clarker99
DIS Veteran
- Joined
- May 15, 2019
Disney didnt break out Parks wages until FY2020 but we can see they have skyrocketed post-pandemic.
DIS Shareholders and Stock Info ONLY
- Thread starter hhisc16
- Start date
Disney didnt break out Parks wages until FY2020 but we can see they have skyrocketed post-pandemic.
fatmanatee
DIS Veteran
- Joined
- Jul 25, 2017
Missed this but apparently Disney is looking into licensing some content out to Netflix? Which is fine, WBD is doing the same thing, but also kinda funny. Netflix's catalog has looked stronger recently and that's without the bonuses coming in from HBO and potentially Disney. Wonder what they'd lend out to them.
ChipnDale79
DIS Veteran
- Joined
- Aug 2, 2012
honest question. is that because of rising wages? or is because they've had to rehire a lot of jobs after shut downs?
or maybe a little bit of both.
clarker99
DIS Veteran
- Joined
- May 15, 2019
Yeah, I don't know exactly. We don't have quarterly historical data to compare. Wages have increased in Florida and Disneyland Paris just had a strike. Maybe others can enlighten us on this.
Last edited:
clarker99
DIS Veteran
- Joined
- May 15, 2019
No 'tent-pole' IP's will end up on Netflix as per Iger.
wabbott
DIS Veteran
- Joined
- Aug 4, 2021
https://www.cnn.com/2023/03/23/business/disney-world-labor-deal/index.html
Unions at Disney World win 37% pay hikes in tentative labor deal
By Chris Isidore and Vanessa Yurkevich, CNN
Updated 6:18 PM EDT, Thu March 23, 2023
Unions at Disney World win 37% pay hikes in tentative labor deal
By Chris Isidore and Vanessa Yurkevich, CNN
Updated 6:18 PM EDT, Thu March 23, 2023
HokieRaven5
DIS Veteran
- Joined
- Mar 5, 2020
For FY19 Labor was $6.174B
FY22 was $6.577B
For the first 9 Months of FY 23 it was at $5.553B and the most current 12 month rolling labor costs is $7.312B
We’ll know the full FY23 labor costs in a few weeks when they put out the full annual report.
Jwaire
DIS Veteran
- Joined
- Sep 17, 2020
This doesn't make a lot of sense to me. I say license them the original and prequel Star Wars trilogies, the original MCU and older stuff from Lucasfilm.
I don't think people subscribe to Disney+ for those films. At this point, they've seen them or already own them.
Use the licensing fees to help fund new content.
fatmanatee
DIS Veteran
- Joined
- Jul 25, 2017
A sizable portion of my D+ watching has been those movies, that content shouldn't be overrated. At a time where a lot of subscribers are having to make decisions on subscriptions to cancel, it would be a huge boon to Netflix if they could say "hey, if you want to watch the Avengers saga you don't need D+, subscribe to us". If the exclusives for D+ are reduced to just new stuff, there's a good chance that I'll cancel and resubscribe whenever something interesting pops up.
I don't know if it counts as "no tentpole IPs" but I can see them licensing Mandalorian S1 but ONLY S1, something like that. Give people a taste and if they want more, they'll have to watch the rest on D+. I believe HBO did something similar when they licensed out their content to Amazon, there were a lot of shows they sent but only for S1.
Jwaire
DIS Veteran
- Joined
- Sep 17, 2020
You'd still get to keep it on D+. They don't have to license exclusively, but I don't see the point of not making additional revenue off older IP. Additionally, they should be willing to license the Fox library as much as possible to anyone that wants to stream them.
I'd rather them keep Mando Season 1 as an exclusive than Iron Man 1 or Thor 1. It's all temporary anyway. Netflix rotates content like it's a turn table.
fatmanatee
DIS Veteran
- Joined
- Jul 25, 2017
Right, but as subscription prices get higher you start to look at what you're getting back for each service you're subscribed to. As it stands I could go either way with D+, but depending on what they decide to hand out I could see myself taking at least a break. If it's just a few from the beginning of the MCU maybe that's fine.
I would think it would come down to what those titles could fetch if licensed vs the value added to the service itself.
They certainly have much more data about viewings than we will probably ever see but if the movies are performing well on the service, I can't imagine they would want to license them away.
The Fox content would be one that I think they should look at licensing, if they are not already.
wabbott
DIS Veteran
- Joined
- Aug 4, 2021
https://www.hollywoodreporter.com/movies/movie-news/deadpool-3-venom-3-sag-aftra-1235641275/
Hollywood Studios Launch Rescue Mission to Save 2024 Tentpoles as Actors Strike Ends
The list of movies halted during the strike include the next installments in the 'Deadpool' and 'Venom' franchises, alongside 'Twisters' and 'Gladiator 2.'
By Pamela McClintock, Aaron Couch
November 9, 2023 6:45am PST
The rescue mission to save Hollywood’s 2024 calendar — and the summer lineup in particular — has officially commenced now that the actors’ strike has been resolved. One source says some major film productions are up and running as of Thursday.
High drama unfolded on Wednesday as the studios informed SAG-AFTRA that it had until 5 p.m. PT to decide whether to accept their final offer. Otherwise, the studios said there was little hope of saving the new TV season or the 2024 summer release calendar. “It’s catastrophic for the schedule if we don’t get a deal done,” explained one studio-side insider minutes before word broke that SAG had indeed voted to accept the offer.
