The box office hit a power-up this weekend, as “The Super Mario Galaxy Movie” continued a healthy streak for family films in theaters.
The animated sequel from Universal Pictures, Nintendo and Illumination raced to $190 million in the U.S. and Canada in its five-day holiday weekend debut, placing it solidly in first place, according to studio estimates and Comscore data. That total was in line with expectations of a $186-million domestic opening.
Globally, the film earned $372.5 million, the largest opening so far in 2026.
The first film based on the video game franchise, “The Super Mario Bros. Movie,” made $146.4 million in its 2023 debut.
“The Super Mario Galaxy Movie,” which had a production budget of $110 million, continues the story of iconic Nintendo characters Mario, Luigi and Princess Peach as they journey to rescue Princess Rosalina.
Amazon MGM’s “Project Hail Mary” came in second at the box office with a domestic total of $30.7 million – pushing its total to $217 million. A24’s “The Drama ($14.4 million), Disney’s “Hoppers” ($5.8 million) and Universal’s “Reminders of Him ($2.2 million) rounded out the top five.
The success of “Mario” this weekend is another example of the power of family films at the box office.
Animated movies like Sony Pictures Animation’s “Goat” and Walt Disney Co. and Pixar’s “Hoppers” have performed well in theaters this year, along with the strong holdover performance of Disney’s 2025 hit “Zootopia 2,” which has now made more than $1.87 billion worldwide.
That’s all contributed to a stronger first quarter in the theatrical business, as this year’s revenue was up more than 20% compared with the same period in 2025. March was especially strong, with the massive haul from “Project Hail Mary.”
Malcolm in the Middle star Justin Berfield spent years playing older brother Reese in the beloved American sitcom and he has now given his first interview in almost 20 years ahead of its reboot
Liam McInerney Content Editor
08:17, 31 Mar 2026
Malcolm (Frankie Muniz) with Reese (Justin Berfield) (Image: Carin Baer/FOX)
The actor who famously played Reese in Malcolm in the Middle has broken his silence after 20 years — and revealed the real reason he quit Hollywood.
Justin Berfield is back on our screens next month with the four-episode revival of the popular show that ended two decades ago. And he has now revealed why he has remained so quiet since then.
Speaking on The Joe Vulpis Podcast, Justin, now aged 40, was asked whether he had done any other podcast or interview since the sitcom ended.
He replied: “No, like podcasts weren’t a thing and I’ve always just said no because like I wasn’t working on anything. I’m just like a stay-at-home dad! So, why am I going to do a podcast?
“Because I’m just chilling at home with my kid. So unless I had something to talk about, I’m like, I don’t want to go on a podcast.”
He then explained that he has remained in the industry by working behind the camera as an onset producer and writer on various projects.
And he added: “I was just like, I don’t care (about going on podcasts). I’m enjoying my life. Unless I have something to talk about current. I don’t want to go back in time and talk Malcolm.”
However, he is now more than happy to talk about the beloved sitcom, given Hulu’s Malcolm in the Middle: Life’s Still Unfair is set to land on Disney+ in April.
The final episode of Malcolm aired in May 2006 and Justin revealed in the rare interview why he quit Hollywood soon after.
He said he moved to Colorado with his wife, Liza, after filming because he just wanted a change of scenery.
Giving an insight, he said: “Lots of fly fishing. I still miss it. I love it because I just loved being somewhere so secluded. I was still living in Denver so I was like in the city because I still like access to sports teams and good restaurants and things like that. So I wasn’t living in the mountains or anything like that, even though I went to visit them quite often.
“But I kind of separated from Hollywood and I just got to live somewhere else for once because I grew up here and I just wanted to live somewhere else.
“At that time I had no kids, so I was like, this is the perfect time to do this. So we lived there for three years and then we moved back to LA.”
He also revealed that he quit acting and was never “in demand” after the show.
However, he said he never had the intention of becoming the next Leonardo DiCaprio and that he has loved being a stay-at-home dad to his two children in recent years.
