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Streaming's Stalwarts Are Losing Viewers to Newcomers. Here's What Investors Should Know.
By James Brumley – May 30, 2023 at 9:37AM

Key Points​

  • New streaming platforms are pulling viewing time away from the industry's titans.
  • Meanwhile, viewers just don't have the same amount of time to watch as they did in the past.
  • Investors should pay attention to streamers' weakening pricing power and shrinking content budgets.

No streaming service is still assured that its subscribers will remain interested enough to continue paying its monthly fee.

The streaming market's powerhouses are losing ground to up-and-comers, forcing adaptations that could end up doing more harm than good.

That's the implication of Nielsen's latest look at the matter, anyway. The audience-ratings company reports that at its peak in the middle of last year, Netflix (NFLX 3.06%) accounted for 8% of the time the average person in the U.S. spent looking at a television screen. As of last month, though, that figure had been pared down to 6.9%.

Were it just Netflix or just a month or two, the decline might be dismissible. It's not just Netflix, though, and it's not just a couple of months. Walt Disney's (DIS -0.46%) Hulu has seen its share of viewing time slump from October's peak of 4% to only 3.3% last month. Amazon's (AMZN 1.96%) Prime and Disney+ have also seen their share of domestic viewing time slip for roughly the same time frame.

But where is this viewership going? It would be naive to pretend Comcast's (CMCSA -0.04%) Peacock, Warner Bros. Discovery's (WBD -1.00%) HBO Max, Fox's (FOX 0.44%) (FOXA 0.26%) Tubi, and Paramount (PARA 2.65%) aren't making a dent in the usual stalwarts' reach. A year ago, these platforms didn't even register with Neilsen. Now they do.
And several other, lesser-known services such as Discovery+ or AMC Networks (AMCX -0.08%) are also contributing to the shake-up.

Chart showing that key streaming services like Netflix and Hulu are being watched less and less within the U.S.

Data source: Nielsen. Chart by author.

There's one overarching implication to the streaming market's growing fragmentation, prompting one strategic response consumers probably aren't going to like. So shareholders of any on-demand video company should understand the problem. This shift will almost certainly impact their stocks.

Streaming companies respond by repackaging​

The big implication: With more choices out there, streaming services are being forced to be much more price-conscious. But at the same time, they also need to be increasingly cost-conscious.

The bulk of streaming services (Netflix being an exception) are unprofitable. For years, most of them touted plans, only to raise prices at a later date once subscriber bases were bigger. But most of them underestimated just how intense the eventual price war would become.

And achieving profitability by spending less on content isn't a viable plan, either. U.S. consumers are already watching each service less than they previously were. Offering even-slimmer content libraries will only prompt them to watch less, spurring more questions about why they continue to pay for that subscription.

The current preferred go-to solution is melding single streaming services into super-services, sharing some content costs while hopefully increasing the overall marketability of a package.

Warner Bros. Discovery recently launched a platform called Max, which for all intents and purposes is a melding of HBO Max and Discovery+. Disney CEO Bob Iger has confirmed Disney+ and Hulu will be available as a single bundled offering before the end of this year.

Comcast just unveiled a platform called Now TV, with a wide array of on-demand content from popular cable channels, some premium content from Warner, a bunch of free-to-watch services, and a premium (ad-free) subscription to Peacock.

Other cable and streaming companies are likely to follow suit, assembling super-services that are quantity-minded as much as quality-minded, in search of a sustainable balance between price and cost.

Except, this isn't what consumers seem to want.

Consumers crave less, not more

Hub Entertainment Research's recently published Battle Royale report asked 3,000 U.S. consumers for their feelings about bundling various subscription services. A whopping 82% of them answered: "Budget is the main factor limiting how many subscriptions I have."

That isn't terribly troubling as long as a streamer is one that a consumer is willing to pay for. But the same survey found that 82% of those surveyed feel: "There's a limit to how many platforms I can use, even if I can afford to have them all."

Based on the two data points, Hub's principal, Jon Giegengack, concludes:

Consumers are using many sources, but only half of them are considered essential: The others are at risk of being cut. But the data also show the opportunity for companies that can simplify the user experience. Complexity is as big an impediment as cost.

That conclusion underscores the message delivered by Nielsen's recent look at how the typical U.S. consumers allocate their viewing time. That is, they just don't have the same amount of time to continue watching all of the top-tier streaming services as they had in the past.

If viewing time is down, it's likely only a matter of when until these consumers rethink paying more and more for a streaming service they're watching less and less. Expanded services with more content only makes them more complex (not to mention more costly), exacerbating the complexity Hub Research's Giegengack points to as a growing problem.

The same dynamic should eventually play out in international markets as well.

Nobody can afford to ignore this

Does the data suggest imminent catastrophic failure of most streamers? No, there's more likely to be a continuing, slow deterioration of each streamer's audience at the hands of competing services. It's a troubling industry-wide backdrop that's too big for investors to ignore.

Most of the major streaming operations are still unprofitable as is. Now they'll soon be fighting to justify their prices to customers who have lots of other options. This, in turn, will force a rethinking of content budgets. It's just an awful lot of uncertainty. And, as veteran investors can attest, the market abhors the unknown and unknowable, and it prices stocks accordingly.

Every investor needs to understand the shift that's underway, because all streaming services are going to have to respond to it. Their current pricing and content budgets will have to be adjusted, and some of them aren't going to figure it out until it's too late.
 
https://www.cnbc.com/2023/05/31/little-mermaid-disney-live-action-remakes-box-office.html

‘The Little Mermaid’s’ box office will say a lot about Disney’s live-action remake strategy​

Published Wed, May 31 20232:53 PM EDT
Sarah Whitten@sarahwhit10

Key Points
  • Disney’s live-action remake of “The Little Mermaid” had a solid opening weekend, but the film’s longevity at the box office will depend on word of mouth.
  • Disney has carved out a solid theatrical business for live-action remakes of its litany of classic animated features, generating nearly $9 billion in global ticket sales from these films since 2010.
  • Box office experts will be looking at “The Little Mermaid’s” second weekend in domestic theaters for an indication of the film’s longevity at the box office.
“The Little Mermaid” hooked nearly $96 million over its first three days in North American theaters. That opening is on par with the $91 million “Aladdin” secured in 2019 on its way to more than $1 billion at the global box office.
However, it doesn’t guarantee the company’s latest live-action remake will see the same success. The film will sink or swim on word of mouth.

Audience buzz has become an increasingly important factor in box office success in the wake of the pandemic. With so many entertainment options, even franchise films can have trouble luring in moviegoers. Those that skip out on seeing a film during its opening weekend can be enticed to cinemas by positive chatter, helping to bolster the film’s overall box office.

Disney has seen firsthand what happens when audiences don’t connect with titles. The studio, which is known for its animated content, saw two of its recent releases — “Lightyear” and “Strange World” — flounder at the box office. Neither film was too well-received by critics, and previous releases going straight to Disney+ confused consumers about where to see the films.

Meanwhile, Disney has carved out a solid theatrical business for live-action remakes of its litany of classic animated features, generating nearly $9 billion in global ticket sales from these films since 2010.

