The Movie Supersize Me Essay Example for Free

The Movie Supersize Me Essay Supersize Me is the perfect movie to watch to understand the importance of diet and eating habits. It teaches us specifically about the dangers of fast food as well as what foods are better options! Supersize Me is a great teaching tool for all who watch. This documentary shows us the risks of eating fast food, specifically McDonald’s. Morgan Spurlock ate nothing but McDonald’s fast food for thirty days straight. He gained 25 pounds and also doubled his chances for heart disease, which shocked me. I knew that fast food was terrible, but that quick of a weight gain plus the drastic increase for chances of heart disease was astounding. It took Morgan 14 months to lose his extra weight and he said it was nothing close to being easy, which I can believe. The fact that forty percent of meals are eaten out of the house daily is a crazy statistic and one that I believe should not exist! I completely agree that fast food is a problem that contributes to obesity. As the documentary stated, sixty percent of overweight people eat fast food consistently. I am very glad that this documentary included ways schools are affecting obesity in their students, as I think that bad eating habits start at a young age. Any chance to decrease obesity and poor health due to diet is a positive change, and I salute the schools that are trying to do so. Some schools have banned soda vending machines and even prohibited students from bringing soda, which I think is a great start. I think that school lunches, however, are generally on the unhealthy side. More should be done to promote healthy dietary habits that go beyond removing soda. Overall, this documentary was a great one. I hate it for Spurlock that he had to go through all the health issues. It scared me when he got so bad that the doctors were telling him to stop so his heart and liver didn’t give out. To watch that happen to someone is hard, especially when it is 100% preventable from a dietary standpoint. Also, I like how this film pointed out McDonald’s specifically. Being the first fast food restaurant in the world has also led it to be the biggest. Which, may be great for them and all, but the fact that it contributes to forty-three percent of the fast food industry is incredible, and not in a good way. Going into nursing really  makes me view the world in a different light. This documentary opened my eyes to the dangers of fast food. I personally enjoy eating some French fries and chicken nuggets every now and then. But now I am much more cautious about how often I do this. I know that eating it every day for every meal is way different than eating it every now and again, maybe a few times a month, but the fact that the food served at these restaurants (can you even call it that?) have so much power to harm the body is something that the world should know! And I am g lad that Supersize Me aimed to inform!

The Effects of Alcohol Essay -- Papers Alcohol Drinking Liquor Essays

The Effects of Alcohol Works Cited Not Included Alcohol is a substance that has numerous diverse affects on the body-both positive and negative. Alcohol not only kills brain cells, but when taken in profusion it has almost no constructive affects. Sure it can make one overlook his/her problems, but the consequences of drinking in excess far outweigh the benefits. It is not a crime to get drunk, however alcohol will almost always cause one to conduct them self in a way he or she would not normally behave. For instance, a sober man will not usually drive ninety-five mph down I-95, however, after consuming a good amount of alcohol, his eyesight, judgement, reflexes and abilities are hindered to the point that he feels indestructible. Alcohol is a drug, and when abused it has almost no positive affects. It is the most widely used and socially acceptable drug in the world. (Taylor, 6-7) Alcohol abuse is more physically destructive than the abuse of any other popular drug. When much is consumed in a short period of time, alcohol (ethanol) causes immediate changes in the body. First it slows down the workings of the brain. The drinker?s speech may become slurred and his steps staggered. The body?s reflexes become dulled as the nervous system slows down. (Taylor, 14) The drinker does not always realize this and may feel as if he is perfectly capable of normal functioning, but this is not always so. His abilities are impaired and he should not be given responsibility. Alcohol is often incorporated in many different aspects in our society. It is drunk as part of social celebrations such as birthdays, weddings, and parties. It is also drunk as a salve for the emotional pain of rejection and heartache. Alcoholi... ...teens are purchasing alcoholic beverages from irresponsible storeowners. In 1997, it was recorded that 56% of eighth graders have tried alcohol, as well as 71% of tenth graders, 80% of twelfth graders, rising to 88% in college students. These are large numbers when stated that the legal drinking age in almost all fifty states is twenty-one. In conclusion, the public as a whole needs to learn when enough is enough. It is fine to drink, but the key is to drink in moderation. People should not allow themselves to get ?totally trashed? or ?ridiculously wasted?, but drink with maturity. It is not a crime to get drunk, it is the things one does when he/she becomes intoxicated that will get them incarcerated. People will always drink, but there need to be strict laws enforced for the punishment of those who choose not to be responsible while under the influence.

