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University of Southern California Dissertations and Theses
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Growing up the Disney Channel way
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Growing up the Disney Channel way
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Content
GROWING UP THE DISNEY CHANNEL WAY
by
Christina Susan Padilla
A Thesis Presented to the
FACULTY OF THE USC GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(STRATEGIC PUBLIC RELATIONS)
August 2010
Copyright 2010 Christina Susan Padilla
ii
Table of Contents
List of Figures iv
List of Images v
Abstract vi
Preface vii
Preface Endnotes x
Chapter 1: The Man, The Myth, The Legend 1
Chapter 1 Endnotes 5
Chapter 2: Television: Walt’s Solution to Financial Perils 6
“This Has Been a Walt Disney Productions Cartoon” 7
Walt’s Creative Programming 13
The Dawn of a New Age in Television 17
Chapter 2 Endnotes 24
Chapter 3: The Heart of it All 27
The Whole Kit and Caboodle 27
Television: Everyone’s New Best Friend 28
A Day in the Life of The Disney Channel 29
Chapter 3 Endnotes 33
Chapter 4: So What’s the Big Deal? 34
Chapter 4 Endnotes 37
Chapter 5: The Disney Style 38
What a Character! 39
The Meaning Behind It All 40
The Apple Doesn’t Fall Far From the Tree…or does it? 42
Chapter 5 Endnotes 46
iii
Chapter 6: Searching for Answers 48
Golden-Ear Goals 48
Research and Results 50
Focus Group 50
A Survey of Opinion 55
“Wizards of Waverly Place” Dissection 62
A Personal Touch 65
A Second Look 68
Major Conclusions 72
Chapter 6 Endnotes 74
Chapter 7: “SWOT” Analysis 75
Strengths 75
Weaknesses 81
Opportunities 83
Threats 84
Moving forward 86
Chapter 7 Endnotes 87
Chapter 8: Disney’s Next Steps 89
Messages 89
Strategies 90
Tactics 91
Chapter 8 Endnotes 99
Conclusion 100
Conclusion Endnotes 103
Bibliography 104
Appendices
Appendix A: The Good ‘Ol Days Survey 110
Appendix B: Lights…Camera…Action! Survey 122
iv
List of Figures
Figure 1: World News Coverage 69
Figure 2: US News Coverage 70
v
List of Images
Image 1: Chip ‘n’ Dale Rescue Rangers vii
Image 2: Walt and Mickey 1
Image 3: Mickey Mouse Club Logo 6
Image 4: Steamboat Willie 27
Image 5: Mickey, the Sorcerer 34
Image 6: Mickey Mouse Today 38
Image 7: The Disney Channel Original Logo 48
Image 8: The Disney Channel Logo – 1990s 75
Image 9: The Disney Channel Logo – Today 89
Image 10: Walt and Mickey Disneyland Statue 100
vi
Abstract
This thesis takes a glimpse at the success behind The Disney Channel and how Walt’s
visions have cemented success for his company’s projects, even after his death. This
thesis also looks to better understand the reasoning behind choices made for
programming, including casting, themes and writing styles. It will offer various
suggestions to help further propel The Disney Channel into a new decade, including
focusing on the diverse demographics the network has. From a public relations
standpoint, Disney has quite a bit to do to be seen as a more inclusive network when
dealing with ethnic diversity of the country. The proposed tactics will focus on
reestablishing the wholesome image the company has, while also reinforcing a sense of
family togetherness.
vii
“Over at our place, we’re sure of just one thing. Everyone in the
world was once a child. We grow up. Our personalities change, but
in every one of us something remains of our childhood.”
– Walt Disney
Image
1
Preface
Disney. It’s a bold name. It conjures up many images for me, including Mickey Mouse,
Winnie the Pooh, former CEO Michael Eisner and even the man behind the ears, Walt
Disney. It brings about a sense of wonder, imagination, innocence and dreaming of what
could be.
My youth was and has been full of extraordinary memories. I grew up in a world where
Disneyland was (and continues) to be one of the happiest places on earth. I can remember
almost every time I went. The one memory that sticks out the most is when my mother
took me around the time that the “Indiana Jones” ride opened. I remember wearing denim
shorts, a pink sweater, white Keds and my hair was up in a ponytail with a white bow. I
remember trying to decipher the ancient symbols on the wall with the cards provided by
AT&T that translated the symbols to letters. I remember eating a hot dog in Toon Town
with my mom and getting a Mickey Mouse ice cream. I also remember watching The
Disney Channel. “The Torkelsons,” “Chip ‘n’ Dale Rescue Rangers” and “The Original
Mickey Mouse Club” were some of my favorite shows. I remember going to Toon Town
for the first time and being excited to see “Gadget’s Roller Coaster,” which was based on
“Chip ‘n’ Dale Rescue Rangers.”
viii
Now, being older and reminiscing on all these fond memories and continuing to make
new ones by visiting Disneyland with friends, younger cousins and of course my mom, I
wonder what it was that allows me to associate Disney with happiness. What has Disney
done to create a sense of utopia in the minds of kids? Do parents help reinforce it? Or has
Disney truly been able to find a way to influence children at a young age and keep that
mindset into adulthood?
I have decided to take a topic I am truly passionate about and research what makes
Disney so magical. I grew up with that magic and I have a very optimistic outlook on life.
While my personality and outlook on life stems directly from my family and how my
mother raised me, Disney did seem to reinforce that with hard work, anything is possible.
I have friends that see Disney as pure evil and as a corporation that is manipulative. This
thesis will focus on Disney programming, specifically programming on The Disney
Channel, and how its themes are reflecting today’s society and youth. It will look at the
history of the corporation and what it was built on. Walt’s own childhood and outlook
greatly influence all his work and projects. I will then conduct primary and secondary
research in hopes of uncovering people’s feelings and reactions to the company and the
specifically the programming. In a time where the American landscape is changing daily,
Disney needs to also come to terms with its surroundings. The values and ideals that Walt
held true may no longer be relevant to a modern audiences. I will offer my own
ix
suggestions to for Disney Channel executives to take into account when planning further
projects and expansion of the network in the United States.
***For the purpose of this thesis, Walt Disney will be referred throughout this work
simply as Walt. It lends nicely to the idea that Walt was like everyone’s uncle. The Walt
Disney Company will be referred to as Disney.
x
Preface Endnotes
Photo Citation
Witness This. (2009, March 13). Cartoons of my childhood (the 80s). Retrieved April 1,
2010, from http://witnessthis.wordpress.com.
Quote Citation
DeMille, C. B. (1938). Interview of Walt Disney. CBS (Lux Radio Theater). In K. M.
Jackson (Ed.), Walt Disney: Conversations (pp. 14). Mississippi: United Press of
Mississippi.
1
Image
2
Chapter 1:
The Man, The Myth, The Legend
Americana. Home grown. The corner deli. Mrs. Johnson and little Bobby. The sheriff
strolling the streets. These words conjure up an image of a simpler yesterday. A yesterday
in which life was uncomplicated, at least by today’s standards. This lifestyle was
common for many, including one particular man, one with a humble beginning, but like
most, dreamed of more. His dreams, through the help of a mouse, blossomed and he will,
for better or for worse, forever live in minds of billions.
First and foremost, it is essential to know one major fact: the Disney legacy is based on a
man who pulled himself up from the bootstraps and worked hard to achieve success. This
family tradition would prove beneficial for Walt one day. The Disney family’s main roots
were in County Kilkenny, Ireland. The family traveled to America in July 1834
1
and,
from that day, continued to roam until they found happiness.
Walter Elias Disney was born to two loving parents, Elias Disney and Flora Call. Born in
Chicago, Disney would eventually call various cities “home.” His father, much like
Walt’s grandfather, traveled the country, trying to find work and wealth. Nevertheless,
"I only hope that we don't lose sight of one thing - that it was all
started by a mouse.”
– Walt Disney
2
one of the more enchanting locations was Marceline, Missouri. There, the Disney’s
acquired 40 acres of land. Disney once spoke of “‘everything connected with Marceline
[being] a thrill’”
2
for him and his siblings. It was while Walt was in Missouri that he
decided his path after a man paid a dollar for a drawing of a horse.
3
Walt, at the age of 16, quit school to enter World War I. This foreshadows his need to
help the world and rise to a call of duty. He, unfortunately, was rejected because of his
age. Despite this, he ended up going to France to serve as an ambulance driver. At the
end of the war, Walt was faced with numerous decisions about his future. What did it
have in store for him? Would he be an artist like he had planned or would he try his hand
at acting?
Walt had the skill and passion for both, but his immediate surroundings were in disarray.
The country had just been through a major world war and was now trying to repair itself
and find normalcy. The United States was in the process of basking in its dominance and
as a major player in world affairs. Walt moved to Los Angeles in 1923. After creating
Oswald the Rabbit and later parting ways with his distributor and his creation, Walt
dreamt up a precocious little mouse named Mickey. It was not until Mickey’s third
cartoon, though, that everyone began to see exactly what Walt had up his sleeve.
“‘Steamboat Willie’ was a great success in Manhattan in 1928.”
4
Unfortunately, 1929
brought everything to a screeching halt. The Great Depression devastated hopes, dreams
and bank accounts. Yet another war to revitalize the country. Despite all the heartache
3
and pain it brought, World War II gave Americans a glimpse of the greatness that country
once had. It gave them hope again and all everyone needed was a little hope mixed in
with a bit of escapism.
After the war, Walt devoted much of his time to his craft. He worked hard at his
animation and the use of sound. In 1932, he began to release a series called “Silly
Symphonies,” in which he would animate a short to popular symphonies. He even
received an Academy Award for one of the shorts. He continued to try incorporating new
ideas, including “multiplane camera techniques.”
4
But this was only the beginning. In
1937, with a whopping $1.5 million price tag, Walt release “Snow White and the Seven
Dwarfs.” It was an obscene amount of money, especially when the country was still
trying to recover from the Great Depression. Still, “Snow White” has different than
anything else that had been released. It was evident that Hollywood was taking notice of
Walt’s promising talent.
Skeptical Hollywood, that had wondered whether a fairy story could have
enough suspense to hold an audience through seven reels, and whether,
even if the plot held up, an audience would care about the fate of
characters who were just drawings, was convinced that Walt Disney had
done it again. Snow White is as exciting as a Western, as funny as a
haywire comedy. It combines the classic idiom of folklore drama with
rollicking comic-strip humor. A combination of Hollywood, the Grimm
Brothers, and the sad, searching fantasy of universal childhood, it is an
authentic masterpiece, to be shown in theatres and beloved by new
generations long after the current crop of Hollywood stars, writers and
directors are sleeping where no Prince's kiss can wake them.
6
He released more films and eventually built the Burbank studios in 1940. When World
War II began, Walt again felt it his patriotic duty to assist the war effort and lent most of
4
his staff to create films for the military. In 1945, he released “The Three Caballeros,”
which mixed animation and live action. Walt continued to push the envelope and was
constantly on the cutting edge of new technology.
5
Chapter 1 Endnotes
1. Gabler, N. (2006). Walt Disney: The triumph of the American imagination (pp.4).
New York: Random House, Inc.
2. Gabler, N. (2006). Walt Disney: The triumph of the American imagination (pp. 11).
New York: Random House, Inc.
3. Cinema: Father Goose [Electronic version]. (1954, December 27). Time Magazine.
4. Cinema: Mouse and Man [Electronic version]. (1937, December 27). Time
Magazine.
5. The Walt Disney Company. (n.d.). Walt Disney: A Biography. Retrieved March 15,
2010, from http://corporate.disney.go.com/corporate/complete_history.html.
6. Cinema: Mouse and Man [Electronic version]. (1937, December 27). Time
Magazine.
7. The Walt Disney Company. (n.d.). Walt Disney: A Biography. Retrieved March 15,
2010, from http://corporate.disney.go.com/corporate/complete_history.html.
Photo Citation
Associated Press. (n.d). Mickey Mouse with Walt Disney. Retrieved April 1, 2010, from
http://www.businessreport.com/photos.
Quote Citation
Disney Dreamer. (n.d.). Walt Disney Quotes. Retrieved April 12, 2010, from
http://www.disneydreamer.com/walt/quotes.htm.
6
"I don't believe there is a challenge anywhere in the world that is more important
to people everywhere than finding the solution to the problems of our cities. But
where do we begin? Well, we're convinced we must start with the public need.
And the need is not just for curing the old ills of old cities. We think the need is
for starting from scratch on virgin land and building a community that will
become a prototype for the future."
– Walt Disney
Image
3
Chapter 2:
Television: Walt’s Solution to Financial Perils
Today, most Americans say they could not live without television. According to a 1996
study conducted at Rutgers University, only 12% of participants reported an addiction to
television. Interestingly, “70% of participants stated that they believed others were
addicted.”
1
However, in its infancy, most people felt that way about the radio, too. Most
adults continue to favor radio programs because television was such a new concept. The
“radio generation” was one that grew up knowing great hardship, despair and the stain of
war. They looked to their radios for news from abroad about their sons, fathers, brothers.
They searched for answers to unanswerable questions. Still, the radio served another vital
purpose: another outlet of escapism.
The radio generation did not have images and pictures in front of them to tell the story.
They relied on their imaginations to paint the picture based on the sounds they were
hearing. The stories revolved around “real-life occurrences,” or what some would expect
of the dramatic lives of others. Soap operas, thrillers and adventures were mainstays for
radio listeners. They also were exposed to an array of music from across the country.
Americans were able to welcome Bennie Goodman and other great performers and
composers into their living rooms nightly.
7
The radio also cemented another main concept: family time. For most, there was one
main radio in the house and everyone would gather around after dinner, to listen to the
programming and enjoy each other’s company. The family actually sat together, ate
dinner and conversed, then spent the evening listening to the latest shenanigans of Ozzie
and Harriet or Fibber McGee and Molly. This united and bonded the family, which
become a number one priority for entertainment. Radio took center stage, often becoming
a main topic for discussion. Family programming, therefore, also became a priority.
“This has been a Walt Disney Productions Cartoon”
Although radio had become a mainstay, new technology was looming around the corner.
Television emerged on the scene. Most did not know what to do with the latest
advancement. Television, while it was a new medium, was powerful. Few saw the
extreme potential in it, but those who did were able to capitalize on the emerging
technology. Disney was one of the few who took advantage of what television could offer
his business. Television would “alter the way [people] take in information and view the
world.”
33
At this crucial point, television was the answer to Walt’s many problems, with
the most pressing being the financial debacle of Disneyland.
Walt was determined to open an amusement center where everyone in the family could
gather and create memories. Unfortunately, this was a multi-million dollar idea. He
needed to find a way to finance the hefty project and television became his solution.
2
He
8
tried wooing the major networks, but NBC and CBS both declined the offer. Still
determined, Disney hit the ABC television waves in 1954. On a Wednesday night in
October, ABC ran an hour-long program showcasing how wonderful and essential
Disneyland would be for all. By creating programming for ABC, the network agreed to
help finance Disneyland. It not only gave him the capital necessary to proceed with
Disneyland, but it also put the park on display through Walt’s programming. During its
debut, it “won a phenomenal Nielsen rating of 41 [was] was watched by some 30.8
million people.”
3
Walt Disney created various formats to present the park to the TV audience. The Walt
Disney Anthology Series went though various changes over it tenure, but continued to
push the envelope and provide the viewing public with a different type of programming.
Through television shows “Disneyland,” “The Wonderful Word of Disney” and “The
Colorful World of Disney,” Walt exposed audiences to unseen worlds. They were able to
experience the natural wonders of Africa, the fairytale world of our youth and the
advancements of tomorrow. Walt, in his marketing genius, did this to reflect everything
people would eventually see in his park. He gave them an insider’s look, exciting people
more about the park.
The anthology series gave audiences another way to look at the park. Each week, the
public welcomed Walt Disney into their homes and he gave them a tour. The show was
split into segments to shed light on the future, different “lands of Disneyland:
9
Frontierland, Fantasyland, Adventureland and Tomorrowland.”
4
Audiences were greeted
with,
Each week as you enter this timeless land, one of these many
worlds will open to you.
FRONTIERLAND-- Tall tales and true from the legendary past.
TOMORROWLAND-- Promise of things to come.
ADVENTURELAND-- The wonder world of nature’s own realm.
FANTASYLAND-- The happiest kingdom of them all.
5
Walt was able to focus on each land and create shows that made the audience see the
each of them come to life. He utilized, among others, live action, animation and narrative.
Walt’s inviting demeanor made people tune in to see what adventures he would take them
on this week.
Walt created programming to directly reflect America. “Davy Crockett,” one of the most
popular shows and “the first mini-series,”
6
presented Americana at its finest. It
showcased the early days of the “West” and how people survived. It provided a glimpse
into a simpler, yet challenging time. The emergence of technology, such as electricity and
indoor heating systems, made life and tasks easier. “Davy Crockett” can even be seen as
a show that made everyone grateful for the ease of life when compared to how things
were at one point. The show also was a precursor of the tremendous marketing potential
of television with Davy’s iconic coonskin caps becoming one of the first television fads
and a “must have” for young boys across the country. According to a 2002 Los Angeles
Times article, “Coonskin Cap Clings to Crockett,”
7
at the peak of the fad, coonskin caps
sold at a rate of 5,000 caps a day. The notion of “Growing up Disney” had begun.
10
The days prior to the opening were exciting for Walt. He threw a party at the park on July
13, not to celebrate his wedding anniversary, but to show off the park to Hollywood’s
elite. The next night, Fess Parker, title character of Davy Crockett, joined Walt at the
Hollywood Bowl with other stars, in which Walt was named an honorary governor and
“presented with a coonskin cap dipped in silver.”
8
The park itself opened with dismal results. Fans had patiently awaited the grand opening.
ABC, having a large stake in the success of the park due to its relationship with Walt and
his programming, was hoping for a great opening day. “ABC had taken out $40,000
worth of full-page newspaper advertisements. [A] ninety-minute live telecast of the
[opening was scheduled, with] twenty-one camera stationed around the park.”
9
They had
limited capacity to 15,000, but people were sneaking into Disneyland, on the hot and
humid summer day. One employee estimated the crowd at 28,000 visitors.
10
The park still
had unfinished projects, prompting many to question his visions.