The new series of Malcolm in the Middle will see Justin return as the older brother of Malcolm, played by Frankie Muniz.
Malcolm’s other brother, Francis, played by Christopher Masterson, is also set to return, as are Bryan Cranston and Jane Kaczmarek who play parents Hal and Lois.
And asked what it was like being back on set with his old colleagues, Justin said it felt like no time had passed at all.
He added: “It felt like a really, just a really long hiatus. When we were filming the show, you’d film for like eight months and then you’d take like two, three months off, and then kind of go back and do some things again and start seeing everyone, and that was like your year for seven years straight.
“And then we did this, it was obviously like 20 years since we’d seen each other for most of us. And you just kind of, it felt like time stopped, like we just got right back into it.”
The synopsis to the upcoming revival reads: “After shielding himself and his daughter from his family for over a decade, Malcolm is dragged back into their orbit when Hal and Lois demand his presence at their 40th anniversary party.”
Malcolm in the Middle: Life’s Not Fair arrives on Disney+ on April 10
CHESSY, France — A 118-foot mountain of ice rose over the suburban Paris countryside this weekend as Disney opened its Arendelle kingdom to the world — Elsa’s palace glowing at the summit, a “Frozen” Nordic fishing village below, and the company’s new chief executive standing before a crowd of celebrities.
World of Frozen, an immersive land themed to the blockbuster animated franchise, opened Sunday as a centerpiece of a $2.2-billion transformation at Disneyland Paris.
The transformation renames one of Disneyland Paris’ two parks from Walt Disney Studios Park to Disney Adventure World. The inauguration drew Penélope Cruz, Naomi Campbell and Teyana Taylor.
It is the largest expansion in the 34-year history of Disneyland Paris, and one node in a roughly $60-billion global build-out of Disney’s parks, resorts and cruise lines.
A new CEO’s first stage
It is also the first major international stage for Josh D’Amaro, who took over as Disney’s CEO on March 18 — 11 days before the French gates opened — after nearly three decades in the company’s theme parks division.
The parks-and-experiences business reportedly generated 57% of the company’s $17.5 billion in segment operating income last year, the force that observers say propelled D’Amaro from parks chief to the corner office.
“The Walt Disney Co. was built on one man’s dream, and for more than 100 years we’ve shared that dream with the world,” D’Amaro told the inauguration crowd.
“Storytelling is fundamental to everything that we do, whether that’s on screen or stage, in our theme parks, on our cruise ships, or even at home.”
He called the opening “a transformational moment” and paid tribute to the creative team behind the attraction, including “Frozen” writer-director Jennifer Lee — who are all now at work on “Frozen 3.”
An Associated Press journalist accompanied D’Amaro on the “Frozen” ride Saturday night.
The carriage splashed through water to childlike cheers from riders and laughter from the new CEO as they glided past Elsa singing in the dark. Some stepped off lightly wet.
The evening’s emotional peak came when Lou, an 11-year-old whose wish was granted through Make-A-Wish France, took the stage to sing a few notes of “Do You Want to Build a Snowman?”
A next-generation robotic Olaf walked out to join her. It was the 25,000th wish fulfilled for a sick child at Disneyland Paris since 1992.
A French reversal
On Friday, D’Amaro had stood alongside Emmanuel Macron at the resort.
The French president used the visit to claim the park as a national economic asset, calling Disneyland Paris “the leading tourist destination in Europe” and describing it as “a genuine ecosystem of success.”
Macron said the latest expansion would create 1,000 additional direct jobs.
“Since the beginning, that’s 13 billion euros invested on this territory,” Macron said, a figure equivalent to about $15 billion.
Disneyland Paris says it has recorded more than 445 million visits since 1992, accounting for 6.1% of France’s national tourism revenue.
Macron’s presence underscored a remarkable reversal.
When the park opened as Euro Disney in 1992, French intellectuals derided it as a “cultural Chernobyl.” The president at the time, Francois Mitterrand, dryly derided the new attraction as “not exactly my cup of tea.”
Now a French president was standing in front of cameras calling it an engine of national prosperity.