Earlier in the day, Disney chief Bob Iger also sounded the warning cry when saying there wasn’t much time left to save his studio’s summer slate.
Dozens of titles have already shifted their release dates because of the actors’ strike — and the preceding writers’ strike, which ended in late September — and more are certain to follow. Within hours of the deal being announced, for instance, Sony pushed back the release of Venom 3 from July 12, 2024, to Nov. 8, 2024 in order to provide more of a cushion.
In recent weeks, Disney delayed 2024 spring tentpoles Snow White and Elio by a year or more, while Paramount pushed back the release of the next Mission: Impossible installment from summer 2024 to 2025 and A Quiet Place: Day One by several months from spring to June 2024. Sony has likewise made a slew of changes to its release lineup. And then there are the countless smaller and midrange films from major studios, mini-majors and indie outfits that must find their way.
“The strikes clearly threw the movie release calendar into disarray and chaos almost immediately,” says Comscore’s chief box office analyst Paul Dergarabedian. “They caused a level of uncertainty and consternation that rivals even the COVID-19 pandemic, another industry-altering event.”
For weeks, studio distribution executives and cinema owners have warned that Hollywood’s labor woes could throw the box office into a state of chaos just as moviegoing was beginning to rebound after the pandemic. This warning became reality over the Nov. 3-5 weekend weekend as box office revenue fell off a cliff. In recent years the first weekend of November has been a favorite launching pad for Hollywood movies that want to take part in the year-end holiday parade, including 2017’s Thor: Ragnarok or 2018’s Bohemian Rhapsody.
This year, the marquee was notably devoid of high-profile product after Legendary and Warner Bros. Dune: Part Two fled the Nov. 3-5 weekend for March 2024 because of the SAG-AFTRA strike, which prohibited actors such as Timothée Chalamet or Zendaya or from doing any promotion.
Sans Dune or another new big Hollywood release, domestic box office revenue came in at around $65 million for the weekend, one of the lowest showings of the year. More box office unrest is expected to follow in the first quarter 2024 because of the content slowdown, but now that the actors’ strike is over, studios will race to finish their tentpoles for next summer, as well as event pics slated for the back half of 2024 or beyond in 2025.
It will be a Herculean effort for all involved since there will be a backlog of projects vying for strained resources, including sound stages and crews. Visual effects houses, likewise, will be stretched thin, and it will be a race to complete effects for any tentpole aiming for summer.
Below are key titles hanging in the balance.
Deadpool 3 (Disney/Marvel)
Release date: May 3, 2024
Star/producer Ryan Reynolds, director Shawn Levy and co-star Hugh Jackman have been itching to get back to work on their Marvel Studios film, which is the most important project for the studio outside of anything with Avengers in the title. There’s rampant speculation that the threequel — which was about halfway done shooting when the SAG strike began — will swap release dates with fellow Marvel pic Captain America: Brave New World, which is largely done and set to fly into theaters July 26. That way, Deadpool 3 can still be released in summer, a lucrative corridor for superhero fare. (Another sign that the film won’t open May 3 is that director John Krasinski’s If, starring Reynolds, is now opening May 17. That film is also from Paramount.) The filmmakers have also done editing and special-effects work on the portion that was shot.
Deadpool 3 could be back up and shooting in London in a few weeks, although no official plan has been revealed. Hollywood studios paid to keep the sets up for some of the movies that were shut down mid-stream; that pic is among them.
Furiosa (Warner Bros.)
Release date: May 24, 2024
George Miller wrapped principal photography on his Mad Max: Fury Road prequel last year, so it apparently will be ready to to go. Further, Warners is said to be keen on sending it to the Cannes Film Festival. Expectations are high, as Fury Road became an instant classic and is regarded as perhaps the greatest action movie this century. Anya Taylor-Joy, who steps in for Charlize Theron as a younger Furiosa, wrote on Instagram in October 2022, “It has been an honour and a privilege to create with you all… thank you for making me tougher than I ever thought I could be. Fire, blood and guzzoline.”
Twisters (Universal)
Release date: July 19, 2024
Universal is anchoring its live-action summer lineup with Twisters, the sequel to the 1996 hit that starred Bill Paxton and Helen Hunt. According to sources, there should be enough time to finish shooting and complete post-production work, which will include plenty of visual effects. Twisters‘ cast led by by Daisy Edgar-Jones, Glenn Powell and Anthony Ramos.
Venom 3 (Sony)
Release date: Nov. 8, 2024 (previous date was July 12, 2024)
Though Sony pushed a slew of films due to the strike, it actually gave Venom 3 a release date of July 12, 2024 amid the labor woes. This signaled the studio wants the film, which shot an unknown about of material in Spain earlier this year, to be ready for 2024. But then as the strike ended, Sony pushed the date back three months, out of summer. Tom Hardy once again stars as the Marvel anti-hero, with longtime collaborator Kelly Marcel directing.
Gladiator 2 (Paramount)
Release date: Nov. 24, 2024
Ridley Scott filmed about half of his sequel to the 2000 Oscar-winning feature that has filmed in Morocco and Malta. Paul Mescal, Pedro Pascal, Connie Nielsen and Denzel Washington are among the cast. Scott has promotional duties for his Apple feature Napoleon, which bows in theaters on Nov. 22 via Sony, but plans to be back at work on Gladiator 2 potentially by the end of the year or the beginning of the new year. Scott has already edited around 90 minutes of footage he’s already shot.