The company’s success has inspired other studios to recreate popular animated features as live-action flicks. Universal Pictures and DreamWorks Animation is currently developing a live-action version of its widely successful animated trilogy “How to Train Your Dragon.” The film is due in theaters March 14, 2025.

Although there were two live-action films based on “101 Dalmatians” in 1996 and 2000, Disney didn’t start producing these remakes in earnest until 2010′s “Alice in Wonderland.” That film was the first of the batch to generate more than $1 billion at the global box office, sparking the production of nearly a dozen other titles including: “Maleficent,” “Cinderella,” “The Jungle Book” and “Dumbo.”

And there are more on the way. Disney recently announced plans to bring “Moana” and “Lilo and Stitch” to the real world. With Disney already looking to tap into newer animated favorites, Shawn Robbins, chief analyst at BoxOffice.com thinks it’s only a matter of time before the company looks to tap into recent hits like “Frozen” or even “Encanto.”

These adaptations have had variable success over the last decade in a half, with some like “The Lion King” and “Beauty and the Beast” generating more than $1 billion each at the global box office, and others like “Dumbo” and “Alice Through the Looking Glass” each reaping under $350 million in receipts worldwide.

“The long game for Disney must include a plan beyond the formidable triumvirate of Lucasfilm, Marvel and Pixar,” said Paul Dergarabedian, senior media analyst at Comscore. “Disney, having gone all-in on live action remakes of some of their most iconic titles featuring beloved characters to varying degrees of box office success.”

The initial box office showing for “The Little Mermaid” should give Disney a “boost of confidence,” he added, since it shows that its live-action strategy is a viable one.

Is it in theaters?​

However, for many viewers, Disney’s release strategy has become muddled in the wake of the pandemic. While the live-action version of “Lady and the Tramp” was made available to subscribers when the Disney+ streaming service first launched in late 2019, most consumers had come to expect these new adaptations to arrive on the big screen.
When the pandemic shuttered theaters, Disney was forced to move 2020′s “Mulan” to Disney+ for a $30 rental fee and later release 2021′s “Cruella” in theaters and on streaming at the same time.

The company didn’t release another live-action remake until late 2022, when the Tom Hanks-starring “Pinocchio” arrived on Disney+. The film was widely panned by critics and audiences, according to Rotten Tomatoes.

“Peter Pan and Wendy,” which hit Disney+ in late April, also had middling reviews from critics (62% Fresh) and was overwhelmingly disliked by audiences, who gave it 11%.

With only a few exceptions, audiences have been receptive to Disney’s classic animation remakes, often scoring them higher than critics on Rotten Tomatoes.

“The degrees of success for Disney’s remakes can be seen pretty clearly in that it’s been the 1990s animation renaissance resonating the most again,” Robbins said. “That’s a result of those original stories being so beloved and the timely, generational hand-me-down tradition playing a role.”

On the horizon​

Box office experts will be looking at “The Little Mermaid’s” second weekend in domestic theaters for an indication of the film’s longevity at the box office.

For most films, a 50% to 70% drop is the norm. Major tentpole features often see box-office ticket sales fall in this range after reaching sky-high opening weekend numbers. While those kinds of films can continue on toward billion-dollar theatrical runs, this metric can indicate whether word-of-mouth is bringing new audiences to theaters or whether interest is waning.

The live-action “Aladdin,” which also opened over Memorial Day Weekend, saw a 53% drop in ticket sales from its first week to its second. It continued to see ticket sales drops of 40% or less until August of that year.
Upcoming live-action Disney remakes
  • “Snow White and the Seven Dwarfs” — March 22, 2024
  • “Mufasa: The Lion King” — July 5, 2024
  • “Lilo & Stitch” — in development
  • “Moana” — in development
  • “Hercules” — in development
  • “The Hunchback of Notre Dame” — in development
  • “Robin Hood” — in development
  • “The Aristocats” — in development
  • “The Sword In The Stone” — in development
  • “Bambi” — in development
  • “Cruella” sequel — in development
  • “The Jungle Book” sequel — in development
If “The Little Mermaid” can mimic those drops and remain in the cultural zeitgeist through the summer, box office analysts foresee a sold domestic, and ultimately global, box office haul for the feature.

That could be difficult, as the film is about to have some steep competition from Sony’s “Spider-Man Across the Spider-Verse,” which hits theaters Friday, as well as a number of upcoming family-friendly features. Paramount’s “Transformers: Rise of the Beasts” arrives June 9, Disney and Pixar’s “Elemental” as well as Warner Bros.′ “The Flash” debut June 16, and Universal’s “Ruby Gillman: Teenage Kraken” opens June 30.

“Despite some of the backlash and lesser box office returns certain films have had, the Disney vault has shown how it continues to transcend and appeal to all ages,” said Robbins. “Some argue it has come at the expense of original movies, though. Ultimately, I think audiences want both. Fresh content and nostalgia-driven material both have their place.”

Disclosure: Comcast is the parent company of NBCUniversal and CNBC. NBCUniversal owns Rotten Tomatoes.
 
https://finance.yahoo.com/news/its-...ht-for-profitability-escalates-141610975.html

It's been a rough May for media stocks as fight for profitability escalates
Alexandra Canal
·Senior Reporter
Thu, June 1, 2023 at 9:16 AM CDT

It's been a rough May for media stocks following a slew of dismal quarterly earnings, coupled with an ongoing writers' strike that threatens to upend the industry the longer it continues.

Paramount (PARA), Disney (DIS), and Warner Bros. Discovery (WBD) all saw double digit declines over the month — falling roughly 32%, 14%, and 17%, respectively. Comcast, which owns NBCUniversal, fell 6% over that same time period. To compare, the S&P 500 was flat on the month.

In one bright spot, Netflix (NFLX) was able to eke out a nearly 20% gain as it rolled out its password sharing crackdown, a key revenue driver, in the US and beyond, in addition to positive data surrounding its ad-supported tier.
But even Netflix, the perceived leader in the streaming wars, will battle "a lot of noise" in the back half of the year as analysts warn of a choppy few quarters ahead amid increased subscriber churn.

That churn is a problem streaming-facing companies are acutely aware of as many have them have searched for ways to maintain subscribers without risking their bottom line.

Disney, which saw its biggest stock decline in six months after subscribers missed estimates, revealed during its latest earnings call it will be it will soon offer a one-app experience domestically that incorporates Hulu content via Disney+ — a similar play to Paramount's Showtime combination, as well as the integration of HBO Max and Discovery+ into the recently launched "Max" service.

"Bundling is increasingly going to be a theme," Mark Boidman, partner and global head of media at Solomon Partners, previously told Yahoo Finance. "Some of that is to unify the streaming experience, reduce churn and give consumers greater experience and engagement [but] that could also help on the advertising side as putting content under one app brings in more advertisers."

Advertising, in Boidman's view, will be the next frontier in the streaming wars, especially as companies begin to take ad dollars away from traditional broadcast media.