European roots
“‘Frozen,’ of course, has its roots in European storytelling,” said Michel den Dulk of Walt Disney Imagineering.
“It’s very loosely based on Hans Christian Andersen. So to have a northern European, charming wooden little village here in Disneyland Paris — it just made sense.”
The new Tangled family ride, too, draws from European folklore — the Brothers Grimm’s Rapunzel.
The land re-creates Arendelle around a lagoon, its timber buildings painted in muted Scandinavian pastels, facades adorned with rosemaling, a traditional Norwegian decorative art.
At the center is Frozen Ever After, a boat ride featuring state-of-the-art animatronics and immersive projection effects.
Guests can meet Anna and Elsa inside Arendelle Castle, have a conversation with a responsive baby troll named Mossy who talks back, and watch a lagoon celebration called the Snow Flower Festival — featuring an original song.
Visitors praised the scale of the mountain and the detail of the village, even after delays and minor glitches.
“Despite the wait, it was well worth it. The attention to detail is incredible, and the perspective of the ice mountain is breathtaking,” said Daniel Weber, 41, an architect from Munich, Germany, after the ride Sunday.
“You forget you’re outside Paris. For a few minutes, it really feels like Arendelle,” said Léa Moreau, 27, a graphic designer from Lille, France.
Beyond World of Frozen, the rebranded park brings a vast new lake called Adventure Bay, a Tangled family ride, 15 new dining locations — including the posh Regal View Restaurant — and a nighttime spectacular called Disney Cascade of Lights featuring more than 380 drones.
A Lion King land, already under construction, will follow.
More than 90% of the second park’s offerings will have been redesigned since it opened in 2002, and Disney says the footprint will roughly double once the full transformation is complete.
Disney’s streaming has swung from deep losses to profitability, but the parks remain the company’s most dependable earnings engine — and D’Amaro is the man who ran them.
“We continue to dream bigger and bring stories to life in brand new ways,” D’Amaro told the crowd.
Pyrotechnics lighted up Arendelle Village.
The ice palace on the mountain turned blue.
And 34 years after Euro Disney became a punchline, a brand-new kingdom opened in the fields east of Paris — for the first time in forever.
EMMA Bunton has been spotted beaming alongside pal Holly Willoughby at a Disney launch after the Spice Girls reunion was cancelled.
The singer, 50, attended the press day of Disney Adventure World and World Of Frozen at Disneyland Paris in France on Saturday.
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Emma Bunton posed alongside pal Holly Willoughby at a Disney press launch in ParisCredit: GettyShe looked chic as she embraced the Disney spiritCredit: Getty
She appeared to put her band’s woes to one side as she posed for pictures with her longtime friend Holly, 45.
Baby Spice got into the spirit of things by donning a pair of Mickey Mouse ears as well as a tie with the famous character on it.
She looked chic in a white shirt tucked into a pair of straight leg jeans and a cream wool coat.
Emma wore her blonde locks straight and opted for a subtle make-up look.
Meanwhile, Holly wore a black t-shirt tucked into jeans with a black coat and some brown boots.
She too got into the Disney spirit with a set of ears as the two put on their widest smiles for photos.
The two women have been firm friends for several years and are often spotted socialising with their group of friends, including Melanie Blatt and Christine Lampard.
Emma’s appearance comes after The Sun exclusively revealed that the Spice Girls’ 30th anniversary reunion has been cancelled after they failed to pull their plans together in time.
Emma, as well as Mel C, Mel B, Victoria Beckham and Geri Halliwell-Horner had been in talks to reunite for a string of concerts to mark three decades since the release of their debut single Wannabe.
The Sun understands they failed to reach an agreement and plans for a comeback tour in 2026 have been ditched.
Confirming the news during an interview on The Smallzy Show on Australia’s KIIS Radio, Mel C, 52, said: “No, there is no reunion.
“We are communicating all the time. We want to do something – who knows when.
“But I still feel very optimistic and I keep my fingers crossed that you will see the Spice Girls together at some point in the future.”