Case Analysis: Michael Eisner has More Problems than He Can Face

Eisner's Mousetrap Disney's CEO says the company has a lot of varied problems he can fix. But what if the real issue is something he can't face? By Marc Gunther Reporter Associate Carol Vinzant September 6, 1999 FORTUNE Magazine) – Michael Eisner, the famously hands-on CEO of Walt Disney, is up to his old tricks. Last night he screened a rough cut of Dinosaurs, Disney's big animated movie for next summer; he loved the story but complained that some jokes were stale. Today he's holding a four-hour brainstorming session about Mickey Mouse, looking for ways to keep the 71-year-old rodent relevant. One idea: a skateboarding Mickey. ) Later, he'll watch Peter Jennings' newscast on Disney-owned ABC and surf the Internet to see how the company's Websites stack up. Is this any way to run the world's most troubled entertainment giant? After all, as Eisner sweats the details, earnings are dropping, top executives are defecting, and Disney stock is plunging like a ride down Splash Mounta in. â€Å"Maybe I'm crazy,† Eisner says, â€Å"but I don't consider this a crisis. I don't think our problems are in the fabric of our company. And I don't have my head in the sand. Sitting down for a two-hour interview, he admits mistakes. He says, for instance, that he should have settled former studio chief Jeffrey Katzenberg's suit against the company earlier to avoid a â€Å"parade of horrors† (see box). And he concedes that the company has sustained real damage: â€Å"It's like a train wreck, only nobody got killed. † But Eisner denies that he has lost his touch. â€Å"The criticisms of me and Disney today,† says the 57-year-old chief executive, â€Å"are as shortsighted as were the praises of me and Disney in the high economic times. Sunday nights on ABC, Michael Eisner–celebrated CEO, business magazine cover boy, and author of his own life story–still hosts The Wonderful World of Disney. The rest of the week, life is not so sweet i n the Magic Kingdom. Certainly shareholders have reason to feel grumpy, with the stock trading at about 37% below last year's high. There's no quick fix in sight either. Tarzan, the $160 million summer blockbuster, won't have much impact on earnings; the movie cost too much to make and isn't selling enough T-shirts and toys because the market's glutted with Star Wars stuff. That's one of the scary things about today's Disney: The company has grown so big and its problems are so far-reaching–ranging from the phenomenon of â€Å"age compression† to the explosion of media choices–that they can't be fixed by a couple of hit movies or TV shows or more Disney stores. The other scary thing is this: Disney seems less able than ever to cope with adversity. That's because Eisner, for all his creativity and charisma and grand plans, presides over an insular–some say arrogant–corporate culture where decision-making is hierarchical, centralized, and slow. It's an utter mismatch for the Internet age. â€Å"This isn't Mickey's house anymore,† says a former Disney insider. â€Å"It's a multibillion-dollar company. † Eisner does have a plan. He is cutting costs and reengineering a company that got bloated with success. He's making overseas growth a top priority. He wants Disney to be an Internet giant, taking on Yahoo and America Online. And, yes, he'll keep on tweaking theme park rides and screening ABC pilots and driving subordinates up the wall with his meddling, because he fervently believes that if you demand high quality and develop synergy, financial results will follow. The interesting thing about our company,† Eisner says, â€Å"which I think is extremely flattering, is that everybody takes for granted that we make good products. They think, Oh, the Disney cruise ship, they take a wand and a little pixie dust and all of a sudden you revolutionize the cruise industry from floating Vegas hotels to romantic ocea n liners. There are zoos all over the world, and up comes the Animal Kingdom. Or Tarzan, or the Lion King on Broadway–people say, ‘They have no trouble with the creative thing. Well, it's the creative thing that turns the company around. † Besides, he declares, a bit impatiently: â€Å"We are the most profitable media company in the world. We're being buried a little prematurely here. † He's right about the bottom line. Last year Disney reported revenue of $23 billion, operating income of $4 billion, and net income of $1. 9 billion–its net was far more than that of Time Warner (owner of FORTUNE's parent), News Corp. , and Viacom combined. For the current fiscal year, which ends Sept. 0, Disney's revenue is expected to reach $24 billion. But all other key indicators are down, some shockingly so. For the first nine months of fiscal 1999, excluding a one-time gain from an asset sale, Disney reported declines in operating income of 17%, net income of 26% , and earnings per share of 27%. Some Wall Street analysts have cut their fiscal 1999 earnings estimates as many as five times since last summer, and 13 of 25 analysts have a â€Å"hold† on the stock, according to Zacks Investment Research. The company has simply stopped growing, and it isn't a momentary dip either: Operating income fell slightly last year too, and Disney isn't expected to match its fiscal 1997 earnings until 2001 at the earliest–a startling comedown for a company that, for a decade after Eisner took over in 1984, delivered annual profit increases of 20% and a return on equity of 20%. Return on equity, a key benchmark that has been sliding ever since Disney's 1996 merger with Capital Cities/ABC, has slipped below 10%, estimates analyst Laura Martin of Credit Suisse First Boston. Some people have the impression that Disney still is what it was–an animation company that generated great returns on capital,† Martin says. â€Å"But that may be over. † Until recently Disney was propelled by a handful of big ideas that were executed almost flawlessly. First, Disney released its library of beloved animated films on video just as VCRs took off; nine of the ten bestselling titles of all time are Disney movies, and most, like Snow White and Cinderella, were paid for long ago. Second, Eisner and Katzenberg revived Disney animation with instant classics like Aladdin and The Lion King, which made big profits at the box office and on video and spawned even bigger ancillary revenues from licensing and merchandising. Third, Disney built more than 700 retail stores in the U. S. , Europe, and Asia. Finally, the company embarked on a vast expansion of Walt Disney World, creating and updating dozens of attractions and building an astonishing 15,000 hotel rooms since 1988. (They called the strategy â€Å"Put the heads in the beds. ) Disney's market capitalization soared from about $2 billion before the Eisner era to $85 billion at its peak in April 1998. Thanks to the rising stock price, Eisner got fabulously rich too, exercising accumulated stock options that gave him pretax gains of more than $500 million since 1992. He still holds 12. 