DIS Shareholders and Stock Info ONLY

Marvel bankruptcy brings back some bad memories...I held Marvel stock thru one of their bankruptcies...it was not pretty,

I know you mentioned it a while back but can you refresh my memory on what he's done to the comics? I haven't paid any attention to that side of the business in many years.

Well, I'd have to get REALLY comic nerd on ya for that, and really it's not him directly, but the people he has running things (though I hear he makes his opinions known). The current Eidtor-in-Chief for one is someone who used to write under a psuedonym and defrauded the company as he was working in another capacity at the time and mad eup a fake, Japanese persona to hold two jobs (he is not Japanese either). How he is in charge I don't know, but since he has been in charge they have just denegrated their characters to the point where they're barely even good people, much less "heroes." It's all overwrought melodrama that takes itself way too seriously. X-Men comics are honestly downright racist - my opinion but I see it. They also love to just absolutely trash the big MCU stars, ike they have done nothing but drag Tony Stark through the mud since the MCU started - it's as if they just can't stand that he's so popular. It's like petty jealousy. It's has all just dramatically degraded teh quality of the books until it's just TERRIBLE, and I refuse to buy a Marvel Comic as long as many of those people are working there.
 
Comics... my first exposure to Disney in the mid 50s. My mamma used to read them to me.

You're probably talking about the amazing Carl Barks comics - now that's good stuff! It would eventually be the inspiration for DuckTales.
 
You're probably talking about the amazing Carl Barks comics - now that's good stuff! It would eventually be the inspiration for DuckTales.
Ducktales, while great, couldn't touch Barks' original stuff. I have several boxes of the 80s, 90s, &00s Bruce Hamilton republications. My avatar is from the cover of one my favorites.
 
If some people had their way, this would all be Comcast's dough 🙄
Seeing as they paid 70 billion+… they have quite a few more Avatars to make before they get their money back…Not to mention the loss in market cap that can’t be abetted by restoring a dividend.
 

Seeing as they paid 70 billion+… they have quite a few more Avatars to make before they get their money back…Not to mention the loss in market cap that can’t be abetted by restoring a dividend.
The net cost of Fox was closer to $40B than $70B. Did you not see my prior post detailing it?

And they obviously got a lot more than Avatar. Please review my post and let us know if you still feel the same.

https://www.disboards.com/threads/dis-shareholders-and-stock-info-only.3881254/page-78#post-64541697

https://www.disboards.com/threads/dis-shareholders-and-stock-info-only.3881254/page-79#post-64546888
 
https://www.ft.com/content/900b2972-f98a-43d1-8d99-c24904d00072

Peltz fixates on $71bn Fox deal in fight against Disney and Iger
Activist investor zones in on acquisition made at top of market in proxy battle for board seat
Anna Nicolaou and James Fontanella-Khan in New York and Christopher Grimes in Los Angeles
1/17/23

In the spring of 2017, Rupert Murdoch sat down to a meeting in New York with his eldest son, Lachlan, and trusted executive John Nallen, and presented them with a piece of paper. On a sheet from a yellow notepad, the billionaire media mogul had sketched out an idea to split apart his sprawling Fox empire, according to people briefed on the meeting.

Sports and news would go in one bucket, movies and television in the other. A few months later, Murdoch hosted Disney chief executive Bob Iger at his Los Angeles vineyard for salad and chardonnay, where he planted the seed that would lead to a $71bn sale of the second bucket to Disney.

The deal redrew the contours of Hollywood, flinging Disney into the streaming wars and allowing Murdoch to sell much of his life’s work at the top of the market.

That merger, which closed in 2019, has been abruptly thrust back into the spotlight this month, after activist investor Nelson Peltz blamed it for what he described as Disney’s “balance sheet from hell”.

As he tries to force his way on to Disney’s board after building a stake via his Trian Partners firm, Peltz has fixated on the Fox acquisition as a blight on the legacy of Iger, one of the most respected CEOs in corporate America. In a 35-page slide presentation slamming Disney’s strategy last week, Peltz devoted seven pages to the Fox deal. His argument is simple: the Fox acquisition was too expensive, saddled Disney with $14bn of extra borrowing — pushing its net debt position above $40bn — and prevented the company from returning cash to investors.

