Disney

YouTube TV customers are bracing for another frustrating weekend.

For the last week, YouTube TV’s 10 million subscribers have been denied access to ESPN, ABC and other Walt Disney Co. channels in a dispute that has swelled into one of the largest TV blackouts in a decade. Instead of turning on “College GameDay,” “Monday Night Football” or “Dancing With the Stars,” customers have been greeted with a grim message: “Disney channels are unavailable.”

The standoff began Oct. 30 when the two behemoths hit an impasse in their negotiations over a new distribution contract covering Disney’s channels and ABC stations.

Google, which owns YouTube, has rebuffed Disney’s demands for fee increases for ESPN, ABC and other channels. The Burbank entertainment giant has been seeking a revenue boost to support its content production and streaming ambitions, and help pay for ESPN’s gargantuan sports rights deals.

Talks are ongoing, but the two sides remain apart on major issues — prolonging the stalemate.

“Everyone is kind of sick of these big-time companies trying to get the best of one another,” said Nick Newton, 30, who lives near San Francisco and subscribes to YouTube TV. “The people who are suffering are the middle-class and lower-class people that just love sports … because it’s our escape from the real world.”

Both companies declined to comment for this article.

The skirmish is just the latest between YouTube and programming companies. Since August, Rupert Murdoch’s Fox Corp., Comcast’s NBCUniversal and Spanish-language broadcaster TelevisaUnivision have all complained that YouTube TV was trying to use its market muscle to squeeze them for concessions.

Here’s a look at what’s driving the escalating tensions:

Google’s growing clout in television

The struggle between Disney and YouTube reflects television’s fast-shifting dynamics.

Disney has long entered carriage negotiations with tremendous leverage, in large part because it owns ESPN, which is a must-have channel for legions of sports fans.

Programmers, including Disney, structured their distribution contracts to expire near a pivotal programming event, such as a new season of NFL football. The timing motivated both sides to quickly reach a deal rather than risk alienating customers.

But for Google’s parent, Alphabet, YouTube TV is just a sliver of their business. The tech company generated $350 billion in revenue last year, the vast majority coming from Google search and advertising. That gives YouTube a longer leash to hold out for contract terms it finds acceptable.

“This dispute is not that painful for Google,” said analyst Richard Greenfield of LightShed Partners, noting that YouTube TV could probably withstand “two weekends without college football, and two weeks without ‘Monday Night Football’ — as long as their consumers stay with them.”

Disney, however, depends on TV advertising and pay-TV distribution fees. The week-long blackout has already dampened TV ratings, which means less revenue for the company.

Consumers like YouTube TV

For decades, throngs of consumers loathed their cable company — a sentiment that Disney and other programmers were able to use in their favor in past battles. Customer defections prompted several pay-TV companies to find a compromise to restore the darkened TV channels and stanch the subscriber bleeding.

But YouTube is banking on a more loyal user base, including millions of customers who switched to the service from higher-priced legacy providers.

“I’ll stick this thing out with YouTube TV,” Newton said, adding that he hoped the dispute didn’t drag on for weeks.

“This is one of the problems facing Disney,” Greenfield said. “It’s been a noticeable change in tone from past carriage fee battles. If customer losses stay at a minimum, then Disney is going to be in a tough place.”

It boils down to power and money

YouTube TV is the fastest-growing television service in the U.S. Analysts expect that, within a couple of years, YouTube TV will have more pay-TV customers than industry leaders Spectrum and Comcast.

In the current negotiations, Google has asked Disney to agree to lower its rates when YouTube TV surpasses Comcast’s and Spectrum’s subscriber counts. Disney maintains that YouTube already pays preferred rates, in recognition of its competitive standing, and that Google is trying to drive down the value of Disney’s networks.

“YouTube TV and its owner, Google … want to use their power and extraordinary resources to eliminate competition and devalue the very content that helped them build their service,” top Disney executives wrote last Friday in an email to their staff.

People close to YouTube TV reject the characterization, saying the service has been a valuable partner by providing a strong service that brings Disney billions of dollars a year in distribution revenue.

“The bottom line is that our channels are extremely valuable, and we can only continue to program them with the sports and entertainment viewers love most if we stand our ground,” the Disney executives wrote in last week’s email. “We are asking nothing more of YouTube TV than what we have gotten from every other distributor — fair rates for our channels.”

Higher sports rights fees

A major reason Disney is asking for higher fees is because it’s grappling with a huge escalation in sports costs.

Disney is on the hook to pay $2.6 billion a year to the NBA, another $2.7 billion annually to the NFL, and $325 million a year for the rights to stream World Wrestling Entertainment. Such sports rights contracts have nearly doubled in the last decade, leading to the strain on TV broadcasters.

In addition, deep-pocketed streaming services, including Amazon, Apple and Netflix, have jumped into sports broadcasting, driving up the cost for the legacy broadcasters.

The crowded field also strains the wallets of sports fans, and appears to be adding to the fatigue over the YouTube TV-Disney fight.

Newton wrote in a recent Twitter post that he was spending $400 a month for his various internet, phone and TV services, including Disney+ and NFL Sunday Ticket, which is distributed by YouTube TV.

“I’m already on all the major subscriptions to watch football these days,” Newton, a third-generation San Francisco 49ers fan, said. “You need Netflix. You need Peacock, you need Amazon Prime and the list goes on and on. I’m at the point where I’m not paying for anything else.”

The cuts in Hollywood just keep coming, following a sadly familiar script.

Last week it was Paramount, which laid off about 1,000 workers in the first wave of a deep staff reduction planned since tech scion David Ellison’s Skydance Media took over the storied media and entertainment company.

The cuts affected a wide swath of the company, from CBS and CBS News to Comedy Central, MTV and the historic Melrose Avenue film studio, my colleague Meg James and I reported. Another 1,000 layoffs are expected in the coming weeks.

But Paramount isn’t the only one in the media business that’s shedding jobs and payrolls.

Earlier, cable giant Charter Communications said it would lay off 1,200 people nationwide, as the company faces increased competition for its broadband internet packages. NBC News, too, laid off 150 employees last month amid declining TV ratings and lessening ad revenue.

Other recent media-adjacent layoffs included 100 cuts to Disneyland Resort’s Anaheim-based workforce and the massive 14,000 worker reduction at Amazon, including at the company’s gaming and film and TV studios.

And that doesn’t even include widespread job losses that happened earlier this year at companies such as Walt Disney Co., Warner Bros. Discovery, NBCUniversal and Six Flags Entertainment Corp.

It all adds up to a grim picture for Hollywood’s workers, who have faced a near endless marathon of economic hurdles for the last five years.

First it was the pandemic, followed by the dual writers’ and actors’ strikes in 2023, cutbacks in spending after studios splurged on streaming productions, and the outflow of production to the U.K. and other countries with lower costs than California.

Then, in January, nature struck a blow, with the fires in Altadena and the Pacific Palisades destroying many industry workers’ homes.

Topping it off, Saturday marked the first day that millions of low-income Americans lost federal food assistance due to the government shutdown that began Oct. 1. That has affected some 5.5 million Californians and probably some who work in the entertainment industry.

“It’s been one crisis after another, without enough time in between,” said Keith McNutt, western regional executive director of the Entertainment Community Fund, which provides social services for arts and entertainment professionals. “People are concerned and very worried and really trying very hard to figure out where they go from here.”

McNutt reports that the nonprofit group has already heard from some people who were recently laid off, and has experienced a sharp increase in demand for its services, particularly from those in the film and TV industry. The fund offers healthcare and financial counseling and operates a career center. It also provides emergency grants for those who qualify.

Clients include not only low-income people who are always hit hardest in downturns, but also veteran entertainment industry professionals who’ve worked in the business for 20 to 30 years.

Those who were lucky enough to have savings saw those wiped out by the pandemic, and then were unable to replenish their rainy-day funds after the strikes and industry contraction, said David Rambo, chair of the fund’s western council.

“It has been snowballing very slowly for about five years,” Rambo said.

Many in the industry are hopeful that California’s newly expanded film and television tax credit program will bring some production — and jobs — back to the Golden State. That’s what backers campaigned on when they lobbied Sacramento legislators to bolster the program. Dozens of TV shows and films have received credits so far under the revamped program, but it’ll take some time to see the results in filming data and employment numbers.

And that doesn’t help the workers who were just laid off last month. For those folks, McNutt suggests calling the fund’s health insurance team to make sure they understand their options and also to spend some time with career counselors to understand how Hollywood skills can be transferable to other employers, whether that’s on a short- or long-term basis. Most importantly, don’t isolate yourself.

“You’re not alone,” he said. “Nobody’s alone in this situation that the industry is finding itself in right now, and so reach out to your friends, reach out to your colleagues. If you’re not comfortable with that, reach out to the Entertainment Community Fund.”

Stuff We Wrote

Film shoots

Number of the week

The Los Angeles Dodgers’ wild 11-inning win on Saturday over the Toronto Blue Jays notched nearly 26 million viewers, making it the most-watched World Series game since 2017, according to Nielsen data.