The broadcast also experienced technical issues. One of the biggest was the director was
so stressed that “he suffered a breakdown and wound up orchestrating from a local
hospital.”
11
TV personality Art Linkletter and actors Ronald Reagan and Robert
Cummings hosted the special event, but with technical difficulties and missed cues, it
was a complete disaster. Nevertheless, home viewers did not see the mistakes, which
made fans thoroughly excited about visiting the park.
12
11
As will be discussed further, Disney programming continued to market Disneyland to
viewers. The anthology series continued to present episodes geared specifically to the
new attractions that were opening, as well as enticing visitors to the park. “The Mickey
Mouse Club” was a prime marketing force for the park, using the show to present the
rides and attractions to the young fans that worshiped the Mouseketeers.
Continuing his legacy as an innovator, Walt decided to dabble in color. “The Colorful
World of Disney” premiered with color and on a new network. In 1961, the series moved
to NBC.
13
“Professor Ludwig Von Drake was introduced,”
14
providing Disney with a new
educator for children. Professor Von Drake would take children on adventures and teach
them new things about the world and how it works. He became a childhood staple.
Along with Von Drake, the show continued to focus on life in the West and Disney began
to incorporate nature in the show more. He wanted people to see the majesty of the
natural world.
“Zorro” was yet another show that skyrocketed in fame. It told the story of Don Diego de
la Vega, a Spanish nobleman who was called to Los Angeles by his family, when
California was still part of Mexico. Much like the Zorros of today, Walt’s Zorro was tall,
dark and handsome and could work a sword unlike any other. Don Diego was passive and
wanted no part in the politics his father wanted him involved in. His trusty servant,
Bernardo, served as a great ally in helping thwart the bad guys. Fans fell in love with the
show. While it only lasted two years (1957-59) due to legal battles over the rights of the
12
show and story, fans continue to long for Don Diego and the show’s incredible theme
song.
Out of the night, when the full moon is bright,
Comes the horseman known as Zorro,
This bold renegade carves a ‘Z’ with his blade,
A ‘Z’ that stands for Zorro.
Zorro, with a heart so cunning and free,
Zorro, he makes the sign of a ‘Z’.
– Zorro Theme Song, Lyrics by Norman Forster,
Music by George Burns
15
The anthology show itself was a hit. Walt’s natural charisma shone through each episode
and every little aspect of the show. He poured his heart into it and it showed.
“The Disneyland series would eventually run on all three networks
and go through six title changes, but it remained on the air for 29
years, making it the longest-running prime-time television series in
history.”
16
The success of the show directly reflected Walt’s passion for entertaining others. He
worked hard to make the show enticing and everyone came back each week for more.
The show would eventually be revived by Michael Eisner, CEO of The Walt Disney
Company, in the late 1980s. It started on ABC, changed networks, then returned home to
ABC. Eisner brought back special episodes of the original series, but he also hosted a
few. The 1990s brought great troubles for the company, seeing “the corporate net income
plummet 23%,”
17
but Eisner was able to turn things around with the show giving
audiences a preview of what the company was doing. In the late 1990s, it began including
more segments and even presenting major Disney films, such as “Toy Story.” This
brought a bigger audience, giving Eisner a glimmer of the company’s new potential. The
Walt Disney Company was again on top of the world.
13
Walt’s Creative Programming
To help incorporate kids into the Disney world, Walt created the legendary Mickey
Mouse Club. While “The Wonderful World of Disney” was meant for everyone in the
family, the “Mickey Mouse Club” was strictly for children. He provided them with their
own show and their own outlet.
When casting the show, Walt wanted real kids from a cross section of America so kids
everywhere could identify with those on the show. This was, of course, within the
confines of the day; no Black, Latino or Asian kids were featured. He told producers,
I don't want to go to any of those professional schools. I don't want
those kids that tap-dance or blow trumpets while they're tap-
dancing or skip rope or have curly hair like Shirley Temple or
nutty mothers. I just want ordinary kids. Go to a school and watch
the kids at recess. Watch what happens to you. You'll notice that
you're watching one kid. Not any of the other kids, but sooner or
later your gaze will always go back to this one kid. That kid has
star quality.
18
Despite this admonishment, Walt actually needed kids that could sing, dance and act.
Those eventually chosen had some prior experience. In October 1955, the Mickey Mouse
Club debuted to resounding ratings. These participants were known as Mouseketeers.
With their names on their sweaters and matching Mickey ears, the Mouseketeers
entertained children each weekday.
The show itself had a format that ABC executives helped design. Each show was divided
into quarter sections: “newsreel, Mouseketeers, serials and mousekartoons.”
19
The
14
newsreel “included the show's opening animations, Sooty the Puppet, Jiminy Cricket's
Encyclopedia specials, as well as the eponymous ‘Mickey Mouse Newsreel’.”
20
The
Mouseketeer segment assembled the Mouseketeers together for roll call and to present
the day’s theme, while the serials offered children a show within a show. Lastly, the
mousekartoons “included Doddisms, Encyclopedia specials, Alma Mater, the show's
closing animations, and credits, as well as the Mousekartoon.”
21
This last segment is
quite interesting. The Doddisms, as one site referred to it, was when Jimmie Dodd, the
adult leader of the Mouseketeers, would share a moral lesson with all the viewers. He,
along with Disney, was trying to reach out to the children and teach them something that
would make them a better person now and in the future. The cartoons were also a great
addition to the show. Older Disney cartoons from the ‘30s and ‘40s, ones that would not
have necessarily been viewed by the target Baby Boomer demographic, were shown, as
well and contemporary ones.
22
Along with a daily format, the show also had a weekly format. Monday was Fun with
Music day, where the Mouseketeers would sing and dance. It changed each season.
Tuesday was Guest Star day, where special guests visited the Mouseketeers. Wednesday
highlighted the Disney spirit with Anything Can Happen. Viewers saw the Mouseketeers
in unbelievable situations, such as driving a car underwater. The Circus would come into
town on Thursdays, while Fridays were reserved for Talent Round Up. Kids would be
welcomed on Fridays hearing, “Gather your pony. Here we go! We’re gonna have a
great big show!”
23
Auditions were held and winners were able to perform on the show.
15
The child winners would receive “$15 per day and went to ‘school’ with the
Mouseketeers while on the studio lot.”
24
They also became honorary Mouseketeers, a
coveted title. The theme variety added spice to the show.
25
The serials were another brilliant idea. They filled time within the hour-long format and
Disney did not have to have include the stars on a permanent payroll or contract. Serial
actors would come in to shoot and they were finished. What Disney did not realize was
the star power of those actors. Over the three seasons, shows came and went. Yet, some
stood out more than others. “The Adventures of Spin and Marty,” “The Hardy Boys” and
“Clint and Mac” were immediate favorites. The common factor in all these shows? Tim
Considine. The shows were fun, easy to follow, but the actors spurred the loyalty.
Considine became one of the teen idols of that generation. Disney saw his appeal and cast
him in various serials and even a few Disney movies with other Mouseketeers.
Unfortunately for Disney, Considine was never under a Mouseketeer-level contract, so he
was able to come and go as he pleased. Either way, Disney knew how to gain more
viewers: by putting favorites in more shows.
While the show was an instant hit and favorite with audiences, it was the Mouseketeers
themselves that gained fame. The Nine, which lasted the span of the series, consisted of
the main nine Mouseketeers that were frequently showcased on the show. The most
identifiable and probably the most popular was Annette Funicello. With her curly black
hair, gleaming eyes and huge smile, she was the Disney ideal personified. Before there
16
was Miley Cyrus, there was Annette Funicello. She was the Disney “it” girl. Disney saw
the star quality in her and knew they could easily market the show with talent like hers.
This is when Disney started to realize they could not only market the show, but its talent
as well. By the third season, she even had her own serial. Annette represents the roots of
Disney creating stars to bring in revenue for the company. She started it all.
Unfortunately, there is a dark side to this upbeat and peppy show. During the first season,
there were 22 Mouseketeers. Due to California labor laws, the children were only
allowed to work four hours a day, with the rest of the school day being devoted to
schooling. Walt got around this by creating two teams. While one filmed, the other went
to school on the lot. Nevertheless, there were favorites among the groups. The Red Group
was used in roll call, alma mater and the serials. The Blue Group was used frequently on
unpopular days, when guests were not as glamorous.
26
The children’s workweek was also intense. They worked six days a week, with Sundays
also being devoted to appearances for Walt. Their contracts offered them weekly pay, but
they could be dismissed. During “lay off” periods, the children returned to their normal
schools with no pay and would not shoot until they were needed again. “The contracts
obligated the Mouseketeers to perform any task at the behest of the studio without
additional compensation. Personal appearances, live performances, recordings, loan-outs
to other films or television shows.”
27
“The Mickey Mouse Club” was not all smiles.
17
According to one Time article, Disney is quoted as saying, “ ‘I’d rather have people tell
me things’” as opposed to reading it in a book. This could, in part, be due to the fact that
“he quit school in the ninth grade.”
28
Regardless, it also explains why he was so eager to
tell stories.
The Dawn of a New Age in Television
29
After being diagnosed with a tumor, Walt died in 1966 in Burbank after collapsing in his
home upon returning home from a trip. Walt has already begun plans for Walt Disney
World in Florida, but had not left many plans for the future of the television
programming. His last projects included “The Jungle Book” and the Disneyland ride,
“The Pirates of the Caribbean.” His brother Roy took over the company and plans to for
Walt Disney World.
Since his death, programming has drastically changed with each generation. This was in
large part to he fact that the man who ran every aspect of the company was now gone.
People did not know how to look to for direction. It was no longer Walt’s company, but
simply the Disney Company, ran by whoever had the head seat. Likes, dislikes, what
worked and what did not were constantly changing as the television medium, and the
executive suite, evolved. Disney appeal began to dwindle in the late ‘70s and executives
did not know how to change this. Television had worked in the past and the company
decided to try its hand at the medium again.
18
On April 18, 1983, the Disney Channel began running programs on its own designated
channel. Disney had always provided the network it was tied to with entertainment, but
now it had the task of creating all the programming and finding a way to fill airtime. In
its inception, the channel only aired 16 hours of programming. It was not until 1986 that
it was able to offer a 24-hour cycle.
Disney began to build an audience and, in 1989, returned to a true classic. It brought back
the “Mickey Mouse Club,” but this time, with an edgy look. “The All New Mickey
Mouse Club,” commonly referred to as “MMC,” resurrected the original format, with
theme days, such as Music Day and Anything Can Happen Day. While the show lasted
for seven seasons, what really stood out was the cast. The new Mouseketeers were
singing and dancing sensations. They became the first class of megastars that Disney
produced. It was with this generation that worldwide appeal and stardom became a
possibility. Disney was manufacturing superstars in a studio in Florida. The only problem
was that Disney executives were unable to keep their new stars from departing for solo
careers. Among a few of the notables were Justin Timberlake, Britney Spears, Ryan
Gosling, Christina Aguilera and Keri Russell. These are now all household names and
they all got their big breaks on the Disney Channel. However, none of them received the
fame they hold now while they were on the Disney Channel. It was all accomplished after
they left the show and the channel.
19
It was not until 1997 that Disney Channel really began to find its own identity. When it
first premiered, the channel was a premium, meaning that parents had to pay to receive
“quality programming.” At this time, much like it had done with the “Mickey Mouse
Club,” Disney producers split up its day into programming segments. The early part of
the day was called Playhouse Disney, designed for a younger audience that would be
home while the older children attended school. The programming was focused on
children’s development.
The late, late night programming was called Vault Disney, a throwback to the heyday of
Disney programming. Audiences, old and young, were exposed to the original shows that
made Disney king of television. “The Mickey Mouse Club,” “Zorro” and even “The Love
Bug” were shown to a whole new generation. The nostalgia for those who experienced it
firsthand helped them experience the new Disney with their own children and
grandchildren.
The changes that occurred in the next few years created the Disney Machine. Rich Ross
became senior vice president of programming in 1996. With him, he brought a new
vision for the network and what Disney could accomplish. He was the Jiminy Cricket of
the Disney Channel. He was able to show people that wishing on a star would make
dreams come true. His star? Tweens. Ross saw the value in that demographic and
“targeted a void in children's television -- the yawning gap between Tigger, Pooh and the
20
Disney princesses, and innuendo-laced prime-time shows.”
30
He saw their potential for
driving sales and ratings through the roof.
Thus, the middle section of the day, the largest time segment, focused on the emerging,
coveted tween demographic. Tweens have questions, are unsure about who they are and
need role models to admire. Disney provided them with someone just like them. The
shows focused on tweens’ lives of uncertainty. It showed conflicts in friendships, what
happens when you are or are not the most popular kid at school and how to approach a
love interest. Iconic shows of this era included “Even Stevens,” “The Famous Jett
Jackson” and the animated favorite, “Kim Possible.” All the lead roles were snagged by
charismatic young actors that were empowered enough to take a stance on issues and
work through their chaotic lives.
Still, no show was more influential than “Lizzie McGuire.” Lizzie was a young girl, with
two best friends, Gordo and Miranda. With her best friends at her side, she was ready to
tackle life. However, her life was complicated with the most popular girl in school always
making fun of her, having a crush on the most popular boy in school and her lack of self-
confidence. Her annoying little brother and meddlesome parents did not make things any
easier for Lizzie. Nevertheless, she made it through each day with the help of her friends.
As the show’s popularity grew, viewers saw Lizzie grow as a person, go outside of her
comfort zone and gain confidence by being happy with whom she was as a person.
21
Lizzie, portrayed by Hilary Duff, became an icon for young tween girls who were
embarrassed by their parents and just wanted to fit in at school. They studied how she
handled similar situations and identified with her pain and her joys. Disney producers
recognized this and began their task of creating even more television icons. Meanwhile,
girls chanted her name at appearances. They wanted to be her and boys wanted to date
her. She was signed to a record contract with Hollywood Records, Disney’s music label,
and turned the series into a box office success. They groomed her to take the spotlight,
this time while she was still under a Disney contract, a mistake Disney leaders had made
way back with Considine and with the MMC Mouseketeers. While Annette achieved
iconic status in the 1950s, through aggressive marketing and constant exposure, Hilary
achieved a level of stardom Disney never imagined. With Hilary as a major star and
moving onto another project without Disney, executives searched for the next unknown
to make a mark on the world. With each success, Disney is already looking for the next
one to take the place of the leaving star and expand the Disney name and profit margins.
With the success of its shows, Disney Channel execs decided to delve into longer
programming. The 30-minute shows garnered such excitement that a 90-minute or 2-hour
movie would bring an even bigger audience. The channel created DCOMs, or Disney
Channel Original Movies such as “The Color of Friendship,” “Johnny Tsunami” and
“Quints.” Their strategy was to alternate movies that primarily appealed to girls with
themes and story lines that would appeal more to boys. They brought in new stars or
capitalized on star power of existing Disney Channel stars such as Jett Jackson to ensure
22
hits. One of the most successful DCOMs was “High School Musical.” It used only one of
its current stars, but launched the careers of countless others and made Disney Channel a
major contender for ratings and top Neilson scores.
Today, the channel is constantly changing. Its logo was redesigned to give a fresh, young
feel and new shows were developed. Each time a show is premiered, its stars become
instant hits and before they know it, they are worldwide celebrities. “Hannah Montana,”
“Sonny with a Chance,” “Jonas” and “Wizards of Waverly Place” all have actors that are
global names. Miley Cyrus, the Jonas Brothers and newcomers Selena Gomez and Demi
Lovato have record contracts, hit shows on the Disney Channel and major movie roles on
the table.
Looking at the boiler plate of a press release, it is clear to see what Disney thinks of its
own success. “Disney Channel is a 24-hour kid-driven, family inclusive television
network that taps into the world of kids and families through original series and movies.
Currently available on basic cable in over 98 million U.S. homes and to millions of other
viewers on Disney Channels around the world.”
31
Disney Channel is now a major contender against other networks. It continues to lead in
the tweens demographics and “nears five straight years of dominance in prime in target
kid demos” according to a release from the Disney Company.
32
Its original programming
surpasses many other that exist out there. It has found a way to create shows that are fun
23
and exciting to watch, without feeling like you are seeing the same thing again. How does
Disney accomplish this?
24
Chapter 2 Endnotes
1. Williams, T. M. (1996). Television dependence, diagnosis, and prevention: With
commentary on video games, pornography, and media education. Retrieved March 2,
2010, from Rutgers University website www.mediastudies.rutgers.edu/depend.pdf.
2. Gabler, N. (2006). Walt Disney: The triumph of the American imagination (pp. 506).
New York: Random House, Inc.
3. Cinema: Father Goose [Electronic version]. (1954, December 27). Time Magazine.
4. Skool
Days.
(n.d.).
Synopsis
of
the
Show.
Retrieved
January
2,
2010,
from
http://www.skooldays.com.
5. Griffiths, B. (n.d.) Wonderful World of Disney. Started by a mouse. Retrieved
February 2, 2010, from
http://www.startedbyamouse.com/archives/WonderfulWorldEssay.shtml.
6. The Walt Disney Company. (n.d.). Company history. Retrieved March 15, 2010, from
http://corporate.disney.go.com/corporate/complete_history.html.
7. Johnson, J. (2002, August 23). Coonskin Cap Clings to Crockett. LA Times.
8. Gabler, N. (2006). Walt Disney: The triumph of the American imagination (pp. 530).
New York: Random House, Inc.
9. Gabler, N. (2006). Walt Disney: The triumph of the American imagination (pp. 529).
New York: Random House, Inc.
10. Gabler, N. (2006). Walt Disney: The triumph of the American imagination (pp. 531).
New York: Random House, Inc,
11. Gabler, N. (2006). Walt Disney: The triumph of the American imagination (pp. 532).
New York: Random House, Inc.
12. Gabler, N. (2006). Walt Disney: The triumph of the American imagination (pp. 532-
533). New York: Random House, Inc.
13. Skool
Days.
(n.d.).
Synopsis
of
the
Show.
Retrieved
January
2,
2010,
from
http://www.skooldays.com.
14. Skool
Days.
(n.d.).
Synopsis
of
the
Show.
Retrieved
January
2,
2010,
from
http://www.skooldays.com.
