DIS Shareholders and Stock Info ONLY

https://www.wsj.com/business/americans-are-skipping-theme-parks-this-summer-0dfbffbc?siteid=yhoof2

Americans Are Skipping Theme Parks This Summer

Disney, Six Flags, Universal’s owner reported softer results as consumers pull back—or travel abroad

By Nicholas G. Miller and Jacob Passy
Aug. 9, 2024 - 5:30 am EDT

In the battle for American travelers, Mickey Mouse is losing out to Italy and inflation.

Disney, Six Flags and the owner of the Universal theme parks each reported softer results from their amusement parks in their most recent quarters. The slowdown signals the travel surge that fueled high attendance in theme parks after the pandemic may be waning following steep price increases and greater interest by travelers in other destinations.

“The lower-income consumer is feeling a little bit of stress. The high-income consumer is traveling internationally a bit more,” Disney Chief Financial Officer Hugh Johnston said in the company’s earnings call Wednesday.

In its most recent quarter, Comcast—which owns Universal Destinations & Experiences—reported a 10.6% decline in revenue in its parks division from the previous year.

Six Flags said its attendance declined 2%, which was partly due to fewer operating days than the year-ago quarter. Disney said its attendance was stable, though operating income in its domestic park division declined 6%.

The results come as a range of businesses from McDonald’s to Airbnb have reported softening demand, putting investors on high alert for signs of an economic slowdown.

Attendance at theme parks has been on a roller-coaster ride. Amusement parks were among the first businesses to benefit from the surge in travel in the wake of Covid-19. Orlando’s theme parks only remained closed for part of 2020 and were able to welcome visitors en masse far sooner than other major tourism destinations. Disney’s and Comcast’s parks divisions both posted record results at points during 2022 and 2023.

But evidence suggests that the post-Covid ride may be coming to an end, said Martin Lewison, a professor at Farmingdale State College in New York who studies the theme-park business.

According to data from Touring Plans, which tracks wait times at major amusement parks, crowds at Walt Disney World have been relatively sparse this summer, a continuation of thin crowds from a year ago.

Disney Chief Executive Bob Iger attributed lower attendance during the July 4 holiday in 2023 to record-breaking heat in Florida, and industry observers have suggested that warmer temperatures are causing people to re-evaluate when they plan theme-park visits.

In addition, Americans have begun to prioritize international trips over parks.

“Other travel options, including cruises and international tourism given the strength of the dollar, have experienced their own surge in demand, which cause visitation rates at our parks to normalize,” Comcast President Mike Cavanagh said on the company’s earnings call last month.

Travelers also may be looking elsewhere partly because of higher prices at domestic amusement parks.

For a family of four, single-day park admission to the theme parks at Walt Disney World in Florida could cost upward of $430. At the end of 2023, Disneyland raised the price of a five-day ticket 16% to $480, while add-ons such as Genie+, which allows attendees to skip the lines on some attractions, and parking passes have also become more expensive.

Discounts are out there, but many families are likely experiencing sticker shock, Lewison said.

Comcast and Six Flags also have raised prices at their parks.

Eva Ash, who works in healthcare in Long Island, N.Y., usually visits Walt Disney World once or twice a year with her husband, but this summer, traded the waterslides and roller coasters of Orlando for the canals of Venice and the Tuscan countryside.

“Disney has gotten ridiculously expensive,” Ash said. “And I ate much, much better in Italy, for much cheaper.”

Increasingly, price-conscious consumers have turned to lower-cost theme park options such as United Parks & Resorts. The owner of SeaWorld and Busch Gardens, increased attendance 0.8% last quarter, but it did so partially through discounts and promotions, the company said in its earnings report Wednesday. Its admission revenue per customer declined 2.9%.

“We may use offers at times, and in this current environment, we did use some in the quarter,” said Marc Swanson, the company’s CEO.

This summer was relatively quiet in terms of new attractions making their debut at parks across the country. Some would-be visitors may be holding off in anticipation of something new.

Comcast next year is set to open Epic Universe, the new theme park at its Universal Orlando Resort that will feature attractions connected with franchises such as Harry Potter, Donkey Kong and How to Train Your Dragon.

“The excitement for Epic Universe is unprecedented,” said Greg Antonelle, co-owner of Florida-based travel agencies ************* and Let’s Adventure Travel. “Casual tourists are willingly waiting until next year.”