Peltz believes that Disney vastly overpaid. Peltz’s critique is timely. The Disney-Fox transaction set the stage for the frenetic “streaming wars”, spurring traditional media companies to spend billions to counter attack tech groups such as Netflix, Amazon and Apple that threatened to ravage their businesses.

In 2019, Iger’s aggressive strategy helped propel Disney stock to an all-time high. But in the harsh light of last year’s stock market sell-off, the expensive foray into streaming has few fans on Wall Street and Disney’s market valuation has been cut in half. In a sense, the Fox acquisition has become a referendum on streaming writ large.

“Disney decided to get into streaming. Rupert got out. In the short term, with the cost of competing in streaming . . . you have to keep squinting to see this make sense,” said analyst Michael Nathanson. “[The deal] allowed them to build a couple streaming businesses, but the jury is still out on streaming.”

Iger defined modern Disney through a string of acquisitions that spawned a box office run for the ages, giving the company unrivalled power in Hollywood. These purchases — Pixar in 2006 for $7bn, Marvel in 2009 for $4bn, and Lucasfilm in 2012 for $4bn — are widely viewed positively by executives, bankers and analysts in the industry.

But the verdict on Iger’s Fox bet is less clear. Peltz depicts Iger’s Fox purchase as an overzealous move made at the expense of profit. Over the past five years, Disney’s revenue increased by $24bn to reach $84bn, but in that same time operating margins almost halved and — after more than 50 years of steady payments — Disney has scrapped its dividend, a fact that Peltz traces back to Fox.

Disney executives have said the dividend was suspended due to the pandemic’s impact on its business. Since the closing of Disney’s acquisition of Fox in March of 2019, its stock price has fallen more than 7 per cent, while the benchmark S&P 500 index has gained more than 40 per cent.

Defenders of the Fox deal say that with the spectre of Netflix hanging over the entire industry, Iger had little choice but to act, according to interviews with multiple people involved in negotiating the deal. They point out there was interest too from Comcast, whose chief executive, Brian Roberts, kicked off a bidding war with Iger, pushing the price from $50bn to $71bn.

“We had to do Disney Plus,” said one person who worked closely with Iger when the deal was struck, referring to the streaming service that the company launched in part with content acquired under the Fox transaction. “Prices were higher, multiples were higher at that time and we had a substantial competitor in Comcast that was nipping at our heels.”

Another person close to the situation said that without acquiring Fox, Disney would have been left trailing behind competitors like Netflix, or even ran the risk of being bought by Apple or another tech company seeking to push further into media. “It’s easy to say that the deal is bad now, but at the time Iger didn’t have many other options but to act,” said the dealmaker.

Fox gave Disney a bigger footprint in India with the Star television platform, operational control of the Hulu streaming service and big-name intellectual property such as The Simpsons and the Avatar series. The second instalment of the Avatar franchise became the sixth-highest grossing film of all time this week and three more movies are in the works.

“It was an important transaction for us,” a person close to Disney told the FT. “We acquired great talent [and] we acquired great content franchises that are important to building out our [streaming] platform. These are all important parts of our company today.”

In a presentation and proxy statement to shareholders on Tuesday, Disney came out fighting against Peltz, arguing that the Fox deal had been critical given the “secular change” in the media industry, something the activist investor seemed “oblivious to”. “Would Trian have preferred that a competitor own [Fox]?” asked one slide. But the fine print of Disney’s proxy statement also seemed to acknowledge that the deal’s returns have yet to meaningfully materialise.

At a meeting last week where the board decided to reject Peltz’s request for a seat, members considered Iger’s record of “transformative acquisitions”, but also believed the benefits of the Fox deal “had been delayed by the [coronavirus] pandemic impact”, according to the statement.

There is one aspect of the deal that insiders unanimously agree on: it was a masterstroke for Murdoch, now aged 91. He sold the bulk of his empire at precisely the right moment in the era of easy money, paving the way for him to hand an estimated $2bn windfall to each of his six children.

“Murdoch proved once again to be one of the savviest media tycoons in history. He parted with his treasured asset at the peak,” said a dealmaker who has worked with him in the past but not on the sale of Fox. “He pocketed a killing and the rest is history.”
 
The net cost of Fox was closer to $40B than $70B. Did you not see my prior post detailing it?