25
15. The Internet Movie Database (IMDB). (n.d.). “Zorro”. Retrieved January 11, 2010,
from http://www.imdb.com/.
16. The Walt Disney Company. (n.d.). Company history. Retrieved March 15, 2010, from
http://corporate.disney.go.com/corporate/complete_history.html.
17.
The
Gale
Group,
Inc.
(n.d.).
Company
history:
The
Walt
Disney
Company.
Retrieved
February
17,
2010,
from
http://www.gale.cengage.com/.
18. The Original Mickey Mouse Club Show. (n.d.) Cast: Mouseketeers. Retrieved
January 17, 2010, from http://www.originalmmc.com/cast.html.
19. The Original Mickey Mouse Club Show. (n.d.) The show: The daily format. Retrieved
January 17, 2010, from http://www.originalmmc.com/newsreel.html.
20. The Original Mickey Mouse Club Show. (n.d.) The show: The daily format. Retrieved
January 17, 2010, from http://www.originalmmc.com/newsreel.html.
21. The Original Mickey Mouse Club Show. (n.d.) The show: Mousekartoons. Retrieved
January 17, 2010, from http://www.originalmmc.com/cartoon.html.
22. The Original Mickey Mouse Club Show. (n.d.) The show: The daily format. Retrieved
January 17, 2010, from http://www.originalmmc.com/newsreel.html.
23. Kotler, J. (2010, March 27). Disney lyrics. Personal communication.
24. The Original Mickey Mouse Club Show. (n.d.) The show: Talent round up. Retrieved
January 17, 2010, from http://www.originalmmc.com/friday.html.
25. The Original Mickey Mouse Club Show. (n.d.) The show: The weekly format.
Retrieved January 17, 2010, from http://www.originalmmc.com/monday.html.
26. The Original Mickey Mouse Club Show. (n.d.) Cast: Mouseketeers. Retrieved
January 17, 2010, from http://www.originalmmc.com/cast.html; The Original Mickey
Mouse Club Show. (n.d.) The show: The weekly format. Retrieved January 17, 2010,
from http://www.originalmmc.com/monday.html.
27. The Original Mickey Mouse Club Show. (n.d.) Cast: Mouseketeers. Retrieved
January 17, 2010, from http://www.originalmmc.com/cast.html.
28. Cinema: Father Goose [Electronic version]. (1954, December 27). Time Magazine.
26
29. Disney ABC Television Group. (n.d.) About the Disney Channel. Retrieved January
2010 from, http://www.disneyabctv.com/division/disneychannel_index.shtml; The
Disney Channel. (2010, April). Disney Channel’s worldwide fact sheet. Retrieved
April 2010, from http://www.disneyabctv.com/division/pdf/disneychann.pdf.
30. Chmielewski, D. C. (2009, July 1). How Disney tapped into the tween market
[Electronic Version]. Daily Herald (via The Los Angeles Times).
31. Seidman, R. (2010, January 26). Disney Channel’s hit series “The Suite Life on
Deck” beings third season production. TV by the Numbers. Retrieved February 5,
2010, from http://tvbythenumbers.com.
32. The Disney Channel. (2010, March 9). Disney Channel is TV’s no. 1 network in
tweens 9-14 for the 4th straight week. [viewed via] The Futon Critic. Retrieved
march 17, 2010, from http://www.thefutoncritic.com.
33. Brewster, T. (2009, April). How TV shaped America. Life Magazine, 78.
Photo Citation
The Disney Store. (n.d.) WDCC Mickey Mouse Club porcelain logo plaque. Retrieved
April 1, 2010, from http://www.disneystore.com.
Quote Citation
The Walt Disney Company. (n.d.). Walt Disney: A Biography. Retrieved March 15, 2010,
from http://corporate.disney.go.com/corporate/complete_history.html.
27
“Disneyland is not only a living monument to a living man; it is a
surprisingly accurate map of the complicated mass of little gray
cells that make up the mind of Walt Disney. All the apparent
paradoxes are there: Nostalgia jammed up against needle-point
promises of the future. “
– Walt Disney
– y
Image
4
Chapter 3:
The Heart of It All
The Walt Disney Company’s mission statement says it all.
The mission of The Walt Disney Company is to be one of the
world's leading producers and providers of entertainment and
information. Using our portfolio of brands to differentiate our
content, services and consumer products, we seek to develop the
most creative, innovative and profitable entertainment experiences
and related products in the world.
1
Disney wanted to affect the world through his work. His early movies, the use of the
then-iffy television medium and now the wildly successful Disney Channel all reflect this
dream. Today, the Disney “brand” can easily be called “the whole kit and caboodle,” to
use the terminology of Walt’s Midwestern roots.
The Whole Kit and Caboodle
The Disney brand has enormous power. Parents trust it as a wholesome entertainment
company. Disney “is a leading diversified international family entertainment and media
enterprise.”
2
Its global reach allows for the company to reach audiences and influence
change in the world. It also gives a glimpse into a magical world that others use to escape
their own. The constant message of “anything you want can come true” gives kids across
28
the world a chance to dream beyond their means. This instills a feeling of hope and lets
kids know they can be anything they want to be.
There are “four business segments: media networks, parks and resorts, studio
entertainment and consumer products.”
3
The brilliance of Disney is that while these four
segments work independently of each other, the four are still interconnected and work
together. Consumer products is a huge asset for the Disney Company, “contributing 10%
to Disney’s stock.”
4
Disney marketers use shows, movies and the most iconic stars to
create merchandise that appeals to a wide demographic. The media networks, however,
are on completely different level. The Walt Disney Company owns various networks and
subsidiaries, including ABC and ESPN. Through its networks, Disney is able to distribute
its programming and entertainment, further widening its reach. However, its greatest
asset in reaching its young demographic is The Disney Channel.
Television: Everyone’s New Best Friend
The Disney Channel provides youth-friendly entertainment domestically and globally.
There are currently “a total of 67 channels and/or feeds around the world including 27
Disney Channels, nine Toon Disney channels, 10 Playhouse Disney channels and 19 Jetix
channels, which in total reach more than 600 million viewers in over 100 countries in the
U.S., Europe, the Middle East, Asia Pacific, Latin America and South Africa.”
5
The
multiple platforms allow consumers to view whatever they want. Each channel offers a
varied experience and programming that suits a certain niche audiences. Toon Disney
29
offers cartoons that a modern audience requires, but also features some early Disney
classics.
A Day in the Life of The Disney Channel
The Disney Channel seems to have perfected the viewing schedule. At the same time, it
has wanted to stay true to Walt’s own desires for the Walt Disney Company. He always
wanted to provide an outlet for children to discover the greatness of dreaming and giving
adults a ride on the nostalgia train. The Disney Channel gives the current generation a
new outlook and ways to look at the world, while its programming causes older
generations to reminiscence about their own childhoods.
Time to Play in the Playhouse
Disney magic usually seems to captivate younger audiences. The pageantry of its films
lend to the imagination and cause children to dream. Programmers followed this as well
with the channel’s programming. Playhouse Disney is specifically designed to provide
the younger demographic, those home during the day, with quality programming geared
toward a child’s development. The shows become interactive for the adolescents. Mickey
guides them through adventures in “Mickey’s Clubhouse,” kids learn Spanish with
“Handy Manny,” “The Wiggles” teach them how to count through song and dance, and
“Little Einsteins” uses a sea of classic art and music to motivate them into thinking
imaginatively.
30
Disney attempts to create programming that will be beneficial to children. It combines
live action with computer animation shows to provide variety, but also to compete with
its counterparts. The Network continues to work toward being innovative and better
equipping its target audience with beneficial programming. Disney seems dedicated to
exposing kids to a world beyond their daily lives. It wants them to envision themselves as
firefighters, as individuals who can make a difference in the world. It gives children the
platform to make-believe, something essential to child development.
“Tween” Disney
Disney is known for its cartoons. However, at some point, it becomes “uncool” to still
watch the “kiddie” shows you still secretly may love. The tween demographic, which
usually thinks this way, has become a prime demographic for most networks and media
conglomerates. Tapping into this market is a gold mine, and most executives realize this.
Creating programming that resonated among tweens, however, was a new concept in the
late 1990s and the early 2000s. Tweens and their buying power were also important.
According to Don Montuori, Acquisitions Editor for Packaged Facts, “Tweens aren't just
making decisions about their own money, they're influencing how those around them
spend as well.”
6
Teenagers. That single word conjures up memories of tribulations, uncertainty and even
fear. Many people may their teen years with happy memories, yet living through it was
quite a different experience. Some things never change. The tweens of the new millennia
31
were facing even more uncertainty, with emerging media and issues forcing them to
mature faster. They need someone to talk to, but most never realize their peers are having
the same issues, leading them to think they can’t talk to each other. What they needed
was someone just like them to look up to or follow their example. Cue Lizzie McGuire.
Lizzie McGuire was the story of a girl who had issues with friends, family and the kids at
school. This single show ushered in a new wave of programming. Networks began to see
the effectiveness and profitability of characters like Lizzie. Since the Lizzie days, Disney
has catapulted a number of actors to stardom through producing shows based on the
Lizzie formula. It continues to push the envelope by producing shows containing heavier
story lines, like divorced parents or characters of mixed ethnicity.
It’s XD Time
Despite cartoons being “uncool” to part of its demographic, Disney did not want to
deviate from what had garnered so much of the company’s fame. It created a separate
network that provided consumers with a 24-hour cartoon cycle. Toon Disney featured
older and newer favorites, as well as non-Disney shows, like Batman. The network even
had a block of time in which they solely aired adventure-type shows. It included both
cartoon and live-action series.
It was evident, though, that the Disney Channel seemed to have a feminine bias. Ross,
just as he focused on the tween demographic in the late ‘90s, he then set his sights on
another segment of the demographic. The young, male tweens needed something of their
32
own. Disney took Toon Disney and formed Disney XD. The shows were geared more
toward a male demographic. Disney even has ESPN’s SportsCenter give updates during
shows. Ross “believes if Disney can fill the vessel with the right content, the boys will
get on board.”
7
Disney is very cleaver about integrating all its programming. The channel is
“available…in more than 97 million U.S. homes.”
8
Its high numbers force Disney to
think strategically when scheduling its programs. For instance, while the Disney Channel
airs movies in primetime, Disney XD showcases its films earlier so that viewers have
time to switch over to the Disney Channel. One other interesting fact is that Disney
continues to refuse advertising. The “commercials” during shows are all Disney-related.
Toon Disney was used to test the advertising method with Danimals yogurt. To this day,
Disney Channel rarely uses that ad.
33
Chapter 3 Endnotes
1. The Walt Disney Company. (n.d.). Company history. Retrieved March 15, 2010, from
http://corporate.disney.go.com/corporate/complete_history.html.
2. The Walt Disney Company. (n.d.). Company overview. Retrieved March 15, 2010,
from http://corporate.disney.go.com/corporate/overview.html.
3. The Walt Disney Company. (n.d.). Company overview. Retrieved March 15, 2010,
from http://corporate.disney.go.com/corporate/overview.html.
4. Trefis Team. (2010, March 4). Disney character drive $8 billion Disney consumer
merchandise business. Insight Guru, Inc. Retrieved March 20, 2010, from
http://www.trefis.com/.
5. Disney ABC Television Group. (n.d.) About the Disney Channel. Retrieved January
2010 from, http://www.disneyabctv.com/division/disneychannel_index.shtml.
6. iMedia Connection. (2003, April 23). Tweens have buying power, influence.
Retrieved March 1, 2010, from http://www.imediaconnection.com.
7. Chmielewski, D. C. (2009, October 18). He knows all about being cool [Electronic
version]. The Los Angeles Times.
8. The Disney Channel. (2010, April). Disney Channel’s worldwide fact sheet.
Retrieved April 2010, from
http://www.disneyabctv.com/division/pdf/disneychann.pdf.
Photo Citation
BBC Newsround. (n.d.). 75 years of Mickey Mouse (Steamboat Willie). Retrieved April
1, 2010, from http://news.bbc.co.uk.
Quote Citation
Gordon, A. (1955, July 26). Walt Disney. Look Magazine. In K. M. Jackson (Ed.), Walt
Disney: Conversations (pp. xiii). Mississippi: United Press of Mississippi.
34
Image
5
Chapter 4:
So What’s the Big Deal?
The Walt Disney Company has been able to sustain itself for decades. It continues to be a
leader in family entertainment. Its acquisition of other corporations has helped expand its
business into other markets. So what is the problem? Does the Disney Channel, one of
the sectors of the Disney Company, have any major issues to address?
The Disney Channel, at times, ignores numerous problems. In order to develop the
company and continue to be a success, executives must more closely scrutinize the
channel and address aspects warranting attention and action.
The Disney Channel’s vision is exact. It is “geared toward kids ages 6-14 and their
families.”
1
Having a specific demographic is great. The organization can create age-
appropriate content and programming that will actually appeal to its target. However,
despite the nostalgia the Disney name may conjure, the issue of “coolness” comes into
play again. It is essentially alienating other demographics. The older generation of kids
may view watching Disney shows as too childish. This further reduces Disney’s reach
across the ages. Even some within its demographic may think they have outgrown the
Disney Channel and seek entertainment from other networks.
‘’The Mouse’s private life isn’t especially colorful. He’s never been the
type that would go in for swimming pools and night clubs; more the
simple country boy at heart. Lives on a quiet residential street, has
occasional dates with his girlfriend, Minnie, doesn’t drink or smoke,
likes the movies and band concerts, things like that.”
– Walt Disney
on why he refuses interviews for Mickey Mouse
35
Demographics are not the only hindrance. The second part of the channel’s goal is to
provide “original series and movies [that] cross cultural and geographic barriers.”
2
The
United States is a great representation of the world. In highly populated and major cities,
like Los Angeles and New York, the vast number of people and ethnicities is astounding.
These cities are cultural Meccas in a small area. With the different cultures represented in
the cities, kids grow up with a better understanding of diversity, and they are aware of
diversity throughout the world. Disney, however, is not representative of this fact in its
programming.
Disney is known for having the “all-American” feel to it. It conveys that classic vibe,
similar to a Ralph Lauren advertisement, with its beautiful blonde, blue-eyed models
looking at though they are ready to jump on their sailboat in Martha’s Vineyard. It
embodies wholesomeness, with all white stars. With the exception of “Wizards of
Waverly Place” and “That’s So Raven,” all its lead characters are Caucasian. The
characters that do look ethnic usually have a major flaw. London, from “The Suite Life”
series, is a spoiled princess. Rico of “Hannah Montana” is a spoiled brat who abuses his
power over Jackson, Hannah’s older brother. Even Alex, the Latina lead of “Wizards”, is
characterized as a troublemaker who causes more trouble than she does good things for
others. She talks back to her parents and makes fun of everyone around her. Kids look up
to the stars in these shows and many can never truly relate or identify with these
characters because they are so different from themselves. The mid-western look that
36
Walt emphasized is evident to this day. Executives follow his rules and apply his
“genius” to all that is created.
Lastly, the channel serves as a portal. It is an “ambassador for The Walt Disney Company
to young viewers and families.”
3
The Walt Disney Company has found its place in
society. It uses its strengths over and over to make sure it remains a leader. Getting to the
top is a ride, but staying there is the challenge. Executives achieve this feat by utilizing
their bag of tricks, which no longer is a bag of tricks, but cleverly crafted formulas that
seem to fit into every story, adding spice, mystery and the secret ingredient that makes
every show, movie, song and other media pop.
These formulas, while prevalent in films, are utilized within the Disney Channel
programs. The formulas can broken up into various categories, including style,
characters, themes and values, and parents.
37
Chapter 4 Endnotes
1. The Disney Channel. (2010, April). Disney Channel’s worldwide fact sheet.
Retrieved April 2010, from
http://www.disneyabctv.com/division/pdf/disneychann.pdf.
2. The Disney Channel. (2010, April). Disney Channel’s worldwide fact sheet.
Retrieved April 2010, from
http://www.disneyabctv.com/division/pdf/disneychann.pdf.
3. The Disney Channel. (2010, April). Disney Channel’s worldwide fact sheet.
Retrieved April 2010, from
http://www.disneyabctv.com/division/pdf/disneychann.pdf.
Photo Citation
Yahoo! Kids. (n.d.) Fantasia 2000. Retrieved April 1, 2010, from http://kids.yahoo.com.
Quote Citation
Nugent, F. (1947, September 21). That million-dollar mouse. The New York Times. In K.
M. Jackson (Ed.), Walt Disney: Conversations (pp. 28). Mississippi: United Press of
Mississippi.
38
“All
the
world’s
great
fairytales,
it
must
be
remembered,
are
essentially
morality
tales,
opposing
good
and
bad,
virtue
and
villainy,
in
dramatic
terms
easily
understood
and
approved
by
children.
With
such
clash
of
good
and
evil
and
the
prevalence
of
goodness—of
good
people—fairytales…long
since
would
have
died
because
they
would
have
no
meaning.”
–
Walt
Disney
Image
6
Chapter 5:
The Disney Style
Janet Wasko, author of Understanding Disney: The Manufacture of Fantasy,
1
explains
how the company creates its stories. While she focuses primarily on Disney’s animated
films, these are so widely utilized that it can be applied to television programming. The
stories can be seen as “light entertainment [and full] of music and humor, usually
physical gags and slapstick.”
2
The channel’s programming, in fact, centers around these
characterizations. “Wizards of Waverly” and “Hannah Montana,” two of the network’s
most popular shows, encompass all three attributes. The characters sing and dance, while
constantly ending up in crazy situations that lead to immense laughter and slapstick
comedy. She goes on to discuss the narrative style as well. These features create the
drama needed to make the story viewable.
1. Though occasional memories, fantasies, dreams or other mental
states may be rendered, the narrative is mainly set in the present,
external world.
2. Individual (not group) characters with clear motives cause the
narrative’s actions and consequences.
3. The main characters have a goal.
4. The main characters must confront various antagonists or problems
to reach the goal.
5. The main characters succeed in reaching the goal (happy endings),
and the film has closures, not unresolved plot lines.
6. The emphasis is on clear causes and effects of actions.
7. Continuity editing and other filmmaking techniques assure clear,
linear developments.