Robbie Whelan contributed to this article.

Write to Nicholas G. Miller at Nicholas.Miller@wsj.com and Jacob Passy at jacob.passy@wsj.com
 
Lot's of outlook changes coming but UBS still likes the parks and puts the forward PE at less than 17:

Disney's Parks Remain 'Value Driver' After Fiscal Q3 Slowdown, UBS Says

12:26 PM EDT, 08/08/2024 (MT Newswires) -- Walt Disney's (DIS) fiscal Q3 results were mixed as revenue rose from a year earlier, while softening consumer demand triggered a slowdown at the parks division, which is expected to remain a "value driver" in the future, UBS Securities said Wednesday in a report.
The company expects flat Q4 revenue on continued domestic trends, the draw by the Paris Olympics and weaker international demand, UBS said. The securities firm anticipates mostly similar trends in H1 2025 with higher upfront costs for cruises.
UBS expects fiscal 2025 revenue growth to ease to 4% from 5% in 2024 with operating income growth holding at 1%. Two new cruise ships in 2025 may counter the softer parks division, the report said.
Disney's earnings per share for 2024 is expected at $5, up from $4.89 previously, with 2025 at $5.25, down from $6.04, on the parks outlook and slower growth in direct-to-consumer profitability.
"While EPS estimates are reset lower, we believe parks remain a value driver while multiple levers remain at DTC to drive upside over the next two years," the report said.
UBS cut its price target on Disney stock to $120 from $130 while maintaining its buy rating.
Disney shares fell 0.7% in recent trading Thursday.
 
traded the waterslides and roller coasters of Orlando for the canals of Venice and the Tuscan countryside
That trading of WDW for Europe reminded me of this recent article, about a comedian's take on Europe basically being a museum now and a replacement for WDW:

https://www.msn.com/en-us/travel/ne...n-point-this-is/ar-BB1qDn56?ocid=BingNewsSerp

“You guys just have to accept at this point that you’re our Disney World now. It’s your function in this world,” he said.

“You’re a living, breathing ‘It’s a Small World’ ride,” Rosen added, referring to the famous Magic Kingdom attraction at the Disney theme park.
 
Disney Chief Executive Bob Iger attributed lower attendance during the July 4 holiday in 2023 to record-breaking heat in Florida, and industry observers have suggested that warmer temperatures are causing people to re-evaluate when they plan theme-park visits.

In addition, Americans have begun to prioritize international trips over parks.

“Other travel options, including cruises and international tourism given the strength of the dollar, have experienced their own surge in demand, which cause visitation rates at our parks to normalize,” Comcast President Mike Cavanagh said on the company’s earnings call last month.

Travelers also may be looking elsewhere partly because of higher prices at domestic amusement parks.

For a family of four, single-day park admission to the theme parks at Walt Disney World in Florida could cost upward of $430. At the end of 2023, Disneyland raised the price of a five-day ticket 16% to $480, while add-ons such as Genie+, which allows attendees to skip the lines on some attractions, and parking passes have also become more expensive.

Discounts are out there, but many families are likely experiencing sticker shock, Lewison said.

Comcast and Six Flags also have raised prices at their parks.

Eva Ash, who works in healthcare in Long Island, N.Y., usually visits Walt Disney World once or twice a year with her husband, but this summer, traded the waterslides and roller coasters of Orlando for the canals of Venice and the Tuscan countryside.

“Disney has gotten ridiculously expensive,” Ash said. “And I ate much, much better in Italy, for much cheaper.”

Increasingly, price-conscious consumers have turned to lower-cost theme park options such as United Parks & Resorts. The owner of SeaWorld and Busch Gardens, increased attendance 0.8% last quarter, but it did so partially through discounts and promotions, the company said in its earnings report Wednesday. Its admission revenue per customer declined 2.9%.

“We may use offers at times, and in this current environment, we did use some in the quarter,” said Marc Swanson, the company’s CEO.

This summer was relatively quiet in terms of new attractions making their debut at parks across the country. Some would-be visitors may be holding off in anticipation of something new.

Comcast next year is set to open Epic Universe, the new theme park at its Universal Orlando Resort that will feature attractions connected with franchises such as Harry Potter, Donkey Kong and How to Train Your Dragon.