And they obviously got a lot more than Avatar. Please review my post and let us know if you still feel the same.

https://www.disboards.com/threads/dis-shareholders-and-stock-info-only.3881254/page-78#post-64541697

https://www.disboards.com/threads/dis-shareholders-and-stock-info-only.3881254/page-79#post-64546888
A big thing that gets overlooked a bunch in this is Comcast's role in making Disney over pay for Fox. Disney originally had a deal in place for $20B less before Comcast came in and Fox decided to terminate the agreement with Disney. Had Comcast not done this, Disney's balance sheet would look a whole lot better with $20B less in debt.

I still think that Disney did the right thing to purchase Fox but it would be interesting had Disney not upped their bid and allowed Comcast to assume the massive debt.
 
I still think that Disney did the right thing to purchase Fox but it would be interesting had Disney not upped their bid and allowed Comcast to assume the massive debt.
The big difference with Comcast is that they basically have a "utility" division that spews off cash on a study monthly basis. Everyone needs their internet access and in many cases they are the only game in town. I don't know enough about their balance sheet to determine what impact it would have had, but a reliable cash machine will eventually cure any BS ills.
 
https://www.ft.com/content/900b2972-f98a-43d1-8d99-c24904d00072

Peltz fixates on $71bn Fox deal in fight against Disney and Iger
Activist investor zones in on acquisition made at top of market in proxy battle for board seat
Anna Nicolaou and James Fontanella-Khan in New York and Christopher Grimes in Los Angeles
1/17/23

In the spring of 2017, Rupert Murdoch sat down to a meeting in New York with his eldest son, Lachlan, and trusted executive John Nallen, and presented them with a piece of paper. On a sheet from a yellow notepad, the billionaire media mogul had sketched out an idea to split apart his sprawling Fox empire, according to people briefed on the meeting.

Sports and news would go in one bucket, movies and television in the other. A few months later, Murdoch hosted Disney chief executive Bob Iger at his Los Angeles vineyard for salad and chardonnay, where he planted the seed that would lead to a $71bn sale of the second bucket to Disney.

The deal redrew the contours of Hollywood, flinging Disney into the streaming wars and allowing Murdoch to sell much of his life’s work at the top of the market.

That merger, which closed in 2019, has been abruptly thrust back into the spotlight this month, after activist investor Nelson Peltz blamed it for what he described as Disney’s “balance sheet from hell”.

As he tries to force his way on to Disney’s board after building a stake via his Trian Partners firm, Peltz has fixated on the Fox acquisition as a blight on the legacy of Iger, one of the most respected CEOs in corporate America. In a 35-page slide presentation slamming Disney’s strategy last week, Peltz devoted seven pages to the Fox deal. His argument is simple: the Fox acquisition was too expensive, saddled Disney with $14bn of extra borrowing — pushing its net debt position above $40bn — and prevented the company from returning cash to investors.

Peltz believes that Disney vastly overpaid. Peltz’s critique is timely. The Disney-Fox transaction set the stage for the frenetic “streaming wars”, spurring traditional media companies to spend billions to counter attack tech groups such as Netflix, Amazon and Apple that threatened to ravage their businesses.

In 2019, Iger’s aggressive strategy helped propel Disney stock to an all-time high. But in the harsh light of last year’s stock market sell-off, the expensive foray into streaming has few fans on Wall Street and Disney’s market valuation has been cut in half. In a sense, the Fox acquisition has become a referendum on streaming writ large.

“Disney decided to get into streaming. Rupert got out. In the short term, with the cost of competing in streaming . . . you have to keep squinting to see this make sense,” said analyst Michael Nathanson. “[The deal] allowed them to build a couple streaming businesses, but the jury is still out on streaming.”

Iger defined modern Disney through a string of acquisitions that spawned a box office run for the ages, giving the company unrivalled power in Hollywood. These purchases — Pixar in 2006 for $7bn, Marvel in 2009 for $4bn, and Lucasfilm in 2012 for $4bn — are widely viewed positively by executives, bankers and analysts in the industry.

But the verdict on Iger’s Fox bet is less clear. Peltz depicts Iger’s Fox purchase as an overzealous move made at the expense of profit. Over the past five years, Disney’s revenue increased by $24bn to reach $84bn, but in that same time operating margins almost halved and — after more than 50 years of steady payments — Disney has scrapped its dividend, a fact that Peltz traces back to Fox.