3
39
In one way or another, these are all present in the current shows and original movies.
Each episode contains a clear story set forth in which the characters ultimately reach their
goal. The consequences are clear and when the main characters (children and teenagers)
mess up, they are punished, reflecting the lives of the program’s viewers. The storylines
are easy to follow, offer opportunities for laughter and always include music of some
form. And, obviously, love is always thrown into the mix. Sometimes, the goal of an
episode is for Miley or Alex to get that special boy to notice them. They will use a crazy
scheme, involve their friends, be foiled by their enemy, only to end up with the boy at the
end. If they do not, it is because they decided it was time for a new goal. The stories are
very simple and to the point.
What a Character!
The development of a character is essential. It sets the entire show’s feel, pace and
emotional tie. The character must be endearing, strong, vulnerable, happy, driven and
even a little lost at times. Wasko states that the “stock characters…can be perceived
without any deep readings or semiotic analyses.”
4
The guidelines Wasko sets are so clear-
cut that characters of this type come to be expected. Wasko describes in an Entertainment
Weekly (1998) article listing the “‘job descriptions’”
5
of Disney characters.
Hero/Heroine: Embody nascent all-American sex appeal, mope
around, sing at scenic viewpoints, heed call of duty, leave home.
Love Interest: Incite villain’s lust, have great hair, start as
perceived enemy of hero/heroine, be an individual (females only).
Sidekick: Behave like hero/heroine’s naughty younger sibling, eat
anything in sight, provide comic relief.
40
Mentor: Be reluctantly pressed into service by hero/heroine’s
worthiness, come across as ethnic, pour tea (Mrs. Potts only).
Villain: Crave control of universe, keep nose in air, be either huge
or emaciated, collect mortal souls, perish by failing.
Henchman: Get clocked on the head, spar with sidekick, furnish
ineffectual supports that sinks villain’s plan, escape scot-free.
6
Picking a show at random would prove that these aspects exist. Many of the popular
shows revolve around heroines, which makes for an interesting study. According to
Wasko, “modern Disney heroines still live in male-dominated worlds…[They] are always
beautiful, shapely, and often sexually attractive.”
7
The attractiveness can be, and often is,
questioned since many of the stars are quite young and the programming is aimed at a
young demographic.
The Meaning Behind It All
The message behind a story is always important. Disney is no exception. Its stories have
embedded themes and values that are presented throughout the show. These themes range
in variety and all may not be conveyed in a single episode, but most are implied
throughout the season.
Be Optimisic
8
The first themes Wasko identifies are individualism and optimism.
9
Walt grew up in a
time where optimism was needed to make it through each time. He lived through two
World Wars and the Great Depression. His work brought laughter and joy to the lives of
those who paid to watch his animated shorts. That feeling of ‘pulling oneself up by the
bootstrap’s has remained influential in various Disney productions. The American Dream
41
of being whatever you want to be and achieving it through optimism and hard work have
proven steadfast and profitable for the Disney Company.
Imagination: The Escape Vehicle
10
If Disney has taught anything, it is that imagination is the greatest asset available for
personal use. It allows the mind to wander and dream of all the great things that could
come to fruition, rather than focus on the sad reality that may be present. As the years go
on, Americans continue to face hardships, ranging from wars to financial struggles. The
characters in films also wish to escape from their own realities at times. They long for
something other than what they have been given. Through fantasy and magic, and even a
little imagination, their dreams become reality. Everything is kept on a tight leash, but
enough is presented to make it enjoyable and offer the viewer an escape into a fantasy
world by way of their imagination and with the help of Disney creators.
The White Rose of Purity
11
Innocence. That word is often associated with anything Disney—to an extent at least.
Many associate Disney with its wholesome, overly-sweet characterizations of the world.
Walt was quoted as saying, “I do not make films primarily for children. Call the child
innocents. The worst of us is not without innocence, although buried deeply it might be.
In my work, I try to reach and speak to that innocence.”
12
The childlike innocence is
admired. It transports adults back to a simpler time and reflect the child’s current state.
The simple, easy life is something that is desired.
42
All About Love
13
Disney can’t be uttered without the thought of love and utter bliss being mentioned.
Disney presents the idea that anything can be solved with love. Not just any love, though.
It is the power of true, romantic love that conquers all. It can create an impossible longing
for the perfect romance. The stories also point out that every story has a happy ending (p.
118). Life does not always work out like that, creating an interesting dilemma.
Good versus Evil
14
As in most stories, there is a good guy and a bad guy. In Disney stories, “good always
triumphs. Everything always works out for the good guys. Always.”
15
The good guy is
seen as strong, ethical and willing to fight for what he believes. The bad guy, or the
villain, is usually dark, mean and hoping to take over the world. The good guy’s job is to
defeat him and replace him place as the hero.
The Apple Doesn’t Fall Far From the Tree…Or Does It?
16
Disney does not stop at these themes and values. Wasko identifies one major theme that
is absent from the list, but makes an interesting note. She says, “While ‘the sanctity of the
family’ is said to be a dominant theme in Disney features, ironically, few complete
families are represented.”
17
The idea of “complete families” has always taken a random
turn on the Disney Channel, which is odd for a network that tries to sell the All-
American, mid-western ideal of wholesomeness and family togetherness. Nevertheless,
Steven Greydanus has identified the different types of parents Disney uses to complete its
43
stories. He goes on the state that most are incredibly negative. Interestingly enough,
although Greydanus describes the parental role in films, these characteristics follow over
to eh Disney Channel families as well.
The first type of parent Greydanus explores is that of the clueless father. He is “childlike,
comical and completely”
18
ridiculous. He also includes the frail and older father in this
section. Belle’s wacky inventor father and Mulan’s ailing father are his examples. Belle’s
father adds a bit of comedy to the story, while Mulan’s father creates the story itself.
Either way, these fathers enable their daughters to take a stand and do something selfless
to help their fathers.
The next type is the complete opposite. The “domineering father…is impatient,
impossible to please [and has] ‘unreasonable’ expectations that interested with their
children’s self-determination and self-actualization.”
19
The perfect example of this is
King Triton from “The Little Mermaid.”
20
He is the epitome of the overbearing father.
His anger stems from wanting the best for Ariel and feeling that he knows best. He
ultimately forces her into sneaking around behind his back, making him accept her
personal decisions and realize that she is her own person.
While the first two focus on the various types of fathers, the next focuses on the lack
thereof. Some main characters find themselves lacking a strong male presence. For some
reason, the earlier Disney films usually lacked a father figure. Snow White, Dumbo,
44
Bambi and the Aristocats all had fathers missing from their lives. However, this quickly
changed and became an issue of missing mothers. As time went on, Disney thought it
wiser to have the mother gone. Ariel, Belle and Jasmine relied on, but also helped, their
fathers survive their daily lives. Those raised solely by their fathers tend to be “the
heroines,”
21
while those raised by their mothers are simply part of the story.
Mothers have one other role in Disney films, according to Greydanus. He calls them
“benevolent, but irrelevant”
22
characters in their own story. They rarely merit major plots
and are afterthoughts to the story. His prime examples are the mothers from “Mulan” and
“The Lion King.” Sadly, the story would go unaffected if their presence were eradicated.
Mulan’s grandmother plays a bigger role in the development of the story than her own
mother.
The parents, whether they are domineering or clumsy, add a great deal of spice to Disney
stories. They are usually the sole reason for causing the main character to venture out on
a limb. Ariel had King Triton to push her; Belle’s father forced her into servitude with
her future Prince Charming. The Disney Channel, having recognized the effectiveness of
these characters, has utilized these stems and further blossomed their prototypes.
These various formulaic parts add up to a huge dollar sign. Disney has been able to
identify the effective variables that allow executives to continue to rake in the dough, as
well as bring fans to the company. Even more so, they are able to create lifelong
45
memories for these children, which continue to occur over time through the sheer
simplicity of the storylines.
These formulas, however, can also capitalize on insecurities, tapping into emotions
further and creating a stronger connection to a character and/or film. Is it ethical to prey
on a child’s anxieties? To better understand the effect these themes in programming have
on viewers, research must be conducted.
46
Chapter 5 Endnotes
1. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy. Maiden, MA:
Blackwell Publishers, Inc.
2. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy (pp. 114).
Maiden, MA: Blackwell Publishers, Inc.
3. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy (pp. 114).
Maiden, MA: Blackwell Publishers, Inc.
4. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy (pp. 115).
Maiden, MA: Blackwell Publishers, Inc.
5. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy (pp. 115).
Maiden, MA: Blackwell Publishers, Inc.
6. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy (pp. 116).
Maiden, MA: Blackwell Publishers, Inc.
7. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy (pp. 116).
Maiden, MA: Blackwell Publishers, Inc.
8. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy (pp. 117).
Maiden, MA: Blackwell Publishers, Inc.
9. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy (pp. 117).
Maiden, MA: Blackwell Publishers, Inc.
10. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy (pp. 117-118).
Maiden, MA: Blackwell Publishers, Inc.
11. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy (pp. 118).
Maiden, MA: Blackwell Publishers, Inc.
12. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy (pp. 118).
Maiden, MA: Blackwell Publishers, Inc.
13. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy (pp. 118).
Maiden, MA: Blackwell Publishers, Inc.
14. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy (pp. 119).
Maiden, MA: Blackwell Publishers, Inc.
47
15. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy (pp. 119).
Maiden, MA: Blackwell Publishers, Inc.
16. Greydanus, S. D. (n.d.). Quo Vadis Disney? Notes on the end of the Disney
renaissance. Decent Films Guide. Retrieved January 15, 2010, from
http://www.decentfilms.com/articles/quovadisdisney.html; Wasko, J. (2001).
Understanding Disney: The manufacture of fantasy. Maiden, MA: Blackwell
Publishers, Inc.
17. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy (pp. ). Maiden,
MA: Blackwell Publishers, Inc.
18. Greydanus, S. D. (n.d.). Quo Vadis Disney? Notes on the end of the Disney
renaissance. Decent Films Guide. Retrieved January 15, 2010, from
http://www.decentfilms.com/articles/quovadisdisney.html.
19. Greydanus, S. D. (n.d.). Quo Vadis Disney? Notes on the end of the Disney
renaissance. Decent Films Guide. Retrieved January 15, 2010, from
http://www.decentfilms.com/articles/quovadisdisney.html.
20. Greydanus, S. D. (n.d.). Quo Vadis Disney? Notes on the end of the Disney
renaissance. Decent Films Guide. Retrieved January 15, 2010, from
http://www.decentfilms.com/articles/quovadisdisney.html.
21. Greydanus, S. D. (n.d.). Quo Vadis Disney? Notes on the end of the Disney
renaissance. Decent Films Guide. Retrieved January 15, 2010, from
http://www.decentfilms.com/articles/quovadisdisney.html.
22. Greydanus, S. D. (n.d.). Quo Vadis Disney? Notes on the end of the Disney
renaissance. Decent Films Guide. Retrieved January 15, 2010, from
http://www.decentfilms.com/articles/quovadisdisney.html.
Photo Citation
The Walt Disney Company. (n.d.). Disney archives: Mickey Mouse. Retrieved April 1,
2010, from http://disney.go.com/vault/archives/characters_ai.html.
Quote Citation
Griffiths, D. (1959). Interview. The Walt Disney Archives. In K. M. Jackson (Ed.), Walt
Disney: Conversations (pp. 68). Mississippi: United Press of Mississippi.
48
“Quit
talking
–
and
start
doing
it.”
–
Walt
Disney
on
how
to
be
successful
Image
7
Chapter 6:
Searching for answers
Research will set the groundwork for looking at exactly what and how the Disney
Channel has accomplished what it has. Looking at the intricate details of the company
will provide a better vision at how the channel and move on into the new decade, while
staying true to itself and its audience. Both primary and secondary research was
conducted to gain a better understanding of what viewers, past and present actually think,
as well as what the press is saying about programming, its stars and the company itself.
Golden-Ear Goals
The purpose of this thesis is three-fold. With the Disney Channel being such a major
force in the world, knowing what it is doing right, what it is doing wrong and what can be
improved upon will be beneficial, even vital, to the continued success of the network and
the company as a whole.
Disney programming has changed dramatically over the past few decades. The Disney
Channel ushered in a whole new era of how to approach tweens. The effectiveness of the
current programming must really be examined in order to assess how well it is achieving
49
its goal and mission. Looking at the structure of the shows, what they have been doing to
integrate the various facets of the company and even the stars themselves will be able to
shed light on how Disney has been able to corner a market and hold on to its dominance
over the years.
The main purpose of any business is to make profit, and in the Disney Channel’s case,
have an audience. The Disney Company’s efforts are geared at a very precise
demographic. The Disney Channel is even more age-specific. Network executives must
find a way to broaden its appeal to individuals of all ages, or at least try to expand even
more across its current demographic. By doing so, it can continue to increase its market
dominance.
Lastly, there is a great deal to learn from the success of the Disney Channel. It has been
able to implement groundbreaking ideas in the past, which its creative teams have been
able to recycle and reuse it for today’s youth. Uncovering the genius behind the success
and learning how to reshape it to fit the needs of the demographic will help it evolve.
With all the success, however, failures will occur. Disney knows it has room to improve
and certain issues must be addressed. The research will hopefully conclude the Disney
has a lot of work to do on its image.
50
Research and Results
Trying to uncover the brilliance behind the Disney Channel requires a great deal of
research. There are various approaches for accomplishing this, but personalized responses
will shed more light onto the topic. Through the use of primary research, core groups can
be targeted and will allow more detailed information about the channel and its
programming. A focus group was decided upon because it allows the participants to
bounce ideas off each other, while also creating conversation and debate. Surveys were
also conducted because some might be more willing to divulge true feelings. Two
separate surveys were conducted to better understand the difference between Walt’s
programming versus today’s programming. Lastly, one-on-one interviews allowed for a
simple conversation amongst friends. In addition to the typical types of primary research,
an episode of a popular current Disney Channel show was dissected to see how the
themes were presented and utilized.
Focus Group
On February 8, 2010, a small focus group was conducted to fully examine the reach and
appeal of the Disney Channel and its programming. The participants were gathered into a
spacious classroom within the Annenberg School at the University of Southern
California. The group consisted of six individuals, three males and three females. They
ranged between the ages of 19-25 and all came from diverse ethnic backgrounds and
academic schools of thought.
51
With every form of research, there are always variables that alter the results. The
participants are highly educated individuals, pursuing bachelor’s or master’s degree ay a
top university in Southern California. Coming from various parts around the country,
everyone wanted to be in Los Angeles because of the diversity of the city. They enjoy
meeting people of different backgrounds and views to help expand their own horizons.
This can be a drawback for the purpose of this thesis because not everyone is striving to
learn about other cultures or cares to have diversity around them. Most people are
comfortable with their surroundings as is.
Tell Me What You Were Like As a Child!
We started out by introducing each other and sharing a pizza. The relaxed atmosphere
allowed everyone to open up and discuss the things that were important to him or her. As
the questions began, it was vital to learn more about their interests, especially as a child.
Many were highly active, whether it was in sports, dance or school. They all stated that
they wanted to be outside, running around in the open air. Television was merely a way
to occupy them when their parents had things to do.
When they did choose to watch television, though, it was usually for Saturday morning
cartoons. Many could name their favorites, which included “Doug,” “The Care Bears”
and “Rainbow Brite.” Most of the shows were very easy to watch and were more about
entertaining the viewer, rather than being interactive or trying to teach them something.
52
Executives got around the Disney Channel being a premium by bringing back family
time. Along with ABC’s One Saturday Morning, Disney found another way to share
Disney programming with a larger audience. Company executives turned to the man that
created magic with a golden touch. Walt Disney was brought back to life through a
reincarnation of his series, “The Wonderful World of Disney.” The show was aired each
Saturday night and consisted of Walt reruns, as well as CEO Michael Eisner-featured
episodes. The weekly series also television-premiered many Disney features, including
“Toy Story,” “A Bug’s Life” and “Lilo and Stitch.” Disney restored family time on
Saturday nights.
All the participants have fond memories of speeding through dinner and rushing their
families to the television set so they could all see what was happening at the Disney Parks
or to watch a Disney movie. One participant recalled sitting with her sisters and it being
one of the happiest times of her life. She remembers everyone coming together, no matter
what they were doing, and sitting as a family. Many shared happy memories about
Saturday with Walt and Michael Eisner.
Even more important than family bonds, Disney always stresses the importance of
imagination and dreaming of what could be. This was a common theme when speaking
with the participants. They stressed they would use their imagination and play make-
believe. One young lady said she would pretend to be Princess Jasmine and have her little
brother play a character. And she would fight her way through the battles that she faced.
53
However, she was the only that specifically named Disney. Everyone else played, but not
as Disney characters. This particular generation group grew up with the “Power Rangers”
and most everyone wanted to be one. That was the game of choice when playing make-
believe. All the girls wanted to be Kimberly, the Pink Ranger, and all the boys wanted to
be Jason, the Red Ranger. That single show was the one most talked about in terms of
using the themes and characters when playing with their friends.
Disney Channel Specific
As the group continued to talk, the Disney Channel became the focus. It was very
interesting to note that they really did not watch much television, but when they did it
was for cartoons— cartoons usually not airing on the Disney Channel. Many remember
the Disney Channel as a premium channel that their parents did not pay for, thus
complicating the effort of trying to watch the Disney Channel.
Many of the shows that the participants fondly remembered were cartoons on Disney’s
competitor, Nickelodeon. Its shows, like “Rugrats, “Doug” and “Rocko’s Modern Life,”
were different and unlike anything else on TV. The shows were intelligent, appealed to
wide age demographic and were very entertaining. The participants gravitated toward
Nickelodeon more so than any other. It was also interesting to hear that Nickelodeon is
much more male-targeted as opposed to Disney, which seems to focus on shows that
young girls would watch.