The Sun told last April how Geri, 53, was back in touch with the band’s former manager Simon Fuller and had flown out to Miami to try and agree on a deal.
It comes as it was revealed that the Spice Girls reunion has been cancelledCredit: Instagram
As recently as January, Mel C had insisted they were still in active discussions about celebrating the milestone.
And even Victoria, 51, had prompted hopes she could return to the group, saying she “loves” the idea of a residency at Las Vegas venue Sphere.
She said in October of the prospect: “It would be tempting. But could I take on a world tour? No I can’t. I have a job…
“How good would the Spice Girls be at the Sphere! I love the idea of it. I mean I don’t know if I could even still sing, I mean I was never that great!”
However, in recent weeks, plans have fallen apart, with just a collectible coin from the Royal Mint being announced to mark the anniversary.
A planned Netflix drama based on the group was shelved last month amid reported tensions in the group.
The Spice Girls have not performed together as a five-piece since the London 2012 Olympics closing ceremony.
They last reunited without Posh in 2019 for a sold out 13-date stadium tour of the UK and Ireland, selling 700,000 tickets and making £4.4m each.
The group are celebrating 30 years since the release of their hit song WannabeCredit: Getty
Epic Games, the developer of the popular video game “Fortnite,” is laying off more than 1,000 employees and cutting $500 million in costs.
Chief Executive Tim Sweeney announced the cuts Tuesday morning in a message to employees. He said it has nothing to do with AI and instead pointed to what he said was a lack of “Fortnite” engagement last year.
“Despite Fortnite remaining one of the most successful games in the world, we’ve had challenges delivering consistent Fortnite magic with every season,” said Sweeney in a statement.
The company’s flagship game was first released in 2017. Since then, it’s been a key part of internet culture — where character-specific dances became widespread trends and major musicians, like Travis Scott and Ariana Grande, have hosted concerts in the virtual realm.
But Epic has been slow to optimize the computer game for mobile play. A “Fortnite” app was first introduced in 2018, but soon removed due to a legal battle against Apple and Google over app store practices. Sweeney said the company is still in the “early stages of returning to mobile and optimizing Fortnite for the world’s billions of smartphones.”
Many of Epic’s woes also come from industry-wide challenges, like “slower growth, weaker spending, and tougher cost economics,” Sweeney wrote. And Epic isn’t the only one suffering. In recent years, gaming companies like Electronic Arts and Microsoft’s Xbox division have all cut down their workforces.
Epic Games was founded in 1991 and is headquartered in Cary, North Carolina. It has dozens of offices around the world, including in Los Angeles. Beyond “Fortnite,” the company is known as a leader in 3D engine technology and interactive entertainment.
Over the years, Epic Games has steadily built itself into a major Hollywood player. Its 3D creation tool, the Unreal Engine, has been used to produce visual effects and virtual worlds for shows like Walt Disney Co. and Lucasfilm’s “The Mandalorian” and HBO’s “Westworld.”
In 2024, Disney inked a deal with Epic Games to create a games and entertainment universe with the company’s brands, including Star Wars, Marvel and Pixar. Disney invested $1.5 billion in Epic Games for a minority stake in the company. Newly minted Disney Chief Executive Josh D’Amaro managed the collaboration with Epic Games in his previous role as parks chief to create a Disney world within the popular “Fortnite” game.
Looking ahead, Sweeney plans to focus the company on building “awesome Fortnite experiences” with fresh content and continue to accelerate its developer tools like the Unreal Engine.
In the summer of 2025, Walt Disney Co. executives placed a big bet on a reality TV star prone to high drama: messy personal relationships and allegations of domestic violence.
Now, Disney’s ABC network could lose at least $70 million with a nearly finished season of “The Bachelorette” sitting on the shelf.
Last week, ABC yanked this season of “The Bachelorette,” which features 31-year-old Taylor Frankie Paul, just three days before the premiere episode was set to air Sunday night. Disney pulled the plug after the emergence of a three-year-old video that showed Paul — the protagonist of Hulu’s massive hit series, “The Secret Lives of Mormon Wives” — physically attacking her ex-partner.
