Down and Out in the Magic Kingdom

On internships at Disney World, where “labor is meant to have an almost invisible quality.”