“The excitement for Epic Universe is unprecedented,” said Greg Antonelle, co-owner of Florida-based travel agencies ************* and Let’s Adventure Travel. “Casual tourists are willingly waiting until next year.”

Robbie Whelan contributed to this article.

Write to Nicholas G. Miller at Nicholas.Miller@wsj.com and Jacob Passy at jacob.passy@wsj.com

It appears Orlando was cooler July 2 thru 5 2024 than 2023.

As was the entire month of July.
 

It appears Orlando was cooler July 2 thru 5 2024 than 2023.

As was the entire month of July.
All the dirt-for-brains bunch running the company know what the problems are, but are hoping "something" will fall from the sky and make things better.

But hope is not a viable business strategy, and never will be.

The parks have been neglected for too long and its showing up at the bottom line. And then the idiot Chapek fired all the Imagineers, putting any park improvements/maintenance further behind.

There's nothing to do but hire all those folks back and put them to work on parks projects, and I mean today. Iger should have done that when he returned in Nov, 2022, but he didn't. So two years were lost.

That's my story, and I'm sticking to it.
 
https://www.cnbc.com/2024/08/10/dis...built-on-sequels-prequels-and-pixie-dust.html

Disney is hoping for a box office rebound built on sequels, prequels and pixie dust

Published Sat, Aug 10 2024 - 11:00 AM EDT - Updated 4 Hours Ago
by Sarah Whitten@sarahwhit10

Key Points
  • As Disney seeks to rebuild its reputation and recapture magic at the box office, it is relying heavily on existing, and beloved, franchises.
  • The company’s three-hour long entertainment presentation at the D23 Expo on Friday detailed a host of theatrical films, television series and stage productions coming over the next few years.
  • CEO Bob Iger himself has admitted on numerous occasions that Disney sacrificed quality for quantity in recent years and it was his goal upon returning to right the ship.
 
All the dirt-for-brains bunch running the company know what the problems are, but are hoping "something" will fall from the sky and make things better.

But hope is not a viable business strategy, and never will be.

The parks have been neglected for too long and its showing up at the bottom line. And then the idiot Chapek fired all the Imagineers, putting any park improvements/maintenance further behind.

There's nothing to do but hire all those folks back and put them to work on parks projects, and I mean today. Iger should have done that when he returned in Nov, 2022, but he didn't. So two years were lost.

That's my story, and I'm sticking to it.
Yeah, I think shovels shd be in the ground even before the announcements but you make it sound like the company was working in a normal world while they had to borrow $20b to keep the parks afloat while also letting their employees go.

covid maybe… just maybe… interrupted the investment cadence. The re-hiring process for imagineering started at least a year ago. Things have been happening. How many ideas need to be proposed for 1 to get through? The answer is a lot. The dispute with the state also kept the process from moving fwd faster.

The company only got back to pre-covid cash flows last quarter but announce the $60 investment late last year.

Comcast also has stated that their cadence was interrupted. Epic was supposed to open 2 years ago.

And the media side needed more fixing than the parks

Anyway, we find out tonight the plans.
 
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https://www.nytimes.com/2024/08/11/business/disney-parks-new-rides.html

Disney Details Vast Theme Park Expansion Projects

The company, which has recently seen softening visitor demand, will spend billions to build new rides and expand its cruise ship fleet to 13 from nine.

By Brooks Barnes
Reporting from Anaheim, Calif.
Aug. 11, 2024 - Updated 2:25 a.m. EDT

When Disney announced last year that it planned to spend $60 billion over the next decade to expand its theme park and cruise businesses, double the amount spent over the previous decade, the company’s stock price instantly dropped.

Wall Street wanted specifics that the company wasn’t prepared to give. Disney fans were excited for a hot second — and then they too started to demand answers, venting on social media about feeling baited. Was Disney being hypothetical about the expansion (as it has been on occasion in the past), or was this for real?

On Saturday, Disney finally showed its hand.

The company is building four new cruise ships — on top of four others it had previously announced — almost trebling the size of its current fleet by 2031. The Magic Kingdom, Disney’s flagship theme park in Florida, will undergo the largest expansion in its 53-year history, with one new “land” devoted to classic Disney villains and another focused on Pixar’s “Cars” movies. The Disneyland Resort in California will add two superhero-themed rides, a water-based “Avatar” attraction, the company’s first “Coco” ride and a Main Street, U.S.A., show starring an animatronic Walt Disney.