7 million shares, according to Disney's latest SEC filings, worth about $330 million at today's prices. So what's gone wrong? Sta rt with the fact that all the businesses that powered Disney, with the exception of the theme parks, are slumping. Home-video earnings have tumbled, partly because consumers now have shelves filled with Disney animation. Revenues from licensing and merchandising are down, partly because of the economic downturn in Asia, and sales and profits from the Disney Stores have declined because product lines have grown stale. â€Å"How many Mickey Mouse T-shirts can you sell? † asks Christopher Dixon, entertainment industry analyst for Paine Webber. Altogether, Disney's all-important Creative Content segment, which includes movie and TV production, home video, licensing, merchandising, and the stores, saw its operating income fall from $1. billion in 1997 to $1. 4 billion in 1998; it decreased by another 42% during the first nine months of fiscal 1999. If that were a movie, they'd call it Honey, I Shrunk the Earnings. In Eisner's view, the problems are unrelated. â€Å"A lot of things happened together to make our earnings slide,† he says. Disney is attacking each concern, slashing costly pr oduction deals in the movie business, releasing fewer live-action movies, resting its classic video titles longer between releases to rekindle demand, and merging overseas distribution forces for film and video. To boost demand for consumer goods, the company will try to coordinate marketing in big retailers such as Wal-Mart. â€Å"We'd like to have a Disney boutique to sell the T-shirt, the lunchbox, the sheets and towels,† says Peter Murphy, Disney's self-assured 36-year-old head of strategic planning. Suppose, though, that the declining sales of videos and merchandise reflect a more fundamental issue–weakness in the Disney brand. This notion is such heresy inside Disney that everyone, including Eisner, dismisses it out of hand. We have research on our brand in 20 or 30 countries, and we are almost without exception the No. 1 or No. 2 brand,† Eisner says. Disney executives say that if the brand were in trouble, Disney's theme parks would be suffering along with the rest of the company; as it is, they're thriving–even the one in France. In the theme parks and resorts segment, revenues and operating income grew by 10% and 13%, respectively, in 1998, and they've gro wn by 14% and 13% so far this year. â€Å"We have as many kids lining up to see Mickey Mouse as ever,† says Paul Pressler, 43, the president of Walt Disney Attractions. And our merchandise has done great. † Disney World has reached beyond its core audience of young families to beckon convention-goers, older people, and â€Å"pre-families,† which is Disney-speak for single people. And it's capturing more money from visitors who stay in all those new hotels. Sure, Disney's theme parks rule–it's parents who decide on family vacations–but the brand isn't holding up as well in crowded arenas like videogames and cable TV, where kids are more autonomous. Disney's interactive unit is an also-ran in the booming videogame business. On cable, the Disney Channel ranks a poor third in viewing among kids ages 2 to 11, behind market leader Nickelodeon and the Cartoon Network. Both Nick and Cartoon, relative newcomers to the kids' business, exploited Disney's vulnerabilities. â€Å"The Nickelodeon opportunity was to get inside the lives of today's kids,† says Nickelodeon President Herb Scannell. â€Å"We've been contemporary. They've been traditional. † While Disney characters are drawn from myths, history, and storybooks–just about every big Disney animated feature could begin with the phrase â€Å"long ago and far away†Ã¢â‚¬â€œNickelodeon's TV shows and movies tell stories about real kids. Today the Viacom unit captures more than 50% of the audience of all children's TV programming. When Disney tries to exude a hipper aura–think of the bestselling Phil Collins soundtrack from Tarzan–the company is more likely to speak to baby-boomer parents than to their offspring. Here's where that idea of â€Å"age compression† comes into play. Kids grow up faster these days, the experts say, and start emulating teenage behavior when they're 9 or 10. They rebel against their parents and shy away from a â€Å"good for you† brand like Disney. Ten-year-old boys who watch wrestling or South Park on cable and 9-year-old girls who love Ricky Martin think Disney is for little kids. â€Å"They've never gotten past the problem that their core audience is girls 2 to 8 and their moms,† says a former Disney executive. And even among young kids, the hot properties lately are Nickelodeon's Blues Clues, PBS's Tele-tubbies and Nintendo's Pokemon, now a hit TV show on the kids' WB, yet another new kid-vid network. The cluttered kids' marketplace points to another fundamental problem facing Disney–competition on a scale the company hasn't faced before, across all its businesses. Warner, Dreamworks, and Fox do feature animation. Universal just opened a second Florida theme park. Fox Sports is taking on ESPN. Can you begin to see why managing Disney today is harder than it was a decade ago? What changed everything, of course, was Eisner's boldest stroke as CEO: his $19 billion merger with Cap Cities. That deal, cheered at the time, still appears strategically sound–the idea was to marry Disney content with ABC's broadcast and cable distribution. The problem has been execution. While ESPN and other cable properties have grown, no unit of the company is as besieged as ABC. It will lose money this year for the first time in a decade, despite a fantastic advertising marketplace, because audiences are splintering and programming costs keep climbing. (Disney agreed under competitive pressure to spend $9. 