To further cement Apple’s ties to the entertainment industry, Jobs showed off QuickTime TV to the thousands of Mac fanatics gathered in New York. He also worked in several plugs for Disney, which distributes films produced by his computer animation company, Pixar.

You could have cut the synergy with a knife. Part of the QuickTime TV announcement was the addition of several online streaming channels, including ABC News, ESPN and the Disney Channel — all properties of Disney Corp.

Jobs did wear his geek hat for long enough to demo the new iBook, due out in September. The new machines will come in two splashy colors, blueberry and tangerine, and they’re pretty cheap. The bare-bones iBook will weigh in at 6.6 pounds and cost $1,599; for another $400 iBook users can go wireless — plugging a base station into a regular telephone jack and wandering up to 150 feet from it.

Then Jobs screened a preview for “Toy Story II,” the sequel to Pixar’s out-of-the-park hit, scheduled for Thanksgiving release. “Looks like a good movie,” he said, giving an “ain’t I naughty?” smirk. “I think I’ll see it.”

Jobs’ quirky behavior is a good thing. The computer industry could use more personality. Computers and the Internet may be changing the world and our lives, but why do most of the main characters in this grand play resemble dinner-theatre refugees?

Bill Gates? An evil genius who makes street mimes appealing in comparison. Michael Dell? Solid as a Texas steer. And as boring. But a Jobs keynote at Macworld is one of the more entertaining events in the industry these days, and the consummate showman pulled every trick out of his apparently bottomless hat to enthuse, excite and enflame the crowd with Macintosh mania.

He unveiled new television ads that feature soul music and hint at sexuality. And he took part in a harebrained demo of wireless networking that had Phil Schiller, Apple’s director of worldwide product marketing, jumping off a catwalk while holding an iBook. Software measured Schiller’s acceleration and transmitted it to Jobs’ iBook in real time. For an industry that is more concerned with technology than drama, this was entertainment.

Jobs has understood this since he returned to Apple and engineered its Cinderella story turnaround. (Apple’s share of retail desktop sales reached 6.7 percent in May, double that of a year ago, according to the ZD Infobeads research firm.) Yes, the iBook is cool, if a little goofy looking, resembling a breath mint on steroids even more than the iMac does. And yes, it’s a hot machine with impressive stats. But it won’t be the 300 MHz G3 processor, the 32 Mbytes of RAM, the 56k modem, the built-in Ethernet, not even the low price tag that moves these things out the door.

No. What will sell the iBook is that Jobs understands that consumers want more than megahertz and memory — they want to be entertained.

A collaboration between Disney and Blue Cross and Blue Shield to help teach kids to “fight bad habits,” the Epcot attraction and tie-in app and Web page featured buff, virtuous characters Will Power and Callie Stenics squaring off against nemeses like the lazy, grotesque “Lead Bottom” and the self-explanatorily named “Glutton.” Apparently, when a company famed for its meticulous crafting of exactly what children want and one of the largest health insurers in the nation pool their talents, they come up with “Fat people are bad.”

Earlier this month, Tony Jenkins, regional market president for Blue Cross and Blue Shield, told the Orlando Sentinel that “Our challenge was to tell that story in a fun, engaging way, which is what Disney does better than anyone.” So imagine Disney’s surprise when some patrons did not take kindly to their “fun, engaging” message. As Weighty Matters blogger and assistant professor of family medicine Dr. Yoni Freedhoff told the Calgary Herald, “It’s so dumbfounding it’s unreal. I just can’t believe somebody out there thought it was a good idea to pick up where the school bullies left off and shame kids on their vacation.” On her “Dances With Fat” blog, Ragen Chastain condemned the “Disney Fat Shame Ride” and admitted she “couldn’t stop the tears” when she’d heard about it. And nutritionist and author Marion Nestle tweeted, agog, “You can’t make this up.”

It didn’t take long for the Magic Kingdom to do some hasty damage control, taking HabitHeroes.com “down for maintenance” and closing the exhibit just three weeks after it launched. The mouse is currently remaining conspicuously silent on whether it will return.

With 12.5 million children and teens now obese, the health problem in this nation is a real and growing one, one that will play in serious long-term health problems like diabetes and heart disease and short-term ones like bullying. Kids – and parents – need direction and encouragement to make healthy eating choices and develop an active lifestyle. But like Children’s Healthcare of Atlanta’s similarly in your face campaign, the Habit Heroes approach compounded the problem by making it seem like emotional, cultural, genetic and economic factors can be overcome with simple “Will Power” and a few broccoli spears. Worse, it demonized the obese, equating size with poor habits. Kind of ironic for a place that entices visitors to “Satisfy your sweet tooth at Storybook Treats” or “Wake up with treats like freshly made funnel cakes and delicious waffle sandwiches.” You want to promote good heath? Start by looking at your own sugar and animal fat-laden menus. And go on by respecting children of all shapes and sizes. Because they’re the ones who trust in the mouse to see them not as Lead Bottoms and Gluttons but as princesses and pirates. As beautiful.