The 2017 Game 7 win by the Houston Astros over the Dodgers had an audience of 28.3 million.

The Dodgers are now the first Major League Baseball team to win back-to-back championships in 25 years. On Monday, thousands of Dodgers faithful turned out for the team’s victory parade through downtown L.A.

Finally …

You’ve no doubt heard of L.A.’s famous star tours. But what about a tour of a historic cemetery?

My colleague, Cerys Davies, wrote about local historian and guide Shmuel Gonzales — or as he calls himself, “Barrio Boychik” — and his walking tour of Boyle Heights’ Evergreen Cemetery.

The cemetery is the final resting place for many of L.A.’s early movers and shakers, including the Lankershims and the Hollenbecks, and it’s also a prime example of L.A.’s multicultural history.

Millions of YouTube TV subscribers could miss “Monday Night Football” on ESPN and ABC News’ election day coverage as the blackout of Walt Disney-owned channels stretches into a second week.

“Monday Night Football” features the Dallas Cowboys battling the Arizona Cardinals. In addition, several important political contests are on Tuesday ballots, including the New York City mayor’s election, gubernatorial races in Virginia and New Jersey, and California’s Prop. 50 to decide whether officials can redraw the state’s congressional map to favor Democrats.

Disney on Monday sought a temporary thaw in tensions with Google Inc. after the two sides failed last week to strike a new distribution contract covering Disney’s television channels on Google’s YouTube TV.

“Despite the impasse that led to the current blackout, we have asked YouTube TV to restore ABC for Election Day so subscribers have access to the information they rely on,” a Disney spokesperson said in a statement Monday. “We believe in putting the public interest first and hope YouTube TV will take this small step for their customers while we continue to work toward a fair agreement.”

A Google spokesperson was not immediately available for a comment.

ABC’s “World News Tonight With David Muir” is one of television’s highest rated programs.

More than 10 million YouTube TV customers lost access to ESPN, ABC and other Disney channels late Thursday after a collapse in negotiations over distribution fees for Disney channels, causing one of the largest recent blackouts in the television industry.

The two TV giants wrangled for weeks over how much Google must pay to carry Disney’s channels, including FX, Disney Jr. and National Geographic. YouTube TV — now one of the largest pay-TV services in the U.S. — has balked at Disney’s price demands, leading to the outage.

YouTube TV does not have the legal right to distribute Disney’s networks after its last distribution agreement expired.

“We know this is a frustrating and disappointing outcome for our subscribers,” a YouTube spokesperson said in a statement last week. “We continue to urge Disney to work with us constructively to reach a fair agreement that restores their networks to YouTube TV.”

YouTube has said that should the outage stretch for “an extended period,” it would offer its subscribers a $20 credit.

Spanish-language TelevisaUnivision-owned channels were knocked off YouTube TV in a separate dispute that has lasted more than a month. Televisa has appealed to high-level political officials, including President Trump and Federal Communications Commission Chairman Brendan Carr.

Last year, after Disney-owned channels went dark on DirecTV in a separate carriage fee dispute, Disney offered to make available to DirecTV subscribers its ABC coverage of the sole presidential debate between President Trump and then-Vice President Kamala Harris.

DirecTV viewed ABC’s offer as something of a stunt, noting the debate would be streamed. DirecTV countered by asking Disney to instead make all of its channels available.

That fee dispute resulted in a 13-day blackout on DirecTV, one that was resolved a few days later.

Heightened tensions in the television industry have led to numerous blackouts.

In 2023, Disney and Charter Communications were unable to iron out a new contract by their deadline, resulting in a 10-day blackout of Disney channels on Charter’s Spectrum service. A decade earlier, Time Warner Cable subscribers went nearly a month without CBS-owned channels.

Programming companies, including Disney, have asked for higher fees for their channels to help offset the increased cost of sports programming, including NFL and NBA contracts. But pay-TV providers, including YouTube have pushed back, attempting to draw a line to slow their customers’ ever-increasing monthly bills.

More than 40 million pay-TV customer homes have cut the cord over the last decade, according to industry data. Many have switched to smaller streaming packages. YouTube TV also benefited by attracting disaffected customers from DirecTV, Charter Spectrum and Comcast. YouTube TV is now the nation’s third-largest TV channel distributor.

Last week, HBO Max announced it raised its standard subscription by $1.50 to $18.49 a month — up 23% from when the streaming service launched five years ago amid the pandemic.

Such announcements have become almost routine in the television business as inflation hits streaming platforms that are under growing pressure to turn a profit and pay for higher programming costs.

Once seen as a cheaper alternative to cable, the cost of a streaming subscription for the top platforms continues to rise, much like higher prices for groceries, gasoline and housing.

In fact, the average price for subscriptions to the top 10 paid subscription streaming services in the U.S. increased 12% this year, following double-digit percentage increases per year since 2022, according to Victoria, British Columbia-based Convergence Research Group.

The research firm included streamers such as Netflix, Disney+, Hulu, Peacock, Apple TV and others in its data set. It factors subscriptions that are with ads or ad-free and does not take into account bundling. All of the major streaming services in the U.S. raised their prices on plans this year, except for Paramount+ and Amazon Prime Video, which boosted rates last year.

The price hikes reflect the tough economic realities of media companies that need to replace dwindling revenue from legacy pay TV channels that have seen sharp declines in viewership.

“The rest of their businesses have effectively been under attack by streaming and so they need this area to be profitable in order to compensate for the decline in their own businesses,” said Brahm Eiley, president of the Convergence Research Group. “It’s been tremendous pressure on them.”

Streaming services have been running as loss leaders for some time, said Tim Hanlon, chief executive of Vertere Group LLC, a media consulting firm.

“There’s no question that streaming is now under the gun to be its own profit center,” Hanlon said.

If rates go much higher, consumers may balk, experts said.

“The industry is playing a dangerous game by continuing to raise prices,” said Andrew Hare, senior vice president for the media research consultancy Magid. “We’re nearing a boiling point of rising churn and overwhelming choice.”

Magid has also already seen an uptick in the percentage of consumers who intend to cancel at least one streaming service in the next six months. The figure was 24% in the second quarter of 2025, up from 19% a year earlier.

“Hard as it is to imagine, the cable bundle is starting to look like a better value all the time,” Hare said.

Here is a look at which major streamers have raised prices on their ad-free streaming plans this year.

HBO Max

HBO Max raised prices across all of its plans. Its lowest-cost, ad-free streaming plan went up by $1.50 to $18.49 a month, while the annual version of that plan also increased $15 to $184.99.

HBO Max’s parent company, Warner Bros. Discovery, had 125.7 million global streaming subscribers in the second quarter, up 22% from a year earlier.

Like other streamers, HBO cited the need to help pay for quality content. The platform offers big-budget shows including drama “The Gilded Age” and “House of the Dragon,” which takes place in the “Game of Thrones” universe.

Consumers should brace themselves for more price hikes. Warner Bros. Discovery CEO David Zaslav said at a Goldman Sachs investors conference last month that he believes HBO Max is underpriced.

“We want a good deal for consumers, but I think over time there’s real opportunity, particularly for us in that quality area to raise prices,” Zaslav said.

Peacock

Big-time sports properties have been moving to streaming platforms and guess who is going to help foot the bill? Consumers, of course.

Ahead of becoming a major provider of NBA games this season, Peacock increased prices on its plans, including the premium plus ad-free streaming service, by $3 to $16.99 a month. That was the third price hike since Peacock launched in 2020, where its ad-free plan started at $9.99 a month.

The Comcast-owned streamer, which has 41 million paid subscribers, has weekly games on Mondays and Tuesdays and will have a Peacock exclusive NFL game on Dec. 27. Peacock next year will air the Milan Cortina Winter Olympics and continue to stream major sporting events such as NFL games.

In a July earnings call, Comcast Corp. President Mike Cavanagh touted how Peacock will have the most hours of live sports of any streamer next year.

Netflix

Netflix has also gotten into the sports business, with the addition of two NFL games on Christmas Day.

The streamer, which remains the industry juggernaut, is also expected to add Major League Baseball’s Home Run Derby and an opening night game when MLB finalizes a new media rights deal this year.

The company cited its entry into high-priced sports when it raised its prices on most of its plans, including on its cheapest ad-free monthly plan by $2.50 to $17.99 in the U.S. earlier this year.

“As we continue to invest in programming and deliver more value for our members, we will occasionally ask our members to pay a little more so that we can re-invest to further improve Netflix,” Netflix said in a letter to shareholders in January.

The slice of sports is coming at the expense of fans who need multiple subscriptions — if they want to keep up with every NFL game.

“A certain type of fan is starting to recognize they are being fleeced,” Hanlon said.

Higher prices on ad-free plans can help drive traffic to a streamer’s lowest-priced plans with ads. Netflix launched its subscription plan with ads in 2022 at $6.99 a month and it has only increased by a $1 to $7.99 a month since then in January 2025.

While many major streamers offer cheaper plans with ads, others offer free streaming services with ads such as the Roku Channel or Tubi.