Wicked 1 and Wicked 2 (Universal)
Release Date: Nov. 27, 2024 and Nov. 26, 2025
Filmmaker Jon M. Chu revealed July 19 that the films were just a few days of wrapping principal photography. “It’s been very painful to put a halt to it all but we will be back,” he wrote on X. “And we will finish properly strong when the time is right. My heart goes out to our cast and crew who were cut short of what we came here to complete together. More to come but in the meantime I’m excited to excavate what we have shot for the past year here in Oz (release date shouldn’t be affected).”
Mission: Impossible 8 (Paramount)
Release date: May 23, 2025 (delayed a year)
Paramount announced Oct. 23 it was pushing back the release of the next Mission: Impossible movie from June 28, 2024 to May 23, 2025. To date, it is by far the biggest movie to abandon the 2024 summer corridor.
The feature first shut down production to allow for star Tom Cruise and the cast to promote Mission: Impossible — Dead Reckoning Part One, which hit theaters this past July. The hiatus continued when the SAG-AFTRA strike commenced.
Director Christopher McQuarrie and editor Eddie Hamilton spent downtime during the strike to edit together what they had so far of the next movie. It’s unclear how much was filmed. One source believes it’s about 40-50 percent, but McQuarrie has stated much more was done, telling Collider in July: “We’ve shot all but one of our international locations. We’ve shot our big action except for the biggest set piece, the central set piece of the film, which is massive and unlike anything we’ve done.”
Either way, the extra year will give the film some breathing room, and perhaps allow the team to tweak their plans following the underwhelming domestic box office performance of Dead Reckoning Part One. The original plan was for the next installment to be titled Mission: Impossible — Dead Reckoning Part Two, but that no longer appears to be the case.
Generally speaking, studio distribution insiders say the reasoning behind pushing a film back by a entire year, versus finding another date in 2024, is to avoid a repeat of COVID-19 pandemic when some tentpoles were pushed multiple times — including Dead Reckoning Part One or James Bond installment No Time to Die in a never-ending game of dominoes
Hollywood Studios Launch Rescue Mission to Save 2024 Tentpoles as Actors Strike Ends
The list of movies halted during the strike include the next installments in the 'Deadpool' and 'Venom' franchises, alongside 'Twisters' and 'Gladiator 2.'
By Pamela McClintock, Aaron Couch
November 9, 2023 6:45am PST
The rescue mission to save Hollywood’s 2024 calendar — and the summer lineup in particular — has officially commenced now that the actors’ strike has been resolved. One source says some major film productions are up and running as of Thursday.
High drama unfolded on Wednesday as the studios informed SAG-AFTRA that it had until 5 p.m. PT to decide whether to accept their final offer. Otherwise, the studios said there was little hope of saving the new TV season or the 2024 summer release calendar. “It’s catastrophic for the schedule if we don’t get a deal done,” explained one studio-side insider minutes before word broke that SAG had indeed voted to accept the offer.
Earlier in the day, Disney chief Bob Iger also sounded the warning cry when saying there wasn’t much time left to save his studio’s summer slate.
Dozens of titles have already shifted their release dates because of the actors’ strike — and the preceding writers’ strike, which ended in late September — and more are certain to follow. Within hours of the deal being announced, for instance, Sony pushed back the release of Venom 3 from July 12, 2024, to Nov. 8, 2024 in order to provide more of a cushion.
In recent weeks, Disney delayed 2024 spring tentpoles Snow White and Elio by a year or more, while Paramount pushed back the release of the next Mission: Impossible installment from summer 2024 to 2025 and A Quiet Place: Day One by several months from spring to June 2024. Sony has likewise made a slew of changes to its release lineup. And then there are the countless smaller and midrange films from major studios, mini-majors and indie outfits that must find their way.
“The strikes clearly threw the movie release calendar into disarray and chaos almost immediately,” says Comscore’s chief box office analyst Paul Dergarabedian. “They caused a level of uncertainty and consternation that rivals even the COVID-19 pandemic, another industry-altering event.”
For weeks, studio distribution executives and cinema owners have warned that Hollywood’s labor woes could throw the box office into a state of chaos just as moviegoing was beginning to rebound after the pandemic. This warning became reality over the Nov. 3-5 weekend weekend as box office revenue fell off a cliff. In recent years the first weekend of November has been a favorite launching pad for Hollywood movies that want to take part in the year-end holiday parade, including 2017’s Thor: Ragnarok or 2018’s Bohemian Rhapsody.
This year, the marquee was notably devoid of high-profile product after Legendary and Warner Bros. Dune: Part Two fled the Nov. 3-5 weekend for March 2024 because of the SAG-AFTRA strike, which prohibited actors such as Timothée Chalamet or Zendaya or from doing any promotion.
Sans Dune or another new big Hollywood release, domestic box office revenue came in at around $65 million for the weekend, one of the lowest showings of the year. More box office unrest is expected to follow in the first quarter 2024 because of the content slowdown, but now that the actors’ strike is over, studios will race to finish their tentpoles for next summer, as well as event pics slated for the back half of 2024 or beyond in 2025.