Disney executives have said the dividend was suspended due to the pandemic’s impact on its business. Since the closing of Disney’s acquisition of Fox in March of 2019, its stock price has fallen more than 7 per cent, while the benchmark S&P 500 index has gained more than 40 per cent.

Defenders of the Fox deal say that with the spectre of Netflix hanging over the entire industry, Iger had little choice but to act, according to interviews with multiple people involved in negotiating the deal. They point out there was interest too from Comcast, whose chief executive, Brian Roberts, kicked off a bidding war with Iger, pushing the price from $50bn to $71bn.

“We had to do Disney Plus,” said one person who worked closely with Iger when the deal was struck, referring to the streaming service that the company launched in part with content acquired under the Fox transaction. “Prices were higher, multiples were higher at that time and we had a substantial competitor in Comcast that was nipping at our heels.”

Another person close to the situation said that without acquiring Fox, Disney would have been left trailing behind competitors like Netflix, or even ran the risk of being bought by Apple or another tech company seeking to push further into media. “It’s easy to say that the deal is bad now, but at the time Iger didn’t have many other options but to act,” said the dealmaker.

Fox gave Disney a bigger footprint in India with the Star television platform, operational control of the Hulu streaming service and big-name intellectual property such as The Simpsons and the Avatar series. The second instalment of the Avatar franchise became the sixth-highest grossing film of all time this week and three more movies are in the works.

“It was an important transaction for us,” a person close to Disney told the FT. “We acquired great talent [and] we acquired great content franchises that are important to building out our [streaming] platform. These are all important parts of our company today.”

In a presentation and proxy statement to shareholders on Tuesday, Disney came out fighting against Peltz, arguing that the Fox deal had been critical given the “secular change” in the media industry, something the activist investor seemed “oblivious to”. “Would Trian have preferred that a competitor own [Fox]?” asked one slide. But the fine print of Disney’s proxy statement also seemed to acknowledge that the deal’s returns have yet to meaningfully materialise.

At a meeting last week where the board decided to reject Peltz’s request for a seat, members considered Iger’s record of “transformative acquisitions”, but also believed the benefits of the Fox deal “had been delayed by the [coronavirus] pandemic impact”, according to the statement.

There is one aspect of the deal that insiders unanimously agree on: it was a masterstroke for Murdoch, now aged 91. He sold the bulk of his empire at precisely the right moment in the era of easy money, paving the way for him to hand an estimated $2bn windfall to each of his six children.

“Murdoch proved once again to be one of the savviest media tycoons in history. He parted with his treasured asset at the peak,” said a dealmaker who has worked with him in the past but not on the sale of Fox. “He pocketed a killing and the rest is history.”
Sad that even a financial news site won't do the research and math showing the net purchase was much less than $71B
 
Had Comcast not done this, Disney's balance sheet would look a whole lot better with $20B less in debt.
So this brings up the question of whether Comcast accually wanted the assets or was just looking to damage a competitor? I guess it was a win win for them - either we get all these great assets or we hobble a direct competitor with a boatload of debt. Well played Comcast. Those darn Philly fans are ruthless!
 
So this brings up the question of whether Comcast accually wanted the assets or was just looking to damage a competitor? I guess it was a win win for them - either we get all these great assets or we hobble a direct competitor with a boatload of debt. Well played Comcast. Those darn Philly fans are ruthless!

They did want the assets especially with Epic Universe in the pipeline. Theme parks are driven by IP these days and new ones are not cheap.
 
IP for DIS has been done historically by the company's own Imagineers. It needs to stay that way, IMO. Back when Eisner first took over, there was some discussion about getting rid of WED, as it was known then, and subcontracting park design and construction. Fortunately, that idea went away.
 
https://finance.yahoo.com/news/does-walt-disney-nyse-dis-130015115.html

Does Walt Disney (NYSE:DIS) Have A Healthy Balance Sheet?
Simply Wall St
Wed, January 18, 2023 at 7:00 AM CST
DIS -0.54%


Howard Marks put it nicely when he said that, rather than worrying about share price volatility, 'The possibility of permanent loss is the risk I worry about... and every practical investor I know worries about.' It's only natural to consider a company's balance sheet when you examine how risky it is, since debt is often involved when a business collapses. We can see that The Walt Disney Company (NYSE:DIS) does use debt in its business. But is this debt a concern to shareholders?