2 billion–that's right, billion–for NFL rights for ABC and ESPN through 2008. ) Operating income for the company's broadcasting segment, which includes ABC, its TV stations, 80% of ESPN, the Disney Channel, ABC Radio, and stakes in Lifetime, A&E, the History Channel, and E! Entertainment, grew by just 3% last year; it's down 18% so far this year, mostly because of ABC. I'd be the first to say the results of the ABC television network, particularly in prime time, have been disappointing since the merger,† says Robert A. Iger, 48, the lifelong ABC executive who is chairman of ABC Inc. While Iger's bailiwick extends way beyond the network, he keeps a close watch on programming and told FORTUNE in 1997, â€Å"Prime time is my No. 1 priorit y. † Since then, ABC's ratings for its 18- to 49-year-old target demographic have fallen by another 13%, leaving the network No. 3, behind NBC and Fox. Oops. Wait, it gets worse. Remember how the merger was supposed to marry content and distribution? That's not working well either. Owning and broadcasting a hit, then selling the reruns, is the best way to make big money today in television. Just ask Rupert Murdoch, whose Twentieth Century Fox TV studio not only owns the biggest hits on Fox–The Simpsons, The X-Files, and Ally McBeal–but also produces The Practice and Dharma & Greg for ABC, as well as key shows for NBC, CBS, and the WB. By contrast, Disney's Touchstone Television production studio has failed to develop a prime-time hit for ABC or anyone else since creating Home Improvement in 1991. Out of sheer frustration, Eisner last month merged the Touchstone studio into ABC; the idea is to save money and force the two units to cooperate. â€Å"It's a fantastic opportunity to reengineer the way television is done,† says Lloyd Braun, the studio president who co-chairs the merged unit with ABC's Stu Bloomberg. Like a movie studio, ABC Entertainment now will develop, own, finance, and distribute more of its own content. The trouble is, the new model could seal ABC off from the rest of the television world. While ABC executives say they'll still buy shows from studios like Warner Bros. nd Fox, the studios worry about doing business with the new, vertically integrated ABC. â€Å"You're going to have to demonstrate to me in tangible ways that I'm going to get a fair shake,† says Sandy Grushow, president of Fox's Twentieth Century Television. The other networks, meanwhile, suspect that any show they get pitched by a Disney entity will be an ABC reject. Beyond that, t he merger adds another layer and the prospect of infighting at ABC Entertainment, now run by a posse that includes newcomer Braun, programmers Bloomberg and Jamie Tarses, network President Pat Fili-Krushel, ABC Inc. resident Steve Bornstein, and Bob Iger, who still reads scripts of key ABC shows on weekends. Nor is Eisner shy about weighing in; he helped shape the fall lineup and ordered ABC to negotiate tougher deals with its affiliates and program suppliers, which are not happy. This management by committee has never worked in television, and it's not working at Disney-ABC. There is much more at stake here than the unwieldy operation of the TV unit. The new ABC structure is emblematic of what may be Eisner's thorniest problem, if only because he doesn't seem to recognize it: It's Disney's corporate culture. Under Capital Cities, ABC was run in a determinedly decentralized way; executives were given authority and responsibility as long as they exercised fiscal discipline, and the company was generally well run. The Disney approach reflects different values: centralized control, an obsession with synergy at the expense of individual business units, a suspicion of outsiders, and a muddying of responsibility. The results speak for themselves. Writing about the Disney culture is tricky because knowledgeable critics are unwilling to speak on the record; the company's just too powerful. But talk to enough people and you hear similar complaints. One persistent theme: Eisner insists on making too many decisions himself, which clogs the decision-making process. So do the roomfuls of strategic planners who analyze everything. A second complaint: Eisner's too tough. Working with Disney is notoriously difficult, so much so that a group of partners, including Coca-Cola, AT;T, Delta, and Kodak, used to meet informally to trade tips on how to cope. A related point about Eisner: In spite of his affability, he doesn't really value other people. That's one reason the death of his longtime second-in-command, Frank Wells, in 1994, was a seminal event. Wells commanded Eisner's respect like no one else, told him when he was off-base, and deftly softened his edges. They were a great team. Eisner tried to replace him with Michael Ovitz, a crucial error at just the wrong moment. Ovitz's management got the ABC merger off to a dismal start, and his 16-month tenure scarred the company. Since then, strong executives have left, among them former CFOs Stephen Bollenbach and Richard Nanula, Internet guru Jake Winebaum, and former ABC executives Geraldine Laybourne and Steve Burke. Finally, the critics say, the company has simply grown too big to be run from the top down. Eisner's approach worked for the old Disney, where the focus was on a single brand; he could gather a cadre of executives at his Monday lunches and get things done. Now Disney must manage multiple brands in a world where speed counts and partnerships are vital. A respected ex-Disney executive told me, â€Å"The company has changed and the world has changed, but Michael hasn't changed. Now he's got to change. † Eisner and his lieutenants bristle at the criticism from unnamed sources, and you can't blame them. Yes, they say, Disney is tough, but