At Netflix's virtual upfronts presentation earlier this month, the platform revealed its ad-based plan, dubbed "Basic with Ads," has 5 million global monthly active users, or MAUs, a metric that Netflix Worldwide Advertising President Jeremi Gorman said "actually matter

 
Last edited:
https://www.cnbc.com/2023/05/31/little-mermaid-disney-live-action-remakes-box-office.html

‘The Little Mermaid’s’ box office will say a lot about Disney’s live-action remake strategy​

Published Wed, May 31 20232:53 PM EDT
Sarah Whitten@sarahwhit10

Key Points
  • Disney’s live-action remake of “The Little Mermaid” had a solid opening weekend, but the film’s longevity at the box office will depend on word of mouth.
  • Disney has carved out a solid theatrical business for live-action remakes of its litany of classic animated features, generating nearly $9 billion in global ticket sales from these films since 2010.
  • Box office experts will be looking at “The Little Mermaid’s” second weekend in domestic theaters for an indication of the film’s longevity at the box office.
“The Little Mermaid” hooked nearly $96 million over its first three days in North American theaters. That opening is on par with the $91 million “Aladdin” secured in 2019 on its way to more than $1 billion at the global box office.
However, it doesn’t guarantee the company’s latest live-action remake will see the same success. The film will sink or swim on word of mouth.

Audience buzz has become an increasingly important factor in box office success in the wake of the pandemic. With so many entertainment options, even franchise films can have trouble luring in moviegoers. Those that skip out on seeing a film during its opening weekend can be enticed to cinemas by positive chatter, helping to bolster the film’s overall box office.

Disney has seen firsthand what happens when audiences don’t connect with titles. The studio, which is known for its animated content, saw two of its recent releases — “Lightyear” and “Strange World” — flounder at the box office. Neither film was too well-received by critics, and previous releases going straight to Disney+ confused consumers about where to see the films.

Meanwhile, Disney has carved out a solid theatrical business for live-action remakes of its litany of classic animated features, generating nearly $9 billion in global ticket sales from these films since 2010.

The company’s success has inspired other studios to recreate popular animated features as live-action flicks. Universal Pictures and DreamWorks Animation is currently developing a live-action version of its widely successful animated trilogy “How to Train Your Dragon.” The film is due in theaters March 14, 2025.

Although there were two live-action films based on “101 Dalmatians” in 1996 and 2000, Disney didn’t start producing these remakes in earnest until 2010′s “Alice in Wonderland.” That film was the first of the batch to generate more than $1 billion at the global box office, sparking the production of nearly a dozen other titles including: “Maleficent,” “Cinderella,” “The Jungle Book” and “Dumbo.”

And there are more on the way. Disney recently announced plans to bring “Moana” and “Lilo and Stitch” to the real world. With Disney already looking to tap into newer animated favorites, Shawn Robbins, chief analyst at BoxOffice.com thinks it’s only a matter of time before the company looks to tap into recent hits like “Frozen” or even “Encanto.”

These adaptations have had variable success over the last decade in a half, with some like “The Lion King” and “Beauty and the Beast” generating more than $1 billion each at the global box office, and others like “Dumbo” and “Alice Through the Looking Glass” each reaping under $350 million in receipts worldwide.

“The long game for Disney must include a plan beyond the formidable triumvirate of Lucasfilm, Marvel and Pixar,” said Paul Dergarabedian, senior media analyst at Comscore. “Disney, having gone all-in on live action remakes of some of their most iconic titles featuring beloved characters to varying degrees of box office success.”

The initial box office showing for “The Little Mermaid” should give Disney a “boost of confidence,” he added, since it shows that its live-action strategy is a viable one.

Is it in theaters?​

However, for many viewers, Disney’s release strategy has become muddled in the wake of the pandemic. While the live-action version of “Lady and the Tramp” was made available to subscribers when the Disney+ streaming service first launched in late 2019, most consumers had come to expect these new adaptations to arrive on the big screen.
When the pandemic shuttered theaters, Disney was forced to move 2020′s “Mulan” to Disney+ for a $30 rental fee and later release 2021′s “Cruella” in theaters and on streaming at the same time.

The company didn’t release another live-action remake until late 2022, when the Tom Hanks-starring “Pinocchio” arrived on Disney+. The film was widely panned by critics and audiences, according to Rotten Tomatoes.

“Peter Pan and Wendy,” which hit Disney+ in late April, also had middling reviews from critics (62% Fresh) and was overwhelmingly disliked by audiences, who gave it 11%.

With only a few exceptions, audiences have been receptive to Disney’s classic animation remakes, often scoring them higher than critics on Rotten Tomatoes.

“The degrees of success for Disney’s remakes can be seen pretty clearly in that it’s been the 1990s animation renaissance resonating the most again,” Robbins said. “That’s a result of those original stories being so beloved and the timely, generational hand-me-down tradition playing a role.”

On the horizon​

Box office experts will be looking at “The Little Mermaid’s” second weekend in domestic theaters for an indication of the film’s longevity at the box office.

For most films, a 50% to 70% drop is the norm. Major tentpole features often see box-office ticket sales fall in this range after reaching sky-high opening weekend numbers. While those kinds of films can continue on toward billion-dollar theatrical runs, this metric can indicate whether word-of-mouth is bringing new audiences to theaters or whether interest is waning.

The live-action “Aladdin,” which also opened over Memorial Day Weekend, saw a 53% drop in ticket sales from its first week to its second. It continued to see ticket sales drops of 40% or less until August of that year.
Upcoming live-action Disney remakes
  • “Snow White and the Seven Dwarfs” — March 22, 2024
  • “Mufasa: The Lion King” — July 5, 2024
  • “Lilo & Stitch” — in development
  • “Moana” — in development
  • “Hercules” — in development
  • “The Hunchback of Notre Dame” — in development
  • “Robin Hood” — in development
  • “The Aristocats” — in development
  • “The Sword In The Stone” — in development
  • “Bambi” — in development
  • “Cruella” sequel — in development
  • “The Jungle Book” sequel — in development
If “The Little Mermaid” can mimic those drops and remain in the cultural zeitgeist through the summer, box office analysts foresee a sold domestic, and ultimately global, box office haul for the feature.

That could be difficult, as the film is about to have some steep competition from Sony’s “Spider-Man Across the Spider-Verse,” which hits theaters Friday, as well as a number of upcoming family-friendly features. Paramount’s “Transformers: Rise of the Beasts” arrives June 9, Disney and Pixar’s “Elemental” as well as Warner Bros.′ “The Flash” debut June 16, and Universal’s “Ruby Gillman: Teenage Kraken” opens June 30.

“Despite some of the backlash and lesser box office returns certain films have had, the Disney vault has shown how it continues to transcend and appeal to all ages,” said Robbins. “Some argue it has come at the expense of original movies, though. Ultimately, I think audiences want both. Fresh content and nostalgia-driven material both have their place.”

Disclosure: Comcast is the parent company of NBCUniversal and CNBC. NBCUniversal owns Rotten Tomatoes.
Didn't Jungle Book, Maleficent, Beauty and the Beast, Aladdin and Lion King already seal the fate of the 'Live Action' remakes? They all made a lot of money. From a business decision these have been a runaway success. Is this article trying to posture a problem that just doesn't exist?
 


Didn't Jungle Book, Maleficent, Beauty and the Beast, Aladdin and Lion King already seal the fate of the 'Live Action' remakes? They all made a lot of money. From a business decision these have been a runaway success. Is this article trying to posture a problem that just doesn't exist?
I think it's more reactionary to how The Little Mermaid is doing vs how those movies performed. The Little Mermaid is struggling overseas and domestically it is not making up for it. Current projections have the movie likely to lose Disney money (Disney will most likely make a profit after home video sales, streaming revenue, etc.) from it's theatrical run.
 