54
Perhaps one of the more shocking revelations was that some had never seen “The New
Mickey Mouse Club” and one had never even heard of it. “The Original Mickey Mouse
Club” sparked even less discussion. When a video showing a clip from of the anthem the
original show was played, most look horrified. Some slightly sang along, but others tried
to look away, but could not. One said that it was simply scary. The Mouseketeers looked
fake and artificial. They did not look human, is how one later described. Disney had tried
to create perfect, model children for the kids at home to emulate. That idea probably
worked for the generation it was geared toward. By today’s standards, though, it looks
fake, plastic and definitely staged. “The New Mickey Mouse Club” presented a fresh
dose of reality in the 1990s with its spin, and its viewers recognized it. They wanted to be
just like Christina, Justin and Keri. Disney was able to capture the magic from the
original show and tweak to better represent the day’s culture and generation. They were
able to identify with one of the characters.
One of the biggest standout points of the focus group was when the participants watched
“The Original Mickey Mouse Club.” In response to a question about first impressions,
one girl, without hesitating, said, “No one looks like me.” This comment sparked further
debate about what Disney characterizes as “all-American.” The fair-skinned, blue-eyed
beauties are not the only types of people in the United States. Many feel under-
represented in shows, especially on Disney. This is a huge issue that Disney has ignored
and continues to dismiss. This is one of many issues the company faces.
55
Lastly, the group was able to talk about the current lineup of shows and its stars. Miley
Cyrus, the Jonas Brothers, Selena Gomez and Demi Lovato are all major players in the
Disney empire. They have become the face of the channel and are synonymous with the
success of its programming. Miley Cyrus is the channel’s “it” girl at the moment. She has
become the face of this generation’s youth. However, she has not been able to necessarily
deal with the pressure that comes with that role. She is literally growing up for the entire
world to see. She makes mistakes just like every other teenager, but because of her role in
the lives of millions of girls across the world, every mistake is magnified. Her typical
“rebellious” teenage response to mistakes makes most wonder about her job as a role
model to young girls. It was stated that because of her, the youth of today is headed down
a very scary road.
The actual content of the shows was heavily focused on toward the end of the
conversation. They all agreed that it is highly sexualized and slightly too mature for the
channel’s key demographics. They all stated that they could not believe that those types
of shows existed for young kids. One girl even went so far to say that the Disney Channel
today is nothing like what it once was and that she would never allow her children to
watch it.
A Survey of Opinion
Surveys are used to gather basic information about topics. Surveys can be useful in trying
to see what people really think about a topic. Some are more willing to divulge true
56
feelings when the responses are anonymous. Two surveys were created to test the various
degrees of Disney Channel programming and how the channel has changed the way
children’s programming is approached. The first survey was intended for individuals ages
20-27. This targets the group of adults that experienced the Disney Channel as it
struggled to find its identity. The other survey targeted adults 35 and older. Most of them
could be counted on to recall the original Disney programming, the shows that had
Walt’s magical touch. There was also a gap that would encounter less Disney
programming, but would hopefully be able to recall some of the Disney favorites. For the
more mature group, it was also important to find the comparisons between Disney from
the 20
th
century as opposed to that of the 21
st
century.
The Good Ol’ Days
This survey was sent out to individuals ages 20-27. Respondents were prompted to
forward the survey to friends, increasing the pool of random participants. This group
grew up watching “The New Mickey Mouse Club,” “Flash Forward” and numerous
Disney cartoons. They also watched Nickelodeon for shows like “Clarissa Explains it
All,” “Legends of the Hidden Temple” and cartoons like “Doug” and “Rugrats.” Most
that took this survey are college and graduate students, as well as young professionals.
The mix between gender and age was fairly scattered. Most were 24 years old, but the
other ages were well represented. About 66% were female, which would also provide an
interesting twist, especially since today’s Disney Channel targets tween girls. This will
provide great insight into what still appeals to a more mature female audience.
57
The survey questioned their viewing habits as children. What drew them once upon a
time will draw them back to the Disney Channel now in a reminiscent state. Many of the
shows they once loved were actually not linked to the Disney Channel at all. Disney was
still experimenting with its programming and did not have very stand out shows as it does
today. Nevertheless, this age group resoundingly responded with Nickelodeon shows.
The Disney Channel, though, was an important network for many. About 75% of all
respondents stated that they either occasionally or always watched the network. The
remarkable thing about this portion of the survey is that participants were able to choose
their favorite Disney Channel shows from a list. Cartoons and live action shows were
equally chosen. One of the more popular programming implementations was ABC’s One
Saturday Morning, which was supplied with Disney programming. Many did not even
watch this. However, the younger participants were actually more drawn to ABC than the
older adults.
This generation’s heartthrobs seemed stemmed from a certain network. “The New
Mickey Mouse Club” became a hub for young talent. Filmed in Florida, kids and parents
would travel from across the country hoping to get a shot at an audition for the show. It
launched the careers of many of today’s top celebrities. The respondents were presented
with four pictures of four members from the show. Almost all participants were able to
identify the stars. Those that could not actually remember their names listed the movies
they had seen them in recently. Most were also able to name the new Disney Channel
58
stars. This shows that Disney’s market saturation is increasing that even 27-year-olds can
recognize a Disney boy band, two pop princesses and a set of twins.
Today’s Disney Channel is vastly different from that of the 1990s. When asked if they
watch it today, 57% said no, with 33% admitting they sometimes watch it and only 9%
stating they do watch it on a normal basis. One of the more popular shows “Wizards of
Waverly Place.” One reason this show may resonate with an older demographic is
because the lead character Alex is a smart aleck, troublemaker that does not care about
much. She has a good heart, but chooses to disobey everything she is told. She is the
prototypical rebellious teenager, wreaking havoc on those around her. She is not the
cookie-cutter character that most other shows have. This is also one of the few shows that
brings other activities, such as art, into the mix.
Lights, Camera, Action!
Television was a new concept in the mid 20
th
century. It was exciting and seen as a new
way to reach audiences. Walt saw its appeal and its power. He was able to use it as a way
to promote his company in new and different ways. The baby boomers say this firsthand.
They were exposed to his genius through the programming he created for television.
This survey saw responses from individuals 35 and older. The initial respondents
forwarded the survey to other friends within the age range, widening the sample. The
most represented groups were 35-39 and 50-59 year olds. This big gap will show exactly
59
how effective Disney was when programming hit a lull. The participants were also
predominately female, which could slightly alter the results.
Programming for the older survey participants was vastly different than that for younger
adults. Television was still new and executives were still getting the hang of the emerging
technology. The wholesomeness of the 1950s was definitely evident. Both cartoons and
live action programs focused on teaching the children something through every episodes,
while also keeping them glued to the set. Many of the shows that are still popular today
are among the ones respondents chose. “Alvin and the Chipmunks,” “The Jetsons” and
“Howdy Doody” were among some the favorites. “The Mickey Mouse Club” was
purposely left off the list of options to see how many people would actively remember it
as one of their favorites. However, only two people actually wrote it down. Nevertheless,
the very next question asked how many actually watched “The Mickey Mouse Club.”
About 71% said they did watch it as opposed to the 29% that said no.
What is interesting is how the demographics broke the answers apart. It was expected that
as time went on, “The Mickey Mouse Club “would not be as popular or viewed as often.
All respondents 60 and older watched the show. About 85% in the 50-59 age group
watched, while a 78% of current 40-49 year olds viewed the program. Even more
surprising was the 52% of 35-39 year olds wore Mickey ears during the week. Not
surprising was the fact every single group favored Annette as their favorite Mouseketeer.
While there were no close seconds, the 40-59 brackets also chose other Mouseketeers,
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such as Cubby, Bobby, Darlene and Doreen. Still, Annette epitomized the role of the
ideal Mouseketeer. It is funny to think that Annette was the most popular one on the
show and it has been claimed that Walt tried very hard to make her look less Italian. He
failed at that because she still did not have that all-American look with her curly black
hair, yet everyone seemed to identify with her purity and kind spirit.
Disney programming has definitely evolved over the years to resonate with its changing
audience and surroundings. Knowing how they viewed Disney when they were children
and now that they are adults will help to see how well Disney has been able to retain its
image. Everyone unanimously voted that Disney shows when they were growing up were
extremely fun. The way they view it now, however, is slightly different. What is
remarkable about these groups is that for many questions, the 35-39 year olds and above
60 seemed to agree on most everything, while the 40-59 years old teamed up. The 35-39
and above 60 respondents continue to think that Disney and the Disney Channel is fun. It
continues to hold on to the reputation it held when they were children. The above 60 did
have one comment, though, in which someone said they would describe the Disney
Channel toady as a little ridiculous. The other group, the 40-59 year olds think that
Disney Channel programming is age appropriate today. However, the 40-49 bracket
added that it is exaggerated, while the 50-59 adults stated that the dark side of Disney
acquisitions is revealed in its programming and it cares more about making money.
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“The Mickey Mouse Club” was created as a way to not only finance Disneyland, but to
also showcase the park to children and parents. It became a moving advertisement for
Walt. Kids were able to see what they could do at the park, including all the different
rides they could enjoy. However, the real question is how effective it actually was. With
100% of 60 and older watching the show, about 75% said the show had no influence in
their decision of wanting to see Disneyland for themselves. An overwhelming 65% of 35-
39 respondents, not surprisingly, said the show was not influential in their desire to visit.
With the 50-59 year-olds, 45% said the show was influential and 20% said it was very
influential in making them ask their parents to take them. The 40-49 age bracket was
quite the opposite. About 56% said the show was very influential in making the decision
to visit 22% respectively stated influential and not influential.
Through this survey, a great deal of light was shed on the personal feelings for the shows.
One of the most prevalent problems with the programming is something that is clearly
evident after watching almost any show for at least five minutes. As each generation
grows up, it seems as if the subsequent one tends to become slightly disrespectful of
authority. Many adults recognized that the lead characters all have one thing in common:
they rarely listen to their parents. The kids call their parents names, ignore their advice
and disobey their orders. Children see their favorite stars doing this and act the same way
with their own parents. For the older generations, this is more of a travesty because most
of them have a very different outlook on rearing children. Nevertheless, overall lack of
respect is something to ponder when watching these shows. Disney should try to look at
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the effect it will have on the youth and the adults of tomorrow. How will the lack of
respect for authority affect their futures?
“Wizards of Waverly Place” Dissection
Episode: Beware Wolf
5
The episode opens up with Justin and Alex sitting in the living room. Justin is telling
Alex about the date he has with Isabella, a girl he met on WizFace, which is undoubtedly
like Facebook and MySpace. Alex mocks Justin about the last girl he met on WizFace.
She turned out to be a centaur, showing that people online are not always truthful.
Isabella finally arrives and seems perfectly normal, until Alex asks her to please pass her
jacket over. Isabella attempts to play war with jacket and Alex, much like a dog would
do.
Justin takes Isabella downstairs to the family’s submarine sandwich shop to introduce
Isabella to his parents. Upon hearing how they met, the Russo’s ask to have a word with
Justin in the back, which prompts a back and forth conversation where Justin refuses to
listen to his parents and head to the kitchen. He finally listens after his father raises his
voice. His parents disapprove of how Justin and Isabella met. They tell him that meeting
someone online is dangerous. He disagrees, goes against their wishes and goes out with
her anyway. They go to the park and Isabella chases buses, cars, rolls around on the grass
and tries to catch a squirrel.
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After their date, they return to the Russo apartment. Alex continues to tease Justin
mercilessly, saying that he knows nothing about Isabella. Alex says Isabella is a dog, to
which Isabella announces that she is a werewolf. Justin, slightly jolted, says it does not
matter. His love is pure and he kisses her on the cheek. She then reveals one other secret.
That when someone kisses a werewolf they too become one. Justin and Isabella run off to
park.
Alex is happy that Justin is now gone. She only tries to help him when she realizes that
her life will be made more complicated with him gone. The Russo’s make haste to the
park to try and find Justin, where the happy couple has been bickering because they
realize they do not know anything about each other. To change Justin back, his father
puts him in a pot with a potion only to discover that Justin is supposed to drink it. Justin
must then drink his own bathwater to return to his former self.
Observations
1
Looking back at the formulas described earlier can present exactly how Disney creates a
show and its characters. While writers ultimately have a say as to how an episode is
produced, Disney staff has a major role in how the characters are developed and, thus,
how the show proceeds in its episodes.
Alex, the lead character, is definitely the heroine of the show. She is not your typical
heroine. While she is a troublemaker, she still “heeds the call of duty,”
1
especially in this
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episode. She is the one that informs her parents about Justin’s transformation. Justin is
the smart brother that always tries to teach Alex about doing good, as opposed to her
regular snarky and bad girl act. Max, on the other hand, is the embodiment of Tweedle
Dee and Tweedle Dum. His outlandish comments and behavior add the chaos in the
Russo household. Harper is Alex’s sidekick. She definitely provides the comic relief. She
is offbeat, quirky and madly in love with Justin. She is also the only friend that knows the
Russo’s are wizards. As Greydanus explained, parents are often become satirical versions
when Disney creates them. Jerry, the patriarch of the Russo clan, is definitely the clueless
father. He rarely knows what is going on, has little control over his children, especially
Alex. While he tries to be the father, he is present more for providing comedy. Theresa is
the irrelevant mother. She is not a wizard, like her husband or kids. She is also not Italian,
but Latin. When she does have something important to say, the kids seem to ignore it.
Disney continued using its formulas and it has paid off. “Wizards of Waverly Place” is a
hit. Part of its appeal? According to producer Todd J. Greenwald, “As far as wizards go,
you can do whatever you want whenever you want, but if it's against the rules, that makes
it more exciting for the audience. There's a little rebel in every kid.”
3
This particular episode has a few lessons embedded in it. First and foremost, the perils of
online encounters take center stage. With Facebook and MySpace being so popular and
technology readily available, some kids do not know the true risk that exists with the
Internet. This episode presents the danger that goes hand-in-hand with trusting people
over the Internet. However, because of the comedy behind it all, the true message is
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slightly hidden and, as such, becomes virtually ineffective. The show makes it seem like
meeting Internet friends is casual and safe, when in reality, it is not. The show could do a
better job at trying to help kids learn about how dangerous the Internet can actually be.
Another topic is that of respect. In another episode, Max actually complains to his mom
that Alex does not respect him. Theresa then tells him to play a practical joke on Alex.
This example shows the lack of parenting and why the kids are so disrespectful to their
parents. “Beware Wolf” is a great example of how the kids to not listen to their parents.
They ignore their comments, concerns and orders. They ignore their parents on a constant
basis and really just do not care about what they have to say. It is a general lack of respect
for authority as well.
A Personal Touch
Some people are more hesitant to talk in front of others. Their responses are censored.
They think much more before they speak, causing their nerves to take over and possibly
alter a response. With one-on-one conversations, especially if there is a prior relationship
there, the participant is put at ease and more willing to speak freely. Various interviews
were conducted with this logic in mind and it ended up proving very true. The following
are the key takeaways from those interviews.
Interview #1: Kylie, 10, Thousand Oaks, California
Kylie is precocious young lady. She loves to play volleyball, enjoys spending all her time
outside and even spends time on the phone with her friends. She is an excellent student,
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with a solid B+ average. When she was younger, she recalls being obsessed with Miley
Cyrus. She wanted to be just like her. She would run around the house, singing and
dancing, pretending she was Hannah Montana. However, now she cannot stand the show.
She has found that staying inside all day to watch television is a waste of her time. When
she does choose to watch television, it is rarely to watch “Hannah Montana.” She would
prefer to watch “Wizards of Waverly Place.” Even more so, she will tune to Nickelodeon.
“iCarly” is one of her favorite shows. She finds it funny, exciting and never dull. She
wants to start her own webcam show.
Interview #2: Amanda, 15, Simi Valley, California
Amanda grew up at the time that the Disney Channel began to transition from the “Lizzie
McGuire” era to the “Hannah Montana” phenomenon. An avid volleyball player, she
remembers watching “Zoey 101.” Zoey was liked by everyone, was not afraid to love
sports and stood up to the boys. She was strong and confident. However, Zoey also
seemed unsure about herself, which Amanda disliked. She did not have the Disney
Channel, but when she would visit her cousin, that is what was on for her and her little
sister to watch. It was explained to them that it was age- appropriate programming for
them. As she grew up, her cousin decided to let her watch what she wanted. She found
herself watching the Disney Channel with her cousin, not only because of the nostalgia it
created between the cousins, but because she secretly liked the shows. She would never
admit it to her friends because she would seem uncool, but she knew all the characters
and storylines.
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Interview #3: Mike, 23, Los Angeles, California
Mike is a student at a local community college. He spends his time studying and hanging
out his friends. Some of his favorite activities include playing sports and hitting the beach
on a sunny California day. When he has time to watch television, it is usually to cheer on
the Lakers to a victory. He did, however, admit that he watches the Disney Channel on
occasion. He prefers to watch Toon Disney (now Disney XD) and see all his favorites
cartoons from his childhood. The nostalgic favor of the network is what draws him. He
needs an escape for the chaos that is his life.
The Disney Channel recycles its concepts. He feels like all the characters are the same.
“Once you’ve seen one, you’ve seen ‘em all,” Mike stated. He went on to say that he
accepts that that is its practice. As a child, he could not get enough. We went on to say,
“Now I realize that it’s fake. Not everything is going to work out. Kids are smarter now.
They know it’s not good to think like that.”
Interview #4: Josh, 24, Sunland, California
Josh is graduated from college two years with a dual degree in Business Administration
and Finance. He enjoys metal music and playing basketball. After speaking to him for
just a few minutes, it is evident that he is not an audience target for the Disney Channel.
It was surprising to find out that he is a huge Disney Channel fan, with his favorite shows
being “Wizards of Waverly Place” and “Phineas and Ferb.” He watches “Phineas and
Ferb” because although it is a kid’s cartoon, it is a lot smarter than most. Listening to
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what is said makes it sound more adult. He compared it to “Shrek,” in that “Shrek” was
fun for kids, but had adult jokes mixed into the script to keep everyone entertained.
“Wizards of Waverly Place” is just a fun show, causing him to wonder more about the
world. All in all, Josh is an example of Disney being able to reach an older demographic.
It just needs to find a way to draw people to the channel in the first place.
A Second Look
A media audit will show exactly how Disney is viewed. Looking at articles will offer
insight into the views that journalists have about what the Disney Channel is doing. In the
past four years, the Disney Channel and drastically changed its formatting to fit a more
profitable system. It was in 2006 that “Hannah Montana” premiered, which threw Disney
into a whole new playing field. Thus, utilizing the academic tool LexisNexis to look at
articles from the past five years will show exactly how sentiments have changed. One
search will include “Disney Channel,” as three other individual searches will be
conducted with the names, “Miley Cyrus,” “Selena Gomez” and “Jonas Brothers.”