so are GE and Microsoft–which, by the way, lose lots of executives, too, because they have an abundance of talent. To the charge that he meddles, Eisner pleads guilty with an explanation: He wants Disney to excel. (Even his detractors say he has great instincts. ) When he heard from a friend that the cast members at Disneyland Paris weren't as helpful as those at Walt Disney World, he recommended better training. â€Å"Is that meddling or is that insisting on a high standard of excellence? † Eisner asks. â€Å"If there's an area where I think I can add value, I dive in. Yes, at certain times I paralyze people. I'm never satisfied. It gets people crazy, I know that. † But Eisner also says he leaves his best executives, like theme park chief Pressler, alone. â€Å"There's no brain drain,† he says. â€Å"We have unbelievably strong management. † Eisner's turnaround strategy focuses not on Disney's culture but on operations, fiscal engineering, and growth. Consolidation and cost cutting are already under way across the board, with the movie division leading the way. Studio chief Joe Roth has already cut spending by about $550 million annually, by making fewer movies. It focuses everyone much more closely on the films at hand,† Roth says, â€Å"and ironically, I am quite sure that–for the fifth time in six years–we will be No. 1 in market share again this year. † Disney is also looking to sell Fairchild Publications, a magazine company. Sources say Disney also expects to write off a big chunk of the $9. 2 bi llion NFL deal. In a move that should please Wall Street, CFO Thomas O. Staggs is reworking Disney's compensation system so that executives will be evaluated on cash flow and return on equity as well as on reported earnings; that's designed to encourage business units to use capital more efficiently. The theme park segment, in particular, has been a huge consumer of capital, but it will use less after new parks open near Disneyland and Tokyo Disneyland in 2001. Disney's best growth opportunity probably lies overseas. Right now, the company gets about 21% of its revenues from abroad, less than other global brands like Coca-Cola (63%) or McDonald's (61%). That's why Bob Iger's recent promotion to president of Walt Disney International puts him in a crucial role, spearheading what Eisner calls â€Å"a monumental change in the way the company is structured. Iger has begun to overhaul all of Disney's operations outside the U. S. , which grew up haphazardly as each business–film, TV, the stores, cable, or theme parks–built foreign outposts that reported back to the home office. Now those businesses will also report to regional executives in charge of continents or key countries; each territory will also get its own CFO and brand manager. That may sound like more Disney l ayering, but Iger says it offers major advantages. First, the company will save money through consolidation, whether in renting office space or buying advertising. Disney also expects to do a better job of tapping into local trends. Iger cites a revealing example: â€Å"It's having someone in Japan who would see the Pokemon phenomenon at an early stage and have the clout, really, through me, someone who has a seat at Michael's table, to be able to raise the consciousness level of the company about that potential quickly and effectively. † Interestingly, the idea is not to delegate authority but to shorten the distance between the rest of the world and Eisner. Eisner's other major focus is the Internet. Here, too, centralization is the watchword. Last month Disney agreed to combine its Internet assets with Infoseek, a search engine and portal company that it is buying outright; the properties, including the Go portal, ABCNews. com, ESPN. com, Disney. com, Family. com, and others scattered in five locations on both coasts, will operate as a single unit under a CEO to be named later. â€Å"This is to consolidate the Internet assets so that we can have them under common management with one agenda and one vision,† says CFO Staggs, the 38-year-old architect of Disney's Internet strategy. The company will then issue a tracking stock called go. com that can be used as acquisition currency and a way to compensate talent. Disney's assets should make it a force online. Its ESPN. com and Disney family sites are category leaders, and the company has unparalleled promotional platforms in ABC and ESPN. In a matter of months, they helped make Go the fifth-ranked portal, behind AOL, Yahoo, Microsoft, and Lycos. And all the Disney Websites should sing when high-speed access makes it easier to watch video online. â€Å"As bandwidth expands,† Eisner says, â€Å"content becomes more important. You must have sports and news and entertainment, or you are going to be a Western Union messenger in a fax world. † He envisions a universe in which ABC News clips, ESPN game highlights, and movies like Aladdin are distributed online, cutting out middlemen like cable operators or Blockbuster Video. â€Å"I believe the entire company's product will mostly be distributed through the Internet,† Eisner says. He's a passionate Internet user too, peppering his web guys with suggestions. Says Staggs: â€Å"The only person I get more e-mail from than Michael is my mom. † The strategy sounds smart. Of course, buying ABC sounded smart too. Once again, it'll come down to execution. Patrick Keane, a Jupiter Communications analyst, likes Disney's web assets but worries that â€Å"diversified media companies move at glacial speed when it comes to the Internet. † Disney can't be as focused on new media as people at AOL and Yahoo are every day. And the straitlaced Mouseketeers will have to learn to live in an unbuttoned Internet culture, says new-media consultant Gary Arlen of Bethesda, Md. â€Å"Have you ever been to Disney World? † he asks. â€Å"You walk out of a ride and land in a place that sells souvenirs. They'd like to manage the Internet that way. Even with perfect execution, Disney's Internet investments need time to pay off; in the meantime, they'll dilute earnings. Time is what Eisner needs too. Time for the cable and phone companies to help make his broadband Internet vision a reality. Time to