Word: disneyized
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...with lieutenants Jeffrey Katzenberg and Michael Ovitz, the turbulence at the acquired ABC network. But Stewart gleans fantastic fly-on-the-wall reportage from his inside access, interviews and Eisner's revealing notes and e-mails. Some of these incidents put Iger in a bad light just as the Disney board is considering CEO candidates. At the end of an argument between him and ABC chairman Lloyd Braun, Iger gets so agitated that he accidentally hits a waiter, who spills coffee down Iger's shirt. Not that Iger's own treatment was better. During a rough patch, Ovitz suggests that...
...goes for hundreds of blistering pages. How do you know that somebody is about to be fired or forced out at Disney? When Eisner professes loyalty to him. How do you know when someone at Disney is about to have a great success? When she gets fired or forced out. Braun, for instance, is booted just before his brainchild Lost--derided by Eisner and Iger--becomes...
Stewart's take is that while a successful jerk may be forgiven all, Eisner indulged his vanity and vindictiveness to his company's harm. He cost Disney millions of dollars and vast embarrassment by letting Katzenberg's departure deteriorate into a lawsuit. He even badmouths Lost--his own network's hit--to Stewart, to rationalize having opposed it. ("Lost is terrible," he says. "Who cares about these people on a desert island...
Last week's shareholder meeting ended quietly, but the nasty succession drama is far from over. Eisner calls the intrigue at Disney "Shakespearean," and Stewart likens the CEO to Lear and Richard III--though the literary comparison undeservedly puffs up DisneyWar and Eisner. A media leader squandering his company's worth, a tyrannical boss, a failure clinging to power--these are dog-bites-man stories that Stewart simply bundles up in a deliciously toxic, if underanalyzed, package. It's not a tragedy worthy of the Bard, but it is a lusty roll in greed and spite. In other words...
...long time the near universal judgment on Salvador Dali was that he had outlived himself. The Surrealist work he did from 1929 to 1939 was brilliant and durable. After that came decades of repetition and kitsch, the years of his collaborations with Walt Disney-- never completed--and his magazine ads for Elsa Schiaparelli lipstick. It didn't help that from early on he was art's state-of-the-art goofball, the guy who would show up in public in a deep-sea diving suit or a Rolls- Royce filled with cauliflowers. Then came the Spanish Civil War. When...