It will be a Herculean effort for all involved since there will be a backlog of projects vying for strained resources, including sound stages and crews. Visual effects houses, likewise, will be stretched thin, and it will be a race to complete effects for any tentpole aiming for summer.
Below are key titles hanging in the balance.
Deadpool 3 (Disney/Marvel)
Release date: May 3, 2024
Star/producer Ryan Reynolds, director Shawn Levy and co-star Hugh Jackman have been itching to get back to work on their Marvel Studios film, which is the most important project for the studio outside of anything with Avengers in the title. There’s rampant speculation that the threequel — which was about halfway done shooting when the SAG strike began — will swap release dates with fellow Marvel pic Captain America: Brave New World, which is largely done and set to fly into theaters July 26. That way, Deadpool 3 can still be released in summer, a lucrative corridor for superhero fare. (Another sign that the film won’t open May 3 is that director John Krasinski’s If, starring Reynolds, is now opening May 17. That film is also from Paramount.) The filmmakers have also done editing and special-effects work on the portion that was shot.
Deadpool 3 could be back up and shooting in London in a few weeks, although no official plan has been revealed. Hollywood studios paid to keep the sets up for some of the movies that were shut down mid-stream; that pic is among them.
Furiosa (Warner Bros.)
Release date: May 24, 2024
George Miller wrapped principal photography on his Mad Max: Fury Road prequel last year, so it apparently will be ready to to go. Further, Warners is said to be keen on sending it to the Cannes Film Festival. Expectations are high, as Fury Road became an instant classic and is regarded as perhaps the greatest action movie this century. Anya Taylor-Joy, who steps in for Charlize Theron as a younger Furiosa, wrote on Instagram in October 2022, “It has been an honour and a privilege to create with you all… thank you for making me tougher than I ever thought I could be. Fire, blood and guzzoline.”
Twisters (Universal)
Release date: July 19, 2024
Universal is anchoring its live-action summer lineup with Twisters, the sequel to the 1996 hit that starred Bill Paxton and Helen Hunt. According to sources, there should be enough time to finish shooting and complete post-production work, which will include plenty of visual effects. Twisters‘ cast led by by Daisy Edgar-Jones, Glenn Powell and Anthony Ramos.
Venom 3 (Sony)
Release date: Nov. 8, 2024 (previous date was July 12, 2024)
Though Sony pushed a slew of films due to the strike, it actually gave Venom 3 a release date of July 12, 2024 amid the labor woes. This signaled the studio wants the film, which shot an unknown about of material in Spain earlier this year, to be ready for 2024. But then as the strike ended, Sony pushed the date back three months, out of summer. Tom Hardy once again stars as the Marvel anti-hero, with longtime collaborator Kelly Marcel directing.
Gladiator 2 (Paramount)
Release date: Nov. 24, 2024
Ridley Scott filmed about half of his sequel to the 2000 Oscar-winning feature that has filmed in Morocco and Malta. Paul Mescal, Pedro Pascal, Connie Nielsen and Denzel Washington are among the cast. Scott has promotional duties for his Apple feature Napoleon, which bows in theaters on Nov. 22 via Sony, but plans to be back at work on Gladiator 2 potentially by the end of the year or the beginning of the new year. Scott has already edited around 90 minutes of footage he’s already shot.
Wicked 1 and Wicked 2 (Universal)
Release Date: Nov. 27, 2024 and Nov. 26, 2025
Filmmaker Jon M. Chu revealed July 19 that the films were just a few days of wrapping principal photography. “It’s been very painful to put a halt to it all but we will be back,” he wrote on X. “And we will finish properly strong when the time is right. My heart goes out to our cast and crew who were cut short of what we came here to complete together. More to come but in the meantime I’m excited to excavate what we have shot for the past year here in Oz (release date shouldn’t be affected).”
Mission: Impossible 8 (Paramount)
Release date: May 23, 2025 (delayed a year)
Paramount announced Oct. 23 it was pushing back the release of the next Mission: Impossible movie from June 28, 2024 to May 23, 2025. To date, it is by far the biggest movie to abandon the 2024 summer corridor.
The feature first shut down production to allow for star Tom Cruise and the cast to promote Mission: Impossible — Dead Reckoning Part One, which hit theaters this past July. The hiatus continued when the SAG-AFTRA strike commenced.
Director Christopher McQuarrie and editor Eddie Hamilton spent downtime during the strike to edit together what they had so far of the next movie. It’s unclear how much was filmed. One source believes it’s about 40-50 percent, but McQuarrie has stated much more was done, telling Collider in July: “We’ve shot all but one of our international locations. We’ve shot our big action except for the biggest set piece, the central set piece of the film, which is massive and unlike anything we’ve done.”
Either way, the extra year will give the film some breathing room, and perhaps allow the team to tweak their plans following the underwhelming domestic box office performance of Dead Reckoning Part One. The original plan was for the next installment to be titled Mission: Impossible — Dead Reckoning Part Two, but that no longer appears to be the case.