“We’re dreaming big,” said Josh D’Amaro, chairman of Disney Experiences, which includes theme parks, Disney Cruise Line, video games and consumer products. “We’re investing in every part of our portfolio and pushing boundaries as we turn what-ifs into reality.”

Disney is also working on a “Monsters, Inc.”-themed suspended roller coaster (with cars that hang under the tracks), a ride-through “Encanto” experience, a “Lion King” water ride and a major “Spider-Man” roller coaster. The project list, which includes new nighttime parades and elaborate outdoor pageants that Disney calls “spectaculars,” goes on and on.

Mr. D’Amaro detailed the projects — they’re all happening, he insisted, nothing conceptual — during a three-hour evening presentation at D23: The Ultimate Disney Fan Event, a three-day gathering in Southern California. (D23 is a reference to 1923, the year Walt Disney arrived in Hollywood.)

One important caveat: The ships and expansions detailed on Saturday, while vastly expensive, do not add up to $60 billion. That sum also covers still-secret rides, resort hotels and shopping and dining areas that Disney is planning for the longer term, along with technology and infrastructure investments.

Mr. D’Amaro’s presentation, in the works for months, came three days after Disney reported weaker-than-expected theme park results for the quarter that ended on June 29. Operating profit declined 3 percent, to $2.2 billion. Disney blamed a “moderation of consumer demand” that “exceeded our previous expectations,” along with higher operating costs. The post-pandemic surge in travel has worn off, Disney said, and lower-income Americans, battered by years of high inflation, have cut back on discretionary spending.

Disney, of course, is in the theme park business for the long haul, and many of the projects that Mr. D’Amaro unveiled will not open for two or more years. Disney’s parks have a long history of bouncing back quickly from economic downturns, in part because many parents view a trip to Disney World or Disneyland as a rite of passage for their children.

Laurent Yoon, a media analyst at Bernstein, a research firm, said in a report on Wednesday that, despite near-term challenges for Disney Experiences, “we’re not concerned.”

The biennial D23 event amounts to a giant corporate pep rally, with roughly 140,000 people paying anywhere from $79 to $2,600 for the opportunity to be marketed to. Disney trots out dozens of stars, previews upcoming movies, and hypes Disney television shows like “Bluey” and “Percy Jackson and the Olympians.” Many fans come dressed as their favorite Disney character. Disney being Disney, there are confetti cannons and booths selling $30 glow wands.

It is also a spotlight moment for Disney executives. In 2022, Bob Chapek, Disney’s chief executive at the time, tried to use the event to polish his image and turn a page on what had been a tumultuous early tenure. (It didn’t work: He was fired two months later.) This year, Disney gave media credentials to roughly 1,000 reporters and online writers. Dozens came from overseas.

Mr. D’Amaro, 53, is a candidate to succeed Robert A. Iger as Disney’s chief executive when his contract expires at the end of 2026. (Mr. Iger came out of retirement to retake the helm at Disney when Mr. Chapek departed.) On Saturday, Mr. D’Amaro came across very much like a Mouseketeer in chief, striding onto the D23 stage — where a 70-piece orchestra awaited — in a zip-up sweater and jeans and effortlessly commanding the 12,000-person arena.

His presentation included a cameo by a member of the royal family (Roy O. Disney, who is Walt’s grandnephew); comedic banter between Mr. D’Amaro and stars like Ke Huy Quan and Billy Crystal; and musical performances (Meghan Trainor, Shaboozey) replete with fire, fake fog and, of course, confetti.

More than 1.2 million people watched a segment of the presentation that was live-streamed inside the Fortnite online game. In February, Disney announced a multiyear partnership with Epic Games to create a Disney universe connected to Fortnight. Mr. D’Amaro has been working with the creative chiefs of Disney’s movie studios, including Kevin Feige of Marvel and Pete Docter of Pixar, on the project.

“A lot of people learn about our characters for the first time through Fortnite,” Mr. Feige said from the stage as part of an announcement about Disney characters (Doctor Doom, the Mandalorian, Cruella de Vil) coming to Fortnite for the first time in the weeks ahead.