A recent research study by Magid found that three-quarters of consumers are fine with watching commercials, if it saves them money.

Four in 10 said they’re “overwhelmed” by the number of services they use. The average number of streaming subscriptions per household in the third quarter is 4.6, up from 4.1 the previous year.

“Together, these trends point to a more value-driven streaming consumer seeking affordability and simplicity,” the study said.

Apple TV

Apple TV was once one of the lowest-priced subscription service plans, launching at $4.99 a month. Since then, prices for Apple’s video streaming service have increased to $12.99 a month, with its latest price jump of $3 in August.

The Cupertino-based company has been trying to make its streaming business more financially sound, but faces a formidable task as it has been a big spender in attracting name talent to its programs and movies.

When Apple TV first launched, it had just nine programs, but since then has expanded its library to include critically acclaimed shows and films including comedy “Ted Lasso,” drama “Severance” and “The Studio.”

Apple said in a statement that while it did raise its prices on its standard monthly ad-free plan, the cost of its annual subscription remains at $99 and Apple One bundled packages did not change.

Disney+

Last month, Disney+ announced it would increase the cost of its ad-free streaming plan by $3 to $18.99 a month. Hulu did not increase its price on its ad-free monthly streaming plan.

It was the fourth consecutive year the Burbank entertainment giant has boosted its streaming prices since launching Disney+ six years ago, when the service cost just $6.99 a month.

Despite the recent price hikes from Disney and others, Eiley from Convergence Research Group thinks there’s still room for customer growth.

At the end of last year, just 36% of U.S. households had a traditional TV subscription, compared with more than half of U.S. households in mid-2022, according to Convergence Research Group data. By the end of 2028, the research firm forecasts just 21% of households will have traditional TV subscriptions.

“There’s still a massive amount of cord cutting going on,” Eiley said.

More than 10 million YouTube TV customers lost access to ESPN, ABC and other Walt Disney Co. channels after contract talks broke down Thursday night in one of the largest television blackouts in recent years.

The Disney blackout was set to begin by 9 p.m. Thursday, interrupting “SportsCenter with Scott Van Pelt” on ESPN and “9-1-1: Nashville” and “Grey’s Anatomy” on ABC.

The two TV giants have been wrangling for weeks over carriage fees for Disney’s channels, including FX, Disney Jr. and National Geographic. YouTube TV — now one of the largest pay-TV services in the U.S. — has balked at Disney’s price demands, fueling the dispute that spilled beyond Thursday’s deadline for a new deal.

Without an agreement, Google-owned YouTube TV no longer had legal rights to distribute Disney’s channels.

“We know this is a frustrating and disappointing outcome for our subscribers,” a YouTube spokesperson said in a statement. “We continue to urge Disney to work with us constructively to reach a fair agreement that restores their networks to YouTube TV.”

Should the outage stretch for “an extended period,” YouTube said it would offer subscribers a $20 credit.

The blackout highlights heightened tensions in the television industry.

Programming companies, including Disney, have sought higher fees for their channels to help offset the increased cost of sports programming, including NFL and NBA contracts.

But pay-TV providers such as YouTube have pushed back, attempting to draw a line as customers grow weary of ever-increasing monthly bills.

They don’t want to lose subscribers to a rival service or have them drop their subscriptions. More than 40 million pay-TV customer homes have cut the cord over the last decade, according to industry data.

Disney becomes the latest TV programmer to allege that Google has been throwing its weight around in contract negotiations.

People close to the Burbank entertainment giant accuse YouTube TV of refusing to pay market rates for Disney’s popular channels or accept terms accepted by other pay-TV distributors. Disney has clinched deals with six other pay-TV companies this year, including the nation’s largest channel distributors, Charter Spectrum and Comcast.

“Unfortunately, Google’s YouTube TV has chosen to deny their subscribers the content they value most by refusing to pay fair rates for our channels, including ESPN and ABC,” Disney said in a statement. “Without a new agreement in place, their subscribers will not have access to our programming, which includes the best lineup in live sports – anchored by the NFL, NBA, and college football, with 13 of the top 25 college teams playing this weekend. With a $3 trillion market cap, Google is using its market dominance to eliminate competition and undercut the industry-standard terms we’ve successfully negotiated with every other distributor.”

Since August, Rupert Murdoch’s Fox Corp., Comcast’s NBCUniversal and Spanish-language broadcaster TelevisaUnivision have all complained that YouTube TV was trying to use its clout to squeeze them for concessions now that YouTube TV has become so popular with consumers.

Ultimately, Fox and NBCUniversal negotiated new distribution contracts with Google without having their channels going dark.

Univision wasn’t as fortunate; its channels have been off YouTube TV for nearly a month.

YouTube TV, for its part, has alleged that Disney was the one making unreasonable demands. The San Bruno, Calif.-based platform cited recent agreements it reached with NBCUniversal and Fox..

“Last week Disney used the threat of a blackout on YouTube TV as a negotiating tactic to force deal terms that would raise prices on our customers,” YouTube TV said in a statement. “They’re now following through on that threat. … This decision directly harms our subscribers while benefiting their own live TV products, including Hulu + Live TV and Fubo.”

Both Disney’s Hulu service and Fubo compete with YouTube TV by offering packages of many of the same traditional channels.

YouTube has alleged that Disney is using the blackout to steer disaffected YouTube TV customers to Disney-owned streaming services after the Burbank company lost subscribers who canceled following the late-night comedian Jimmy Kimmel’s brief suspension last month.

The two companies’ fraught dealings extend beyond the negotiations.

Last spring, Disney’s former distribution chief, Justin Connolly, abruptly exited to take a similar position at YouTube TV. Connolly had spent two decades at Disney and ESPN and helped devise the company’s distribution strategy. Disney sued to block the move, but a judge allowed Connolly to take his new position — putting him on the opposite side of the negotiation table.

It’s unclear how long the impasse might last.

A separate distribution fee dispute between Disney and DirecTV last year resulted in a 13-day blackout of Disney channels for customers of the El Segundo-based television provider. In 2023, another ugly tussle led to Disney channels being dropped from Charter’s Spectrum service for 10 days.

News and sports fans might quickly notice the absence of their favorite channels.

They could miss college football on ESPN and ABC as well as a “Monday Night Football” game between the Arizona Cardinals and Dallas Cowboys.

ESPN is scheduled to televise a University of Miami-SMU football game on Saturday.

(Jason Allen / Associated Press)

Disney’s ABC stations, including KABC-TV in Los Angeles, and the network’s affiliate stations around the country also will be unavailable on YouTube TV.

That means viewers could miss local newscasts, “Jeopardy,” “Wheel of Fortune,” “Good Morning America” and “Jimmy Kimmel Live.”

YouTube TV launched in April 2017 for $35 a month. The package of channels now costs $82.99.

Disneyland Resort has laid off about 100 people in Anaheim, as Walt Disney Co. becomes the latest media and entertainment company to cut jobs.

The layoffs occurred Tuesday and came from multiple teams, Disney confirmed.

“With our business in a period of steady, sustained operation, we are recalibrating our organization to ensure we continue to deliver exceptional experiences for our guests, while positioning Disneyland Resort for the future,” a Disneyland spokesperson said in a statement. “As part of this, we’ve made the difficult decision to eliminate a limited number of salaried positions.”

A person close to the company who was not authorized to comment attributed the cuts to an increase in hiring after the parks reopened once the COVID-19 pandemic waned.

Disney’s theme parks are a major economic engine for the Burbank media and entertainment giant.

Last year, the company’s experiences division — which includes its theme parks, cruise line and Aulani resort and spa in Hawaii — brought in nearly 60% of Disney’s operating income.

Earlier this month, the company announced price hikes on most of its single-day, one-park tickets.

The Disneyland Resort layoffs come as entertainment and tech companies have recently shed thousands of jobs.

On Wednesday, Paramount laid off 1,000 employees in a first round of cuts after the company’s takeover by tech scion David Ellison’s Skydance Media. Amazon, Meta, Charter Corp. and NBC News also have announced cuts.

FORMER Corrie actress Michelle Keegan is being courted for her first Hollywood film role.

US screen star Reese Witherspoon is keen for the 38-year-old to play the lead in a big-budget movie adaptation of her new novel.

Oscar-winner Reese, 49, wrote crime thriller Gone Before Goodbye with American author Harlan Coben, who was behind Michelle’s Netflix hit show Fool Me Once.

Harlan introduced the women to each other at the launch of the book at the ­London Literature Festival, held at the capital’s Festival Hall last weekend.

A source said: “Harlan has been singing Michelle’s praises to Reese and she was keen to meet her. They got on really well and it was clear Reese was really taken with Michelle.

“The plan is to turn the book into a film and Michelle is their first choice to take on the role of the lead character, Maggie McCabe.

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“She is a combat surgeon and Michelle previously played an Army medic in Our Girl on the BBC, so it’s a role they know she could take on with style.

“It’s early days but Harlan and Reese think Michelle is tailor-made for this role and would love her to come on board when the time is right.”