build overseas. Time for DVD to take hold and provide another chance to resell the library. Time to creat e the next Tarzan and a hit for ABC, time for new theme parks to open, time to reinvent Mickey once more. Time, perhaps, to appoint a strong second-in-command with clout, whether it's Bob Iger or Paul Pressler or a dark horse who has yet to emerge. Because he enjoys the support of the Disney board, Eisner can be patient. â€Å"We're in a transition period,† he says. â€Å"I would rather have every quarter be up. It was for 13 years. Everybody loves you. [But] you can't manage a company like ours quarter to quarter, maniacally, so that the media will write good things about you. † He likes to quote Warren Buffett, whose Berkshire Hathaway, at last count, owned 51 million Disney shares: â€Å"I close my eyes and think about what a company's going to look like in ten years before I invest. Paine Webber's Chris Dixon says Disney's assets are top-notch: â€Å"It may take time, but we believe the values are there. † Other investors won't wait. They note that despite the earnings downturn, Disney is still priced as a growth stock; it trades at about 35 times this year's projected earnings, a 25% premium to the S;P 500. The Capital Research ; Management Group, whose entertainment industry investments are managed b y respected media analyst Gordon Crawford, used to be Disney's largest institutional shareholder, with 41 million shares as recently as last year. Crawford has sold them all. So be it, says Eisner. â€Å"You can always tell your friends through the rough times,† he says. He still gets to go to the movies, test-drive theme park rides, surf the Net, and call it work. And maybe it's just his turn to suffer in the media doghouse. After all, CEOs Gerald Levin of Time Warner and Sumner Redstone of Viacom fell out of favor when they struggled to get their arms around companies engorged by big acquisitions. Such mergers aren't easy. The challenge for Eisner is to learn from experience, show a little humility, seize the opportunity to shake up his company, and, perhaps, change his own stripes and let go a little. That's a lot to ask of anyone who's been as successful as he has for so long. But this isn't the old Disney. And the old Disney magic just isn't working anymore. REPORTER ASSOCIATE Carol Vinzant http://money. cnn. com/magazines/fortune/fortune_archive/1999/09/06/265291/index. htm

I.T. solution for Castle Couriers Essay

Analysis 1.1 Statement of the problem 1.1.1 Introduction For this project I will be constructing an I.T. solution for Castle Couriers. Castle Couriers is a company, which provides a number of courier services, mainly for car showrooms. Their main service is the transportation of vehicle registrations to the V.R.O. (Vehicle Registration Office) and their return, and also the transportation of tax related forms to the tax office, also from car showrooms. It is currently a company with a small number of employees, approximately 4, and a very local customer base. However they plan to expand in the near future and do not believe their current system will be effective with much more data. The current system, Lotus SmartSuite, is not designed with their company in mind and is therefore complicated to operate and the addition of data is often laborious. I hope to improve their situation by creating an automated database, so that creating documents and modifying data is a very simple task. 1.1.2 User Requirements The owners of Castle Couriers have a number of requirements: -Reduce time spent on inputting data -This will aid the expansion process because an increase in data will not lead to a further increase in time spent processing. -Increase ease of finding data -Again a time saving requirement, useful during the complicated period of expansion. -Producing a sufficiently high quality document range -Now that the production of documents is virtually automatic, the end users are keen to see that the quality does not decline. -Must be user friendly due to lack of computer literacy of end user -There must be very few complicated procedures, as having to increase the end users I.T. skills will take time and possibly money. 1.1.3 Current system At the present moment Castle Couriers uses a generic program called Lotus Smartsuite. My knowledge of Smartsuite is minimal but the program has not been specifically designed for this company. I have been informed that it is similar to Microsoft office, which I have good experience in. It is very popular with many businesses because of the amount of very professional tools available. However, in the case of Castle Couriers, these tools are not linked together effectively, allowing for a minimal amount of automation. They store data in both spreadsheets and databases, with certain functions allowing a limited level of automation. 1.1.4 Data Flow diagram of current system The following diagram illustrates the current processes involved in dealing with an order 1.1.5 Problems with the current system Castle Couriers’ main problem with their current system is its complexity, which is leading to an increase in the amount of time they spend producing documents and organising orders. Adding new customers, as they are planning to do, should they decide to continue with expansion, is very difficult and is adding to the already complicated and overloaded system. Modifying data is also a time consuming problem as it takes time to navigate through the procedures necessary. 1.1.6 Objectives of the new system The new system should meet a series of criteria, firstly the time spent inputting data and the ease with which this is done should be improved. Making the system less complex than Lotus Smartsuite should solve both of these objectives. Secondly they would like to be able to search for details of customers and services easily. Very importantly, this program must maintain the high quality of documents such as invoices and memorandums. Finally none of the staff who will be using the system have very much experience in IT, so the system must be easy to operate and difficult to corrupt. 