Stoking the fan base and refocusing attention on the “magic” has been a renewed priority for the company as it tries to move beyond “Woke Disney” attacks by conservative politicians and pundits. Disney Experiences has in many ways been at the center of that cultural battlefield, with Gov. Ron DeSantis of Florida and Disney World locked in lawsuits (they made peace in June) and a reimagining of Splash Mountain, the popular log flume ride tied to a racist film, infuriating some Disney traditionalists.

From a business perspective, two areas of Mr. D’Amaro’s presentation stood out: cruise ships and Florida.

Disney Cruise Line, which introduced its first ship in 1998, has been an overlooked part of Mr. D’Amaro’s portfolio, in part because it is still relatively small. Although its cruise industry market share has doubled in recent years — the current Disney fleet operates at more than 90 percent occupancy — Disney still has only a 5 percent piece. As such, the company sees cruises as a crucial long-term growth business.

Part of the opportunity involves areas of the world where Disney cannot (yet) justify building a theme park, Mr. D’Amaro has said. India, for example, does not have enough consumer wealth to support a park. But it has more than enough for a Disney cruise ship, a floating mini-park that can act as a brand engine in the region.

In Florida, Disney is facing increased competition from the Universal Orlando Resort, which is pouring billions of dollars into a major expansion that includes a 750-acre fourth park and three new hotels. Disney has publicly downplayed the threat by saying that new attractions in Orlando tend to help the whole market, but the company is clearly taking it seriously: On Saturday, Mr. D’Amaro announced at least eight new Disney World rides.

Brooks Barnes covers all things Hollywood. He joined The New York Times in 2007 and previously worked at The Wall Street Journal. More about Brooks Barnes
 
https://www.wsj.com/business/disney-d23-expo-theme-parks-b63751fe?mod=hp_lead_pos7

Disney Unveils Billions of Dollars in Theme Park Expansions
The Experiences division reveals specific plans for new rides and attractions that die-hard fans have been waiting on

By Robbie Whelan and Jacob Passy
Aug. 11, 2024 - 1:25 pm EDT

ANAHEIM, Calif.—Villains given the run of the Magic Kingdom. A “Monsters, Inc.”-themed land at Disney’s Hollywood Studios, complete with Disney’s first-ever suspended roller coaster, where riders zoom around with their legs hanging free. Four new cruise ships.

The scope and details of the tens of billions in planned investment in Disney’s Experiences unit came into clearer focus Saturday night.

The announcements came as part of Disney’s three-day D23 Expo, during a presentation that unfolded over nearly three hours at an arena near Disneyland in Anaheim. Josh D’Amaro, chairman of the division and a short-list candidate to succeed Bob Iger as Disney’s chief executive, regaled theme park habitués with his vision for growth.

From the get-go, D’Amaro moved to fend off criticism, common among Disney fans in recent years, that the company doesn’t have much in the way of shovel-ready projects in the works.

“Everything we’re going to share with you tonight is an active development,” he told the crowd, which Disney counted at 12,000. “I just want to be clear to all the fans out there: This isn’t blue sky.”

The Experiences division that includes theme parks, cruises and videogames produced 69% of the entertainment giant’s operating income in fiscal 2023.

Bloggers and fans regularly dissect Disney’s development pipeline for its theme parks. This year the division is especially under the microscope. In the company’s past two quarterly earnings reports, weakening consumer demand has led to disappointing results in the Experiences division. This has hurt Disney’s share price and raised concerns that the broader theme-park industry may be on course for a reckoning.

Disney is under pressure to offer fans new, exciting attractions to justify recent increases to ticket prices and other rising costs. It also faces growing competition from Comcast’s Universal Studios business, which plans to open a new theme park near Walt Disney World in Florida next year.

At the last D23 Expo, in 2022, the parks panel largely featured ideas far from starting construction. Fans got more details to chew on this year.

Disney is teeing up two major expansions at Walt Disney World’s Magic Kingdom park. One is a long-rumored villains-themed land based on the less savory characters from Disney’s oeuvre. The other is a new section of Frontierland inspired by the Cars franchise that will include two new rides.

The two projects, D’Amaro said, “represent the biggest expansion in the park’s entire history.”

At nearby Animal Kingdom, Disney plans to redo a section of the park now focused on dinosaurs. The new Tropical Americas land will feature rides themed after the Indiana Jones franchise and Disney’s hit film “Encanto.”