Ex-soap star Michelle became a global success after the mystery drama Fool Me Once was released last year.

The series became one of Netflix’s most watched TV shows of 2024 — with more than 107 million people streaming it worldwide in the first 90 days.

Best-selling author Harlan said of his leading lady: “I think what Michelle has, besides tremendous talent and all the other stuff, is a genuine authenticity.

“I think the audience, loves her, people want to follow her life, because they sense that there’s a kindness and a gentleness.

“And that’s really her, she’s truly authentic.”

Speaking last year, 63-year-old Harlan insisted he would be keen to work with her again and reckoned: “If we could get Michelle, we’d love to get Michelle.”

Fans of Michelle, from Stockport — who has a daughter with Heart FM DJ husband Mark Wright — will next see her on screen in ITV crime drama The Blame.

She plays Detective Inspector Emma Crane in the six-parter, which is an adaptation of ­Charlotte Langley’s 2023 debut novel of the same name.

Michelle is also known for her roles in the Sky One comedy drama Brassic and BBC drama Ten Pound Poms, about Brits who migrated to Australia in the 1950s.

Walt Disney Co. on Wednesday said it finalized its deal to acquire a majority stake in FuboTV and swiftly combined its Hulu + Live TV business with the sports-focused operation.

The union creates the nation’s sixth largest pay-TV service with nearly 6 million domestic subscribers.

Financial terms were not disclosed.

Similar to competitors DirecTV, YouTube TV and Charter Spectrum, both Hulu + Live TV and Fubo distribute traditional channels including broadcasters ABC, CBS and cable channels Fox News, Bravo and ESPN.

The combined company will be overseen by a nine-member board led by Brad Bird, former chairman of Walt Disney International. The firm will continue to offer Fubo and Hulu + Live TV as separate services available through their respective apps.

Disney’s investment plans were announced in January, after the much smaller Fubo sued Disney and two other media companies over their plans to launch a high-profile streaming joint venture, Venu Sports. Fubo argued the collaboration of Disney, Fox Corp. and Warner Bros. Discovery was “a sports cartel,” one that would crush its business.

A judge agreed based on anti-trust concerns, blocking further development of Venu.

Disney’s deal to acquire 70% of New York-based Fubo ended that litigation.

The combined business will be led by Fubo Chief Executive David Gandler, who co-founded the service, and Fubo’s management team.

“Since Fubo’s founding a decade ago, our vision has always been to build a consumer-first streaming platform defined by innovation and value,” Gandler said in a statement. “Together with Disney, we’re creating a more flexible streaming ecosystem that gives consumers greater choice, while driving profitability and sustainable growth.”

His firm will have access to a $145 million term loan that Disney agreed to provide. Fubo’s ad sales team will join Disney’s sales organization.

The company’s stock will continue to be publicly traded under the FUBO ticker. Existing Fubo shareholders represent about 30% of the company. Shares were up slightly to $3.95 in mid-day trading.

Russell T Davies has spoken out after Disney+ ended its partnership with Doctor Who and jokingly suggested some festive titles for the upcoming Christmas special

Russell T Davies has spoken out after Disney+ ended its partnership with Doctor Who. The showrunner, 62, took to social media in the hours after it was announced that his sci-fi programme would be solely produced by the BBC going forward after two years under the global streaming service.

Earlier in the day, Lindsay Salt, director of drama at the BBC, said Disney+ had been “terrific global partners and collaborators over the past two seasons”, before confirming that a Christmas special is on the way. She added: “The BBC remains fully committed to Doctor Who, which continues to be one of our most loved dramas, and we are delighted that Russell T Davies has agreed to write us another spectacular Christmas special for 2026.

“We can assure fans, the Doctor is not going anywhere, and we will be announcing plans for the next series in due course which will ensure the TARDIS remains at the heart of the BBC.”

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In the hours that followed, Russell posted an image of the famous TARDIS onto his Instagram page, where he jokingly asked fans what they thought of some potential titles for the festive special. He wrote: “Here we go. Away in a Danger? Jungle Hells? Silent Night? Hark the Weeping Angels Sing? O Come All Ye…um, Nimon?”

Following the news that the show was no longer part of Disney, fans instantly flooded social media with their reactions, with many praising show bosses for the move to step away from the media corporation. One wrote: “Maybe without Disney’s sanitized grip, Doctor Who can return to its roots, weird, dark, brilliant storytelling that doesn’t need a corporate logo to feel epic.”

Another said: “Time for Doctor Who to feel British again, not branded,” whilst a third joked of the streaming service: “this app is literally screaming at us all month to end our memberships.” Another fan simply said: “Good tbh. The Disney era was kinda meh!”

At the end of the last series, viewers were shocked to see Ncuti Gatwa’s doctor seemingly regenerate into the likeness of Billie Piper, who starred as Rose Tyler alongside Christopher Eccleston and David Tennant following the programme’s initial revival in 2005. A comeback for her has not been confirmed, and some fans seem to think that Ncuti could be stepping back into the role after all.

One said: “Ncuti walking out of the Tardis on Christmas 2026 and pretending like nothing happened,” and another said: “billie is gonna go find 14 and then ‘fuse’ with him which will cause an ACTUAL regeneration and its just Ncuti again lmao.” A third agreed, writing: “I would LOVE for Ncuti Gatwa to be back!”

This festive season will be the first to not have a Doctor Who special for 20 years. The BBC said that the announcement about the 2026 Christmas episode had been prompted by Disney+ confirming that it would not be partnering on the next season of the sci-fi show – as widely anticipated – after international viewing figures proved disappointing.

In a statement yesterday, the BBC said that it remained “fully committed to the show and will announce plans for the next series in due course to ensure the Doctor’s adventures continue”.

At the end of this year, Doctor Who spin-off The War Between The Land and the Sea will air, as well as a brand-new animation series for CBeebies.

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DISNEY fans could soon be able to get to Disney World much more easily thanks to a massive airport project.

A 10-year plan has been approved for Orlando International Airport (MCO), estimated to cost around $6billion (£4.5billion).

Orlando Airport is the busiest in Florida, and one of the busiest in the whole country.

And the project comes after passenger numbers have increased at the airport over the past few years, with it handling 57.2million passengers in 2024.

The expansion will focus on four main areas: customer experience, community, infrastructure and people.

By 2030, the airport hopes to add 8,000 car parking spaces, complete the construction of a new baggage handling system for Terminals A and B, complete two gate expansions and add more passenger walkways and travellators in Terminal C.

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Also by 2030, the airport would like to increase the number of small businesses working with them.

Then by 2035, the airport hopes to complete work on Terminal C.

The project will also see the terminals renamed by numbering them to make it easier for passengers.

As a part of the plans, the airport is working towards attaining a five star Skytrax rating too.

There will be one new cargo processing facility, an FAA-approved ‘vertiport’ for helicopters and restored stormwater structures, as well.

A video released showing the plans for the airport also implied that there will be facial recognition in the future, better flight information screens, smart restrooms, more shops and lounges and new play areas for families that will even have a theme park theme.

CEO of Greater Orlando Aviation Authority (GOAA), Lance Lyttle, said: “This vision focuses and unites everything we do around one core purpose: delivering an exceptional experience for everyone who passes through our airports.

“We’re creating spaces that are more welcoming, efficient, and enjoyable, from the parking areas to the gate, so that every step of the journey feels seamless.”

According to Disney Tourist Blog, the “MCO badly needs modernisation and expansion, and we’re pleased to see that happening with this massive $6billion (£4.5billion) investment.

“That should greatly improve the arrival and departure experience, making for a better first and last impression with Walt Disney World guests.”

The blog added that the airport is usually very busy, with 30 minute queues.

But thanks to the new expansion, a lot of the issues should hopefully go away.

The expansion also comes after a number of new attractions have opened in Orlando, with more in the pipeline.

For example, Epic Universe at Universal Orlando opened in May of this year with a new Harry Potter land.

The £7billion land also has a ‘How to Train Your Dragon – Isle of Berk’ land and a Super Nintendo World.

Walt Disney World is also investing $17billion (£12.7billion) over the next couple of decades, which includes a number of new rides.

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“Chainsaw Man — The Movie: Reze Arc,” the Japanese anime from Crunchyroll and Sony, claimed the top spot at the domestic box office this weekend, taking in an estimated $17.25 million, according to Comscore.

The R-rated movie, based on Tatsuki Fujimoto’s popular manga series, follows teen demon hunter Denji, who is betrayed by the yakuza and killed as he attempts to pay off the debts he inherited from his parents. His beloved chainsaw-powered dog Pochita makes a deal and sacrifices his life, fusing with Denji who is reborn with the ability to transform parts of his body into chainsaws.

“Chainsaw Man,” already a global hit, delivered a blow to Disney and 20th Century’s biopic “Springsteen: Deliver Me From Nowhere,” starring Jeremy Allen White, which came in a disappointing fourth place with an estimated $9.1 million.

Based on the 2023 Warren Zanes book of the same name, the film plumbs Springsteen’s life and career through the creative process, during the making of his 1982 acoustic album “Nebraska.”