Why Does Debt Bring Risk?​

Debt assists a business until the business has trouble paying it off, either with new capital or with free cash flow. Ultimately, if the company can't fulfill its legal obligations to repay debt, shareholders could walk away with nothing. However, a more frequent (but still costly) occurrence is where a company must issue shares at bargain-basement prices, permanently diluting shareholders, just to shore up its balance sheet. Of course, the upside of debt is that it often represents cheap capital, especially when it replaces dilution in a company with the ability to reinvest at high rates of return. When we examine debt levels, we first consider both cash and debt levels, together.
See our latest analysis for Walt Disney

How Much Debt Does Walt Disney Carry?​

You can click the graphic below for the historical numbers, but it shows that Walt Disney had US$48.4b of debt in October 2022, down from US$54.4b, one year before. On the flip side, it has US$11.6b in cash leading to net debt of about US$36.8b.

A Look At Walt Disney's Liabilities

We can see from the most recent balance sheet that Walt Disney had liabilities of US$29.1b falling due within a year, and liabilities of US$66.2b due beyond that. Offsetting these obligations, it had cash of US$11.6b as well as receivables valued at US$12.7b due within 12 months. So it has liabilities totalling US$71.0b more than its cash and near-term receivables, combined.

This deficit isn't so bad because Walt Disney is worth a massive US$182.2b, and thus could probably raise enough capital to shore up its balance sheet, if the need arose. But we definitely want to keep our eyes open to indications that its debt is bringing too much risk.

In order to size up a company's debt relative to its earnings, we calculate its net debt divided by its earnings before interest, tax, depreciation, and amortization (EBITDA) and its earnings before interest and tax (EBIT) divided by its interest expense (its interest cover). The advantage of this approach is that we take into account both the absolute quantum of debt (with net debt to EBITDA) and the actual interest expenses associated with that debt (with its interest cover ratio).

Walt Disney's debt is 3.1 times its EBITDA, and its EBIT cover its interest expense 4.7 times over. Taken together this implies that, while we wouldn't want to see debt levels rise, we think it can handle its current leverage. Importantly, Walt Disney grew its EBIT by 96% over the last twelve months, and that growth will make it easier to handle its debt. The balance sheet is clearly the area to focus on when you are analysing debt. But it is future earnings, more than anything, that will determine Walt Disney's ability to maintain a healthy balance sheet going forward. So if you want to see what the professionals think, you might find this free report on analyst profit forecasts to be interesting.

But our final consideration is also important, because a company cannot pay debt with paper profits; it needs cold hard cash. So we clearly need to look at whether that EBIT is leading to corresponding free cash flow. Looking at the most recent three years, Walt Disney recorded free cash flow of 47% of its EBIT, which is weaker than we'd expect. That weak cash conversion makes it more difficult to handle indebtedness.

Our View​

When it comes to the balance sheet, the standout positive for Walt Disney was the fact that it seems able to grow its EBIT confidently. However, our other observations weren't so heartening. For example, its net debt to EBITDA makes us a little nervous about its debt. Considering this range of data points, we think Walt Disney is in a good position to manage its debt levels. But a word of caution: we think debt levels are high enough to justify ongoing monitoring. Over time, share prices tend to follow earnings per share, so if you're interested in Walt Disney, you may well want to click here to check an interactive graph of its earnings per share history.
 
https://www.cnbc.com/2023/01/18/disney-peltz-proxy-fight-board-also-light-on-media-experience.html

Disney slams Peltz for lack of media experience, but its board is light on it, too​

Published Wed, Jan 18 20233:19 PM EST
Alex Sherman@sherman4949

Key Points
  • Disney said one of the reasons it decided not to give activist investor Nelson Peltz a board seat was his lack of media and entertainment expertise.
  • Nearly every current member of the Disney board came from industries that aren’t associated with media and entertainment.
  • While Peltz may still not be right for the Disney board, if this is a compelling argument for Disney, it suggests it may want to add new directors with media industry experience.


Disney directors unanimously rejected activist investor Nelson Peltz’s request to join the board this month, in large part due to his lack of media industry expertise.