Paul can be seen screaming and throwing metal chairs, one of which apparently struck one of her children who witnessed the altercation. Her onetime partner, Dakota Mortensen, recorded the video of the attack on his cellphone.
Trouble has been brewing around “The Bachelorette” for weeks as Paul was doing publicity for the show.
Draper City, Utah, police have separately confirmed an investigation into a subsequent domestic violence incident in February between Mortensen and Paul. As part of that inquiry, Paul, 31, has temporarily lost custody of the couple’s son, Ever, who turned 2 last week — the day the troubling video came out.
“Taylor is very grateful for ABC’s support as she prioritizes her family’s safety and security. After years of silently suffering extensive mental and physical abuse as well as threats of retaliation, Taylor is finally gaining the strength to face her accuser and taking steps to ensure that she and her children are protected from any further harm,” said a spokesperson.
Representatives of Mortensen could not immediately be reached for comment. In a statement to People magazine, a representative for Mortensen said that “his number one priority here is protecting” his son, Ever.
Last month, Disney requested an investigation to sort out Paul’s and Mortensen’s differing accounts of the February incident, according to people close to the situation who were not authorized to speak publicly about the sensitive situation.
The scandal has become the first big test for Dana Walden, who last week was installed as Disney’s president and chief creative officer — the day before the video showing a violent Paul was leaked to TMZ.
The episode has raised uncomfortable questions about why Disney made Paul the face of one of ABC’s marquee franchises.
It also has shined a light on the decision-making of Walden’s newly anointed ABC team: Debra OConnell, the chair of Disney Entertainment Television; Disney Television Group President Craig Erwich; and Rob Mills, Disney TV’s executive vice president of unscripted and alternative entertainment.
Disney declined to comment.
The network has not said whether it plans to eventually air Paul’s season of “The Bachelorette.”
But the network made a huge investment, paying a license fee of about $5 million an episode for the season to Warner Bros., said sources familiar with the matter. The season includes nine episodes and other programming elements, including a special that ran immediately after ABC’s Oscar telecast this month, which attracted 5.5 million viewers, according to Nielsen.
Dakota Mortensen, left, and Taylor Frankie Paul are stars of “The Secret Lives of Mormon Wives.”
(Fred Hayes / Disney)
ABC also orchestrated a huge marketing blitz — billboards for the show had sprouted around the country, social media channels were crackling and Paul appeared on ABC’s stalwart “Good Morning America,” where she discussed her role on “The Bachelorette,” where she dated nearly two dozen men in search of her soulmate.
She also acknowledged simultaneously facing domestic abuse allegations, which she called a “heavy time.”
“For me, dating as a mom of three is extremely difficult,” Paul told ABC anchor Lara Spencer. “I was like, I get to go out, get away from my toxic cycle here in Utah, go date, and also have my kids come out and visit me. That to me seemed like, why not?”
Advertisers, including Cinnabon, have also pulled back in light of the controversy.
Viewers have long been fascinated by Paul, who earned notoriety on TikTok and formed a community there called MomTok. Her combative relationships added to the intrigue.
Hulu’s “The Secret Lives of Mormon Wives” has been a massive hit, developing a loyal following and an alternative to the “Real Housewives” franchise on the rival network, Bravo. A clip from the show was included in a Disney video montage of movies, TV shows and other headlining attractions shown to investors last week.
Mills and other Disney executives who oversee ABC and Hulu programming had been looking for ways to reinvigorate “The Bachelor” franchise, and they had taken notice after fans latched on to a playful video that Paul had posted on TikTok, expressing her desire to join the long-running ABC show, which is produced by Warner Horizon.
Comments posted about Paul’s video were intriguing, particularly for viewers who said that they would return to watch “The Bachelorette,” if it featured her.
“I flew out to Utah and met with her and she was serious [about joining],” Mills told The Times two weeks before the controversy. “Then I sent her roses the next day and said, “Would you be ‘The Bachelorette’ and the rest is history.”