The Times described the movie as a “thoughtful exploration of the creative process” that runs out of steam by the end, “meandering aimlessly into a depressive period of Springsteen’s, and it never quite regains its footing.”

In its second week out, the horror sequel “Black Phone 2” took the No. 2 slot, earning an estimated $13 million over the weekend, giving the Universal and Blumhouse movie a domestic total of $49.1 million.

Rounding out the third spot is Paramount’s romantic drama “Regretting You,” the latest film adaptation of novelist Colleen Hoover (“It Ends With Us”). Starring Allison Williams and Dave Franco, it opened to an estimated $12.5 million domestically.

Oct. 24 (UPI) — YouTube TV subscribers might lose access to several popular Disney-owned networks if a deal is not reached with the Google-owned streaming service by Thursday.

Officials for Disney gave Google until midnight on Oct. 30 to reach an agreement or lose access to all Disney-owned content on YouTube TV.

If a deal is not made, YouTube TV subscribers would lose access to all ESPN programming, FX, ABC News, local ABC channels, the Disney Channel, NatGeo and other popular networks owned by Disney until a deal is made.

“Google’s YouTube TV is putting their subscribers at risk of losing the most valuable networks they signed up for,” a Disney spokesperson told Deadline in a prepared statement.

“This is the latest example of Google exploiting its position at the expense of their customers,” the statement continued.

“We invest significantly in our content and expect our partners to pay fair rates that recognize that value.”

If that content is lost, YouTube TV would give subscribers a $20 credit if the Disney-owned content providers go dark for an extended period, as reported by Variety.

YouTube TV has more than 10 million subscribers and is the nation’s largest Internet-based television subscription service and is using that status to demand carriage fees that are lower than market levels for the Disney-owned channels.

The current deal between Disney and YouTube TV ends on Thursday, which could deprive YouTube TV subscribers of one of the largest carriers of sports, including the NFL, college football and basketball, NBA and NHL contests.

The contract dispute with Disney is the fifth this year for YouTube TV, which also has negotiated new deals with the Fox Corp., NBCUniversal, and Paramount Global, which now is known as Paramount Skydance.

YouTube TV failed to reach an agreement with TelevisaUnivision and stopped offering its Univision and related channels from the YouTube TV lineup on Oct. 1.

Walt Disney Co. is alerting viewers that its channels may go dark on YouTube TV amid tense contract negotiations between the two television giants.

The companies are struggling to hammer out a new distribution deal on YouTube TV for Disney’s channels, including ABC, ESPN, FX, National Geographic and Disney Channel. YouTube TV has become one of the most popular U.S. pay-TV services, boasting about 10 million subscribers for its packages of traditional television channels.

Those customers risk losing Disney’s channels, including KABC-TV Channel 7 in Los Angeles and other ABC affiliates nationwide if the two companies fail to forge a new carriage agreement by next Thursday, when their current pact expires.

“Without an agreement, we’ll have to remove Disney’s content from YouTube TV,” the Google Inc.-owned television service said Thursday in a statement.

Disney began sounding the alarm by running messages on its TV channels to warn viewers about the blackout threat.

The Burbank entertainment company becomes the latest TV programmer to allege that the tech behemoth is throwing its weight around in contract negotiations.

In recent months, both Rupert Murdoch’s Fox Corp. and Comcast’s NBCUniversal publicly complained that Google’s YouTube TV was attempting to unfairly squeeze them in their separate talks. In the end, both Fox and NBCUniversal struck new carriage contracts without their channels going dark.

Univision wasn’t as fortunate. The smaller Spanish-language media company’s networks went dark last month on YouTube TV when the two companies failed to reach a deal.

“For the fourth time in three months, Google’s YouTube TV is putting their subscribers at risk of losing the most valuable networks they signed up for,” a Disney spokesperson said Thursday in a statement. “This is the latest example of Google exploiting its position at the expense of their own customers.”

YouTube TV, for its part, alleged that Disney was the one making unreasonable demands.

“We’ve been working in good faith to negotiate a deal with Disney that pays them fairly for their content on YouTube TV,” a YouTube TV spokesperson said in a statement. “Unfortunately, Disney is proposing costly economic terms that would raise prices on YouTube TV customers and give our customers fewer choices, while benefiting Disney’s own live TV products – like Hulu + Live TV and, soon, Fubo,” YouTube TV said.

Disney’s Hulu + Live TV competes directly with YouTube TV by offering the same channels. Fubo is a sports streaming service that Disney is in the process of acquiring.

YouTube said if Disney channels remain “unavailable for an extended period of time,” it would offer its customers a $20 credit.

The contract tussle heightens tensions from earlier this year, when Disney’s former distribution chief, Justin Connolly, left in May to take a similar position at YouTube TV. Connolly had spent two decades at Disney and ESPN and Disney sued to block the move, but a judge allowed Connolly to take his new position.

YouTube TV launched in April 2017 for $35 a month. The package of channels now costs $82.99.

To attract more sports fans, YouTube TV took over the NFL Sunday Ticket premium sports package from DirecTV, which had been losing more than $100 million a year to maintain the NFL service. YouTube TV offers Sunday Ticket as a base plan add-on or as an individual channel on YouTube.

Last year, YouTube generated $54.2 billion in revenue, second only to Disney among television companies, according to research firm MoffettNathanson.

The dispute comes as NFL and college football is in full swing, with games on ABC and ESPN. The NBA season also tipped off this week and ESPN prominently features those games. ABC’s fall season began last month with fresh episodes of such favorite programs as “Dancing with the Stars” and “Abbott Elementary.”

ABC stations also air popular newscasts including “Good Morning America” and “World News Tonight with David Muir.” Many ABC stations, including in Los Angeles, run Sony’s “Wheel of Fortune” and “Jeopardy!”

“We invest significantly in our content and expect our partners to pay fair rates that recognize that value,” Disney said. “If we don’t reach a fair deal soon, YouTube TV customers will lose access to ESPN and ABC, and all our marquee programming – including the NFL, college football, NBA and NHL seasons – and so much more.”

KIM Kardashian stunned on the red carpet at the All’s Fair premiere in London in a surprise trip to the UK.

The huge U.S. star just celebrated her 45th birthday at a strip club in Paris.

Now she’s jetted into the capital for tonight’s Disney+ event at the Odeon in Leicester Square, joining a host of celebrities.

Joined by momager Kris Jenner, the Hollywood stars looked gorgeous in all-black, glamorous ensembles.

Vogue Williams and Fleur East were amongst the first stars to pose for snappers at the event.

Sarah Paulson, Ashley Roberts and Naomi Watts were also in attendance.

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Before her French birthday bash, the SKIMS founder attended the first All’s Fair premiere, also held in Paris.

Posting up a storm at the Maison de La Chimie on Tuesday, Kim looked amazing as she donned a form-fitting blue-hued silver number.

She had a plunging neckline and her black locks in a sleek updo.

Momager Kris Jenner supported her daughter as she attended the premiere too, wearing a black and white gown, with her hair scooped up in a bun atop her head.

She also showed off her amazing facelift in the process while standing beside her daughter.

All’s Fair, which premieres on Hulu on November 4, follows a team of successful female divorce attorneys who start their own practice in Los Angeles, California.

Kim leads the cast in her second scripted series ever, following her acting debut in American Horror Story: Delicate in 2023.

Yesterday, Kim headed to the cabaret club Crazy Horse in Paris to celebrate turning 45.

She wore a gold corset dress, which had a white miniskirt attached to it.

Kim’s incredible curves were on full display in a striking garment. The draped mini skirt and nude heels added a Grecian vibe to the look.

Crazy Horse is a legendary Parisian cabaret known for its sensual, artistic, and modern shows featuring all-female dancers.

The venue, housed in a former wine cellar, hosts a 90-minute show with a mix of avant-garde acts.

Small screen giant Netflix has once again turned to the big screen, this time with the release of its latest buzzy film, “Frankenstein.”

Written and directed by Guillermo del Toro, the film opened last weekend with a limited release in 10 theaters in Los Angeles, New York and a few other cities, and will expand to more sites for a total theatrical run of three weeks. The film stars Oscar Isaac as the titular egomaniacal scientist and Jacob Elordi as the Creature (who, contrary to popular belief, is not named Frankenstein — you can thank my English major for that tidbit).

The film is getting some awards attention, particularly for the performance of the prosthetics-and-makeup-laden Elordi, and notched a solid 86% approval rating on aggregator Rotten Tomatoes. As of Sunday afternoon, Del Toro posted that the film had sold out at least 57 screenings. “Frankenstein” will debut on the streamer on Nov. 7.

Del Toro’s “Frankenstein” is just the latest in a long line of adaptations of the classic 1818 novel by Mary Shelley. From the first silent film short in 1910 to Boris Karloff’s famed turn as the monster in 1931 and the Kenneth Branagh-directed movie in 1994 that starred Robert De Niro as the creature (Branagh played Frankenstein and Helena Bonham Carter was Elizabeth Lavenza), the classic horror story has proved ripe for filmmakers’ commentary on humanity, science and nature.