That would be a stronger argument if Disney’s current board members had ample media and entertainment experience when they joined. Almost all of them didn’t.

This isn’t justification for Peltz’s case to join the board. Many public company boards have directors with a wide variety of experience. Peltz’s strongest claim for a board seat is probably ensuring that succession planning finally happens in an organized and coherent way – which doesn’t appear to be the primary argument he’s making.

Still, if Disney feels it’s important for Peltz to have media and entertainment experience, it may want to make broader changes to its board to bring on several other people who can navigate a complicated and rapidly changing industry.
A Disney spokesperson declined to comment.

According to a company filing Tuesday, Disney decided not to offer Peltz a board seat because he didn’t suggest any specific strategic ideas and had minimal industry experience.

“Among the drivers for such concern was the combination of Mr. Peltz’s lack of media or technology industry experience coupled with his repeated focus in his presentation on successful approaches from businesses like Heinz, Procter & Gamble and DuPont which have little in common with Disney,” Disney wrote.

It’s true that Peltz has minimal experience on media boards, though he did serve as a director of MSG Networks from 2014 to 2015 and still serves as a Madison Square Garden director. But Disney’s board is filled with directors whose prior experience have little to do with streaming services, legacy pay TV, theme parks or films. Their collective experience is actually closer to businesses like Heinz and Procter & Gamble.

Disney’s board​

  • Newly appointed chairman Mark Parker has been employed at apparel-marker Nike since 1979, serving as CEO from 2006 to 2020.
  • Safra Catz was an investment banker before she joined enterprise technology company Oracle
  • in 1999, where she’s been CEO since 2014.
  • Mary Barra has been CEO of General Motors
  • since 2014. She first got a job at GM in 1980. Her background is in electrical engineering.
  • Francis DeSouza is CEO of Illumina, a biotechnology company. Before that, he was president of products and services at cybersecurity company Symantec.
  • Michael Froman is vice chairman and president of strategic growth at Mastercard
  • since 2018. He worked at Citigroup from 1999 through 2009. He’s also held a variety of government jobs.
  • Maria Elena Lagomasino is CEO of WE Family Offices, a wealth advisor serving high net worth families. She’s held a variety of roles at financial firms for the past four decades.
  • Calvin McDonald is CEO of athletic apparel company Lululemon
  • . His prior jobs were all in the retail industry.
  • Derica Rice was formerly the president of CVS Caremark. Before that, he worked at pharmaceutical company Eli Lilly.
Only CEO Bob Iger, Amy Chang and Carolyn Everson have some prior experience in media. Chang’s experience is tangential to Disney’s core business, as global head of product at Google Ads Measurement. Everson just joined the board in September — perhaps a sign Disney’s board is also acknowledging its own relative lack of media understanding.

Disney’s board members have experience in operations, brand management and technology. But Peltz argued in a CNBC interview that Disney should be viewed more as a consumer company than a media company.

“This is a lot more than a media company. This is a consumer company, with a basketful of the greatest brands in the world,” Peltz said.

Disney’s choice in directors seems to be in accordance with that viewpoint. But as decisions await such as whether to spend $10 billion or more on Comcast’s 33% stake in Hulu and what to do with a slowly dying legacy cable network business, perhaps Disney finally needs more media expertise on its board.
 
https://deadline.com/2023/01/avatar...a-global-international-box-office-1235222402/

‘Avatar 2’ Making Way To $2B Global This Weekend; Now No. 6 Biggest Movie Ever With $1.93B Through Tuesday – International Box Office
By Nancy Tartaglione
January 18, 2023 12:28pm PST

WEDNESDAY UPDATE: James Cameron’s Avatar: The Way of Water has officially overtaken Spider-Man: No Way Home to become the No. 6 biggest film ever worldwide, as was presaged over the past few days (see below). It now is expected to hit the $2B global benchmark this coming weekend.

On Tuesday, the epic sci-fi adventure added another $12M globally, bringing its worldwide cume through yesterday to $1.928B and, in so doing, topping Spider-Man: No Way Home‘s $1.921B (it bears noting that No Way Home did not release in China during a long period in which films featuring a Marvel character were seemingly unofficially banned; that ban appears to be lifting, as we reported on Tuesday).