Sterling Holloway, who provided the classic Pooh voice in the ’60s, has been dead almost 20 years, but Jim Cummings (who also voices Tigger) has amiably filled the role in numerous lower-budget Disney productions and sounds uncannily similar. With John Cleese as narrator, Craig Ferguson as Owl and Jack Boulter as Christopher Robin, this production also has the right degree of authentic British-ness. (It’s somehow fine with me that Pooh, along with Bud Luckey’s Eeyore, sounds a bit more American.) But the real star of “Winnie the Pooh” is the imaginative animation, which features not one but two classic Disney surrealist sequences and a bit of playful postmodernism: Pooh frequently interacts with Cleese’s narrator, or wanders out of the Hundred Acre Wood into the paragraphs of the book, accidentally bringing letters and punctuation marks back with him.

Of course the Mouse has been relentlessly cashing in on A.A. Milne’s dimwit ursine hero ever since acquiring the rights from Milne’s widow in 1961, and much of that output doesn’t bear (ha!) thinking about: Piglet and Tigger got their own spinoff movies; there were Christmas and Thanksgiving and Valentine’s Day specials and a seemingly endless series of tot-oriented “Winnie the Pooh Learning” and “Winnie the Pooh Playtime” titles. Let’s not even bring up “Franken Pooh.” Well, you can forget about all that stuff; Anderson and Hall have banished the insipid primary colors, not to mention the third-rate outsourced animation, and this film has the lovingly crafted, storybook feeling that was once Disney’s specialty.

“Winnie the Pooh” feels like a turning point in the brief tenure of Walt Disney Animation Studios head John Lasseter — whose other company, Pixar, effectively destroyed Disney’s old in-house animation unit. Lasseter has said frequently that Disney Animation should have its own identity, one that draws on the company’s glorious past and doesn’t simply ape Pixar’s success, and maybe now we can see what that means. “Winnie the Pooh” doesn’t look or feel anything like a Pixar movie, and it is specifically not trying to be a “kidult” crossover success, after the fashion of almost every Pixar production. But it also feels mercifully free of the combined calculation and sloppiness that have plagued so many Disney features in recent years, and one could argue that the painstaking attention to animation and storytelling reflect Lasseter’s stewardship.

Let’s take to the way-back machine for a minute. Ever since the Walt Disney Co. began its partnership with Pixar, then an upstart digital-animation studio run out of an industrial park in Emeryville, Calif., the Mouse’s own in-house animation unit has struggled to keep up. Actually, that’s being euphemistic; what really happened was that Pixar kicked Walt Disney Feature Animation’s butt so badly that the division was ultimately dissolved and renamed. In 1995, “Toy Story,” the first Disney-Pixar release, grossed $354 million worldwide, which represented at least a tenfold return on its production costs. Walt Disney Feature Animation also had a big hit that year with “Pocahontas,” which premiered outdoors in New York’s Central Park and went on to its own $300 million-plus worldwide take. (Mind you, it also cost several times more to make than “Toy Story” did.)

Not even Lasseter, who co-founded Pixar and directed “Toy Story,” would have predicted 16 years ago that Pixar would go from one massive success to the next, becoming one of the most beloved brands in entertainment history, or that “Pocahontas” was the last big hurrah, or next-to-last, for Walt Disney Feature Animation, which had created such massive hits as “The Little Mermaid,” “Beauty and the Beast” and “The Lion King.” When Pixar released “Toy Story 2″ in 1999, another huge worldwide hit, WDFA’s big release was “Tarzan,” a wildly expensive production (not to mention an entirely forgettable film) that probably ended up in the red. Disney’s in-house studio had one more sizable hit, with “Lilo & Stitch” in 2002. But that movie earned $100 million less than Pixar’s “Monsters Inc.” had a year earlier and took in less than one-third the worldwide gross of Pixar’s huge 2003 hit, “Finding Nemo.”

At that point the writing was on the wall: Pixar engaged an enormous public with cutting-edge animation technology and appealing characters and stories, and reaped untold billions in box-office receipts, tie-in merchandise and ancillaries. Disney’s in-house animation studio, on the other hand, was an embarrassing albatross. There were straight-to-video quickies, cashing in on existing properties in the most unfortunate Disney tradition: “Mickey’s Twice Upon a Christmas” and “Mulan II” and “Tarzan II” (with “new songs by Phil Collins,” apparently meant as an inducement). The last release under the aegis of Walt Disney Feature Animation was “Chicken Little” in 2005, a work of supremely crappy-looking fake-Pixar animation that features 11 credited writers and Zach Braff in the title role. I would have been happy to completely forget that movie’s existence. (In fact I had, until now).