Disney recognized that Paul’s relationship with Mortensen was messy.
Disney executives were aware of the altercation in 2023 and briefly debated internally whether to move forward with Paul in a prominent role in “Mormon Wives,” according to a source close to the situation but not authorized to comment. Paul is an executive producer on that show.
The first episode of the first season of “Mormon Wives,” which debuted in September 2024, featured Utah police bodycam footage from the February 2023 fight that was the subject of the just-released video.
The final moments of the most recent season ended with Paul and Mortensen sleeping together again, the night before she was scheduled to fly to L.A. to begin filming “The Bachelorette.” She missed her initial flight, but took a later flight.
Disney also has paused filming on “Mormon Wives” during production of its fifth season.
Over the show’s four-season run, there have been tensions among the castmates, which accelerated as Paul and the other wives pursued fame in other venues, including on ABC’s “Dancing with the Stars.”
When the recent allegations of domestic violence surfaced, castmates expressed concerns about working with her, which contributed to the decision to hire an outside law firm to investigate.
The firm was hired, at Disney’s request, by the show’s production firm, Jeff Jenkins Productions, based in Sherman Oaks.
Times Staff Writer Yvonne Villarreal contributed to this report.
Spring is the season of creation, a time of renewal and new beginnings. In Los Angeles, alas, we were, last spring, a city of cinders. It was a time to mourn.
A hard year followed with floods, ICE, AI, etc., menacing our native optimism. Making matters worse, in December we lost L.A.’s grand visionary vizier, the architect who time and again built us out of civic funk and transformed L.A., inspiring the city he so loved to look good, feel good and do good.
But that is still the case. So many plans Frank Gehry imagined for L.A. still remain. Gehry bequeathed blueprints and models, sketches and concepts, for his large and devoted team of younger architects and next-generation visionaries equipped to fabricate our way out of angst.
Isn’t there supposed to be an Olympics on the way for which the city appears ill-prepared? Spring 2026 is the time to build.
A couple of springs ago, L.A. County dubbed the blocks around Gehry’s masterpiece, Walt Disney Concert Hall, the Grand Avenue Cultural District. This includes the rest of the Music Center, Museum of Contemporary Art, the Broad and Colburn School. The Grand, Gehry’s resplendent complex across the street from Disney, had recently opened and ground was about to be broken for the Colburn Center, a 1,000-seat concert hall equipped to also serve dance, opera and whatever yet-to-be-invented genres Gehry designed it to enable.
The Colburn Center is well on its way to completion next year. Bits of the building’s pink skin have started to peek out like spring blossoms on the construction site at 2nd and Olive. The Broad has begun an expansion. But after two years, nothing else has been done to make this the cultural district it must become, one unlike anything else in any city.
Four springs ago I toured Grand Avenue with Gehry to gather what he had in mind for an arts district. When Disney Hall opened in 2003, it instantly became an enduring symbol of L.A., overtaking the Hollywood sign in many cases. The Dodgers want to parade joy in winning their second World Series in row last October, where else but in front of Disney? But not in front of all Gehry had in mind.
We will soon have a pair of futuristic new museum buildings to show off this year: the David Geffen Galleries, the controversial Los Angeles County Museum of Art’s Peter Zumthor building (I predict it will prove a sensation), and the new Lucas Museum of Narrative Art (no predictions on that one) next door to the Coliseum. But the fact that each is a 15-minute ride away from the cultural district’s new Metro station only makes the district even more of a center.
A center, indeed. Gehry’s vision included completing the original plans cost-cut out of Disney a quarter-century ago, along with new modifications and much more throughout the area. Some are more costly than others. Enough could be done on Grand Avenue in time for the Olympics to make a difference if we begin this minute.
Since its opening, Disney has been — shamefully — the most poorly lit building of its stature in the world. Gehry had chosen the specific steel for its capacity to reflect light. His idea was to project on the building whatever concert was taking place that night. No sound, just imagery. Belt-tighteners didn’t want to commit the $2 or $3 million or whatever and go through the trouble.