The parks presentation and a Friday night showcase introducing Disney’s coming film slate were star-studded. Dwayne “The Rock” Johnson, “Avatar” director James Cameron and composer Lin-Manuel Miranda came onstage to promote new movies on Friday.

To hammer home D’Amaro’s promise to expand Disney’s cruise ship fleet to 13 vessels before 2031, 1990s R&B stars All-4-One performed the song “I Swear.”

Saturday evening also offered details of a new portion of the Hollywood Studios park that will transport visitors to the world of Monstropolis from the Monsters, Inc. films. One of the new rides in this land will be Disney’s first suspended roller coaster.

D23 Expo has grown into a corporate phenomenon. It is a massive pep rally aiming to give fans, who often come dressed as their favorite characters, the sense that they are a part of Disney’s creative planning process. It also helps the company gauge enthusiasm for each new product, movie and character it rolls out.

On Friday night, Iger opened the ceremonies with almost Olympic fanfare, appearing onstage to introduce a presentation of the company’s new film slate. It was his first appearance at a D23 Expo in five years—he came out of retirement in late 2022 to succeed former CEO Bob Chapek.

“Boy, did I miss you,” Iger told fans, who gave him a 20-second standing ovation.

As he finished his remarks, Auli‘i Cravalho, who voices Moana, the Polynesian princess with a sequel opening later this year, burst into a new song, accompanied by dozens of dancers and percussionists. It featured the line, “Finally we’re back to who we’re meant to be!”

When Disney announced last September that it was doubling its planned capital investments in the Experiences division over the next decade, to $60 billion, the news was thin on details.The company’s shares fell by 3.6% on the day of the announcement. That accelerated a decline that prompted activist investor Nelson Peltz to say months later that he would seek a board seat at Disney. In the proxy fight that followed, Peltz said the parks needed updates. In April, Iger triumphed over Peltz when shareholders voted decisively to keep the investor off the board.

Beyond Walt Disney World, Disney has major expansions planned for its parks in California, France and China.

Disney California Adventure at Disneyland Resort in Anaheim will add a handful of rides based on the Marvel Cinematic Universe, Cameron’s Avatar franchise and the Pixar film “Coco.”

Overseas, the first ride tied to “The Lion King” is being developed for the Disneyland Paris Resort. New Spider-Man-inspired rides are planned for Disney’s parks in Shanghai and Hong Kong.

Executives didn’t share precise timelines for the projects across the globe during Saturday night’s presentation.

Write to Robbie Whelan at robbie.whelan@wsj.com and Jacob Passy at jacob.passy@wsj.com
 
Paramount shutters television studio, begins major layoffs ahead of Skydance merger

Paramount Global announced Tuesday that it was shuttering one of its television studios in addition to a deep round of staff cuts aimed at eliminating nearly 2,000 jobs by year's end as the company prepares for a new ownership regime.
...
The Paramount Television Studios produces such shows as "Reacher" for Amazon Prime Video; “The Spiderwick Chronicles” for the Roku Channel; "13 Reasons Why" for Netflix; and "Station Eleven" for Warner Bros. Discovery.

The company's larger television production arm, CBS Studios, will continue its operations and will take responsibility for Paramount TV's collection of shows.

More at:

https://apple.news/AcV80IUZbS2u98U-gt2ggUA

(The story is from the L.A. Times but the link is to Apple News because I don't have a Times subscription so I can't view it on the paper's website.)
 
Paramount shutters television studio, begins major layoffs ahead of Skydance merger

Paramount Global announced Tuesday that it was shuttering one of its television studios in addition to a deep round of staff cuts aimed at eliminating nearly 2,000 jobs by year's end as the company prepares for a new ownership regime.
...
The Paramount Television Studios produces such shows as "Reacher" for Amazon Prime Video; “The Spiderwick Chronicles” for the Roku Channel; "13 Reasons Why" for Netflix; and "Station Eleven" for Warner Bros. Discovery.

The company's larger television production arm, CBS Studios, will continue its operations and will take responsibility for Paramount TV's collection of shows.

More at:

https://apple.news/AcV80IUZbS2u98U-gt2ggUA

(The story is from the L.A. Times but the link is to Apple News because I don't have a Times subscription so I can't view it on the paper's website.)
FYI, sometimes you can see LA Times articles if you click on the reader view toggle in your browser.
 