In fact, “Frankenstein” has been a lifelong passion project for Del Toro, who has made an award-winning career out of analyzing and depicting monsters, from 2006’s “Pan’s Labyrinth” to 2017’s “The Shape of Water.”

For Netflix, it’s a reminder of why film remains an important, if unlikely, part of the streamer’s strategy.

It’s no secret that Netflix has built its reputation — and its streaming prowess — on the strength of its series, from “Orange Is the New Black” to “Stranger Things” and “Bridgerton.” After all, popular episodic shows keep viewers on the platform, rack up hours of engagement and help draw new subscribers to the service.

The Los Gatos, Calif., company’s embrace of movie theaters may seem surprising given its longstanding testy relationship with movie theater exhibitors and their distribution strategy.

In fact, Netflix has also long said its main goal is to offer subscribers first-run movies on its platform, directly undermining the traditional 90-day “window” between a film’s release in theaters and when it appears in the home.

Earlier this year, Netflix Co-Chief Executive Ted Sarandos poured salt on the wound when he called the theatrical business “outdated,” at a time when many chains are struggling to fill seats to pre-pandemic levels.

Yet, theaters are still important to Netflix, which releases about 30 films annually in cinemas.

One reason: the allure of Oscar glory.

For the last few years, Netflix has submitted dozens of movies for awards-qualifying runs.

It’s typical for those films to be in cinemas for about two to three weeks before showing up on the platform. (Sometimes, those theatrical showings are for marketing purposes, like the recent “KPop Demon Hunters” singalong screenings.)

Netflix has won numerous Academy Awards over the years, ranging from animated feature (Del Toro’s “Pinocchio” in 2023), supporting actress (Laura Dern for “Marriage Story” in 2020 and Zoe Saldaña for “Emilia Pérez” in 2025) and director (Alfonso Cuarón in 2019 for “Roma” and Jane Campion in 2022 for “The Power of the Dog”).

Best picture, however, has continued to elude the company.

Theatrical releases also help the streamer to attract filmmakers and build relations with key talent. For instance, Netflix’s upcoming “Narnia” film from Greta Gerwig will get a two-week Imax run next year. Netflix previously ran Del Toro’s well-received horror anthology series “Cabinet of Curiosities.”

And while serial narratives may reign supreme, to maintain subscribers, you need other kinds of content to keep it fresh. That’s where movies (and live events) come into play.

As consumers decide which streaming services they can’t live without, a platform that has a little bit of everything has an advantage.

“Having a good mix of movies and serial content is really important,” says Alicia Reese, senior vice president of equity research in media and entertainment at Wedbush Securities. “A lot of people use this as their one and only subscription.”

In other fronts, is the fight over OpenAI’s new Sora 2 dying down? Maybe not, but there are signs of easing tensions.

On Monday, United Talent Agency, SAG-AFTRA, Creative Artists Agency, Assn. of Talent Agents, actor Bryan Cranston and OpenAI released a joint statement noting that Cranston’s voice and likeness was able to be generated “in some outputs” without consent or compensation when the tool was launched two weeks ago in a limited release.

“While from the start it was OpenAI’s policy to require opt-in for the use of voice and likeness, OpenAI expressed regret for these unintentional generations,” the statement said. “OpenAI has strengthened guardrails around replication of voice and likeness when individuals do not opt-in.”

Cranston, who brought the issue to SAG-AFTRA’s attention, said he was “grateful” to OpenAI for improving its policies and “hope that they and all of the companies involved in this work, respect our personal and professional right to manage replication of our voice and likeness.”

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NBC News sent termination notices to 150 staffers last week, as the network struggles with declining TV ratings and ad revenue. Layoffs have been prevalent throughout the media landscape this year, but have been felt especially hard at broadcast news outlets, as audiences increasingly migrate to streaming platforms and cut the cord.

In addition to these issues, my colleague Stephen Battaglio reported that the NBC News layoffs were also attributed to the spin-off of cable networks MSNBC and CNBC. NBC News now no longer shares resources with those outlets, which will become part of a new company called Versant.

Affected employees were encouraged to apply for 140 open positions throughout the news group.

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I had to do it. With the Dodgers returning to the World Series, my colleague Jack Harris looks at the team’s season this year and how they fought through multiple injuries on the roster to eventually turn the ship around.

KEEPING the kids busy during October half term is probably the easiest of the school holidays, with Halloween events and pumpkin patches popping up everywhere. 

As a mum, getting a bit extra for your buck is always a win, so I was impressed that family-friendly theme park, Legolandd Windsor, have a special Halloween festival that is included with your admission ticket. 

Legoland’s aptly-named ‘Brick or Treat’ event runs throughout the month of October with activities on select dates until November 1st 2025.

As part of the spooky celebration, there are lots of extras on offer for kids, including a Trick or Treat trail, themed shows, character meet and greets, Lego-build activities and themed photo opportunities. 

This year, the park has also unveiled the UK’s first-ever Lego pumpkin patch, painstakingly made from almost 45,000 individual Lego bricks.  

The impressive Halloween sculptures took 134 hours of expert model-making to build.

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I headed to the theme park in Berkshire with some friends and a gaggle of kids aged between four and fifteen. 

I have been to Walt Disney World in Florida more than 50 times and have been to Halloween events at the US Disney parks, Disneyland Paris and other theme parks that celebrate Halloween, such as Universal Studios, Thrope Park and Paultons Park.

However, it was my first time going to Legoland in the UK and I was impressed with how much was on offer for all ages. 

As soon as we arrived, we were greeted by Lego-themed Halloween decorations.

The front entrance was adorned with giant Duplo pumpkins and spooky music was playing.

We started with the Spinning Spider ride, which felt fitting with the ‘creepy’ theme. 

Then, the kids were desperate to try the famous Dragon coaster in the Knight’s Kingdom area.

This is a great starter coaster for younger children who want to try the big rides, but feel a bit nervous. This coaster is gentle and fast enough to be thrilling, without being too scary.

As someone who goes to theme parks often, I love rides that families can all enjoy equally, together. 

From here, the kids spotted their first Trick or Treat station ‘scary sweets’. 

No prizes for guessing what goods were secured here, but the kids were more than happy scoffing their Haribo jellies as we headed to one of Legoland’s most famous rides – Lego Ninjago.

This ride is a very clever moving computer game simulator, where we had to use our hands to lob LEGO at the ‘bad guys’. 

The kids thought it was brilliant, but the adult scores were painfully low. I will have to practice my gaming skills for next time… 

Considering the Halloween extras, the lines for attractions weren’t that long.

Some of the big rides, including Lego Ninjago, Hydra’s Challenge, The Dragon and the Mini Figure were not too bad, with the longest being 40 minutes. 

However, most other attractions at the park had lines shorter than 15 minutes.

As well as the trick of treat stations, some of which were giving out posters and activity packs instead of sweets, there were some simple decorations across the park and a special Halloween show.

Lord Vampyre’s House Party is a stage show on at various times during the day, encouraging guests to ‘dance their bones-off’. 

On the lake, the Monster Jam Harbour Show has rock and roll performances, special effects, and Lego monsters getting up to mischief on stage. 

For lunch, there is a limited-edition Halloween menu at dining locations around the park.

If you fancy a scary snack, you can tuck into a Monster Burger, Scampi Fright Bites, Toffee Apple Popcorn and Ice-Screams. 

The only disappointment for us is that we didn’t see any of the Lego characters around the park. 

The weather was a bit blustery, so it may have been to do with the conditions that day, but it wasn’t very clear from the map or signage exactly where we had to go to meet them. 

Still, there was plenty to do and the park shuts at 5pm, so we didn’t even get on to all of the attractions we planned to ride before the end of the day.

We had a great time at Legoland and the kids really enjoyed all the extra haunts – it’s great value for money considering there is no extra cost to go during Brick or Treat. 

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With extra perks and less crowds than summer, it’s a top time to visit. 

Tickets for Legoland Windsor start from £34 per person, with kids under 90cm going free.  

Oct. 20 (UPI) — Amazon Web Services’ cloud services global outage disrupted Internet service for companies, governments, universities and individual users on Monday. It wasn’t until a half day later, the coverage was heavily restored.

By Monday afternoon on the U.S. East Coast, Amazon said the connectivity issues had been “fully mitigated,” though there were still reports of problems.

More than 1,000 companies were affected, including large tech companies, CNET reported, but there is no evidence it was caused by a cyber attack. Instead, “the root cause is an underlying internal subsystem responsible for monitoring the health of our network load balancers.”

AWS accounted for 37% of the global cloud market in 2024, according to market research firm. That represents revenue more than $107 billion for the tech company. Amazon’s total revenue was $639 revenue that year.

The services run on 3.7 million plus miles of fiber optic cables.

Downdetector, a website that aggregates user-submitted reports of disruptions, logged 6.5 million global reports related to the outage, a spokesperson for the site’s parent company Ookla told CNN.

Toms Guide showed how traffic was affected at major companies, including Verizon, Lyft, McDonald’s, Snapchat, and airl as Delta, Southwest and United airlines.