“The Disney Channel”
In a basic search, LexisNexis provided more than 3,000 articles in the past five years.
Nevertheless, the Disney Channel itself is not really talked about. Its stars and shows are
usually the focus of the articles. These articles include papers from around the world.
Graph 1 (below) shows a more detailed deconstruction of where the articles originated.
The topics of the pieces varied drastically, from an article about singing sensation
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Belinda being in the “Cheetah Girls 2” movie to articles about Ali Lohan, Lindsay
Lohan’s sister, possibly getting a show on the Disney Channel. The United States search
was quite different.
In the United States alone, there were over 3,000 articles released through US papers and
wires. The subjects vary widely, including articles about criminal justice. One article
about Leona Helmsley’s passing was somehow linked to an article about the Disney
Channel and its role in reviving the musical genre with its hit, “High School Musical.” In
Graph 2, the breakup of the types of sources can be seen more clearly. Most were found
in tradition newspapers, with newswires coming in second. Many articles were about the
new events, projects and shows the Disney Channel was unveiling to the public. For the
most part, the articles are favorable, since it seems as though the journalists stick to
releasing information rather than their personal opinions.
(Figure 1)
78%
0%
16%
5%
1%
6%
World
News
Coverage
Newspapers
Aggregate
News
Sources
Industry
Trade
Papers
Magazines
&
Journals
Newsletters
70
(Figure 2)
“Miley Cyrus”
Miley Cyrus also turned up more than 3,000 articles, which is no surprise. She is the “it”
girl of the Disney Channel. Upon her launch into the tween world, she was an instant hit,
creating more opportunities for the young star. The articles comment on the fascination
tween girls have about the singer/actress, but more about her behavior, noting that she is
a role model. One of the main stories was the fact that Miley and her father, who also
plays her musician father on the show, were filmed not wearing their seatbelts.
Something as small as that can cause parents to question what the Disney Channel is
presenting to their children. Since her beginnings with the Disney Channel, the world has
taken notice of her star appeal. Critics are mixed on her viability in the entertainment
world without the Disney Channel, but for now, she is queen of the Disney Channel stars.
55%
30%
14%
1%
15%
US
News
Coverage
Newspapers
Newswires/Press
Releases
Industry
Trade
Press
Magazines
&
Journals
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“Selena Gomez”
Selena had far fewer articles, with about 800 articles in the past five years. Although,
with the show premiering in late October 2007, 800 articles in two and a half years is
quite a few. In an article from the Massachusetts-based Sentinel & Enterprise,
4
a young
girl was interviewed about an upcoming modeling competition. She specifically states
that she wants to be just like Selena Gomez and follow her career path. Selena has
become a new role model for young girls, especially young ethnic girls because she does
not have the “typical” Disney look. She was picked out of hundreds of girls when Disney
decided to add Latin flair to its lineup of stars.
“Jonas Brothers”
The Jonas Brothers provide a very different view of the Disney Channel. When first
entering the music world, they were actually released into the MTV global sphere. They
recorded songs for Disney films as well. Suddenly, the JoBros, as they are commonly
referred to, hit it big. The boyband-esque group became heartthrobs. They teamed with
Hannah Montana on tours and their popularity skyrocketed. Still, one of the more popular
and interesting articles had to do with “South Park” making fun of Disney and the
JoBros. Their purity rings, which many parents applauded, were a main focus of the
episode and how Mickey Mouse, which is in fact a scary little creature, rules the
company with an iron fist and with the mouth of a sailor. That episode was newsworthy.
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Major Conclusions
Mature themes
The Disney Channel prides itself on offering parents peace of mind. Parents know that
their children are getting kid-friendly shows. Or so they think. Many are starting to
wonder how age-appropriate the network actually is. While it is not necessarily the
programming parents worry about, the channel’s stars are idols for their fans. “With the
Internet and whatnot and parents not watching what they are doing, kids are growing up
faster,” said one interviewee. Young kids can see Miley’s questionable pictures or her
YouTube video with her best friend. The controversy surrounding the Jonas Brothers and
their purity rings also is in the spotlight. Kids can search a million sites while on the
Internet and learn more about their favorite stars and what they do behind the Disney
camera, not to mention the other unsuitable content on the web.
Disrespectful to parents
Kids did not give the same level of respect to their parents that kids in the 1950s offered
to their parents. This truth is seen time and time again in Disney shows as Miley calls her
dad a “dumb hillbilly” or Alex disobeys her parents yet again. Kids see their idols talk
back to their parents, call them names and even go against what they are told. Who is to
say they will not replicate that behavior in their own lives, especially since little
punishment is seen.
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Unreal expectations
During one of the personal interviews, one of the participants, Amanda, commented
about the perception Disney gives off to viewers. She fears that while adults can tell the
difference between reality and fantasy, some kids cannot. Amanda, a teenager, feels that
Disney presents unreal expectations. Every Disney Channel show’s episode presents the
characters with a huge dilemma, which is also solved by the end. Life does not work like
that. “Life is hard. It’s complicated. Nothing everything is going to always work out the
way you want it to. You gotta fight hard for what you want. It won’t just be handed to
you.” This exceptional young lady attributes her perception on life to her family that has
always taught her that all the best things in life are worth working hard for and never
giving up on any of her dreams. Disney should incorporate some of her ideas into its
shows on a more constant basis.
Media coverage stems from business aspects, little else
While the Disney Channel continues to enter new markets on a regular basis, the media
has one way of commenting. It simply refrains from giving its opinion and presents the
facts of the mergers, acquisitions and new deals in the works. The media tends to focus
solely on the controversies surrounding the company and offer an unbiased opinion. The
only time opinions actually occur is when Disney’s prime moneymakers screw up, such
as when Miley posted provocative posters or when the Jonas Brothers began sporting
their purity ring. Otherwise, the media tends to shy away from the good, wholesome and
heartfelt stories.
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Chapter 6 Endnotes
1. Greydanus, S. D. (n.d.). Quo Vadis Disney? Notes on the end of the Disney
renaissance. Decent Films Guide. Retrieved January 15, 2010, from
http://www.decentfilms.com/articles/quovadisdisney.html; Wasko, J. (2001).
Understanding Disney: The manufacture of fantasy. Maiden, MA: Blackwell
Publishers, Inc.
2. Wasko, J. (2001). Understanding Disney: The manufacture of fantasy (pp. 116).
Maiden, MA: Blackwell Publishers, Inc.
3. O’Neil, T. (2009, September 8). Does ‘Wizards of Waverly Place’ have the magic
Emmy touch? [Electronic version]. The Los Angeles Times.
4. Donelan, M. (2010, March 4). Local youngster to attend modeling convention.
Sentinel and Enterprise (Fitchburg, Massachusetts). Retrieved March 10, 2010, from
LexisNexis.
5. Cheung, V., Montanio, B. (Writers) & Gonzalez, V. (Director). (2008). Beware wolf
[Television series episode]. In T. J. Greewald (Creator), Wizards of Waverly Place.
Burbank, California: The Walt Disney Company.
Photo Citation
Disney Dreaming. (n.d.). Disney TV shows. Retrieved April 1, 2010, from
http://www.disneydreaming.com.
Quote Citation
Molloy, P. (1957, September). Walt Disney: World’s most successful showman. Success
Unlimited IV. In K. M. Jackson (Ed.), Walt Disney: Conversations (pp. 57). Mississippi:
United Press of Mississippi.
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“[Television is] another way of reaching people, another way of entertaining
people. I welcomed it. You can’t fight these things. I learned that a long time
ago. It’s progress. You can sit back and try to fight to it but it’s stupid. I think,
‘Go with it,’”
– Walt Disney
Image
8
Chapter 7:
“SWOT” Analysis
A SWOT analysis is used to dissect a product, company or asset to discover its strengths,
weaknesses, opportunities and threats. This gives public relations practitioners a better
insight on how to approach a respective campaign. A SWOT analysis was conducted on
The Disney Channel.
Strengths
The Disney Name
Whatever the Disney name is attached seems to be an instant success. Disney has built a
reputation that is unshakable. The “brand image now represents 60% of its market
capitalization, [meaning] the Disney name, logo and reputation are worth more on the
open marking than the combined value of its physical assets and intellectual property.”
1
The Disney name conjures up an idea of wholesome entertainment. This same feeling is
attached to the Disney Channel. Disney has created a partnership with parents in which
parents can trust that if they leave their children alone with Disney programming, kids
will be exposed to funny shows that are suitable to young children.
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Disney programming can promise suitable content for young kids. Parents know there
will never be any use of profanity or inappropriate situations, or so parents assume. The
trust that Disney has worked so hard to achieve pays off. When the channel was first
launched, parents did not have to sit with their children or pre-screen the shows. They
knew that Disney would provide the best entertainment possible.
Disney is using its name and reputation to help affect change and make the world a better
place. The Disney Channel has created various initiatives to get kids involved. A few of
the more prominent programs are “Let’s Move” and “Friends for Change.” Disney is
taking its job as a market leader and having kids look at the world differently.
Healthy Living
The company is trying to help kids take a positive step toward a better tomorrow. It is
accomplishing this by participating in the initiative, “Let’s Move.” Created by First Lady
Michelle Obama, she hopes that this will “create a healthier generation.”
2
Partnering with
Disney ensures the target demographics and young tweens and teenagers and hearing the
messages. Disney has a huge talent pool to pull from when working to release the
information about this program. The channel will create numerous public service
announcements with its stars.
The partnership is beneficial and complementary, especially with all Disney has done in
the past few years to try and help children grow up with a healthier lifestyle. Outside of
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the Disney channel, the Walt Disney Company created new guidelines prohibiting the use
of the Disney name and its characters on food products. It wanted to solely promote foods
that are healthy and low on fat and sugar. It went so far as to completely change its menu
at Disney Parks and Resorts. “Today, more than 85% of Disney's licensed food portfolio
consists of healthier options, including produce and low-fat dairy with more than one
billion servings of fruits and vegetables sold in 2009 alone.”
3
Disney is not only committed to healthy menus in its product promotion and in the parks,
but utilizing the Disney Channel to make sure kids are hearing the message. According
to a recent press release, the Disney Channel “recognizes that everyone shares a
responsibility to encourage kids and families to adopt healthy lifestyles.”
4
In its shows, it
tried to show the characters choosing healthier options when they snack. For instance, in
an episode of “Hannah Montana,” Miley and Lily are seen enjoying a big bowl of grapes.
There have been “over 100 interstitials have been dedicated to encouraging healthier
lifestyles.”
5
With a lack of advertising, the Disney Channel can create its own commercials that are
used to promote their visions even more. It used Brenda Song, one of the stars from “The
Suite Life,” as a spokesperson for “Pass the Plate.” In this segment, Brenda, along with
Disney Channel personalities from across the globe, show kids how they eat healthy.
Each has a certain ingredient. When they spoke about tomatoes, Brenda showed how to
pick a good tomato, while those in Italy showed how to make a Caprese Salad. In another
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segment, Brenda talks about all the types of fish. She “sends the plate over” to Japan
where a teen talks about the largest fish market in Japan and everything they have there.
It then goes to Brad in the United Kingdom that talks about his favorite fish, cod, and
how him mother would make fish and chips, a British staple. The twist, though, is that he
states that he prefers his mother’s recipe because she bakes it, rather than deep-frying the
cod. Upon return to Brenda, she goes on to say she enjoys broiled fish with lemon. These
healthy options for cooking fish are just a few examples of how Disney is trying to affect
change. The channel and its affiliates strive to make a positive difference.
Global Change
6
With technological advancements flattening the world, most are so much more
connected. What affects one culture or country impacts the entire world. When Haiti was
recently struck by tragedy, Selena Gomez, Demi Lovato and Jason Earles all took part in
a PSA talking about how they have helped the Haitians. Selena Gomez even spoke of
how she has seen fans help those abroad. It is the little things like this that sets the Disney
Channel apart. Its stars are talking directly to fans and getting them to think outside own
realities and view the world as it is.
Disney has tried to shed light on the pressing issues the world is facing. The biggest
program is global warming and the need for going green. “Friends for Change” is a
project that was created to show kids how even the smallest action can make a difference.
In true Disney fashion, it pulled its major stars to create a music video that was premiered
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on the Disney Channel. “Send It On” was preformed by Demi Lovato, Jonas Brothers,
Miley Cyrus and Selena Gomez. The words are simple to understand, yet powerful
enough for kids to understand.
A word's, just a word, 'til you mean what
you say
And love, isn't love 'til you give it away
We've all gotta give
Give somethin' to give, to make a
change
Send It on, On and On
Just one that can heal another,
Be apart, reach a heart,
Just one spark starts a fire!
With one little action
the chain reaction will never stop!
Make it strong,
Shine a light and send it on!
Just Smile, (Just Smile)
And the world (and the world) will smile
along with you,
That small act of love,
stands for one become two!
If We take the chances
To change circumstances
Imagine all we can do
If we,
And There's Power in all of the choices
we make,
So I'm starting now there's not a moment
to waste.
7
“Just one can heal another…with one little action, the chain reaction will never stop”
shows that anything someone is willing to do will make a difference. It is everyone
chipping in to help that will cause a change. Along with the music video, there are other
PSA’s where the stars will talk about how they help the environment, such as conserving
water.
It has created a website in which fans can log on and see how they can help. Fans can
learn about their options and “pledge” one of the actions. It can be as small as walking to
school instead of being driven or putting a plug in the sink when washing dishes. It gives
kids a chance to see that despite their age, they too can make a difference. They are never
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too young to start. Disney is finding ways to empower children and show them that they
have a voice.
Use of Technology
With each passing day, it seems like a new technological platform or advancement in a
pervious technology jumps onto the stage. Today’s youngsters are the ones growing up in
the ever-changing world. With a 24-7 news cycle and constant entertainment at our
fingertips, kids are becoming more dependent on the need for multiple outlets when
looking for entertainment. According Brown Johnson, President of Nickelodeon
Preschool, “‘kids over [the age of] six don’t buy toys; they’re turning to technology.’”
14
Disney has set up a great website that connects kids to everything Disney. It links to the
parks, the various channels and even movies. There are games, information about the
shows and its stars and even other artsy activities.
Still, Disney has realized how dangerous the Internet can actually be. Although it is a
proponent for the Internet by giving fans the multimedia outlet, it is also an advocate for
Internet safety. “Phineas and Ferb” is a cartoon that premiered on Toon Disney. Due to
its wild popularity, executives placed it on the Disney Channel. Since its move, it has
continued to gain new fans. It used the main characters to teach about responsible online
behavior. Disney created rules to help kids when they are online and surfing the web.
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1. Careful what you put online, it never goes away, ever!
‘Fame is fleeting, but the Internet is forever.’
2. You never know who is going to see it!
3. Just because it's online, doesn't mean it's true!
4. Not everyone is who they say they are!
5. If you wouldn't do it in person, you shouldn't do it online!
6. Most of all, remember to get off the computer and out down the phone,
because nothing is better than spending time with real friends!
8
Working with Common Sense, the two companies have been able educate not only kids,
but parents as well. Another website was created to help guide parents on how to teach
their children about safety on the Internet. There are tips for parents and the PSA serves
as a “conversation starter.”
9
Disney is helping keep kids safe from the variables out there
in cyberspace.
Weaknesses
The Disney Name
While the Disney name is a huge asset for the company, its goodie-two-shoes reputation
can hinder its expansion. Many look at Disney as a company designed and intended only
for children. Teenagers stray away because it is not “cool” to like the Disney Channel and
adults refer to the channel when they have kids. Otherwise, its prime audience consists of
younger children and tweens.
There are also many who feel that Disney is a soulless corporation that only wants to turn
a profit. They see every move the Disney Corporation makes as one to increase revenues
at the expensive of true art and kids dreams. This negative view of the company can
82
greatly harm the effectiveness of the strategies it has created in hopes for attracting more
viewers. Also, the negativity that goes along with Walt himself, such as his personal
prejudices that were implemented into the shows, cause many to wonder about the true
heart behind the company. Many, which as proven through one-on-one interviews, feel
that he was a cynical and racist man that only used the company to create his ideal
America.
Disney’s America
When flipping through the channels, it is easy to spot different ethnicities, accents and
ways of life. When watching the Disney Channel, however, the typical, all-American,
mid-western teen is splashed all over the screen. These kids are good looking, with
stunning smiles and always know the perfect thing to say. Rarely is there an “ethnic” star.
Selena Gomez broke the mold by being the first Disney Channel Latina star. However,
she plays an Italian girl on “Wizards of Waverly Place.” While her mother is supposed to
be Latin, her heritage is rarely discussed, focusing instead on their Italian descent.
Disney programming shows kids at their finest. Miley is a superstar, Sonny followed her
dreams and made it onto a sitcom sketch show and Alex is trying to be a star wizard,
while also being a typical, rebellious teenager. In fact Alex personifies all the rebellious
youths in America. However, everything always magically works out for her, which
signals the American Dream. Work hard and everything will pay off, or be lazy and
someone, a family member or friend, will pick up the slack. The mixed messages are
83
confusing and do not really help the youth when they cannot identify with what they see
on television.
Opportunities
A True Reflection of America
One of the weaknesses is that Disney does not present a true America. It fails to represent
the minorities in the country that was built on the backs of immigrants. Walt’s mid-
western upbringing gave him a very small slice of the American population. Today,
ethnic groups are no longer situated solely in major cities of the county, but, in fact,
moving all around the nation. Most kids, most people even, watch shows and movies and
identify with characters that are similar to them. For younger kids, research has shown
that they tend to identify with characters that look like them. While the Disney Channel is
a force to be reckoned with, it could try harder to give kids of all ethnicities someone they
can identify with. As was seen during the focus group, many did not feel like they could
identify with the characters on the show. One of the shortcomings with that is that the
focus group took place in Los Angeles, a very cosmopolitan city. Much of Middle
America is still predominately white, so the Disney Channel is perfect for them in terms
of characters. “That’s So Raven” was one the only show where the main character was
not white. Raven and the family were proud, successful African-Americans. After that
show went off the air and the spin-off was cancelled, the Disney Channel went back to its
old ways of casting. Nevertheless, there are other kids in the country that are glued to the
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Disney Channel. It owes it to those kids to help them grow up to be the amazing leaders
of tomorrow. Disney can help them feel represented in the media.