Generally speaking, studio distribution insiders say the reasoning behind pushing a film back by a entire year, versus finding another date in 2024, is to avoid a repeat of COVID-19 pandemic when some tentpoles were pushed multiple times — including Dead Reckoning Part One or James Bond installment No Time to Die in a never-ending game of dominoes
fatmanatee
DIS Veteran
- Joined
- Jul 25, 2017
Going to be interesting to see how all of this plays out. There have been a LOT of delays very recently announced.
wabbott
DIS Veteran
- Joined
- Aug 4, 2021
https://finance.yahoo.com/quote/DIS?p=DIS
The Walt Disney Company (DIS)
NYSE - Nasdaq Real Time Price. Currency in USD
90.30+5.80 (+6.86%)
At close: 03:59PM EST
The Walt Disney Company (DIS)
NYSE - Nasdaq Real Time Price. Currency in USD
90.30+5.80 (+6.86%)
At close: 03:59PM EST
wabbott
DIS Veteran
- Joined
- Aug 4, 2021
https://variety.com/2023/film/news/...erica-4-lion-king-prequel-delayed-1235786760/
Nov 9, 2023 5:04pm PST
Marvel Delays ‘Deadpool 3,’ ‘Captain America 4’ and ‘Thunderbolts’ in Post-Strike Disney Release Shake-Up
The studio's 'Lion King' prequel is also moving, now set for December 2024
by J. Kim Murphy
After months of speculation amid the work stoppage caused by the recently ended SAG-AFTRA strike, “Deadpool 3” is being delayed by the Walt Disney Company. The comic book threequel has vacated its May 3, 2024 release date and is now set to hit theaters on July 26, 2024.
It’s one of several moves that Disney announced on Thursday evening, as the studio rejiggers its theatrical release slate. “Deadpool 3” is now claiming the slot previously occupied by “Captain America: Brave New World,” which has been pushed to Feb. 14, 2025. Additionally, Marvel’s “Thunderbolts” has moved from Dec. 20, 2024 to July 25, 2025 and its upcoming “Blade” reboot has shifted from Feb. 15, 2025 to Nov. 7, 2025.
Beyond Marvel, Disney has also delayed its upcoming prequel to its 2019 CGI remake of “The Lion King.” “Mufasa: The Lion King,” directed by Barry Jenkins, has moved from a July 5, 2024 date to Dec. 20, 2024. Additionally, the studio has vacated two other dates — July 25, 2025 and Nov. 7, 2025 — which it had planted flags on for unspecified features.
When the SAG-AFTRA strike first began in July, “Deadpool 3” was forced to suspend production. Now after nearly four months in limbo, Marvel Studios is planning to kick back into high gear, with filming set to get up and running before Thanksgiving break. However, chatter of a potential delay had been in the air for weeks as the actors strike stretched into the fall. Now, “Deadpool 3” represents the only Marvel Studios film scheduled to hit theaters in 2024 — a big swerve as the banner regularly unleashes three or four features a year.
While “Deadpool 3” still has a fair amount of production to complete, it’s notable that “Captain America: Brave New World,” which will see Anthony Mackie’s Sam Wilson take on the Marvel mantle, had already completed principal photography prior to the SAG-AFTRA strike, though it is commonplace for Marvel productions to require additional photography. Nonetheless, it is now facing a seven-month delay. Meanwhile, “Thunderbolts” and “Blade” have yet to mount production at all.
The decision for “Deadpool” to leave its May release date now leaves a sizable crater in next year’s summer blockbuster line-up. The first weekend of May is prime real estate for studios, usually representing a big kick-off for the season. Marvel has laid claim to the frame in recent years with titles like “Guardians of the Galaxy Vol. 3” and “Doctor Strange in the Multiverse of Madness.”
Curiously, Disney still has another tentpole set for May, with 20th Century Studios’ “Kingdom of the Planet of the Apes” slated for the 24th of the month, opening against Warner Bros.’ “Mad Max” spin-off “Furiosa.” But with “Kingdom” still sticking to its original date as opposed to moving up three weeks, it seems likely that some studio other than Disney will swoop in to claim the first days of May — that is, if any film can be completed in time to make that date as productions begin again post-strike.
Nov 9, 2023 5:04pm PST
Marvel Delays ‘Deadpool 3,’ ‘Captain America 4’ and ‘Thunderbolts’ in Post-Strike Disney Release Shake-Up
The studio's 'Lion King' prequel is also moving, now set for December 2024
by J. Kim Murphy
After months of speculation amid the work stoppage caused by the recently ended SAG-AFTRA strike, “Deadpool 3” is being delayed by the Walt Disney Company. The comic book threequel has vacated its May 3, 2024 release date and is now set to hit theaters on July 26, 2024.
It’s one of several moves that Disney announced on Thursday evening, as the studio rejiggers its theatrical release slate. “Deadpool 3” is now claiming the slot previously occupied by “Captain America: Brave New World,” which has been pushed to Feb. 14, 2025. Additionally, Marvel’s “Thunderbolts” has moved from Dec. 20, 2024 to July 25, 2025 and its upcoming “Blade” reboot has shifted from Feb. 15, 2025 to Nov. 7, 2025.
Beyond Marvel, Disney has also delayed its upcoming prequel to its 2019 CGI remake of “The Lion King.” “Mufasa: The Lion King,” directed by Barry Jenkins, has moved from a July 5, 2024 date to Dec. 20, 2024. Additionally, the studio has vacated two other dates — July 25, 2025 and Nov. 7, 2025 — which it had planted flags on for unspecified features.