It was spectacularly tested at the hall’s 10th anniversary, but with tacky prerecorded video and crummy amplification. Facilities are now included in the Grand for projectors. It would have been amazing in 2003 and will be amazing now. The Grand has been disappointingly slow to attract the restaurants, bars, cafes and shops it needs to create a scene. The projections could change all that and even create enough of a ruckus to get a reluctant, car-crazed city to make that Grand Avenue block pedestrian.
There is much more for Disney. Gehry wanted to turn BP Hall, where preconcert talks occur, into a small chamber music hall with a suspended balcony. He had plans for reconfiguring the seldom-used small outdoor Keck Amphitheater into an enclosed jazz club for Herbie Hancock and turning the little-used 1st Street entrance into a glass-enclosed bar that would be named the Ernest, in tribute to Ernest Fleischmann, the L.A. Phil executive director who was responsible for building Disney.
Disney was supposed to have a pit for the orchestra, allowing for staging opera and dance. The plans exist. That could be done in a summer for a couple million. Bottom-liners had also nixed Gehry’s original design for a more gracious lobby with a cafe out front, not the gloomy one installed against his will.
The Colburn Center has the potential for being another game changer for the area, a vibrant new hall where we are promised upward of 200 events a year from all walks of musical life, local and international. But Gehry had in mind even more.
He intended to lower the steep and pedestrian unfriendly 2nd Street hill, so that it would be an easy walk from the new Metro station two blocks away, and add two more pedestrian blocks by diverting traffic to the 2nd Street tunnel. This would connect the cultural district with Grand Central Market on one end and the Broad on the other. Then 2nd could itself become a lively street with the stores and restaurants a “district” needs.
A model of architect Frank Gehry’s design of an addition for Colburn School.
(Christina House/Los Angeles Times)
The extraordinary original plans for the Colburn Center included turning the parking lot across 2nd from the hall into a public plaza with a giant video wall and high-end outdoor sound system, for projecting nightly concerts in the hall. Gehry was a devoted outdoor-indoor architect, and he designed for the hall a balcony on which musicians can perform.
That initiative has thus far been blocked by City Hall officials, fearful of the tunnel’s aging infrastructure. Although if that’s the case, I’m not all that eager to be in the tunnel as it currently is when the Big One comes along. This is where L.A. shows its moxie. Upgrade the tunnel. Now! If this were Beijing, New Delhi or Hanoi, it would be a no-brainer.
Gehry next proposed building low-cost artist housing in Grand Park directly across from the Music Center, which would further create a true arts community. There has been talk of renovating the Dorothy Chandler Pavilion for three decades and that’s all it’s been. The corporate-esque recent Music Center plaza could use a little excitement, maybe a Phase II.
Arts make a city. The Edinburgh Festival in Scotland was created after World War II to help bring the city back to life. After its fire-bombing, Tokyo founded a bevy of symphony orchestras as a phenomenal experiment in mass antidepression. Beethoven’s Ninth Symphony played no small role in lifting the collective mood, preparing Tokyo to create what now feels like the world’s most arresting capital.
Unlike Scotland, unlike England, unlike Germany, unlike France, unlike Italy, unlike Poland, unlike Russia, unlike Finland, unlike the Czech Republic, unlike China, unlike any number of countries, America has no major international arts festival these days. We had one in L.A. in 1984 with the Olympic Arts Festival. The Cultural Olympiad in 2028 has shown no bones. But if we make the cultural district what it could be, there would be no better place anywhere for a major festival.
We have the goods. L.A. artists helped make the modern Salzburg Festival the meaningful model for all others. In 1992, the summer before Esa-Pekka Salonen became music director of the Los Angeles Philharmonic, he and the orchestra were invited to shake up clinging Austrian tradition. With the help of director Peter Sellars, they staged Messiaen’s epic opera “Saint François d’Assise,” with pyramids of televisions, resulting in music and monitors upending, in Mozart’s hometown, the role of the modern opera and, so to speak, the sound of music.