Technology for Tomorrow
Disney has done an excellent job at jumping on the technology bandwagon. It has
implemented a strong Internet presence to correspond with its company products. The
Disney Channel and other channels are all represented on the Internet. Fans have the
opportunity to surf the site and learn everything they wanted to know about their favorites
stars and shows.
They can expand and put shows online as well. Networks have yet to find a way to profit
from online viewing, but Disney has been able to create profits out of thin air. It will
continue to be at the forefront of innovation and find ways to make its website more
interactive for users. It can find new ways to challenge kids through educational online
resources with their favorite characters. Disney can probably even create other platforms,
such as a kid-friendly Twitter site or Facebook.
Threats
Other Networks
Disney was able to tap into a prime demographic. In doing so, it opened the door for
others and even gave networks the blueprint for success. The biggest competition is
Nickelodeon. In the 1990s, Nick was known for its fun cartoons, like “Rugrats,” “Doug”
85
and “Ahhhh! Real Monsters.” It stared to dabble in live action with “All That!” and “The
Adventures of Pete and Pete.” As time has gone on, Nick has become a true competitor
for the Disney Channel, following Disney’s success track. It starts stars in other shows to
test their popularity, then creates a new show around them and offers them signing
opportunities. The best example is Miranda Cosgrove. She started as the evil little sister
on Drake and Josh, in which the title characters started on “The Amanda Show” with
Amanda Bynes. Miranda, after her stint on “Drake and Josh,” got her own show. “iCarly”
has been highly popular and Miranda has also started a singing career because of the
show. “iCarly” continuously rates among “the top programs among all cable sports and
entertainment programs”
10
reaching 6.5 millions viewers during one airing in 2009. It
“has grown into TV's No. 1 series among kids (ages 2 to 11) and tweens (ages 9 to 14),
drawing an average 5.6 total million viewers to new episodes.”
11
Nick is replicating
Disney’s success with its own shows and even has more diversity with its stars.
Growing Up
As the song goes, “Little girls get bigger ever day.” Disney Channel fans, which are
predominantly tween girls, grow up. They move on to MTV, Comedy Central or even
ABC Family, which is slightly more grown up than the Disney Channel. According to a
study on child television habits, “content takes precedence.”
15
Regardless, girls grow up,
searching for other entertainment. Disney must find a way to grab their attention and
captivate them to the point that the shows transcend age. It must, at the same time, keep
true to its goal and utilize the formula that has made it so successful for decades.
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Market Saturation
Disney has come under fire for various reasons. One of the most interesting controversies
is that of the Disney Parks. The Walt Disney Company has set up numerous parks across
the world, including Paris and Hong Kong. Both, however, were seen as monumental
failures and have not lived up to expectations. Many do not understand why the world
needs more Disneyland Parks, while Disney contends that it is simply trying to spread the
magic. The same goes for Disney programming. As stated repeatedly in the focus groups
and in the one-on-one interviews, once you have seen one Disney show, the rest are not
so different. There is usually a girl, sometimes boy as the main character, that is growing
up with her crazy family members always causing problems for them. The shows all
overlap with similar zany situations, in which the lead character wreaks more havoc on
their own life, only to figure it all out by the end of the episode.
Moving Forward
Disney has been able to secure its spot as a leader in children’s entertainment. With
Nickelodeon beginning to step over Disney in ratings, executives must reevaluate their
tactics to ensure they are headed in the right direction. According to an article in The
Wall Street Journal (2007), Disney has a tight grasp on “children 2 to 11 years old…and
‘Hannah Montana’ has galvanized the 6-11 set.”
12
The coveted tween market, which
Disney seemed to create, has seemed to be occupied by Nickelodeon. Disney is the
primetime leader, but “Nickelodeon has a larger audience than Disney throughout the
day, according to the latest Nielsen rating.”
13
87
Chapter 7 Endnotes
1. Connor, M. (2002, May 10). This old mouse: At the age of 74, can Mickey still
manufacture the magic? The Austin Chronicle.
2. Twixt, M. (2010, February 11). First Lady partners with Disney to fight childhood
obesity. The Examiner. Retrieved February 15, 2010, from http://www.examiner.com.
3. The Walt Disney Company. (2010, February 9). Disney announces collaboration with
first lady Michelle Obama to create a healthier generation [press release]. Retrieved
February 15, 2010, from http://corporate.disney.go.com/responsibility/20100210-
michelle_obama.html.
4. The Walt Disney Company. (2010, February 9). Disney announces collaboration with
first lady Michelle Obama to create a healthier generation [press release]. Retrieved
February 15, 2010, from http://corporate.disney.go.com/responsibility/20100210-
michelle_obama.html.
5. The Walt Disney Company. (2010, February 9). Disney announces collaboration with
first lady Michelle Obama to create a healthier generation [press release]. Retrieved
February 15, 2010, from http://corporate.disney.go.com/responsibility/20100210-
michelle_obama.html.
6. The Disney Channel. (n.d.). Friends for Change website. Retrieved January 15, 2010,
from http://tv.disney.go.com/disneychannel/friendsforchange/.
7. Anders, A. Hassman, N. & Astrom, P. (2009). Send It On [Recorded by Cyrus, M.,
Gomez, S., Jonas, J, Jonas, K., Jonas, N. & Lovato, D.]. Los Angeles: Hollywood
Records.
8. Kubler-Ross, E. (2008, December 12). Cyberspace rule of road, courtesy of Phineas
and Ferb. The Bump. Retrieved January 12, 2010, from
http://community.thebump.com.
9. Disney’s Phineas and Ferb and Common Sense Media launch Internet safety PSA.
(2010, January 27). Stitch Kingdom. Retrieved February 5, 2010, from
http://www.stitchkingdom.com,
10. Gorman, B. (2009, May 12). Nick’s iCarly hits another all-time high – Proves more
popular than NBA playoffs. TV by the Numbers. Retrieved march 1, 2010, from
http://tvbythenumbers.com.
88
11. Martin, D. (2009, April 28). ‘iCarly’: Ruler of the tweens [Electronic version]. The
Los Angeles Times.
12. Wilkerson, D. B. (2007, September 3). Viacom’s MTV and Nickelodeon facing
challenges. The Wall Street Journal Digital Network.
13. Chmielewski, D. C. (2009, July 1). How Disney tapped into the tween market
[Electronic Version]. Daily Herald (via The Los Angeles Times).
14. Steemers, J. (2009). The thin line between market and quality (pp. 54). Televizion.
15. Plenk, A. (2009). “I think it’s very good, because…”: Children’s perspective on
quality in film and television (pp. 25). Televizion.
Photo Citation
RetroJunk. (n.d.). Toon Disney/Disney bye bye. Retrieved April1, 2010, from
http://www.retrojunk.com.
Quote Citation
Hellenk, S. (1960, July 22). Interview. Canadian Broadcast System. In K. M. Jackson
(Ed.), Walt Disney: Conversations (pp. 78). Mississippi: United Press of Mississippi.
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“Television will, in time, I think, become more or less an extension of
the theater screen. I think there will always be things that are, say, perfect
on television but could never compete on a motion picture screen.”
– Walt Disney
Image
9
Chapter 8:
Disney’s Next Steps
Disney Channels Worldwide President Rich Ross is a smart man. He has been able to
take a fledging network and grow it far beyond anyone’s wildest dreams. The big
question, however, is how will the network move forward. The beauty behind the Disney
Empire is that while it recycles its ideas, it also finds ways to redecorate its designs to
appeal to a whole new generation, but trying to maintain the Disney ideals or
wholesomeness and purity.
Messages
The messaging behind the Disney Channel must focus on the experience of the viewer.
Kids like to feel connected to their favorites stars and Disney can accomplish this with
help from its messaging. It must also be able to appeal to adults, which hold the spending
power behind the kids’ desires. The messages need to be simple, but deep enough to have
an impact.
Message #1
The Disney Channel offers quality entertainment that will have everyone laughing for
hours. It’s entertainment….made just for you!
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Message #2
Disney Channel is for…athletes, comedians, princesses, wizards, you, me, everyone.
Disney Channel. Be you!
Strategies
Disney must really consider how it decides to move on from where it is now. It finds
itself in an ever-changing world. Technology advancements present daily challenges.
Kids want to see new things and want to be able to interact with their favorite things.
Disney needs to cohesively attach all its platforms to help propel it into the future.
Strategy #1: Integrate the multiple Disney Platforms
Disney has access to various mediums because of all its acquisitions. It can reach new
audiences by making the various platforms accessible to the Disney Channel and its
viewers. Linking everything together will bring about a cohesiveness that will allow the
network to grow. The togetherness of all the Disney markets will also increase
awareness, drawing new audiences to the network.
Strategy #2: Imitate Life
The network is designed for kids, specifically tweens at the moment. They are the ones
that drive sales, decide what works and affect change in their surroundings. Disney has
tomorrow’s influencers in its hands right now. They can help shape the future by
providing them with the best lessons today. Teaching kids through an entertainment and
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educational medium will provide kids with values that can help them for years to come. It
must find a way to connect to all kids and tweens, not just singers and actors.
Tactics
“Adolescent angst is timeless.”
1
Knowing this, Disney has been able to use that
uncertainty as a way to bring in viewers, presenting characters growing through similar
situations. However, Disney must be able to adapt to its current surroundings and other
new ways to involve its viewers. The following are a few ideas the Disney Channel can
use to create a more inclusive and inviting, as well as promoting positive lifestyle
options.
Strategy #1: Integrate the multiple Disney platforms with the Disney Channel
Friends for Change and “Camp Rock 2”
Disney Parks’ Give a Day, Get a Day promotion urges “volunteers [to] register online at
the HandsOn Network, which represents more than 70,000 nonprofit agencies
nationwide.”
2
By doing do and volunteering a day of service, participants receive a free
ticket to any of the six Disney Parks in the United States. This is a great way to increase
traffic at the parks, but it is an opportunity for the Disney Channel to increase awareness
about the initiatives its supports. Friends for Change and Give a Day, Get a Day can help
both. Friends for Change hopes to make the world a better place through helping the
environment. They can pledge to help by cleaning up a local beach or park, register it
92
with the Disney Parks and get their free ticket. Friends for Change gets more kids
involved and Disney Parks see more visitors.
As an added bonus, the Disney Channel can also integrate its stars with the idea. “Camp
Rock 2: The Final Jam” is set to release this summer and new seasons of “Hannah
Montana” and “Sonny With a Chance” are beginning shortly. Disney stars can be taped
providing service in their communities, which can be shown on the network to help
promote the shows and/or movie and both initiatives.
Radio Disney Summer Series
Music is a major asset for the Disney Channel. It is utilized in all its shows and even
creates musical acts with its stars. Bringing a summer concert series to Disney Parks will
not only help increase the involvement the Give a Day, Get a Day program, but Disney
can create a new arena for its stars to perform. The concert can even be aired on the
channel on a Friday or Saturday night. In the late 1990s, the Disney Channel helped
introduce some of the most influential pop acts, such as *NSYNC. It proved wildly
successful and brought a lot of viewers to the network. Performing in front of a live
audience will help launch the artist’s career and will incorporate the Disney Channel. The
network can even create a contest where every night, viewers will watch for a secret code
word to enter online for a chance to win a trip to Disneyland to see the concert live. This
will draw viewers to the channel and to the website, having kids learn even more about
the other programs Disney is involved with, such as Friends for Change and Pass the
Plate.
93
Disney can also create a contest to have bands or singers try out to be an opening act for
the Disney Channel music act. They can then be featured in Disney segments, like
“Getcha Head in the Game” or “Be You,” as well as have a guest-starring role on an
actual Disney Channel show.
Star Power
Disney’s stars are an asset that can help the network grow. It can do summer tours across
the country with Radio Disney. They all have contracts with Disney, so they can take
turns on the tour and randomly show up at different spots across the country. Kids can
learn about the locations by watching the channel and getting more information from the
stars’ blogs. Disney needs to have new media included more into its tactics. This
generation is growing up in a world where blogs, websites, Twitter and Facebook is
normal. It is no longer a new fad or phenomenon. Disney needs to join that world. Stars
can also be guest DJ’s on Radio Disney. Fans can call in to ask questions, stars can play
their favorite songs and talk about their shows.
The Disney Cruise Line is another part of the Disney empire that is rarely heard about.
One of the more popular shows is “Suite Life on Deck,” which follow twins Zack and
Cody as they traverse around the world on a cruise line while being students. Disney can
turn the cruise line into The S.S. Tipton, complete with the cast on board. Fans can tour
the Bahamas with Zack, Cody, London and the rest of the crew.
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“Good Luck Charlie”
Disney’s newest show focuses around the youngest lead in the network history. Charlie’s
siblings are creating a video diary for her to watch when she grows up to help offer tips
on surviving life and their parents. Disney can have Bridgit Mendler, the teenage star,
invite kids to write their own younger siblings letters and have them spend time with their
families more. They can even submit them to the show, helping create an episode around
it.
More importantly, “Good Luck Charlie” can use multimedia more and having kids create
a video blog for or with their siblings. It can be posted online and families from across
the country can see what activities siblings like to do together. It will increase family time
and refocus the network to incorporate the family values.
Earth Day
Earth Day is a fantastic way to highlight the Disney Channel. This year, Disenynature
will be releasing, Oceans, the follow-up to “Earth.” “Oceans” focuses on the aquatic life
that most would never dream of being able to see and observe. The network can show
clips of the new movie all week, also stressing the impotence of Friends for Change. It
can even do a television premier of Earth. With kids seeing the creatures up close, they
may be more inclined to want to help. Stars can also be seen talking about how and why
they want to help. They need to be an example for the kids.
95
Schools can also be included in this tactic. Schools can participate by creating their own
way to help the earth. Disney can even offer schools free tickets as part of the Give a
Day, Get a Day. They can plant trees at their school or at a local park. Disney can offer
ideas and help get kids excited about the earth.
Disney Archives
Returning to one’s roots can bring about a new satisfaction. Disney should dig deep into
the vault and resurrect the cartoons and shorts that made Walt stand out as a visionary.
The corporation began to recreate cartoons in Walt’s style and aired them before movies.
It was a great way to bring the past to a new generation. Showing the cartons in between
shows or during longer commercial will introduce classic Disney to a different group of
people.
Disney Channel Cookbook
Child obesity is a major concern today. What better way to affect change than to tackle it
head on. With the Let’s Move and Pass the Plate initiatives, Disney can create a
cookbook to help kids and parents learn how to eat better. It can include the sections for
breakfast, lunch, dinner, after-school snacks and healthy desserts. It can also have a
section about exercise and fun games to play.
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Strategy #2: Imitate Life
Alter Programming
While this is more a business and creative tactic, there is still something to be said about
the programming Disney has. “Sonny With a Chance” imitates NBC’s “30 Rock,” an
award-winning sitcom created by Tina Fey, showing the behind-the-scenes world of a
sketch comedy show. Disney is imitating other shows, however, they are incorporating
real-life scenarios into the show. Sonny has the popular girl to deal with, but more
importantly, Sonny is a confident young lady that stands up for what she believes. She
rarely falters and is, in fact, a great example for young girls.
Disney was able to establish lifelong fans back in the 1950s by creating programming
that resonated with kids. It was interactive and the kids felt like they were an extension of
the cast. They were Mouseketeers. Disney has been lacking in this department a little, but
can regain its footing by using “Sonny With a Chance.” It does not need to become yet
another reincarnation of “The Mickey Mouse Club,” but rather it has the opportunity to
challenge its viewers with how they think. “Sonny With a Chance” can gives kids a shot
at learning more about themselves. They can offer ideas for shows, even write their own
sketch. They can submit videos of their comedy, with hopes of landing a guest-starring
role on the show. Kids just want to know that they matter to their favorite stars.
Something as simple as incorporating actual fan mail into the show will brighten the day
of little Mary Sue from Memphis. “Sonny” will become the show where kids have a say
97
in their programming. It will be the show in which fans interact with the network. It will
be the show made for and by kids.
“Be You” Campaign
Kids today have so many varied opportunities when it comes to discovering what they are
passionate about. Disney has focused on music as a common theme throughout its shows.
Every main character sings on their show, at least once during the season. “Hannah
Montana” became a constant advertisement for the tour, as Miley was seen singing a
song in almost every episode of the first season.
Nevertheless, Disney needs to highlight other interests and hobbies, showing kids that
their passions are “cool” too. Disney presents music as the only worthwhile pursuit. Even
in “High School Musical,” basketball became Troy’s crutch, prohibiting him from
following his true love: music. Executives cannot continue to put down other interests. It
could cause emotional scarring for the kids.
Shows can begin to highlight other interests, like sports, cheerleading, stamp collecting or
anything else that kids enjoy. This will add diversity to the shows, having more kids
identify with their favorite actors and what their characters are passionate about. Bringing
in ethnic diversity would also better reflect the American landscape, having kids see
themselves in the shows they love to watch. It would be a way for viewers to truly learn
from what they are seeing. That being said, incorporating ethnic traditions, even in the
from of a guest character showing how they celebrate Kwanzaa, Mexican Independence
98
Day or other events will expose kids to other cultures in a fun and informative way.
Many fear the unknown, but Disney can shed light on a world that many are afraid to
uncover. It will teach tolerance and understanding to a new generation, hopefully making
tomorrow a more accepting world.
Better example and portrayal of parents
Based on the research conducted, it is evident that parents are commonly represented in a
poor light. They are seen as dimwitted, comedic relief and often as parents that have no
idea how to raise their children. The kids, in turn, treat their parents with little to no
respect. Viewers see their idols doing this and think its acceptable to treat their own
parents this way. Disney has a responsibility to portray parents as authority figures that
deserve respect. Writers can definitely show the softer side of the parent-child
relationship. That, in fact, is desired to instill openness for kids with their parents. Still,
parents have the final say and should not be made the punch line of jokes.