I think it's more reactionary to how The Little Mermaid is doing vs how those movies performed. The Little Mermaid is struggling overseas and domestically it is not making up for it. Current projections have the movie likely to lose Disney money (Disney will most likely make a profit after home video sales, streaming revenue, etc.) from it's theatrical run.
Do you have some links to the money losing predictions?
 
Here's some "analysis" on live-action remakes. Much like CNBC's Cramer, they can be used as contrarian indicators.

https://lightspeed.com/active-trading-blog/identifying-and-trading-contrarian-indicators

A contrarian indicator is a form of market indicator that tells a trader it might be a good time to do the opposite of what the majority of investors are doing. For example, a contrarian indicator may tell a trader to buy a stock in the middle of a sell-off.

https://www.yahoo.com/entertainment/disney-needs-recent-hits-moana-130000206.html

Why ‘Little Mermaid’ May Mark the End of Disney’s Remake Factory Hits | Analysis
Scott Mendelson
Thu, June 1, 2023 at 8:00 AM CDT

When Bob Iger took over Walt Disney again, one of his first moves was to reassure Wall Street that more sequels and remakes were coming. Disney has a lot in its vault, and remaking animated classics as live-action movies is widely seen as a safe strategy, with built-in audiences for familiar fare.

That strategy is coming into question, though, as weak international box office numbers for “The Little Mermaid” trickle in. The live-action remake of the 1989 film grossed $95 million in its Friday-Sunday North American debut, but just $68 million overseas. For comparison, star power fueled the 2019 “Aladdin” remake with Will Smith and 2017’s “Beauty and the Beast” with Emma Watson, both of which earned more than $1 billion, mostly overseas.

What ties Disney’s recent remakes together is that they’re primarily based on movies from what’s called its “Renaissance” period — a range from the late 1980s to late 1990s when Walt Disney Feature Animation returned to producing critically and commercially successful animated films (many of them musicals). So if Disney were to continue its remakes, it will need to start tapping into its more recent releases.

So as it’s already running low on Renaissance films to remake, Disney will need to turn to movies like “Frozen” and “Tangled.” It’s already focusing on “Moana” with Dwayne Johnson reprising his role as Maui in the upcoming live-action remake, which just signed up “Hamilton” director Thomas Kail.

“Moana” would seem to fit the bill: It earned more than 60% of its box office internationally, suggesting global appeal. And it’s a perennial streaming favorite on Disney+. The only problem: The original animated version came out less than seven years ago.

“Turning any of these newer films into live-action remakes is a pretty poor idea,” Josh Spiegel, the author of “Pixar and the Infinite Past: Nostalgia and Pixar Animation,” told TheWrap. “The body’s not quite cold yet.”

Spiegel questioned whether any of Disney’s newer titles had anything approaching the nostalgic pull of the Disney Renaissance-era films. Disney didn’t respond to TheWrap’s request for comment.

Mining the vault

It was something of a fluke when Walt Disney’s 2010 live-action “Alice in Wonderland” overcame lousy reviews to become just the sixth movie to pass $1 billion worldwide. Nobody expected the next batch of Disney remakes or revamps (“Oz: The Great and Powerful,” “Maleficent” and “Cinderella”) to follow suit.

Then Disney started mining its Renaissance. “Beauty and the Beast” ($1.263 billion in 2017) offered a mostly faithful remake of the 1991 Best Picture-nominated classic, complete with all the popular musical numbers. Ditto “Aladdin” ($1.053 billion in 2019) and “The Lion King” ($1.648 billion in 2019). “Mulan,” an early 2020 remake of a late-Renaissance production, was tracking for an $85 million domestic debut when theaters closed down in March of that year. It likely would have been a hit if not for the pandemic.

The problem is that there are few films left from that era that could sustain a remake. And the results of “The Little Mermaid” reinforce the need to scrutinize the performance of the originals to understand the global potential of a given work. The original “Little Mermaid” earned just $99.8 million overseas, less than half its total. The two “Frozen” films, by contrast, amassed $1.86 billion out of $2.74 billion globally in non-U.S. markets.

Another advantage of remaking more recent movies is that Disney won’t have to sand off the rougher edges of scenes or characters that seem less than enlightened in modern times. (See the YouTube outcry after the new “Little Mermaid” dropped some lyrics from Ursula’s “Poor Unfortunate Souls.”) Disney films of the last 15 years have more modern sensibilities baked in.

Admittedly, Disney has thrived by selling remakes as more socially aware or progressive than the originals. “Beauty and the Beast” made Belle an inventor, and “Aladdin” gave Princess Jasmine a fight-the-patriarchy power ballad with “Speechless.” It will be harder to find a twist on newer remakes.

That could be an advantage, though, to the extent that fans liked the originals as they were.

“Disney wouldn’t have to deal with… pundits and online commentators complaining that their childhood favorites have been sullied,” Rebecca Hains, the author of “The Princess Problem” and professor of media and communications at Salem State University, told TheWrap.

The remake factory

Remakes of “Lilo & Stitch” and “Hercules” are in development, alongside Reese Witherspoon’s long-gestating “Tink” and a rumored “Bambi” remake. That’s not even counting potential sequels to “The Jungle Book” and “Aladdin,” a Barry Jenkins-directed prequel to “The Lion King” and the upcoming “Snow White and the Seven Dwarfs” with Rachel Zegler and Gal Gadot.

Even Pixar’s purely animated corpus might be up for live-action grabs. A more fantastical franchise like “Cars” might not work, but more human-centric movies like “Brave” or “Up” could be up for discussion. What if Pixar gave Marvel some superhero competition with a live-action “Incredibles”?

“They shouldn’t want that, but they might pursue it,” said Spiegel, of the prospect of a photorealistic, CGI-assisted remake of an animated Pixar hit.

Disney’s large consumer-products business is a key motivator.

“When you make a live-action ‘Frozen’ or a new ‘Tangled,’ that’s more opportunities to get kids to buy the same Disney princess characters now looking like whoever plays her and wearing whatever new outfits the new film provides her,” said Hains, who believes that the degree that a given film project is “toyetic” — amenable to being turned into a line of toys — is a key factor in determining what gets remade.

Remakes or sequels?

One problem: Does a live-action remake forestall an animated sequel?

There have been very few theatrically released sequels (“The Rescuers Down Under,” “Fantasia 2000,” “Ralph Breaks the Internet” and “Frozen II”) to any non-Pixar Walt Disney Animation works. While nobody is expecting an animated sequel to “Treasure Planet” or “Brother Bear,” the more recent animations are sequel-friendly for the same reasons that make them remake-friendly.

And there’s the question of whether Disney is doing enough to create new works: Every remake or sequel started off as an original idea, after all.

“They might try making more animated films before making more remakes,” said Spiegel. “They need the first thing to facilitate more of the second thing.”

If even something as seemingly surefire as “The Little Mermaid” seems to be coming up short, that may be good advice.