When the SAG-AFTRA strike first began in July, “Deadpool 3” was forced to suspend production. Now after nearly four months in limbo, Marvel Studios is planning to kick back into high gear, with filming set to get up and running before Thanksgiving break. However, chatter of a potential delay had been in the air for weeks as the actors strike stretched into the fall. Now, “Deadpool 3” represents the only Marvel Studios film scheduled to hit theaters in 2024 — a big swerve as the banner regularly unleashes three or four features a year.
While “Deadpool 3” still has a fair amount of production to complete, it’s notable that “Captain America: Brave New World,” which will see Anthony Mackie’s Sam Wilson take on the Marvel mantle, had already completed principal photography prior to the SAG-AFTRA strike, though it is commonplace for Marvel productions to require additional photography. Nonetheless, it is now facing a seven-month delay. Meanwhile, “Thunderbolts” and “Blade” have yet to mount production at all.
The decision for “Deadpool” to leave its May release date now leaves a sizable crater in next year’s summer blockbuster line-up. The first weekend of May is prime real estate for studios, usually representing a big kick-off for the season. Marvel has laid claim to the frame in recent years with titles like “Guardians of the Galaxy Vol. 3” and “Doctor Strange in the Multiverse of Madness.”
Curiously, Disney still has another tentpole set for May, with 20th Century Studios’ “Kingdom of the Planet of the Apes” slated for the 24th of the month, opening against Warner Bros.’ “Mad Max” spin-off “Furiosa.” But with “Kingdom” still sticking to its original date as opposed to moving up three weeks, it seems likely that some studio other than Disney will swoop in to claim the first days of May — that is, if any film can be completed in time to make that date as productions begin again post-strike.
wabbott
DIS Veteran
- Joined
- Aug 4, 2021
https://www.msn.com/en-us/money/new...etworks/ar-AA1jHX8b?ocid=finance-verthp-feeds
Disney Plots Future of Its Traditional TV Networks
As part of broad review, the entertainment company has reignited discussions about adding some channels to its venture with Hearst
By Joe Flint and Jessica Toonkel
Nov. 10, 2023 - 8:00 am EST
Disney is examining whether its future should include fewer television networks.
After Chief Executive Bob Iger said last summer that some of Disney’s TV networks, which include ABC, FX and National Geographic, might not be core to the company, executives set out to determine which channels have long-term value and which are expendable.
As part of the review, the company has explored potential sales and discussed putting some of its TV networks into A+E Networks, its joint venture with Hearst, according to people familiar with the matter.
Disney’s traditional TV networks were once cash cows but are suffering from viewership declines as streaming replaces the cable bundle. The company is exploring whether it can cut staff, programming and marketing costs enough to retain all of its TV networks.
Its stable of TV networks includes ABC—which airs hits such as “The Golden Bachelor”—and eight local television stations, the Disney Channel, Freeform, National Geographic and FX, home to the American Horror Story franchise.
So far, the executives’ work has identified ABC, Disney Channel and FX as the channels with the most value to Disney, people involved in the process said, because they all produce content that is popular on Disney’s streaming platforms Disney+ and Hulu. Other assets including cable networks Freeform and the National Geographic channel are less critical to Disney’s future, the review found.
Disney’s review of its traditional TV assets has identified opportunities to cut costs and improve the business, Iger said on CNBC Wednesday, suggesting it might not unload assets.
“We have been considering various strategic options for each of our networks, not necessarily all together, but each of them,” he said. “You have to look at the business in terms of its strategic value to the company, too, not only its financial value.”
Disney Entertainment Co-Chairman Dana Walden orchestrated the review, which is being captained by top lieutenant Debra O’Connell, president of networks and television business operations. O’Connell has scrutinized operations across networks and the ABC local stations seeking cost savings and greater efficiency, people familiar with the effort said.
Some of Disney’s recent moves underscore those findings. When Disney forged a new distribution agreement with Charter Communications, it agreed to let the pay-TV company drop channels, including Freeform, Disney XD and FXX.
Among the options Disney has discussed internally is potentially folding certain channels into the existing joint venture with Hearst. It has considered the move in the past, including before Iger rejoined Disney late last year, and the TV review reignited those discussions.
Combining some Disney networks with A+E’s lineup of channels, such as the History Channel and Lifetime, could help the joint venture forge better deals with cable companies and advertisers.
In addition to that joint ownership of A+E Networks, Hearst has a minority stake in Disney’s flagship sports channel, ESPN, which Iger called one of the building blocks of the company’s future.
Disney is separately seeking a strategic partner for ESPN and has had discussions with leagues including the National Basketball Association and National Football League among others. The company is also working to transition ESPN to a streaming future.
Excluding ESPN, Disney’s traditional TV networks saw revenue fall 9.1% for the September quarter to $2.62 billion. Operating income from the networks was flat at $805 million during the period.
Write to Joe Flint at Joe.Flint@wsj.com and Jessica Toonkel at jessica.toonkel@wsj.com
Disney Plots Future of Its Traditional TV Networks
As part of broad review, the entertainment company has reignited discussions about adding some channels to its venture with Hearst
By Joe Flint and Jessica Toonkel
Nov. 10, 2023 - 8:00 am EST
Disney is examining whether its future should include fewer television networks.