Lasseter has been at the helm of the reconstituted Walt Disney Animation Studios for almost five years, while continuing to run Pixar, and the results of this seemingly contradictory role are still a bit unclear. The first two Disney features made on his watch, “Meet the Robinsons” and “Bolt,” felt way too much like Pixar movies, with substandard animation and the rough edges sanded off. I’m aware there’s a critical constituency for both films, but that didn’t extend far into the public, and both were box-office flops. With the hand-drawn “Princess and the Frog” and the digital “Tangled,” Disney tried to breathe new life into its classic tradition of adapting fairy tales. Neither performed as well as expected, but they displayed more craft, integrity and audience appeal than any other Disney animated feature in years. (“Tangled” was reportedly so expensive to make that even its worldwide gross of almost $400 million might not have returned a profit; “The Princess and the Frog” failed to click with American audiences but did well overseas.)

It’s almost not worth mentioning that “The Princess and the Frog” was artistically and financially eclipsed by Pixar’s “Up,” and that “Tangled” was obliterated by the astonishing billion-dollar worldwide gross of “Toy Story 3,” the biggest animated feature in history. The same thing is likely happen again this summer; even though many Pixar-friendly critics have turned against Lasseter’s “Cars 2,” audiences don’t seem to mind. But coming as it does after those two films, “Winnie the Pooh” feels like more than a small summer surprise that will utterly charm 3-year-olds and 93-year-olds. It feels like a Walt Disney animated film, in the best possible sense of that term, and another significant step toward restoring that company’s dignity and sense of purpose.

It’s Pixar Animation Studio’s first fairy tale fantasy, and it marks yet another change of pace for the venerable dream factory. “What we want to get across [with the teaser] is that this story has some darker elements,” director Mark Andrews tells EW. “Not to frighten off our Pixar fans — we’ll still have all the comedy and the great characters. But we get a little bit more intense here.”

The film will use the voices of Emma Thompson, Billy Connolly, Julie Walters, Kevin McKidd, Craig Ferguson and Robbie Coltrane, and stars Kelly Macdonald as Merida.

2. A tribute to Ryan Dunn that will last a lifetime

“Jackass’” Wee-Man, (aka Jason Acuna) cuts through all the anger and flame wars surrounding his friend’s death and gives him a uniquely touching memorial.

 3. Southwest Airlines pilot loses it on the mic

I don’t know if it makes it better or worse that this guy’s homophobic tirade was supposed to be a private cockpit conversation instead of being broadcast across the entire Texas airspace. Maybe he should get a job doing standup in Nashville?

4. Culture clash

Amazing footage, just uploaded to YouTube yesterday, of a tribe in Papua New Guinea meeting a white man for the first time in 1976.

5. Trippy Disney mashup

Pogo, the foremost expert and creator of Disney remixes, has come out with his latest creation. “Bloom” focuses not on one specific film, but several different animated classics.

Other times, you’re shoving your post-Hannah Montana B-cups in my face so hard that I can almost hear you screaming, “I’m an adult now! Take me and my breasts seriously!” For example: your music videos for “Can’t Be Tamed.”  Or “Who Owns My Heart.“  Or when you pretended to kiss one of your female dancers on “Britain’s Got Talent.” And that’s not even mentioning those party shots of you involving lap dances, salvia and more half-naked, girl-on-girl kissing. Which has less to do with your sexuality, Miley, and more with the fact that you were 17 and acting like Paris Hilton on a bender.

So please forgive me for feeling weird about these new, semi-innocuous stills for your latest film “So Undercover.” If it weren’t for your dramatic history with underwear, these photos wouldn’t seem so bad. But with you Miley, the pictures carry three years of associated guilt and anxiety that the government is going to come arrest me for having child pornography on my computer.

You’re 18 now, which is the age when the sexy vs. too sexy debate usually begins to get interesting for Op-Ed writers and TV pundits. But you’ve been scandalized and scandalizing for awhile now; you’ve made your stance clear about rebelling from your Disney image, and at this point it’s barely news when you walk out of your house in only lingerie. If anything, these photos for “So Undercover” are way more conservative than the bra and short-shorts you’ve been wearing to the supermarket for the past 24 months. (The Supermarket is a hot new club in London, FYI.)

But it still feels weird. Legal, but weird.

Then again, maybe I should just be glad you’re so fond of underwear that you literally spend $3K at a time shopping for panties and bras. It will really cut down on the number of paparazzi upskirt photos we’ll have to see in the future.