Profile on Sean Bailey, president of Walt Disney Studios Motion Picture Production
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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.
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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)

Hello,
I have a long and narrow driveway and have been wanting to upgrade my current camera setup for this area of my house. Dimensions are 58 Feet long x 9 Feet Wide x 13 Feet Height (where camera is mounted).
I'm currently using an Amcrest IP5M-T1179EW-36MM which hasn't really been cutting it in terms of detection ever since I installed it. Tried a lot of troubleshooting steps a few years ago and just gave up on it. I mean it still detects people but you have to be like within 25 feet -- which is already half my drive way. I started with Deepstack to CPAI with no luck. I think its just a camera not suited for this spot.
Unfortunately, the camera position (13 feet high) is the only place I can mount it. I know if I mount it lower and closer, Ill probably get better results but because of how the pillar is and how it is placed, I can't mount it anywhere else.
Here is a basic picture of my driveway:
https://preview.redd.it/p121v659474b1.png?width=1127&format=png&auto=webp&s=df17f7b68b7d34242c77af2edac7825372e5d170
I was looking at 4mm and 6mm lens to see if it would be a better choice for this narrow driveway - but I will leave that to the experts.
I really would prefer a camera without IR as this camera position is plagued by some flying insects as soon as they see the IR light at night. Night Color is really preferred for me if possible.
Anyone knows what would be the best camera that can detect as far as 55~ish feet with Night color (instead of IR)?
Thanks!

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The room is blue, and dark, and very quiet. At the foot of the pallet mounded with white pillows under the angled ceilings he’s sitting, and dark hair eaves his shoulders, a great beard brushes his chest, his back and upper arms are hatched with more hair curling with the curves of sagging muscle, down to his thick round waist. His legs are folded tailor-fashion, bare feet tucked under bare thighs, hands held loosely open on his knees, his cock a-jut, tip of it darkly swollen, glistening, there before his thick-furred paunch. Mustache wide in a simple smile beneath eyes simply, gently closed, there between his beard, his hair, serenely still, so very quiet.
Explosions rip the television screen, chatter of gunfire, Angels comin thick an fast Sarge, and the guy on the beanbag leans back and forth, thumbs and fingers frantically working the controller in his lap. The view on the screen wheels, jerks, dials and meters in the corners whirling, flashing, galloping along in a tight-packed herd of wildly colored centaurs, garish pastel zebra stripes, neon leopard spots, Appaloosa rainbows, all wrapped in khaki saddlebags, human torsos draped in bandoliers, big guns in their outsized hands, Get to cover! Under the cable! Your six, your six! and another explosion. “Shit!” he yelps, tap-tapping, laughing, “Shit!” Over across the room a woman’s headed toward a grand dark staircase, and the other man in the room looks away from the screen, starts after her, “Ellen,” he says, dodging around a dark wood column, “hey, Ellen, wait up.” She stops, a couple steps up, looks down at him. “How long, exactly,” he says, “is he gonna be staying here,” and he points, up the stairs, past her. She shrugs. More explosions, more gunfire, the guy on the beanbag whoops. “Long as he needs,” she says. Her black hair spiky short, the inky lace of tattoos edging the collar of her running shirt.
“It’s just,” he says, at the foot of the stairs, tall and heavyset, cardigan blue. “The occasional overnight guest is one thing, but – ”
“My room, my friend, my business,” she says. “You won’t even know he’s there, Dan, unless you go out of your way.” The loudest explosion yet, and “Shit!” yells the guy on the beanbag. The television’s gone red. She’s turning to climb the stairs. “Ellen!” says the man in the blue cardigan, starting up, “Ellen, he was, what the hell was he doing, wearing my shirt?”
She looks down at him again, and maybe shrugs. “Looks better on him,” she says, and up she goes, up another flight, up under the very peak of the house. At the end of a cramped hall a door, cut at an angle the top to fit the slope of the roof.
The door to that blue room opens, and she steps in, a shadow dressed in black, flashes of silver piping, “Phil?” she says. “You’re, ah, oh.” Stretching out a foot to prod the black huddle of a discarded suit, there on the floor by the door. Splash of yellow within, and blue and white, a rumpled aloha shirt. “Hungry?” she says. “I was gonna go for phở.” Still in the doorway, hand on the jamb. “Did you want some?” Creak of a floorboard as she steps back, out into the hall. “I’ll bring some back,” she says. “You’re welcome to half the bed, if you need it.” The door swings shut. The latch clicks, quietly.
•
Rattle of glass, yellow bin in his hands, blue letters along the side say Portland Recycles! Clang and clink he sets it down, chock full of bottles, brown glass and green, clear, four or five of them wine bottles long and slender, the rest soda bottles, beer. Squatting he pulls out a wide-mouthed jar, the label mostly torn away, and holds it up in the light. “Fuck,” he says, setting it down. Smacks it, topples it, sends it rolling a hollow rumble away down the linoleum clunk against the wall. “Fuck,” he says, again, rattle and clink, and “shit,” and then “damn.”
Over by the floor-length curtains a brown and green sleeping bag, someone in it, rolling over, a voice, sleep-muzzled, “What.”
“Bits,” he says, “of pickle,” waving a hand, and dark hair swings about the shoulders of his warm-up jacket, blue and grey.
“So rinse it?” The sleeping bag hunches and flops open, whoever’s in it sitting up, a woman, wrapped in a puffy pink and orange parka. “Why should I,” he’s saying, “why couldn’t they,” and he shoves the bin, a chiming crash. “We’ll just have to get some. Bread-and-butter pickles. Trader Joe’s.”
“You want to,” she says, and she’s pinching the bridge of her nose, “you want to buy a new jar of pickles, and, what, eat them all, or throw them out, and the rinse the jar, because you don’t want to rinse the jar?”