Also were the New York Times’ website, T-Mobile and AT&T were affected. Even massive tech companies, Google and Apple, were impacted. And Zoom, which gained prominance during the pandemic for people to communite, had outage issues.

Disrupted, too, were banks and cryptocurrency exchange Coinbbase and Venmo.

Amazon’s own services were disrupted. Alexa-enabled smart plugs, which allow people to control appliances and other devices remotely, didn’t have service. Amazon’s Ring doorbell cameras weren’t working. Some reported they were unable to access the company’s website or download books to their Kindles. And Netflix wasn’t available.

“The incident highlights the complexity and fragility of the internet, as well as how much every aspect of our work depends on the internet to work,” Mehdi Daoudi, CEO of internet performance monitoring firm Catchpoint said in a statement to CNN. “The financial impact of this outage will easily reach into the hundreds of billions due to loss in productivity for millions of workers that cannot do their job, plus business operations that are stopped or delayed — from airlines to factories.”

Tenscope showed that Amazon alone was losing $72.3 milion per hour, and customers lost several hundred thousand dollars each 60 minutes.

In cloud services, AW provides a space where businesses can rent the services instead of building their own servers.

“It’s like: ‘Why build the house if you’re just going to live in it?'” Lance Ulanoff, editor at the technology publication TechRadar, told CNN.

And there are problems with devices when service is disrupted.

“They just don’t work without the Internet,” Ulanoff said. ” They’re not designed that way,. We’ve designed everything to work with that constant connectivity and when you pull that big plug, everything, basically becomes dumb.”

Apparently, the problem originated from a system designed to monitor how much load is on the network. As a workaround, Amazon said it was allowing companies to create new instances of its Elastic Compute Cloud, a virtual machine that allows customers to build cloud-based applications.

At the peak of the incident, early Monday, AWS reported more than 70 of its own services were impacted.

“Some requests may be throttled while we work toward full resolution,” it said, urging customers to utilize the “clear cacheclear cache” option in the settings of their browser if problems with errors persisted.

Amazon reported at 1:26 a.m. EDT that there was a “significant error rates for requests.”

“Error 404” messaged popped up on computers.

At 3:11 a.m. EDT, Amazon “reported increased error rates for multiple services and determined that the issue was related” to the Northern Virginia region, according to a news release.

Amazon reported at 5:24 a.m. EDT, service was “fully mitigated.”

Then at 10:29 a.m., Amazon said there were application programming interface errors and connectivity issues “across multiple services in the US-EAST-1 Region.”

Around 3:30 p.m., AWS said its systems mostly were back online. “We continue to observe recovery across all AWS services,” the company said.

In Britain, Gov.uk and His Majesty’s Revenue and Customs, the two main portals of the British government, said they had been affected.

“We are aware of an incident affecting Amazon Web Services, and several online services which rely on their infrastructure. Through our established incident response arrangements, we are in contact with the company, who are working to restore services as quickly as possible,” said a government spokesman.

Lloyds Bank and subsidiary, Halifax, two of the country’s largest banks, and National Rail also experienced problems.

The outage comes 15 months after a global IT outage in July 2024 that crashed millions of computers used by 911 centers, airlines, financial institutions, airlines and media around the world, due to an issue with a third-party security update for Microsoft Windows systems.

The auto download from Texas-based CrowdStrike cybersecurity for its Falcon software caused computers to hang after they were able to fully restart after the update.

There you are, sitting in traffic in your car, listening to Taylor Swift on Spotify because it’s easier than subjecting yourself to a new, more challenging artist. An ad pops up in your stream. It’s serious stuff, evidenced by the dystopian tone of the narrator: “Join the mission to protect America,” the serious man’s voice commands, “with bonuses up to $50,000 and generous benefits. Apply now … and fulfill your mission.”

It’s an Immigration and Customs Enforcement recruitment ad, part of the Trump administration’s investment of $30 billion to add more than 10,000 deportation officers to its ranks by the end of the year. You would have been spared the outrage if only you had paid for Spotify’s ad-free tier of service, but there’s no way the audio streamer is getting your money now. You’ll be switching to, say, Apple Music. Maybe Tidal?

The experience of being subjected to recruitment ads for a domestic military force, assembled by a power-hungry president, has generated intense backlash that’s culminated this week in calls for boycotts of streaming services and platforms that have featured ICE spots. They include Pandora, ESPN, YouTube, Hulu and Fubo TV. Multiple HBO Max subscribers bemoaned on X that they were subjected to ICE recruitment videos while watching All Elite Wrestling: “Time to be force-fed ICE commercials against my will for two hours again #WWENXT,” @YKWrestling wrote.

Recruitment ads — Uncle Sam’s “I Want You” poster comes to mind — are an American staple, especially in times of war. But the current recruitment effort is aimed at sending forces into American cities, predicated on exaggerated claims that U.S. metro areas are under siege and in peril due to dangerous illegal immigrants, leftist protesters and out-of-control crime rates. The data, however, does not support those claims. The American Immigration Council found that from 1980 to 2022, while the immigrant share of the U.S. population more than doubled (from 6.2% to 13.9%), the total crime rate declined by over 60%.

Yet there’s a far scarier doomscape on the horizon if ICE’s recruitment efforts are successful: a mercenary army loyal only to Trump, weaponized to keep him on the throne. If that sounds more dystopian than the aforementioned Spotify ad, consider that the administration has spent more than $6.5 million over the past month on a slew of 30-second commercials aimed at luring in police officers.

The ads aired on TVs in more than a dozen cities including Chicago, Seattle and Atlanta and opened with images of each specific metro area’s skyline. Then came the commanding narration: “Attention, Miami law enforcement!” It’s followed by the same messaging that is used in ICE ads across the country: “You took an oath to protect and serve, to keep your family, your city, safe. But in sanctuary cities you’re ordered to stand down while dangerous illegals walk free — Join ICE and help us catch the worst of the worst. Drug traffickers. Gang members. Predators.”

But are the ads working? It’s hard to say since transparency isn’t a hallmark of the MAGA White House. For what it’s worth, a Sept. 16 press release from the DHS claimed that it had received more than 150,000 applications in response to its campaign and had extended 18,000 tentative job offers.

As for the power of consumer-led boycotts, there’s hope. More than 1.7 million Disney, Hulu and ESPN subscriptions were reportedly canceled between Sept. 17 and Sept. 23 during Jimmy Kimmel’s temporary suspension by ABC (Disney is ABC’s parent company). The network pulled the show after the host’s comments related to Charlie Kirk’s assassination angered MAGA supporters and the Trump-appointed FCC chair appeared to threaten the network. But after a week with a significant increase in cancellations — a 436% jump compared to a normal week — Kimmel was back on the air.

As of today, Spotify appears unmoved by the pressure to pull those intrusive ICE ads. “This advertisement is part of a broad campaign the US government is running across television, streaming, and online channels,” a Spotify spokesperson said in a statement this week. “The content does not violate our advertising policies. However, users can mark any ad with a thumbs up or thumbs down to help manage their ads preferences.”

Thumbs down. Frowny emoji. Cue the dystopian narrator for a counter ad: “Join the mission to protect America: Cancel Spotify.”

Pay TV providers have a new message for consumers: Your ex wants you back.

While the media industry watches the once massive number of subscribers to cable and satellite services diminish like a slow-melting iceberg as audiences move to streaming, the companies are aggressively developing ways to slow the trend and perhaps win some business back.

Spectrum and DirecTV have both recently held fancy press events in New York to tout their efforts to offer a more consumer-friendly experience and services that add value for the still substantial number of customers they serve. Giving consumers more choice and flexibility is their new mantra.

The latest evidence of this emerged last week when Spectrum introduced an app store, where customers can get subscriptions to the streaming platforms such as Disney+, Hulu, AMC+ and ESPN, and access them alongside the broadcast and cable channels that still carry the bulk of high-profile sports and live events.

The Stamford, Conn.-based company’s 31 million subscribers can now get ad-supported streaming apps as part of their TV packages, which would otherwise cost an additional $125 a month. Ad-free versions are also offered at a discounted price.

Over the last year, El Segundo-based DirecTV rolled out smaller packages of channels aimed at consumers who no longer want a big monthly bill for the panoply of networks that have accumulated in the pay TV bundle over the years. The satellite TV service now offers smaller “genre packages” of channels and streaming apps that cater to a particular interest available at a lower price — designed for news junkies, sports fans, kids and Spanish-language speakers. There is one for entertainment channels as well.

There are early indications consumers are responding. In the second quarter of this year, Spectrum reported a loss of 80,000 cable customers due to cord-cutting, a significant decline from the same period in 2024, when 408,000 homes ditched cable.

DirecTV does not disclose its subscriber numbers, but Vincent Torres, the company’s chief marketing officer, said the smaller and more bespoke channel packages are drawing younger consumers who have bypassed pay TV subscriptions up to now.