There’s an argument, though, for celebrating Disney’s more recent string of hits. In his first stint as CEO, Iger revived Walt Disney Animation following its post-Renaissance slump. Hains wondered if Disney shouldn’t celebrate that very recent success. The Walt Disney Company in 2023 is itself kind of reboot. Why not have Iger bring back his greatest hits?
 


Even Pixar’s purely animated corpus might be up for live-action grabs. A more fantastical franchise like “Cars” might not work, but more human-centric movies like “Brave” or “Up” could be up for discussion. What if Pixar gave Marvel some superhero competition with a live-action “Incredibles”?

Oh man, that part gave me a shudder. In anything, the live-action superhero movies should be MORE like The Incredibles. Can you imagine an animated Marvel Universe at that level? 🤯
 
Have any of y'all been watching the HBO series "Succession?" If so, have you noticed how many credits run at the end of the episodes. Pages upon pages; literally hundreds of people? Does it really take that many folks to film a show now?

Also, I noticed a recent episode where they filmed on location at some exotic Norwegian resort. That had to have been quite spendy.

https://juvet.com/en/
Juvet Landscape Hotel

HBO is owned by WBD, and was part of the spinoff from AT&T (T).
 
Have any of y'all been watching the HBO series "Succession?" If so, have you noticed how many credits run at the end of the episodes. Pages upon pages; literally hundreds of people? Does it really take that many folks to film a show now?

Also, I noticed a recent episode where they filmed on location at some exotic Norwegian resort. That had to have been quite spendy.

https://juvet.com/en/
Juvet Landscape Hotel

HBO is owned by WBD, and was part of the spinoff from AT&T (T).

Well, it's not just that it takes more people, it's that literally everybody has to be credited per guild/union rules. If you brought the director a sandwich, you're in there!
 
And the results of “The Little Mermaid” reinforce the need to scrutinize the performance of the originals to understand the global potential of a given work. The original “Little Mermaid” earned just $99.8 million overseas, less than half its total.

So why is the live action's overseas numbers surprising when the original really didn't have the international appeal of the others?
 
https://blackbull.com/en/djnews/tri...tz-reshuffles-top-ranks-at-activist-firm-wsj/

June 1, 2023

Trian Co-Founder Ed Garden Steps Down, Nelson Peltz Reshuffles Top Ranks at Activist Firm -- WSJ
By Lauren Thomas

Feared activist investor Trian Fund Management, known for pushing for shake-ups at some of the biggest U.S. companies, is reshuffling its own top ranks and promoting the next generation of leaders.

Trian co-founder and chief investment officer Ed Garden is stepping down, according to people familiar with the matter. Garden, 62, will focus on managing his personal investments through his family office and remain a senior adviser at Trian, the people said.

His departure paves the way for Trian's co-heads of research, Josh Frank and Matt Peltz, the son of co-founder Nelson Peltz, to be appointed co-CIOs. Brian Baldwin, a partner who has been a member of Trian's investment team since 2007, will become head of research.

Trian's other two founding partners, the elder Peltz and Peter May, both 80, will continue to serve in their roles as chief executive and president, respectively. The firm's core investment committee will consist of the two Peltzes, May, Frank, Baldwin and Brian Schorr, a partner who is chief legal officer.

The move, in the works for a few months, comes as a surprise to some given Mr. Garden's central role at the firm. The youngest of the three co-founders, firm watchers expected he would stick around and could one day lead the business.
Founded in 2005, Trian has more than $7 billion in assets under management and focuses on the consumer, industrial and financial sectors. (Historically, Trian also raises additional funds for specific investments.)

Garden, who is Nelson Peltz's son-in-law, has served on the boards of a number of key Trian holdings over the years, including Wendy's, Family Dollar Stores and BNY Mellon.

He landed a seat on General Electric's board in 2017 after Trian took a $2.5 billion stake in the industrial conglomerate, an investment that soured as the stock continued a yearslong slide. In 2021, GE said it would split into three public companies.

Trian most recently launched a short-lived proxy fight for a seat on Walt Disney's board, in which Nelson Peltz took aim at Robert Iger after he took the chief executive role at the entertainment company for a second time. (Among other things, Trian was pushing for Disney to plan for Iger's successor and to slash costs.)

The fight was called off in February after Disney unveiled a reorganization and a cost-cutting plan.

Trian ended last year with a little more than 9 million Disney shares before cutting its stake by about a third by the end of March, according to regulatory filings. Trian has since purchased roughly 500,000 more shares, giving it a total of 6.4 million, according to people familiar with the investment.


A boardroom brawl with Disney would have marked Trian's fourth proxy fight in the firm's history.

It has launched battles against chemical producer DuPont, ketchup maker H.J. Heinz and, most recently, in 2017 at Procter & Gamble. Nelson Peltz also recently joined the board of Unilever.

"We believe the market environment is increasingly conducive to our style of investing and continue to develop a robust pipeline of new investment opportunities," Nelson Peltz and May said in a memo to Trian investors about the reshuffle that was seen by The Wall Street Journal.

Collectively, Frank, the younger Peltz and Baldwin have more than 50 years of investment experience and have led more than 90% of Trian's investments since the firm's inception, the memo also said. They have served as directors at Sysco, Wendy's and Janus Henderson, to name a few examples.
 
Do you have some links to the money losing predictions?
As the budget and other expenses are estimates and some of the back end things are also estimates, there's no true number but here is a deadline article regarding its break even.

https://deadline.com/2023/05/little-mermaid-box-office-profit-loss-halle-bailey-1235383099/

"In a break-even scenario off a $560M global box office (meaning a net profit of $71M before participations and residuals are accounted for), we’re told that Little Mermaid‘s global film revenues would amount to $547M against its combined production, global theatrical and home entertainment marketing expenses of $476M. The pic’s revenues broken down include $267M in global theatrical film rentals, $100M net in domestic pay/free TV and what Disney pays itself to put the movie on Disney+, $100M in global home entertainment (DVD, digital), and $80M in international TV and streaming."

Deadline assumes the domestic box office will be around $290M and overseas will be $270M. This box office translates to the $267M film rentals they state.

Looking strictly at theatrical they estimated Little Mermaid to have a $250M and $140M in promotion for a total of $390M.

Using their numbers gets us to about $123M loss. The remaining $123M profit will come from home video sales/rentals and streaming revenue when it hits Disney Plus.

These are estimates and most likely not 100% accurate but it still shows an uphill climb for the movie itself. The movie could still do a bit better than the estimated $560M final box office gross but it would need to hit somewhere around $700-$750M for it to breakeven in theaters and honestly may need more as back end residuals for actors, directors, etc. would probably kick in at that amount.

This is only the theater part of it though. As mentioned, it will get revenue from home video sales and rentals, streaming deals, etc. Also, there have been plenty of merchandise sold in relation to the movie as well, so while the film itself may lose money, The Little Mermaid has other avenues to generate revenue and profit that other movies don't have.
 
https://www.hollywoodreporter.com/b...-reject-ceo-pay-wga-urged-no-vote-1235505763/

Netflix Shareholders Reject Exec Pay Packages, Days After Writers Guild Urged “No” Vote
The vote is nonbinding, but could spur engagement from the company with shareholders.
June 1, 2023 4:08pm PDT
By Alex Weprin

In a rare rebuke of corporate executive compensation, Netflix shareholders rejected the pay packages for top executives at the company, including co-CEO Ted Sarandos, former co-CEO Reed Hastings, and Greg Peters, who was COO of the company last year and was elevated to the co-CEO role earlier this year.