1.1.7 Performance indicators The following performance indicators will be used: – It should take less than 1 minute to construct and print invoices – Data entry should be made simple enough for all queries to be 100% accurate – The system must be able to cater for any number of staff/customers/services to be added without improvements as the company expands – It must be impossible to erase any fields or tables – The system should be simple enough for users with only a basic I.T. knowledge to operate 1.1.8 Volume of data The level of data that will be stored in the database is likely to be quite small at first, but this should increase as Castle Couriers continues expanding. Initially there are likely to be about 40 customers, with a choice of 3 services and 5 members of staff. Details of each customer will need to be stored and will cover name, address, telephone and fax numbers, e-mail, contacts within the firm and their history with Castle Couriers. 1.1.9 Hardware and Software The majority of the design will be carried out on my school’s computer network with the equivalent to a 1.6Ghz Pentium processor, 128MB of RAM and an easily sufficient sized hard drive. My home PC and the computers of Castle Couriers are of a similar specification. Therefore there should not be any problems in compatibility. However, at home, where some aspects of the design will be carried out, I have a newer version of Microsoft Office, and therefore a newer version of Access. This should not cause any problems, however should I wish to incorporate functions not available in the school’s version, I will have to do this last. All of the designing will be done in Microsoft Access, with some links to Word, for better quality documents, and Excel, for data interpretation. This is available on all three of the concerned systems. 1.1.10 End user skill level None of the people who will be using the system have any formal I.T. qualifications. Their only previous I.T. experience is based around the use of Lotus SmartSuite. This will be a problem for me because the system I will be designing for them will be entirely based within three programs, Microsoft Access, Microsoft Excel and Microsoft Word. It will therefore be necessary to make the project very simple to use with automatic functions. 2 Design 2.1 Consideration of solutions 2.1.1 Manual System This would be based around data being processed, stored and filed in the form of paperwork, with calculations being manual and documents handmade. -Easily the slowest -Higher risk of loss/damage to data -Complicated and tedious -Lower quality documents -High risk of mis-calculations We have therefore judged that this system would not be suitable for Castle Couriers, as it is far too slow and complicated and will not be better than the current system. 2.1.2 Spreadsheet System A spreadsheet system would be designed and operated in a program such as Microsoft Excel. -Easy to design -Little chance of damage/loss -Simple functions A spreadsheet system would not allow for the necessary functions and operations to improve on Lotus Smartsuite. 2.1.3 A specifically designed courier system A package, which has been specially designed for this type of business, could be obtained from certain software companies -Best program -Expensive -All necessary functions present This is probably the best option as it is designed only for use in this type of company, however due to the expense of this program Castle Couriers have allowed me to attempt a database before deciding. 2.1.4 Access database This is the option they have allowed me to attempt and this will be designed and implemented by me -Very cheap and easy to design -Inter-personal interaction during design -Easier to train users Using this system has the advantage of allowing Castle Couriers to have an influence in the design of the system. 2.2 Database Design 2.2.1 Entity-relationship diagram There are six entities, or tables, within this database. They are basically split into two separate functioning databases, however I will keep them in one for ease of use and because the ‘services/tasks’ table will be used by both systems. The first system, outlined in red, will concern the receiving and payments of orders, whereas the second, outlined in blue, will allow allocation of tasks for employees.

To Kill Mockingbird essays

To Kill Mockingbird essays One theme of the novel To Kill A Mockingbird is the transition from innocence to experience. At the beginning of the story To Kill A Mockingbird Scouts world is limited to the boundaries of immediate neighborhood. She feels safe and secure, and totally confident that the way things are done in her home is not just the right way, but also the only way. The arrival of Dill, who comes from a broken home and has lived in another state, gives Scout her first hint of a variety of many experiences beyond her narrow horizons. Then, Scouts first day of school in Maycomb is not necessarily correct. She also learns that sometimes it is necessary to compromise in order to get along. Even though Scouts teachers ideas about how to teach reading may be wrong, Scout must respect her teachers authority. Her own father advises her to ignore the teachers ban on reading at home, but to pretend to go along with the teachers methods in the classroom. This kind of social hypocrisy is new to Scout, and sh e is surprised to hear her very own moral father Atticus advocating it. As the story progresses, Scout encounters other numerous examples of the complexity of human motivation. Sometimes characters that do evil things, such as Mayella Ewell, are nevertheless more pitiful than hateful. On the other hand, it is possible for some individuals to do the right thing for quite unexpected reasons. Mr. Underwood does not like blacks and is a mean-spirited person in general, yet he alone helps Atticus during the quarrel at the jail. By the final chapters of the novel, Scout has learned that good and justice do not necessarily triumph every time. Harmless individuals such as Tom Robinson and Boo Radley can become victims through no fault of their own. Sometimes the system can do nothing to defend them. In one of the final scenes of the story, the sheriff puts compassion ahead of the letter of the law so th...