For Spectrum, the deal to get the Disney apps came out of an ugly carriage dispute in August 2023 that for 12 days left customers without programming, including the U.S. Open tennis tournament and the start of the college football season. The standoff followed comments by Walt Disney Co. Chief Executive Bob Iger that taking the company’s program services directly to the consumer and bypassing its traditional pay TV partners was inevitable.

Spectrum CEO Chris Winfrey suggested his company could get out of the video distribution business and stick to selling its far more profitable broadband internet services.

The dispute was a sharp example of the pressure on cable providers that have been asked to pay more to carry the channels from Disney and other media conglomerates as they feel the pressure of rising programming costs and sports rights fees. The costs are passed along to customers who are paying more for content that is available on streaming services. Spectrum insisted on a deal that made Disney’s streaming apps available to its customers at no additional cost.

The tensions subsided and, in June, Spectrum reopened and extended its contract with Disney before it was up — a rarity in the contentious arena of carriage negotiations that lead to channel blackouts.

DirecTV’s slimmer cable packages came after a similarly bruising dispute with Disney last September, with customers losing access to the channels for 13 days.

But there was a new spirit of unity on stage at Spectrum headquarters, where ESPN Chair Jimmy Pitaro, the architect of ESPN’s direct-to-consumer strategy, was among the guest speakers.

Although Pitaro has long hammered away at how ESPN needs to be accessible to sports fans wherever they are, he touted the value of the cable subscription and described the relationship with Spectrum as “the best it has ever been.”

Spectrum customers already get ESPN channels through their cable subscription, but adding the direct-to-consumer app allows them access to its features such as enhanced real-time stats during live games and a personalized “SportsCenter” that uses AI to create a custom highlight show for users.

Spectrum has enlisted the networks it carries to make promotional spots touting its new services. Speaking at the Spectrum event, Winfrey acknowledged it will take some time for consumers to get used to the idea of getting more from their cable provider at no additional cost.

“Our No. 1 issue is — and this may shock you — but customers don’t trust the cable company,” Winfrey said. “Maybe with good reason. For how many decades did the cable industry go out and say HBO is included for free? And it was for three months and then, $10 would show up on your bill. We’ve conditioned people to think it’s a free trial period.”

Torres notes that more consumers are experiencing what he calls “content rage” as the prices of individual streaming services such as Peacock and Disney+ continue to rise. As programming gets sliced and diced for the growing number of services, consumers are finding that more than one subscription is necessary, especially for fans of the NFL or NBA, which have spread their games over several services.

“You see a growing frustration that ‘I can never find what I want to find when I want to watch it,” Torres said. “The fragmentation of the content is creating customer dissatisfaction. They can’t always find what they’re looking for.”

Along with its slimmer channel packages, DirectTV recently introduced a new internet-connected device called Gemini that combines streaming apps with traditional TV channels.

Pay TV companies are also offering voice-controlled remotes to help consumers find what they want to watch, whether on streaming or a traditional channel.

Executives say more enhanced viewing experiences are coming to keep the pay TV customer connected.

Starting this season, Spectrum’s SportsNet channel will be offering its Los Angeles customers several Lakers games in an immersive video format that can be streamed through an Apple Vision Pro device. The technology will give users a courtside view of the game at Crypto.com Arena. All that’s missing is a seat next to Jack Nicholson, but as AI advances, who knows?

Stuff We Wrote

Film shoots

Number of the week

Disney’s sci-fi sequel “Tron: Ares” got off to a weak start, opening with just $33.5 million in North American theaters.

The results were well below 2010’s “Tron: Legacy,” which opened to $44 million. The production budget for “Tron: Ares” was reportedly $180 million.

Still, Disney does have two potential box office hits later this year with “Avatar: Fire and Ash” and animated sequel “Zootopia 2.”

Finally …

Stacy Perman’s deeply reported piece on fake collectible movie props is a must read. Bonus points for an appearance by notorious movie and TV executive Jim Aubrey, known as “The Smiling Cobra.”

Jimmy Kimmel figured his ABC late-night show was toast during last month’s firestorm over his comments following conservative activist Charlie Kirk’s shooting.

“I said to my wife: ‘That’s it. It’s over,’” Kimmel recalled Wednesday night at the Bloomberg Screentime media conference in Hollywood in a lengthy sit-down interview three weeks after the controversy.

The 57-year-old comedian has all along felt his statements about the Kirk shooting were misconstrued. But he recognized his show was in deep trouble on Sept. 17 when his bosses benched him and two ABC affiliate station owners, Nexstar Media Group and Sinclair Broadcast Group, initially refused to air the program.

Kimmel provided fresh details about his dealings with Walt Disney Co. brass, his emotional hiatus and the late night television business in the wake of rival CBS announcing it was canceling “The Late Show with Stephen Colbert” next spring.

Kimmel declined to say whether he would extend his long ABC run when his contract is up in May, but he acknowledged an interest in producing other projects.

Kimmel’s future was in doubt last month after his comments and the political backlash spawned boisterous protests that shined a light on 1st Amendment freedoms, the role of the Federal Communications Commission and the challenges facing Disney as it looks for a new leader to replace Chief Executive Bob Iger next year.

The controversy began with his Sept. 15 monologue when Kimmel said Trump supporters “are desperately trying to characterize this kid who murdered Charlie Kirk as anything other than one of them and doing everything they can to score political points from it.” Right-wing influencers howled; FCC Chairman Brendan Carr called Kimmel’s actions “the sickest conduct possible.”

The sentiment he was trying to convey “was intentionally, and I think maliciously, mischaracterized,” Kimmel said.

He didn’t sense the initial fallout was “a big problem,” but rather a “distortion on the part of some of the right-wing media networks,” he said.

Kimmel had planned to clarify his remarks Sept. 17, but Disney executives feared the comedian was dug in and would only inflame the tense situation. That night, about an hour before showtime, Disney hit pause and released a statement saying the show had been pre-empted “indefinitely.”

He was off the air for four days.

“I can sometimes be aggressive. I can sometimes be unpleasant,” he said.

A protester calls for the return of “Jimmy Kimmel Live!” after Walt Disney Co. yanked the ABC comedian in September over comments he made about the shooting of right-wing influencer Charlie Kirk.

(Genaro Molina / Los Angeles Times)

He recognized the show’s precarious position when Sinclair and Nexstar bailed. He recalled an episode from early in his career when he made a joke about boisterous Detroit basketball fans, saying “They’re gonna burn the city of Detroit down if the Pistons win,” so he hoped the Lakers would prevail.

The comment riled up the Motor City, prompting the local ABC affiliate to briefly shelve Kimmel’s show.

An ABC executive at the time told Kimmel the loss of the Detroit market could be catastrophic. That pales in comparison to the threatened loss of Nexstar and Sinclair, which own dozens of stations, including in such large markets as Seattle, St. Louis and Washington, D.C.

“The idea that I would not have …. 40 affiliates [stations] … I was like, ‘Well, that’s it,’” Kimmel said.

But he said he “was not going to go along” with demands made by station broadcasters.

Sinclair, a right-leaning broadcaster, said in a statement it would not air Kimmel until he issued “a direct apology to the Kirk family” and “make a meaningful personal donation to the Kirk Family and Turning Point USA,” the right-wing group Kirk founded.

Both Sinclair and Nexstar resumed airing the show Sept. 26. ABC offered no concessions.

Kimmel complimented Disney’s co-chair of entertainment Dana Walden’s handling of the crisis, saying she was instrumental in helping him sort through his emotions.

“I ruined Dana’s weekend. It was just nonstop phone calls all weekend,” Kimmel said, saying he doubted the situation would have turned out so well “if I hadn’t talked to Dana as much as I did, because it helped me think everything through, and it helped me just kind of understand where everyone was coming from.”

When asked who might become the next CEO of Disney, Kimmel said it would be “foolish” to answer that question.

“But I happen to love Dana Walden very much, and I think she’s done a great job,” Kimmel said.

Throughout the controversy, Walden and Iger were skewered by critics who asserted the company was caving to President Trump, who has made it clear that he’s no Kimmel fan. The Disney leaders were accused of “corporate capitulation.”

“What has happened over the last three weeks … was very unfair to my bosses at Disney,” Kimmel said. “It [was] insane, and I hope that we drew a really bold red line as Americans about what we will and will not accept.”

Kimmel returned Sept. 23 with an emotional monologue that championed the 1st Amendment.

Ratings soared.

The controversy — and CBS’ upcoming cancellation of Colbert — has focused new attention on the cultural clout of late night hosts, despite the industry’s falling ratings.

Millions of viewers now watch monologues and other late night gags the following day on YouTube, which means networks that produce the shows have lost valuable revenue because Google controls much of that advertising.

Networks acknowledge the late night block is challenged, but Kimmel said such shows still matter.

He scoffed at reports that cite unnamed sources suggesting Colbert’s show was on track to lose $40 million this year.

“If [CBS] lost $40 million, they would have canceled it already,” Kimmel said. “I know what the budgets for these shows are,” alluding to the ABC, CBS and NBC shows.

“If we’re losing so much money, none of us would be on,” he said. “That’s kind of all you need to know.”