The “no” vote on the “Say on Pay” proposal is nonbinding, but in the past such no votes have led to changes in how executive pay is handed out in the future. It was not immediately clear how wide a margin the vote failed by.

In fact, Netflix dealt with this exact issue in 2019, engaging with shareholders after they rejected its compensation plans.

The vote also comes just a few days after the WGA urged Netflix shareholders to vote down the pay packages, with WGA West president Meredith Stiehm writing that “while investors have long taken issue with Netflix’s executive pay, the compensation structure is even more egregious against the backdrop of the strike.”

The union sent a similar letter to Comcast shareholders, with that company set to hold its shareholder meeting next week.

It is also not clear just how influential the WGA letter was in getting the “no” vote, especially given that it was sent just days before the shareholder meeting, after which many institutional shareholders would have voted.
 
The speed of the decline and fall of the old cable model is something:

https://cordcuttersnews.com/another...customers-pay-for-tv/?utm_source=pocket_saves

Another Cable TV Company is Shutting Down its TV Service As Only 10% of Its Customers Pay For TV
By Luke Bouma

cordcuttersnews.com
June 1, 2023

You can add one more name to a growing list of cable TV companies that will be shutting down their TV services. Mid-Rivers Communications has announced that they will be ending cable TV operations on December 31st, 2023. This comes as they say only 10% of their customers still pay for TV and that it is just not sustainable.

“As we shared with all cable TV subscribers last December, this notice serves as a reminder that Mid-Rivers plans to discontinue cable television service as of December 31, 2023. The ways customers watch video have changed greatly in the last few years. We have been forced to drop programming from the cable TV lineup, and continually raise subscriber rates to keep up with ballooning programming costs, which is likely to continue next year.” Mid-Rivers Communications said in a statement.

Mid-Rivers went on to say that: “Cable TV subscriber counts are on a steep decline as customers move to streaming video. Cable TV is a courtesy we have provided only to certain customers in select areas, while customers in all parts of our service area rely heavily on us for Internet and telephone services. Cable TV makes up only about 10 percent of the Cooperative’s active customer connections today. Traditional cable television services are no longer a sustainable option for small communities.”

To replace cable TV, Mid-Rivers encourages customers to look at streaming services like DIRECTV STREAM, Sling TV, Fubo, , and more.

Last month, WOW! announced it would also be shutting down its TV service. It partnered with YouTube TV to make switching to streaming easier.

Sparklight Cable (also known as Cable One) will also be shutting down its traditional cable TV service. Instead, customers will need to use the new Sparklight TV service, a streaming-only service that needs a device like an Apple TV or Fire Stick to work.

Increasingly a growing number of cable TV companies are deciding TV is just not profitable enough. Now they are turning to streaming options so they can focus on internet and other services.

It seems the day has come for many smaller cable TV companies that are offering TV is just not worth it.
 
https://www.wsj.com/articles/disney...ving-streaming-content-7999b2d6?siteid=yhoof2

Disney Sees Potential $1.9 Billion Charge From Removing Streaming Content
The Wall Street Journal
By Denny Jacob
June 2, 2023 5:51 pm ET

Walt Disney said it would record a $1.5 billion impairment charge in the current quarter after removing certain content from its direct-to-consumer services, which include Disney + and Hulu.

The company may incur up to $400 million more as it undergoes strategic changes in how it curates television shows and movies.

“We intend to produce lower volumes of content in alignment with this strategic shift,” Chief Financial Officer Christine McCarthy said last month on a call with investors. She said the company expected to take an impairment charge of up to $1.8 billion at the time.

Disney said it removed certain produced content from its DTC segment on May 26 and will record the charge to adjust the carry value of these content assets to fair value. The company added that it’s continuing its review and expects additional produced content will be removed from the segment and other platforms largely during the remainder of the fiscal third quarter.

Global subscribers to Disney+ ended the second quarter down by four million at 157.8 million. Analysts expected the streaming service to increase sequentially to 163.2 million subscribers.

Disney Chief Robert Iger earlier this year said he would no longer chase subscribers at the expense of profits as premium streaming services struggle to hold on to viewers.

The future of Disney’s streaming services has come into focus in recent weeks after the company reported steep losses from the business despite cutting costs. The Wall Street Journal reported that Disney’s ESPN is laying the groundwork to sell its channel directly to cable cord-cutters as a subscription streaming service in the coming years. The Journal also reported that Disney is in talks to buy out competitor’s minority stake in Hulu.

Disney’s streaming overhaul isn’t the only challenge it faces. The Burbank, Calif.-based company has also been in a prolonged dispute with Republican Florida Gov. Ron DeSantis. After the company criticized a DeSantis-backed law limiting the teaching of gender identity and sexual orientation in schools, the two sides have gone back and forth with a legal battle under way.
 
https://finance.yahoo.com/news/walt-disneys-pixar-animation-eliminates-160235178.html

Walt Disney's Pixar targets 'Lightyear' execs among 75 job cuts
Sat, June 3, 2023 at 11:02 AM CDT
By Dawn Chmielewski

(Reuters) -Walt Disney's Pixar Animation Studios has eliminated 75 positions including those of two executives behind box office disappointment “Lightyear,” sources said on Saturday, the first significant job cuts at the studio in a decade.

The cuts included "Lightyear" director Angus MacLane, a 26-year animator who was part of the senior creative team on such acclaimed films as “Toy Story 4” and “Coco.” Galyn Susman, producer of "Lightyear," also departed. Susman had been at Pixar since the release of the original “Toy Story” movie in 1995.

MacLane and Susman could not be reached for comment.

The cuts, which took place May 23, are part of Walt Disney Chief Executive Bob Iger’s previously announced plan to eliminate 7,000 jobs and slash $5.5 billion in costs. That restructuring combined the film and television groups into a single Disney Entertainment unit and eliminated a division charged with distribution.

While small compared to Pixar's employee base of about 1,200, the layoffs are significant because the studio is a creative force generating franchises and characters that drive revenue across Disney.

Pixar is famous for cinematic franchises including “Toy Story,” “The Incredibles” and “Cars.” But “Lightyear,” released a year ago with a reported budget of $200 million, brought in a modest $226.7 million in worldwide ticket sales and received a mixed critical reception.

By contrast, Pixar's "Incredibles 2" in 2018, which was reported to have had a similar production budget, had worldwide box office sales of $1.2 billion.

“Lightyear” could not be shown in 14 Middle Eastern and Asian countries because of its depiction of a same-sex relationship. This had an impact on its box office performance.

Disney has implemented layoffs in every division including film and television, streaming services and theme parks.

The last time Pixar cut jobs was in 2013, after the studio postponed the release of the 2015 film “The Good Dinosaur,” and removed its director, Bob Peterson. About 30 positions were eliminated.