FYI, sometimes you can see LA Times articles if you click on the reader view toggle in your browser.
Oh, interesting, I'll have to try that trick.

Sometimes I can read articles on their website. I never get a notice that says "You've read x of y articles this month"; rather, that ability seems random. Hopefully folks here can read the Paramount article if they're interested either through my link or your tip.
 
A bit of the studio's history in this article.

https://www.wsj.com/business/media/...-amid-restructuring-7c42a4ee?mod=hp_lead_pos3

Paramount to Close TV Studio Amid Restructuring
Move comes as entertainment giant begins cutting 15% of its U.S. workforce
By Joe Flint
Updated Aug. 13, 2024 - 3:06 pm EDT

Paramount Global is restructuring its TV-production business as part of a cost-cutting effort and what the company said were significant changes in the TV and streaming marketplaces.

Paramount on Tuesday said that Paramount Television Studios was shutting down at the end of the week, and that its sister TV unit—CBS Studios—would absorb the production of Paramount shows as a result of the move. CBS Studios produces content for the CBS network, Paramount+ and other platforms.

For decades, Paramount has been one of the pre-eminent producers of television shows, and Paramount Television Studios recently produced several hits for streaming services including “13 Reasons Why” for Netflix, “Reacher” for Amazon Prime Video and “Defending Jacob” for Apple TV+. Over the past several years, however, the studio has shrunk in size and status—a victim of industry consolidation and challenges facing its parent company.

The move is part of a shake-up at Paramount Global that will result in about 15% of its U.S. workforce being eliminated, or a cut of approximately 2,000 jobs. Paramount Global parent National Amusements is in the process of being acquired by Skydance Media in a complex deal that would result in the combination of Paramount and Skydance.

In a memo to staff, Paramount Global Co-Chief Executive George Cheeks said the decision isn’t based on the performance of the studio, but rather is “the result of significant changes in the TV and streaming marketplace and the need to streamline our company.”

Last week, Paramount Global, which owns multiple cable channels including Comedy Central, MTV and Nickelodeon, wrote down the value of its cable-TV networks by nearly $6 billion, a day after rival Warner Bros. Discovery revised the worth of its own cable business lower by $9.1 billion.

For the past six years, the division has been headed by Nicole Clemens, a well-regarded executive who previously held senior positions at FX and Anonymous Content. Clemens is leaving the company as a result of the shutdown.

“We’ve cemented our legacy by shepherding some of the most influential, award-winning, and critically acclaimed shows in the streaming era,” Clemens told staff in a memo sent Tuesday. Cheeks said in his memo that “the studio consistently punched above its weight.”

The original Paramount Television launched nearly 60 years ago after being merged with Desilu Productions—founded by Lucille Ball and Desi Arnaz. It became a force in the industry for the next 30 years with shows such as “Star Trek,” “The Brady Bunch,” “Happy Days” and “Cheers.”

The studio flourished at a time when broadcast networks were limited by federal regulations from owning the content they aired. When those rules went away in 1993, a wave of consolidation took place resulting in numerous mergers and the demise of independent production companies.

Paramount was first acquired by Sumner Redstone’s Viacom in the 1990s and then merged with CBS in 1999. The two companies split several years later, and the Paramount Television unit was placed under CBS’s own television operations. In 2019, the two companies recombined.

Write to Joe Flint at Joe.Flint@wsj.com
 
Paramount shutters television studio, begins major layoffs ahead of Skydance merger

Paramount Global announced Tuesday that it was shuttering one of its television studios in addition to a deep round of staff cuts aimed at eliminating nearly 2,000 jobs by year's end as the company prepares for a new ownership regime.
...
The Paramount Television Studios produces such shows as "Reacher" for Amazon Prime Video; “The Spiderwick Chronicles” for the Roku Channel; "13 Reasons Why" for Netflix; and "Station Eleven" for Warner Bros. Discovery.

The company's larger television production arm, CBS Studios, will continue its operations and will take responsibility for Paramount TV's collection of shows.