Cosmos Episode 6 Viewing Worksheet - Teacher Resources

Cosmos Episode 6 Viewing Worksheet - Teacher Resources   The most effective educators know they must vary their teaching style in order to accommodate all types of learners. One fun way to do this that students always seem to like is to show videos or have a movie day. A great science based Fox television series, Cosmos: A Spacetime Odyssey, will keep the students not only entertained but also learning as they follow along on the adventures of affable host Neil deGrasse Tyson. He makes the complicated science topics accessible for all learners. Below are questions that can be copy and pasted into a worksheet for use during or after the showing  of episode 6 of Cosmos, entitled Deeper Deeper Deeper Still,  to assess students learning. It can also be used by the students as a sort of guided note taking worksheet during the video to jot down the main ideas. You are free to copy and use this worksheet as you feel necessary to best fit your class. Cosmos Episode 6 Worksheet  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Name:___________________    Directions: Answer the questions as you watch episode 6 of Cosmos: A Spacetime Odyssey    1.   About how many atoms does Neil deGrasse Tyson say that he’s made up of?    2. How many hydrogen and oxygen atoms are in one molecule of water?    3.   Why do the water molecules move faster when the sun hit them?    4.   What has to happen to the water molecules before they can evaporate?    5. How long have tardigrades been living on Earth?    6. What are the â€Å"holes† in the moss called that take in carbon dioxide and â€Å"exhale† oxygen?    7. What does a plant need in order to break water into hydrogen and oxygen?    8. Why is photosynthesis the â€Å"ultimate green energy†?    9. How long can a tardigrade go without water?    10. When did the first flowering plants evolve?    11. What did Charles Darwin conclude about the orchid based on his idea of Natural Selection?    12. How much of Madagascar’s rain forests have been destroyed?    13. What is the name of the nerve that is stimulated when we smell something?    14. Why do certain scents trigger memories?    15. How does the number of atoms in every breath we take compare to all the stars in all the known galaxies?    16. What idea about nature was first expressed by Thales?    17.   What was the name of the ancient Greek philosopher who came up with the idea of atoms?    18. What is the only element that is flexible enough to create different structures necessary to sustain life?    19. How did Neil deGrasse Tyson explain that the boy did not really touch the girl?    20. How many protons and electrons does an atom of gold have?    21.   Why is the Sun so hot?    22. What is the â€Å"ash† in the Sun’s nuclear furnace?    23. How are heavier elements, like iron, made?    24. How much distilled water is in the neutrino trap?    25. Why did neutrinos reach the Earth 3 hours before anyone knew of the Supernova 1987A?    26. What law of Physics made it possible for Neil deGrasse Tyson not to flinch when the red ball came swinging back at his face?    27. How did Wolfgang Pauli explain the â€Å"breaking† of the law of conservation of energy in radioactive isotopes?    28.   Why can we not go further back than 15 minutes into January 1 on the â€Å"cosmic calendar†?    29. About what size was the universe when it was a trillionth of a trillionth of a trillionth of a second old?

Breathing underwater Essay Example | Topics and Well Written Essays - 1000 words

Breathing underwater - Essay Example He had it all – a rich family, plenty of money, a good school and classmates and his beautiful girlfriend Caitlin. He was also popular for being one of the top athletes and students of his school. The author Alexandra Flinn, had undertaken extensive research on the topic of batterers by taking into consideration the different counseling and anger control programs given for such people. The author had always been working with victims of domestic violence and the perpetrators of such crimes. From a literary standpoint, she took the liberty of presenting this incredibly touching story from the viewpoint of the abuser. Alexandra Flinn focuses on the theme of violence within the framework of a love relationship shared between two teenagers, Nick and Caitlin. As the story unfolds, the author vividly explains how love had turned to violence which finally snuffed out a beautiful relationship. She also gives us a clear picture how each made use of the other to get what they needed for the moment. Nick came from an affluent family but did not experience a mother’s love. Moreover, he had a father who was violent and was never there when Nick needed him most. Therefore, Nick craved for love and affection and someone to listen to his hopes and fears. This need was satisfied in the form of his girlfriend Caitlin whom he loved a lot. Caitlin too loved Nick but at the same time got whatever she wanted from him. Though she catered to his whims and fancies, she stood her ground whenever the need arose. As time passed, Nick gradually started acting jealous and displaying violent behavior. He badly needed to release the pressure he faced with his father on the home front and uses Caitlin in an abusive manner to get rid of his pent up feelings. The novel opens with a court scene where his girlfriend Caitlin is seen testifying against him for slapping her. Nick had loved Caitlin for she was smart and beautiful and she loved Nick too. But all that changed after she