Disney acquired Pixar in 2006 to revitalize its struggling Disney Animation.
 
https://finance.yahoo.com/news/force-left-lucasfilm-gone-wrong-083000919.html

‘The Force has left Lucasfilm’: What has gone wrong for the studio behind ‘Star Wars’ and ‘Indiana Jones’—and how Disney’s Bob Iger can salvage his $4 billion investment
Christiaan Hetzner
Sat, June 3, 2023 at 3:30 AM CDT

Taking time out of his busy schedule running Disney, Bob Iger flew to the Cannes film festival in support of Harrison Ford’s latest movie, even posting on social media snapshots of the aging action hero on the red carpet.

Lucasfilm Ltd. had just premiered the fifth installment in its Indiana Jones franchise and a lot is riding on the fedora-sporting, bullwhip-toting archeologist portrayed by the now 80-year-old Hollywood star. At nearly $300 million, Dial of Destiny is one of the most expensive films ever made and initial reviews suggest it could bomb big at the box office when it lands on June 30.

When Iger acquired Lucasfilm for just over $4 billion a decade ago, it paired the century-old animation company with the studio behind Star Wars and Raiders of the Lost Ark. Yet the match made in heaven now risks becoming an albatross around Disney’s neck.

The third Skywalker trilogy started off with a bang in late 2015 with The Force Awakens, only to end with a whimper four years later as fans deserted the franchise. The studio hadn’t produced a theatrical release of any kind since, allowing the Marvel Cinematic Universe—despite recent setbacks—to supplant it as Disney’s cash cow.

“The Force has left Lucasfilms,” said Eric Schiffer, CEO of private equity firm Patriarch Organization, in an interview. “That emotional connection it enjoyed with fans has been damaged.”

The Los Angeles-based media industry investor and self-admitted Star Wars fan still counts the deal a success for Iger, but he believes it got lost producing too much subpar content for Disney.

At Disney, less is now more

“To get the Force back, Lucasfilm needs to reconnect with its Joseph Campbell roots—the inner set of mythologies we’re all hardwired to that motivated Lucas to create Star Wars in the first place,” said Schiffer.

He argues the constant hunger to feed the streaming business with fresh material helped sow the seeds for the current malaise.

Even as The Mandalorian—“the series that started it all for Disney+” in Iger’s words—helped the CEO attract subscribers and catch up quickly to Netflix, it came at a cost of stretching the Star Wars brand beyond recognition.
Now that growth has faltered, with 4 million customers canceling their membership in the three months through March, and Wall Street is pushing Iger to end the scattergun approach of showering creators with money for new content. Instead, investors want him to end the over $10 billion in cumulative streaming losses since the launch of Disney+ three and a half years ago.

The idea that less is often more could apply to Lucasfilm’s Indiana Jones films, which enjoyed their heyday in the 1980s. Fans were largely satisfied when the titular character finished on a high note, literally riding off into the sunset at the end of the third film.

And so, when Kingdom of the Crystal Skulls was released fifteen years ago, the spectacle of seeing an aging Ford emerge unscathed from a nuclear blast by hiding in a refrigerator left no one asking for more.

But they will get a sequel nonetheless when Dial of Destiny swings into theaters a full 42 years after the first installment. Factoring in marketing and distribution costs, including the cinemas’ cut of receipts, it will likely have to pull in around $800 million at the box office just to break even.

Franchises cannot be measured in box office receipts alone

Iger didn’t come out of retirement in November just to watch his prize possessions wither on the vine. The board expects him to right the ship, breathe life back into the dormant stock and resume paying a cash dividend to shareholders.

To do so, he’ll need to churn out family-friendly fare full of iconic characters and thrilling settings capable of being repurposed into immersive experiences for his amusement parks.

“The value of intellectual property cannot be measured simply in a franchise’s box office receipts,” said Guy Bisson, co-founder of the media industry research firm Ampere Analysis. “You need to take into account its contribution in streaming, in merchandising, in the characters and rides at parks.”

For example, Disney finance chief Christine McCarthy explained to investors something seemingly mundane as refreshments can squeeze more revenue out of each Disney World visitor if they can be turned into a Star Wars-themed experience.

But Lucasfilm, which did not respond to Fortune’s requests for comment, knows it is running out of excuses now that a movie based on a Nintendo video game proved you can still rake in over $1 billion post-pandemic as long as you have the right concept.

For this very reason, Iger notably started off his fiscal Q2 earnings call this month by congratulating Universal for the success of Super Mario Bros: “It gives us reason to be optimistic about the movie business.”

Lucasfilm's first return to the theatres in years opens to poor reviews

The pressure on Dial of Destiny to perform for the Disney CEO became apparent through a telling exchange at Cannes, which he was attending for the first time.

Film critic Pete Hammond recounted Iger’s reaction when informed Deadline just published a rave review of the fifth Indiana Jones movie: “You could see the absolute relief on his face. ‘You have made me very happy to hear that,’ he told me, and he meant it.”.

That’s probably because first impressions have otherwise been dreadful, with a franchise-low 50% score on Rotten Tomatoes as of writing. Vanity Fair proclaimed it “not worthy of the whip”, while the BBC felt Ford’s globe-trotting adventurer had been relegated to a background figure in his own film, included mainly for the purpose of being upstaged by younger co-star Phoebe Waller-Bridge.

“I’m not sure how many fans want to see Indiana Jones as a broken, helpless old man who cowers in the corner while his patronizing goddaughter takes the lead, but that’s what we’re given, and it’s as bleak as it sounds,” the BBC wrote, branding it a “gloomy and depressing” final act.

With Disney needing to shell out $9 billion at least to buy Comcast out of Hulu as early as next year, the last thing Iger needs is bad word of mouth building over the next four weeks to asphyxiate any hopes of blockbuster success.

Right now, though, grim news is all that Lucasfilm has to offer the Disney CEO. An attempt to expand on the lore of its 1988 fantasy tale Willow flopped hard when the series debuted on Disney+ in November.

Not only was it canceled after the first of three seasons, but the show was banished entirely from the platform as part of a thorough spring cleaning. Critics argued Willow in retrospect would have been more valuable to Disney as a tax write-off than as actual content for subscribers.

Fans desert Disney Star Wars

At the heart of this mess is Lucasfilm president Kathleen Kennedy. A member of Fortune’s 2015 class of Most Powerful Women, the youthful 69-year-old is an accomplished industry veteran in her own right, producing dozens of classic feature films including Jurassic Park and E.T.: the Extra-Terrestrial.

Yet even being George Lucas’ hand-picked successor has not shielded her from hefty criticism. A number of fans begrudge her along with Last Jedi writer-director Rian Johnson for deconstructing Luke Skywalker in the third trilogy.
Actor Mark Hamill distanced himself from the creative choices Johnson and Kennedy took with his iconic character in a rare industry rebuke.

Antagonized by the perceived shabby treatment of their childhood heroes, fewer and fewer fans showed up from one movie to the next. The third and final installment, Rise of Skywalker, only took in half of the $2 billion that premiere film The Force Awakens made for Disney.

It’s perhaps no wonder that the company’s $5,000-per-package Star Wars-themed hotel, the “Galactic Starcruiser”, is shutting down. The tactical mistake of placing it in the timeline of the Disney sequel trilogy doomed it to a lifespan of just 18 months after opening.