Regardless, when Avatar: The Way of Water crosses $2B, likely on Saturday or Sunday, it will become the sixth movie ever to the milestone — as well as Cameron’s third alongside Titanic and the original Avatar.

Overseas, WoW currently sits as the No. 5 all-time biggest title, behind Avengers: Infinity War, and is likely to move up a spot on that chart with the coming FSS session.

The international box office cume to date is $1.354B. The 20th Century Studios/Disney sequel picked up a further $9.2M offshore on Tuesday.

The top overseas markets for the sequel through Tuesday are China ($217.4M), France ($123.3M), Germany $108.5M), Korea ($93.6M), the UK ($77.7M), India ($56.9M), Australia ($51.9M), Mexico ($49.4M), Spain ($43.8M) and Italy ($43.7M).

Including numbers from today (and not included in the figures above), China is at an estimated $225M through Wednesday (with Maoyan predicting a $237M final as the movie heads into extended play but will buck up against Lunar New Year titles from January 22). Korea is at $97.6M.
 
https://blackbullmarkets.com/en/djn...and-abc-its-harder-than-it-looks-barrons-com/

Should Disney Spin Off ESPN and ABC? It's Harder Than It Looks. -- Barrons.com

By Ben Levisohn

Walt Disney stock has become a target for activist investors -- and ABC and ESPN could be on the chopping block.
That Disney would become a target of activist investors shouldn't come as a surprise. The company's earnings have been sliding, from a peak of $8.36 a diluted share in fiscal 2018 to $1.72 in fiscal 2022, according to FactSet. Spending on streaming has cost a fortune. And Disney stock dropped 44% in 2022.

Against that backdrop, Trian's Nelson Peltz announced last week that he had taken a large stake in Disney stock, joining Third Point's Dan Loeb, who got involved last year. Still, beyond reinstating the dividend and getting profitable on streaming, no one seems to have a clear idea of what Disney should be doing.

But once again, a sale of some of Disney's traditional TV assets is coming up as a possibility. In an article in the New York Post over the weekend, Charles Gasparino wrote that "[bankers] tell me sales of Disney's sports cable network ESPN, and maybe all of its ABC television network, are on the table and a real possibility to appease Peltz's desire for a higher stock price."

Disney didn't immediately respond to a request for comment on a possible sale, but at least one Wall Street analyst took the report seriously enough to weigh in. That would be Wells Fargo analyst Steven Cahall, who has been in favor of such a move. It's not about "financial arbitrage" but creating two companies that are easier for investors to wrap their heads around. Disney proper would be an intellectual property "pureplay, " while the other would be a play on sports and traditional television.

"Our view remains that such a separation would allow investors to better price the risk of linear enveloped at the ESPN/ABC entity (ideally with modest leverage), while stand-alone DIS would garner incremental shareholders as a pureplay on IP," Cahall writes.

That word, "leverage," is the key. "The biggest obstacle is that standalone DIS needs to delever and ESPN/ABC can't lever too much due to cord cutting and sports cost increases," Cahall explains.
Disney stock has gained 1% to $ 100.34 while the S&P 500 has dipped 0.1%, and the Nasdaq Composite has gained 0.2%.
Write to Ben Levisohn at ben.levisohn@barrons.com

(END) Dow Jones Newswires
January 17, 2023 14:33 ET (19:33 GMT)
 
A surprisingly well-thought out essay on story-telling.

https://www.economist.com/leaders/2...echnology-has-changed-the-business-of-culture

Disney’s troubles show how technology has changed the business of culture
At 100, the mouse can still roar. But it faces a new kind of rival

Jan 19th 2023

“Why do we have to grow up?” Walt Disney once wondered. As it launches its centenary celebrations on January 27th, the Walt Disney Company has sustained its appeal to the young and young-at-heart. This year Hollywood’s biggest studio will invest more in original content than any other firm. It dominates the global box office, with four of last year’s ten biggest hits, and has more streaming subscriptions than anyone else. Its intellectual property (IP) is turned into merchandise ranging from lunchboxes to lightsabers, and exploited in theme parks that are churning out healthy profits even as covid-19 lingers. More than just a business, Disney is perhaps the most successful culture factory the world has ever known.

So the upheaval rocking the company today has relevance far beyond its empire. Uncertainty about the future profitability of Disney’s enormous entertainment portfolio has caused a rollercoaster ride in its share price. It threw out its chief executive in November and will soon replace its chairman.