More at:

https://apple.news/AcV80IUZbS2u98U-gt2ggUA

(The story is from the L.A. Times but the link is to Apple News because I don't have a Times subscription so I can't view it on the paper's website.)
A bit of the studio's history in this article.

https://www.wsj.com/business/media/...-amid-restructuring-7c42a4ee?mod=hp_lead_pos3

Paramount to Close TV Studio Amid Restructuring
Move comes as entertainment giant begins cutting 15% of its U.S. workforce
By Joe Flint
Updated Aug. 13, 2024 - 3:06 pm EDT

Paramount Global is restructuring its TV-production business as part of a cost-cutting effort and what the company said were significant changes in the TV and streaming marketplaces.

Paramount on Tuesday said that Paramount Television Studios was shutting down at the end of the week, and that its sister TV unit—CBS Studios—would absorb the production of Paramount shows as a result of the move. CBS Studios produces content for the CBS network, Paramount+ and other platforms.

For decades, Paramount has been one of the pre-eminent producers of television shows, and Paramount Television Studios recently produced several hits for streaming services including “13 Reasons Why” for Netflix, “Reacher” for Amazon Prime Video and “Defending Jacob” for Apple TV+. Over the past several years, however, the studio has shrunk in size and status—a victim of industry consolidation and challenges facing its parent company.

The move is part of a shake-up at Paramount Global that will result in about 15% of its U.S. workforce being eliminated, or a cut of approximately 2,000 jobs. Paramount Global parent National Amusements is in the process of being acquired by Skydance Media in a complex deal that would result in the combination of Paramount and Skydance.

In a memo to staff, Paramount Global Co-Chief Executive George Cheeks said the decision isn’t based on the performance of the studio, but rather is “the result of significant changes in the TV and streaming marketplace and the need to streamline our company.”

Last week, Paramount Global, which owns multiple cable channels including Comedy Central, MTV and Nickelodeon, wrote down the value of its cable-TV networks by nearly $6 billion, a day after rival Warner Bros. Discovery revised the worth of its own cable business lower by $9.1 billion.

For the past six years, the division has been headed by Nicole Clemens, a well-regarded executive who previously held senior positions at FX and Anonymous Content. Clemens is leaving the company as a result of the shutdown.

“We’ve cemented our legacy by shepherding some of the most influential, award-winning, and critically acclaimed shows in the streaming era,” Clemens told staff in a memo sent Tuesday. Cheeks said in his memo that “the studio consistently punched above its weight.”

The original Paramount Television launched nearly 60 years ago after being merged with Desilu Productions—founded by Lucille Ball and Desi Arnaz. It became a force in the industry for the next 30 years with shows such as “Star Trek,” “The Brady Bunch,” “Happy Days” and “Cheers.”

The studio flourished at a time when broadcast networks were limited by federal regulations from owning the content they aired. When those rules went away in 1993, a wave of consolidation took place resulting in numerous mergers and the demise of independent production companies.

Paramount was first acquired by Sumner Redstone’s Viacom in the 1990s and then merged with CBS in 1999. The two companies split several years later, and the Paramount Television unit was placed under CBS’s own television operations. In 2019, the two companies recombined.

Write to Joe Flint at Joe.Flint@wsj.com
I am guessing Skydance Television will become Paramount Television 3.0.
 
Those Disney layers can be more creative than the creative side of the business. I have no opinion on the merits of the suit but claiming that one of those million page subscriber agreements that we all just click thru now covers every single thing that a company could be sued for is just...wow.

https://nypost.com/2024/08/13/us-ne...h-suit-tossed-because-of-disney-subscription/

Disney is trying to get a wrongful death lawsuit filed by a New York University doctor’s grieving husband tossed — because he signed up for the Disney+ streaming service years earlier, court papers said.

Kanokporn Tangsuan’s bereaved husband Jeffrey Piccolo is currently suing the theme park juggernaut claiming that she suffered a fatal allergic reaction shortly after eating at a Disney Springs restaurant in Florida last October.

But Disney is now claiming the $50,000 suit should be moved out of the courts because Piccolo agreed to arbitrate all disputes with the company when he first signed up for a one-month trial of the Disney+ streaming service back in 2019, court documents charge.

Piccolo’s attorneys, on their part, have slammed Disney’s latest motion as “preposterous” and “outrageously unreasonable.”


In the May 31 motion filed in Orange County, Fla. circuit court, Disney argued that the Disney+ subscriber agreement Piccolo signed years earlier on his PlayStation called for any dispute — with the exception of small claims — to be “resolved by individual binding arbitration.”
 





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