Those wealthy enough to fork over thousands of dollars just to role-play their heroes tend to be middle-aged fans of the original films who want to do battle against the sinister Darth Vader they remember as kids, not the bland and forgettable Kylo Ren.

Could Kennedy go?

Following the disappointment of 2019’s The Rise of Skywalker, no further theatrical films got off the ground despite past proclamations.

Numerous Hollywood creatives like Lost’s Damon Lindelof, Wonder Woman director Patty Jenkins and Thor: Ragnarok’s Taika Waititi were all reportedly attached to new Star Wars projects—to no avail. As a result, the Star Wars universe has only lived on in Disney’s streaming platform with mixed critical success.

Because of the drop-off in interest, Iger and his studio boss Alan Bergman are now in a difficult position. The Disney CEO has not spared high-ranking figures like Marvel’s Ike Perlmutter or Victoria Alonso from the axe, and he has demanded results from his teams in exchange for greater creative control.

"There needs to be a direct connection between what’s being spent and what’s being earned from a revenue perspective. It’s all about accountability," Iger said in March.

Older Star Wars fans want to see Kennedy go in favor of someone like Jon Favreau, the Iron Man director and creator of The Mandalorian. Allegedly negotiations over whether to renew her contract, due to expire next year, are slated for this August.

“My bet is she stays, just with a different mission,” wagers Schiffer. “The problem isn’t Kathleen Kennedy.”

Everything can be fixed with the right script

If Indiana Jones does flop, what then? Disney is 18 months away from getting a new CEO. Could Iger’s successor, unwilling to mop up his Lucasfilm mess, consider a disposal?

Unlikely, argues Ampere Analysis’ Bisson. Ingenious storytellers can always dream up more compelling Star Wars content—so long as they own the IP.

“I cannot personally see Disney offloading Lucasfilm in the immediate future,” the industry expert told Fortune.
Perhaps sensing the need to deliver after a long creative drought, Kennedy announced in April that not one but three new Star Wars films were in the works.

Yet even those show the Lucasfilm boss is unwilling to commit to any one overarching narrative in favor of spreading her bets. The trio are conceived as separate standalone stories each set in a different period.

Should any one or all three survive development and go into actual production, the damage can still be fixed with the right script and creative vision.

“This is not forever. If another film turned out to be good, the fans will be there,” said Schiffer. “In fact, we’d be there first.”
 
https://deadline.com/2023/06/nba-fi...er-bros-discovery-abc-tnt-ratings-1235399088/

As NBA And NHL Playoffs Reach Final Round, Disney And Warner Bros Discovery See Ratings And Ad Sales Surge In Respite From WGA Strike
By Dade Hayes
Business Editor
June 3, 2023 8:15am PDT

Given the anxious vibes in the entertainment business of late, the NBA and NHL playoffs have been a welcome throwback to happier times.

Strong live tune-in for Disney’s ABC and ESPN and Warner Bros Discovery’s TNT has kept advertisers happy and bolstered the companies’ assertions about sports at last month’s upfront events for media buyers. The momentum has come as the WGA strike has sidelined late-night shows and other linear mainstays and increasingly put a crimp in production.

Game 1 of the NHL Stanley Cup Final is Saturday night between the Las Vegas Golden Knights and Florida Panthers. The NBA Finals tipped off last Thursday, with the Denver Nuggets beating the Miami Heat, and Game 2 is set for Sunday night on ABC.

Both media giants are hoping the championship series, which are best-of-seven, last six or seven games. While several series have been lopsided in both sports, the NBA playoffs have had two sweeps out of 14 series to this point, and the NHL has had only one out of 14.

In large part because of its dramatic swings and 7-game length, TNT’s broadcast of Game 7 of the NBA Eastern Conference Finals averaged 11.9 million viewers — the third-biggest NBA rating in the network’s history. Entering the final round, the NBA playoffs had been averaging 4.71 million viewers across ABC, ESPN, TNT and NBA TV, the best viewership since 2012. Game 1 overnight numbers indicated a 5% dip from 2022, but that audience is more than respectable given that Miami and Denver have much bigger media footprints than those of last year’s finalists, the Boston Celtics and Golden State Warriors.

Hockey has drawn similarly healthy playoff tune-in. Even after two less-than-scintillating conference finals, viewership is at a four-year high, up 2% from a year ago to 1.14 million viewers on ESPN, ABC and TNT. The network’s coverage of the Cup Final will be the first time any of the four major U.S. sports will be exclusively found on cable TV.

The ratings momentum has helped scatter advertising sales, with Disney and WBD continuing to write business right through the action. At last month’s upfronts, Disney’s presentation at the North Javits Center included several entertainment segments, but sports took center stage. Advertising President Rita Ferro welcomed guests like Serena Williams, Peyton Manning along with top on-air talent, including ESPN’s recent recruit, Pat McAfee. Warner Bros Discovery cited the WGA strike in scaling back much more than other presenters, with executives carrying the message and Lord Stanley’s Cup, the object, taking the place of customary appearances by athletes and studio hosts.

One of Ferro’s key deputies, Jim Minnich, SVP of Revenue & Yield Management, tells Deadline the category mix has broadened out for the Finals compared with earlier playoff rounds, particularly with entertainment brands. “The Finals have historically been a high-demand area for the studio business based on time of year, but we have seen recent growth from the streaming services as well,” he said. Television and Cable TV Stations as a category has replaced Beer on the list of top buyers from the conference finals to the final round.

While the near-term boost in advertising is a plus, larger financial decisions loom for both companies. The NBA’s current rights deals expire in 2025, meaning next year will see exclusive negotiating windows opening for Disney and WBD. Execs at both companies have been pressed about their plans, with WBD chief David Zaslav initially declaring that the rights weren’t a must-have before later adopting a more neutral tone. Ponying up billions — the league is said to be looking to bring in anywhere from $50 billion to $75 billion for a re-up — would come at an inopportune time, with Disney and WBD combining to wring $10 billion in costs from their respective companies over the past year.

Hockey is in a comparatively more settled place. After a decade and a half with NBCUniversal, the NHL struck new multi-year rights deals with WBD and Disney in 2021, with the companies reportedly paying more than $4 billion collectively over the life of the pact.

A key variable in the NBA bidding will be whether a streaming player could enter the mix, as Prime Video did in the last round of NFL rights talks. With the meltdown of regional sports networks, there is growing talk of the league itself trying to hold back rights, particularly for streaming, or more deals structured along the lines of what the Phoenix Suns have engineered. The team, along with its WNBA sibling Phoenix Mercury, has shifted to a dual model of a subscription streaming outlet and free broadcast network telecasts.

On WBD’s May earnings call, Zaslav was asked again for his NBA outlook. “There’s lots of ways” for a revamped deal to satisfy multiple parties, he said, invoking a deal in the UK with the company’s BT/EuroSport subsidiary. Under that agreement, BT/EuroSport carries, by Zaslav’s estimate, 90% of Champions League soccer matches and then produces the other 10%. Amazon streams the 10%, a structure similar to a prior NFL arrangement for Thursday Night Football before Prime Video began its exclusive, self-produced streams in 2022. “We produce that content for [Amazon CEO] Andy Jassy,” Zaslav said of UK soccer. “They promote to us, we promote to them. And the economics of that deal were very favorable for us.”
 

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