It also faces a rebellion from an activist investment firm that wants a board seat in what could turn into the biggest face-off since Michael Eisner, a previous CEO , was forced out in 2005.Disney’s trials are not just a boardroom drama.

Similar crises are unfolding at other leading culture factories, from Warner Bros to Netflix. The reason is a technological revolution that is turning Hollywood upside down. The continuing pre-eminence of a centenarian like Disney has confounded many predictions.

Since the days of “Steamboat Willie”, Mickey Mouse’s first outing in 1928, there has been an explosion in the supply of video entertainment. Television, cable, home video and then the internet have offered increasing amounts of choice. Anyone with a phone can record video and make it accessible to billions of people, free of charge. More content is uploaded to YouTube every hour than Disney+ holds in its entire streaming catalogue. .Many predicted that this surge of niche content would bring down mainstream hit-makers."

They were mostly wrong. Infinite choice in entertainment has ruined the companies which produced middling content that people watched because there was nothing else on—witness the collapse in broadcast-television ratings. But those at the very top of the business have thrived.When anyone can watch anything, people flock to the best. Global streamers like Netflix and Amazon have more than 200m direct subscribers, once an unimaginable number."

Those who have fared best at a shrinking box office are the owners of IP that is already popular. As people visit cinemas less often and competition intensifies, studios have pumped money into films people will turn out to see even when they go only three or four times a year. America’s ten biggest films last year were all sequels or parts of a franchise; Disney’s upcoming slate includes an 80-year-old Harrison Ford returning for a fifth outing as Indiana Jones." Now technology is shaking things up again..

Online distribution has enticed tech firms that make the hardware and software used for streaming. Silicon Valley is of a different scale from Tinseltown (Amazon’s growing advertising business is already three times bigger than Disney’s) and its moguls have no need to make money from streaming, which they see as an add-on to their main business.Hollywood initially wrote off the nerds.But the nerds have enough money to take creative risks.Last year Apple won the best-picture Oscar with “ CODA ”, a comedy-drama partly in sign language, less than three years after it entered the film business.

The more fine content these new producers make and sell below cost, the greater the risk that older studios will fall from the top tier of media into the perilous middle.At the same time, new technology is allowing those lower down the “long tail” a better chance of reaching the profitable top.Inventions like game engines, which help with the creation of virtual sets, are lowering barriers to entry. Generative artificial intelligence, which can already make rudimentary video, may eventually lower them further.The first beneficiaries have been non-American film studios, which until recently struggled to nail first-class special effects.

No longer.Two of the world’s highest-grossing films last year were Chinese—and when covid ebbs in China, expect that number to rise.China has yet to convert foreign audiences to hits like “Wolf Warrior 2” (tagline: “Anyone who offends China, wherever they are, must die”).But don’t bet that this will always be the case.China already has a globally successful social-media app in TikTok and produces video games that are international hits, including Tencent’s “Honour of Kings”, which is the world’s highest-earning mobile game.

Perhaps the most dramatic way technology could disrupt the culture business is by creating new categories of entertainment.Young adults in rich countries already devote more time to gaming than to broadcast television.Hollywood has been slow to catch on, but its Silicon Valley rivals are snapping up gaming IP.Microsoft’s proposed acquisition of Activision-Blizzard, whose games include “Call of Duty” and “Candy Crush”, is worth nearly ten times what Amazon paid for Metro-Goldwyn-Mayer, home of James Bond and Rocky Balboa.Movies based on games are becoming as popular as games based on movies.

A series based on “The Last of Us”, a post-apocalyptic game, seems to be a critical success.Sonic the Hedgehog was among last year’s biggest films and Mario is likely to be among this year’s.Nintendo is opening a new Mario theme park next month—in Hollywood, no less.The mouse and the long tail The great creative factories of Hollywood will have to adapt if they want to survive.Another successful era is not beyond their reach.

Disney’s century has been one of endless reinvention, in business terms as well as artistic ones, as the company has moved its output from projectors to cables to cassettes and now bytes.It will probably continue to innovate.Still, there are already signs that much of the coming century’s popular culture will be dreamt up in places other than Hollywood.For audiences tiring of sequels, that may be a welcome twist.
 












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