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Chapter 8 Endnotes
1. Chmielewski, D. C. (2009, October 18). He knows all about being cool [Electronic
version]. The Los Angeles Times.
2. MacDonald, B. (n.d.) How to get free tickets to Disneyland and Disney World in
2010. The Los Angeles Times: Travel Blog. Retrieved March 2010, from
http://travel.latimes.com/daily-deal-blog/.
Photo Citation
Dish Network. (n.d.) Catch Disney Channel’s “Night of Premieres.” Retrieved April 1,
2010, from http://www.sterlingsatellite.com.
Quote Citation
Hellenk, S. (1960, July 22). Interview. Canadian Broadcast System. In K. M. Jackson
(Ed.), Walt Disney: Conversations (pp. 78). Mississippi: United Press of Mississippi.
100
“All
your
dreams
can
come
true
if
you
have
the
courage
to
pursue
them.
“
–
Walt
Disney
Image
10
Conclusion
The Disney Corporation has been able to cement its reputation as a quality entertainment
company. That perception spills over into anything and everything Disney related,
including The Disney Channel. The Disney Channel has been able to thrive in large part
because of the efforts of its management team. Nevertheless, its reputation precedes itself
and has made its mark in history.
Key Takeaways
It’s a New Era
The Disney programming of yesteryear is long gone. The time slots that were once filled
by Mickey and the gang are now packed with tweens superstars with microphones that
sass their parents and find themselves in crazy situations with each passing second.
Today’s programming requires more comedy, music and funny sayings to attract viewers.
While Disney creates common situations that tweens may find themselves in, it also can
create bad habits or unrealistic expectations. In the shows, things always seem to work
out in the end with little effort from the main characters. In reality, though, that is never
101
the case. Disney needs to provide more lessens within its programming, yet maintain the
values that have made the network flourish.
More diversity
Disney needs two different types of diversity: ethnic and basic variety. The United States
is a melting pot of cultures. Each year, more and more individuals enter the United States
from foreign countries. While adults can find ways to acclimate themselves to their new
surroundings, many times, kids turn to popular television to learn more about their new
culture. When they see disrespectful kids they think that is something they can in their
new environment. They also may notice that no one looks like them. This applies even to
kids that have been here for quite some time or were even born in the Untied States. As
the kids grow up, they may feel as though they need to change themselves to better fit the
mold of “beautiful” and acceptable people in the world, diminishing their self-
confidence.
Disney also needs basic variety. In all of its shows, its main characters are all singers and
actors. Writers and producers should try to highlight other hobbies, sports and activities.
By doing so, it becomes inclusive, as opposed to an exclusive and alienating network. It
will become more open and inviting to everyone, further drawing viewers to the network,
while also strengthening the reputation of the channel and the corporation.
102
Overall, Disney merely provides an outlet for kids to dream. Parents trust the name, more
so than the programming it is providing. The Disney Corporation has worked hard over
the years to reinforce its reputation as a trustworthy entertainment group that produces
quality films and television for children. The product itself is not what Disney is selling.
It is selling an idea, a theme that anything is possible. For little kids and even tweens that
are trying to figure out who they are, that type of empowerment is invaluable. Disney
creates a state of mind that sticks with people who want to believe in it. The Disney
Channel sells an image that viewers then choose to buy into.
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Conclusion Endnotes
Photo Citation
Crossland Travel. (n.d.). Disney. Retrieved April 1, 2010, from
http://www.crosslandtravel.com.
Quote Citation
Kelly, M. (n.d.). Top 15 inspiration Quotes. About.com Guide. Retrieved April 11, 2010,
from http://712educators.about.com/.
104
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Appendix A:
The Good Ol’ Days Survey Section
Questions
1. How old are you?
a. 20
b. 21
c. 22
d. 23
e. 24
f. 25
g. 26
h. 27
2. Gender
a. Male
b. Female
3. What were some of your favorite shows growing up? (Select all the apply.)
a. Reading Rainbow
b. Power Rangers
c. Mister Rogers’ Neighborhood
d. Chip ‘n’ Dale Rescue Rangers
e. Clarissa Explains It All
f. The Adventures of Pete and Pete
g. Pee-Wee’s Playhouse
h. Rugrats
i. The Jersey
j. Teenage Mutant Ninja Turtles
k. Saved by the Bell
l. Full House
m. Doug
n. Tiny Toon Adventures
o. Other (please specify)
4. How often did you watch the Disney Channel when you were growing up?
(Select all that apply.)
a. All the time
b. Sometimes
c. Not often
111
5. Which shows do you remember watching?
a. Gummi Bears
b. Even Stevens
c. Lizzie McGuire
d. Duck Tales
e. The Famous Jett Jackson
f. MMC
g. Darkwing Duck
h. The Torkelsons
i. Flash Forward
j. Other (please specify)
6. Which of the follow Vault Disney shows did you watch? (Select all that apply.)
a. I never watch Vault Disney.
b. I don’t know what Vault Disney is.
c. The (Original) Mickey Mouse Club
d. Zorro
e. The Wonderful World of Disney
f. Davy Crockett
g. Other (please specify)
7. Which of the following “One Saturday Morning” shows on ABC did you watch?
a. Fillmore
b. Mary-Kate and Ashley in Action
c. Recess
d. 101 Dalmatians: The Series
e. Pepper Ann
f. Disney’s Doug
g. School House Rock
h. I didn’t watch “One Saturday Morning”
i. Other (please specify)
112
8. Please look at the following images. Please name those in the pictures above.
9. Please look at the following images. Please name those in the pictures above.
113
10. Do you watch the Disney Channel now?
a. Yes
b. No
c. Sometimes
11. If yes, which shows do you watch? (Select all that apply.)
a. Wizard of Waverly Place
b. Hannah Montana
c. Sonny with a Chance
d. Jonas
e. Suite Life on Deck
f. Cory in the House
g. Life with Derek
h. Other (please specify)
12. Which words best describe the Disney Channel? (Select all that apply.)
a. Family traditions
b. Wholesomeness
c. Age Appropriate
d. Stereotypical
e. Ideal Americana
f. Fun
g. Reflective of Society
h. Exaggerated
i. Other (please specify)
114
Results
1. How old are you?
2. Gender
0
5
10
15
20
25
27
26
25
24
23
22
21
20
Age
0
10
20
30
40
50
60
Male
Female
Gender
Gender
115
3. What were some of your favorite shows growing up? (Select all the apply.)
*Other Shows Mentioned:
Animaniacs, Bananas in Pajamas, Barney, Bill Nye the Science Guy, Blossom,
California Dreams, Family Matters, Fresh Prince of Bel-Air, G.I. Joe, Hey Arnold,
Mickey Mouse Club, Pinky and the Brain, Rocko’s Modern Life, Sailor Moon,
Sesame Street, Snick, Step by Step, TGIF, The Cosby Show, Three’s Company,
Voltron.
0
10
20
30
40
50
60
70
Power
Rangers
Chip
'n'
Dale
Rescue
Rangers
Doug
Rugrats
Mister
Rogers'
Neighborhood
Tiny
Toon
Adventures
Teenage
Mutant
Ninja
Turtles
The
Adventures
of
Pete
and
Pete
Clarissa
Explains
It
All
Full
House
Saved
by
the
Bell
Reading
Rainbow
Pee-‐Wee's
Playhouse
The
Jersey
Other*
Favorite
Shows
116
4. How often did you watch the Disney Channel when you were growing up?
(Select all that apply.)
5. Which shows do you remember watching?
*Other shows mentioned:
So Weird, Tale Spin
0
5
10
15
20
25
30
35
40
Not
Often
Sometimes
All
the
Time
Disney
Channel
Viewing
0
10
20
30
40
50
60
70
Other*
Even
Stevens
The
Famous
Jett
Jackson
Gummi
Bears
Darkwing
Duck
Duck
Tales
The
Torkelsons
Flash
Forward
Lizzie
McGuire
MMC
Disney
Shows
117
6. Which of the follow Vault Disney shows did you watch? (Select all that apply.)
7. Which of the following “One Saturday Morning” shows on ABC did you
watch?
0
5
10
15
20
25
30
Other
Davy
Crockett
The
Wonderful
World
of
Disney
Zorro
The
(Original)
Mickey
Mouse
Club
I
don't
know
what
Vault
Disney
is
I
never
watched
Vault
Disney
Vault
Disney
0
5
10
15
20
25
30
35
40
45
Other
I
didn't
watch
"One
Saturday
Morning"
Mary-‐Kate
and
Ashley
in
Action
Disney's
Doug
School
House
Rock
101
Dalmations:
The
Series
Recess
Pepper
Ann
Fillmore
ABC's
"One
Saturday
Morning"
118
8. Please look at the following images. Please name those in the pictures above.
Ryan Gosling Britney Spears
Justin Timberlake Keri Russell
0
10
20
30
40
50
60
70
Keri
Russell
Justin
Timberlake
Britney
Spears
Ryan
Gosling
MMC
Cast
Members
119
9. Please look at the following images. Please name those in the pictures above.
Jonas Brothers Demi Lovato
Selena Gomez The Sprouse Twins
54
56
58
60
62
64
66
68
70
The
Sprouse
Twins
Selena
Gomez
Demi
Lovato
Jonas
Brothers
Current
Disney
Channel
Stars
120
10. Do you watch the Disney Channel now?
11. If yes, which shows do you watch? (Select all that apply.)
*Others mentioned:
Disney Classics (like The Little Mermaid); Disney’s Jetix Channel; High School
Musical; iCarly**; movies; old cartoons; Playhouse Disney; reruns; Suite Life of
Zack and Cody.
0
5
10
15
20
25
30
35
40
45
Sometimes
No
Yes
Current
Viewing
0
2
4
6
8
10
12
14
16
Other*
Life
with
Derek
Cory
in
the
House
Suite
Life
on
Deck
Jonas
Sonny
with
a
Chance
Hannah
Montana
Wizards
of
Waverly
Place
Current
Shows
121
**”iCarly” is on Nickelodeon
12. Which words best describe the Disney Channel? (Select all that apply.)
*Others mentioned:
Annoying; Downhill slide from historically wholesome, age appropriate programs
to exaggerated tween idols with questionable societal messages; Early indictors of
childhood stars gone wrong; For children; Homogenous; Magical; Negatively
impacting children today; Nostalgic; Over sexualized minors; Over the top in a
good, silly way; Painful; Proper and cuteness; Stupid (but it was awesome
before).
0
5
10
15
20
25
30
35
Other*
Exaggerated
Reulective
of
Society
Fun
Ideal
Americana
Stereotypical
Age
Appropriate
Wholesomeness
Family
Traditions
Describing
The
Disney
Channel
122
Appendix B:
Lights…Camera…ACTION! Survey
Questions
1. Please select an age range.
a. 35-39
b. 40-49
c. 50-59
d. 60+
2. Gender
a. Female
b. Male
3. Which of the following did you watch?
a. Alvin and the Chipmunks
b. Davy Crockett
c. Dennis the Menace
d. Howdy Doody
e. Kukla, Fran and Ollie
f. Lassie
g. The Adventures of Superman
h. The Flinstones
i. The Lone Ranger
j. Other (please specify)
4. Did you watch the Mickey Mouse Club?
a. Yes
b. No
5. Who was your favorite Mouseketeer?
a. Annette Funicello
b. Bobby Burgess
c. Cheryl Holdridge
d. Cubby O’Brien
e. Darlene Gillespie
f. Doreen Tracey
g. Karen Pendleton
h. Lonnie Burr
i. Sharon Baird
j. Tommy Cole
k. Other (please specify)
123
6. How influential were these shows in making you want to visit Disneyland?
a. Very Influential
b. Somewhat Influential
c. Not at all Influential
7. What do you associate with the Disney programming from your childhood?
(Select all that apply.)
a. Stereotypical
b. Reflective of Society
c. Age Appropriate
d. Family traditions
e. Ideal Americana
f. Fun
g. Wholesomeness
h. Other (please specify)
8. Please look at the following images. Please list the names of those pictured.
124
9. When you think of Disney programming today, what do you think of? (Select all
that apply.)
a. Ideal Americana
b. Exaggerated
c. Fun
d. Reflective of Society
e. Family traditions
f. Age Appropriate
g. Wholesomeness
h. Stereotypical
i. Other (please specify)
10. Is there anything else you would like to say about Disney, its stars and/or its
programming?
125
Results
1. Please select an age range.
2. Gender
0
5
10
15
20
25
60+
50-‐59
40-‐49
35-‐39
Age
0
10
20
30
40
50
60
Male
Female
Gender
126
3. Which of the following did you watch? (Select all that apply.)
*Others mentioned:
Bugs Bunny; Donna Reed; Fantasia; Hobo Kelly; Inspector Gadget; Kimba; Leave it
Beaver; Little House on the Prairie; Mickey Mouse Club; Ozzie & Harriet; Scooby
Doo; She-Ra; Sheriff John; Smurfs; Speed Racer; The Brady Bunch; The Jetsons;
The Snorks; Transformers.
0
5
10
15
20
25
30
35
40
45
Other*
The
Lone
Ranger
The
Flinstones
The
Adventures
of
Superman
Lassie
Kukla,
Fran
and
Ollie
Howdy
Doody
Dennis
the
Menace
Davy
Crockett
Alvin
and
the
Chipmunks
Childhood
Shows
127
4. Did you watch the Mickey Mouse Club?
5. Who was your favorite Mouseketeer?
*Other:
Respondents who chose Other could not remember who their favorite Mouseketeer
was.
0
5
10
15
20
25
30
35
40
45
No
Yes
Mickey
Mouse
Club
0
5
10
15
20
25
30
Other*
Tommy
Cole
Sharon
Baird
Lonnie
Burr
Karen
Pendleton
Doreen
Tracey
Darlene
Gillespie
Cubby
O'Brien
Cheryl
Holdridge
Bobby
Burgess
Annette
Funicello
Favorite
Mouseketeers
128
6. How influential were these shows in making you want to visit Disneyland?
7. What do you associate with the Disney programming from your childhood?
(Select all that apply.)
*Other:
Consistent lack of a mother figure; dull; fictional; unrealistic.
0
5
10
15
20
25
30
Not
at
all
Inuluential
Somewhat
Inuluential
Very
Inuluential
InGluential
Programming
0
5
10
15
20
25
30
35
40
Other*
Reulective
of
Society
Fun
Ideal
Americana
Stereotyptical
Age
Appropriate
Wholesomeness
Family
Traditions
Describing
Walt's
Programming
129
8. Please look at the following images. Please list the names of those pictured.
Miley Cyrus Jonas Brothers
Selena Gomez Demi Lovato
0
5
10
15
20
25
30
35
40
45
Demi
Lovato
Selena
Gomez
Jonas
Brothers
Miley
Cyrus
Current
Disney
Stars
130
9. When you think of Disney programming today, what do you think of? (Select all
that apply.)
*Other:
A little ridiculous; characters engage in behavior above age level; defiant; making
money; materialist; not always age appropriate; not for young kids; trending new age
philosophy; untrue to the sources.
0
5
10
15
20
25
30
Other*
Exaggerated
Reulective
of
Society
Fun
Ideal
Americana
Stereotypical
Age
Appropriate
Wholesomeness
Family
Traditions
Disney
Programming
Today
131
10. Is there anything else you would like to say about Disney, its stars and/or its
programming?
a. Disney program has changed throughout the years. I remember watching shows
with a lot of singing and dancing and now shows are based on teenage problems.
Not always appropriate for elementary aged kids. Nowadays you even have to
monitor Disney shows.
b. It may be reflective of society, but that doesn't necessarily mean it's a good thing.
c. Disney channel was a paid channel and not a free service back in the 90's. Only
time I watched was when it was on free previews.
d. More cartoons for the little ones but I also like the teenage shows.
e. Far too PC, even for kids.
f. Gives kids unrealistic ideas about interpersonal relationships.
g. Have been very unimpressed with the little I've seen of it.
h. I love Disneyland, but the programming should be more family traditions
oriented.
i. They should be known for volunteering, helping others, an example for the new
"volunteer to get a day at Disneyland" campaign. My image is airheads.
j. When they get away from the sweetness that made them popular, they lose me. I
don't watch much Disney TV anyway, so that's not a great loss. But the film
divisions are trending in a direction that will lose my business.
Abstract (if available)
Abstract
This thesis takes a glimpse at the success behind The Disney Channel and how Walt’s visions have cemented success for his company’s projects, even after his death. This thesis also looks to better understand the reasoning behind choices made for programming, including casting, themes and writing styles. It will offer various suggestions to help further propel The Disney Channel into a new decade, including focusing on the diverse demographics the network has. From a public relations standpoint, Disney has quite a bit to do to be seen as a more inclusive network when dealing with ethnic diversity of the country. The proposed tactics will focus on reestablishing the wholesome image the company has, while also reinforcing a sense of family togetherness.
Linked assets
University of Southern California Dissertations and Theses
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Asset Metadata
Creator
Padilla, Christina Susan
(author)
Core Title
Growing up the Disney Channel way
School
Annenberg School for Communication
Degree
Master of Arts
Degree Program
Strategic Public Relations
Publication Date
07/23/2010
Defense Date
05/15/2010
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
Disney,Disney Channel,OAI-PMH Harvest,tween programming,tweens
Place Name
USA
(countries)
Language
English
Contributor
Electronically uploaded by the author
(provenance)
Advisor
Floto, Jennifer D. (
committee chair
), Kotler, Jonathan (
committee member
), Smith, Stacy (
committee member
)
Creator Email
christina.s.padilla@gmail.com,cspadill@usc.edu
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-m3213
Unique identifier
UC1314436
Identifier
etd-Padilla-3398 (filename),usctheses-m40 (legacy collection record id),usctheses-c127-355785 (legacy record id),usctheses-m3213 (legacy record id)
Legacy Identifier
etd-Padilla-3398.pdf
Dmrecord
355785
Document Type
Thesis
Rights
Padilla, Christina Susan
Type
texts
Source
University of Southern California
(contributing entity),
University of Southern California Dissertations and Theses
(collection)
Repository Name
Libraries, University of Southern California
Repository Location
Los Angeles, California
Repository Email
cisadmin@lib.usc.edu
Tags
Disney Channel
tween programming
tweens