After Chief Executive Bob Iger said last summer that some of Disney’s TV networks, which include ABC, FX and National Geographic, might not be core to the company, executives set out to determine which channels have long-term value and which are expendable.
As part of the review, the company has explored potential sales and discussed putting some of its TV networks into A+E Networks, its joint venture with Hearst, according to people familiar with the matter.
Disney’s traditional TV networks were once cash cows but are suffering from viewership declines as streaming replaces the cable bundle. The company is exploring whether it can cut staff, programming and marketing costs enough to retain all of its TV networks.
Its stable of TV networks includes ABC—which airs hits such as “The Golden Bachelor”—and eight local television stations, the Disney Channel, Freeform, National Geographic and FX, home to the American Horror Story franchise.
So far, the executives’ work has identified ABC, Disney Channel and FX as the channels with the most value to Disney, people involved in the process said, because they all produce content that is popular on Disney’s streaming platforms Disney+ and Hulu. Other assets including cable networks Freeform and the National Geographic channel are less critical to Disney’s future, the review found.
Disney’s review of its traditional TV assets has identified opportunities to cut costs and improve the business, Iger said on CNBC Wednesday, suggesting it might not unload assets.
“We have been considering various strategic options for each of our networks, not necessarily all together, but each of them,” he said. “You have to look at the business in terms of its strategic value to the company, too, not only its financial value.”
Disney Entertainment Co-Chairman Dana Walden orchestrated the review, which is being captained by top lieutenant Debra O’Connell, president of networks and television business operations. O’Connell has scrutinized operations across networks and the ABC local stations seeking cost savings and greater efficiency, people familiar with the effort said.
Some of Disney’s recent moves underscore those findings. When Disney forged a new distribution agreement with Charter Communications, it agreed to let the pay-TV company drop channels, including Freeform, Disney XD and FXX.
Among the options Disney has discussed internally is potentially folding certain channels into the existing joint venture with Hearst. It has considered the move in the past, including before Iger rejoined Disney late last year, and the TV review reignited those discussions.
Combining some Disney networks with A+E’s lineup of channels, such as the History Channel and Lifetime, could help the joint venture forge better deals with cable companies and advertisers.
In addition to that joint ownership of A+E Networks, Hearst has a minority stake in Disney’s flagship sports channel, ESPN, which Iger called one of the building blocks of the company’s future.
Disney is separately seeking a strategic partner for ESPN and has had discussions with leagues including the National Basketball Association and National Football League among others. The company is also working to transition ESPN to a streaming future.
Excluding ESPN, Disney’s traditional TV networks saw revenue fall 9.1% for the September quarter to $2.62 billion. Operating income from the networks was flat at $805 million during the period.
Write to Joe Flint at Joe.Flint@wsj.com and Jessica Toonkel at jessica.toonkel@wsj.com
wabbott
DIS Veteran
- Joined
- Aug 4, 2021
https://deadline.com/2023/11/moodys...s-raising-costs-hollywood-studios-1235599749/
Moody’s Sees New WGA, SAG-AFTRA Contracts Costing Studios Up To $600 Million A Year
By Jill Goldsmith
Jill Goldsmith
Co-Business Editor
November 10, 2023 - 11:04 AM PST
Big ratings agency Moody’s Investor Services estimated that new guild contracts with actors, writers and directors will cost Hollywood studios at the high end of $450 million to $600 million a year.
Absorbing that cost, spread over a large number of projects, won’t pose a credit risk for the studios in isolation, it said, noting that spending had already reached global records of well over $100 billion to support the streaming wars. But the firm doesn’t believe studios will change overall production budgets to accommodate the higher costs given the priority on “sustained profitability”, and some will even trim spending. Nor does it think they will reduce volume — which ha only recently started to ramp up post-Covid before the strikes hit,
That means cutting costs on productions.
“The companies are unlikely to reduce production volume materially if at all to accommodate higher costs. Instead, we believe they will look for cost savings that will not materially impair the volume of film and TV throughput or the quality of storytelling that will be noticed by audiences,” said Moody’s.
That includes trimming the use of A-list talent and less filming on location and increased use of soundstages and green-screens. They’re likely to trim postproduction spending and special effects.
“We believe that there are significant opportunities to tighten the budget processes given well known industry excesses, and studio executives will to do this exists given the secular pressure on linear television distribution, thin margins in film and collective industry losses in streaming.“
Lionsgate executives, who were among the first to discuss the new landscape yesterday, said as much, noting that they’ll be scrutinizing all aspects of a production given higher costs.
SAG-AFTRA announced a deal with the AMTPT this week following an agreement between studios and WGA in October. These were among the longest work stoppages in Hollywood history and the first time both unions struck simultaneously since 1960. The DGA reached a deal with studios in July, with no strike. The $450-$600 million range was what Moody’s cited then.
SAG-AFTRA valued the actors’ total contract at more than $1 billion in total over three years.
Moodys’ said studios may also look for more tax breaks, financing subsidies and to produce more projects outside the US. That could means “more imported content and stories that perform better across borders.”
“This greater level of cost consciousness, beginning at the greenlighting stage, is already underway as companies try to reach streaming profitability quicker, having transitioned from a period of trying to get to scale at any cost.”
A huge swing in sentiment on streaming swept Wall Street and the industry starting last spring, shifting the focus from subscriber growth to profit. Most streamers have since launched ad-supported tiers to capture a dual revenue stream, and raised subscription prices. Studios are also less keen on keeping all of their own content in-house and have started licensing to others.