“The label on that one,” he says, and then “dammit! It’s the perfect size.” Stomping the length of the room to snatch up the jar, and then through the door. Clomp and clatter, a squawking wrench, the rush of water.
She sighs, crawls out of the sleeping bag, long yellow hair a-dangle from the parka’s fur-lined hood. She slips on a couple of red canvas shoes and heads off carefully through the garbage strewn across the floor, more bottles, empty, all sizes and colors, glass and plastic, quart-sized cartons and half-gallon cartons and little pints and half-pints, cereal boxes and pasta boxes stacked and wrapped together with blue masking tape and black friction tape, towering masts of emptied rolls of plastic wrap and toilet paper, paper towels, plastic tubs tall and squatly broad, whole ranks of them that say Nancy’s in letters of various hues, all laid out in a relatively tidy grid, narrow paths between and through them all where she places her feet, aglets of her undone laces clacking against the floor, until she reaches a wide cleared curl of an aisle of sorts, edges marked with long strips of more blue tape.
He’s at the sink, fiercely scrubbing the jar, “Basic civic duty,” he’s saying, “think of other people, come on.” Slamming the jar on the counter by a dozen or more empty jars and bottles, scrubbed clean, gleaming. Yanking the faucet to shut off the water. “Luke,” she’s saying, “Luke,” and he looks up to see her there, hands stuffed in the pockets of her parka. “The hell you wearing that for,” he says, scooping wet shreds of label from the sink.
“It’s freezing,” she says.
“You know why it’s cold,” he says, dropping the mess plop in a swollen garbage bag that yawns there on the floor.
“So I’m wearing this.”
“You look ridiculous.” He shakes the slop off his hand.
“There’s still a smell,” she says. He’s headed past her, out of the kitchen. “Luke,” she says, following, “Luke. We’re gonna need – ”
“Don’t,” he says, kneeling by an untidy patch of garbage.
“We’re gonna need money,” she says. “Rent. The fifth. It’s next week.”
“We’re always,” says Luke, “gonna need,” plucking up a cereal box, “so get a job,” he says, grabbing another, a clownishly colored bird on the front of it.
“I had a job,” she says.
“Jessie,” he says, “don’t, just,” and he looks up, a shrug. “Your sister’s gonna be here soon. Right? So maybe she’ll have something for you. For us.”
“My,” says Jessie, frowning. “Luke, now is not the – ”
“Don’t,” he says, leaning over to place one of the boxes right next to a yellow plastic jug.
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India is a country that will surprise you, delight you and inspire you. It is a country that has a rich and diverse culture, history and heritage. It is a country that offers a variety of attractions, from the snow-capped mountains to the sunny beaches, from the ancient temples to the modern skyscrapers, from the colorful festivals to the exotic cuisines. But if you have only 4 days to spare and want to see the best of India, then there is one tour that you should choose: the Golden Triangle Tour 4 Days 3 Nights.
https://preview.redd.it/392m6f4t174b1.jpg?width=1200&format=pjpg&auto=webp&s=6d5ac2c55d98d7a2257bedd6e290b13ed13dd968
The Golden Triangle Tour 3 Days 2 Nights is a popular and classic itinerary that covers three of the most iconic and fascinating destinations in India: Delhi, Agra and Jaipur. These three cities form a triangle on the map and represent the essence of India. They showcase the different aspects of India’s culture, history and art. They are also home to some of the most famous and beautiful monuments in the world.
But why should you choose the Golden Triangle Tour 4 Days 3 Nights for your next trip to India? Here are some reasons why:
It is convenient and hassle-free
The Golden Triangle Tour 4 Days 3 Nights is a convenient and hassle-free option for travelers who have limited time but want to make the most of their trip. You can book a private car with a driver and a guide who will pick you up from your hotel or airport in Delhi and take you to Agra and Jaipur via the expressway. You can enjoy the scenic views of the countryside along the way and reach your destinations in a short time. You can also choose your accommodation according to your budget and preference.
It is flexible and customizable
The Golden Triangle Tour 4 Days 3 Nights is a flexible and customizable option for travelers who want to have their own pace and preferences. You can decide when to start and end your tour, how long to spend at each attraction, what to see and do at each destination, and what to eat and drink along the way. You can also add or skip any attraction or activity as per your interest and availability. You can also extend or shorten your tour as per your schedule.
It is affordable and value-for-money
The Golden Triangle Tour 4 Days 3 Nights is an affordable and value-for-money option for travelers who want to see the best of India without breaking the bank. You can get a great deal on your car rental, accommodation, guide service, entrance fees, meals and more. You can also save money by traveling in off-season or booking in advance. You can also enjoy some discounts and offers on your tour package.
It is fun and memorable
The Golden Triangle Tour 4 Days 3 Nights is a fun and memorable option for travelers who want to have an amazing experience in India. You can visit some of the most famous and beautiful monuments in the world, such as Taj Mahal, Red Fort, Amber Fort, Hawa Mahal and more. You can also explore some of the most vibrant and lively markets, nightlife and street food in India, such as Chandni Chowk, Connaught Place, Bapu Bazaar, Chokhi Dhani and more. You can also enjoy some of the most delicious and spicy dishes in India, such as chaat, paratha, kebab, biryani, dal bati churma and more.
Final Thoughts
The Golden Triangle Tour 4 Days 3 Nights is a perfect way to see the best of India in a short time. It is a tour that will take you to three of the most iconic and fascinating destinations in India: Delhi, Agra and Jaipur. It is a tour that will introduce you to the different aspects of India’s culture, history and art. It is a tour that will leave you with unforgettable memories and impressions of this incredible country.
So what are you waiting for? Choose the Golden Triangle Tour 5 Days 4 Nights for your next trip to India and get ready for an amazing adventure.