The issue remains that media companies with exposure to broadcast and cable networks – most of them — are still in the painful transition from linear TV to direct-to-consumer streaming and most will still post significant streaming losses for the next few years.
The new contracts offer better pay, staffing and protection AI. Writers now have bonuses based on streaming views, minimum staffing in TV writers’ rooms dependent on number of episodes, and limits on use of AI. Final details of the actors’ deal aren’t out yet but will include higher pay and AI guardrails.
Moody’s Sees New WGA, SAG-AFTRA Contracts Costing Studios Up To $600 Million A Year
By Jill Goldsmith
Jill Goldsmith
Co-Business Editor
November 10, 2023 - 11:04 AM PST
Big ratings agency Moody’s Investor Services estimated that new guild contracts with actors, writers and directors will cost Hollywood studios at the high end of $450 million to $600 million a year.
Absorbing that cost, spread over a large number of projects, won’t pose a credit risk for the studios in isolation, it said, noting that spending had already reached global records of well over $100 billion to support the streaming wars. But the firm doesn’t believe studios will change overall production budgets to accommodate the higher costs given the priority on “sustained profitability”, and some will even trim spending. Nor does it think they will reduce volume — which ha only recently started to ramp up post-Covid before the strikes hit,
That means cutting costs on productions.
“The companies are unlikely to reduce production volume materially if at all to accommodate higher costs. Instead, we believe they will look for cost savings that will not materially impair the volume of film and TV throughput or the quality of storytelling that will be noticed by audiences,” said Moody’s.
That includes trimming the use of A-list talent and less filming on location and increased use of soundstages and green-screens. They’re likely to trim postproduction spending and special effects.
“We believe that there are significant opportunities to tighten the budget processes given well known industry excesses, and studio executives will to do this exists given the secular pressure on linear television distribution, thin margins in film and collective industry losses in streaming.“
Lionsgate executives, who were among the first to discuss the new landscape yesterday, said as much, noting that they’ll be scrutinizing all aspects of a production given higher costs.
SAG-AFTRA announced a deal with the AMTPT this week following an agreement between studios and WGA in October. These were among the longest work stoppages in Hollywood history and the first time both unions struck simultaneously since 1960. The DGA reached a deal with studios in July, with no strike. The $450-$600 million range was what Moody’s cited then.
SAG-AFTRA valued the actors’ total contract at more than $1 billion in total over three years.
Moodys’ said studios may also look for more tax breaks, financing subsidies and to produce more projects outside the US. That could means “more imported content and stories that perform better across borders.”
“This greater level of cost consciousness, beginning at the greenlighting stage, is already underway as companies try to reach streaming profitability quicker, having transitioned from a period of trying to get to scale at any cost.”
A huge swing in sentiment on streaming swept Wall Street and the industry starting last spring, shifting the focus from subscriber growth to profit. Most streamers have since launched ad-supported tiers to capture a dual revenue stream, and raised subscription prices. Studios are also less keen on keeping all of their own content in-house and have started licensing to others.
The issue remains that media companies with exposure to broadcast and cable networks – most of them — are still in the painful transition from linear TV to direct-to-consumer streaming and most will still post significant streaming losses for the next few years.
The new contracts offer better pay, staffing and protection AI. Writers now have bonuses based on streaming views, minimum staffing in TV writers’ rooms dependent on number of episodes, and limits on use of AI. Final details of the actors’ deal aren’t out yet but will include higher pay and AI guardrails.
MissDisney21
Mouseketeer
- Joined
- Jan 7, 2016
First time reading this thread, considering purchasing as a Christmas present for my children since we can’t get to a park this year (too many competing priorities), where do I begin my research? Look into past 12 - 18 months history, read investor reports and expectations, consider timing coming off of the strike and holidays? A lot to learn. Any advice or nudge in the right direction would be appreciated.
irlandaise
DIS Veteran
- Joined
- Sep 27, 2022
If you want to give some Disney stock to the kids, just do it. Don't try to time it, and don't go down the rabbit hole of earnings or analyst reports.
Now, if you're talking about a substantial investment, certainly more research would be appropriate. But for a Christmas gift, just buy 5-10 shares (or whatever feels like pin money to you) and have fun with it! Some brokers, such as Charles Schwab, even offer a way to give partial shares as gifts:
https://www.schwab.com/fractional-shares-stock-slices/gift
Share this page
-
See All the New Encanto-Themed Menu Items at CommuniCore Hall
-
Policy for RVs and Golf Carts at Fort Wilderness at Walt Disney World
-
What Happens When a Disney Ride Closes During Your Lightning Lane?
-
Disney Shares More Details on the Story of Tiana's Bayou Adventure
-
Adjustments Being Made at Disney Lookout Cay After Preview Visit
GET A DISNEY VACATION QUOTE
Dreams Unlimited Travel is committed to providing you with the very best vacation planning experience possible. Our Vacation Planners are experts and will share their honest advice to help you have a magical vacation.
Let us help you with your next Disney Vacation!
Dreams Unlimited Travel is committed to providing you with the very best vacation planning experience possible. Our Vacation Planners are experts and will share their honest advice to help you have a magical vacation.
Let us help you with your next Disney Vacation!