Over succeeding decades, both Sellars and Salonen have been Salzburg Festival lodestars. Last summer they were back staging two monodramas, Schoenberg’s “Erwartung” and “Abschied” (the last movement of Mahler’s symphonic song cycle “Das Lied von der Erde”). Conductor and director looked with shocking depth into the “Expectation” of death and gave a “Farewell” to the “Song of the Earth” we all await. I saw it twice and can’t imagine how anyone came away from it quite the same person, not more alive, not more fragile. Art on the stage doesn’t get deeper than “One Morning Turns Into an Eternity,” as Sellars named the production. Salonen, who conducted the production with Vienna Philharmonic, is now about to become the L.A. Phil creative director in the fall and will bring the production to Disney with the L.A. Phil next season. It is thus far the most important opera news of next season in America. All the more reason to build that pit in the hall and get started on much bigger plans.
Salzburg, which manages to come up with around $80 million from here and there, also helped with the question I’ve evaded: Who’s going to pay for all this? I’ve evaded it because it’s the wrong question. Money only started pouring into the building of Disney Hall when people got wind of what it was going to become. Five years ago, Crypto.com paid more than $700 million to change the name of Staples Center. That amount, which created nothing but an advertisement for a product of dubious value to society, is the price of two Walt Disney Concert Halls and probably all of Gehry’s projects put together. It is the amount that could fund nearly nine Salzburg-scale festivals.
If we let ourselves believe that L.A. wealth only cares for mega-crypto advertising, mega-mansions and mega-yachts, then L.A. is over. It isn’t. Do we want to show only that to the world? Downtown, and prominently Crypto.com Arena in L.A. Live, have been designated a center for LA28, as we’re calling the Olympics. That makes a graciously glorifying cultural district, which functions as creation being existential not commercial, just up the road from L.A. Live, L.A. live.
When one morning turns into an eternity, you don’t ask for the bill.
A channel spokesperson said: “We have made the decision to not move forward with the new season.”
22:46, 19 Mar 2026Updated 23:31, 19 Mar 2026
Taylor Frankie Paul was due to star in the new series of The Bachelorette(Image: Disney via Getty Images)
The new series of reality TV dating show The Bachelorette has been cancelled following domestic violence allegations against one of its stars. A video of Taylor Frankie Paul appearing to assault her ex-boyfriend Dakota Mortensen had been published by TMZ.
Taylor was announced as the star of the latest series of the show, which is a spin-off from The Bachelor and sees a woman choosing a husband from a large pool of romantic interests. It had been a huge success for US network ABC and Paul was due to be central to its 22nd series.
However, a spokesperson for ABC owner Disney said today it would be pulling the show, which has already been filmed and was due to air on TV in a matter of days.
It said: “In light of the newly released video just surfaced today, we have made the decision to not move forward with the new season of ‘The Bachelorette’ at this time, and our focus is on supporting the family.”
TMZ obtained a video of a 2023 incident with Taylor and her ex, Dakota, where she was arrested for and charged with assault, criminal mischief, and domestic violence in the presence of a child. In the video Dakota can be heard saying: “This is called physical abuse.”
Police bodycam footage of Taylor’s arrest in the 2023 incident was played on the first episode of Hulu’s Secret Lives of Mormon Wives.
A spokesperson for Paul issued a statement to People in response to the video. It said: “It’s sad to see the latest installment of his never-ending, desperate, attention-seeking, destructive campaign to harm Taylor without any regard for the consequences for their child.
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“Releasing an old video, which conveniently omits context, on their son’s birthday is a reprehensible attempt to distract from his own behavior. Thankfully, the public has seen this act before and knows who he is and sadly, many will recognize this pattern of manipulation, both in his actions on the show, and from their own experiences.”
Paul also confirmed that the next series of The Secret Lives of Mormon Wives, which first aired in 2024, has paused production for its fifth season. Her co-star, Mikayla Matthews said: “It was a decision that all of us girls came up with. We didn’t feel comfortable filming with everything that was happening.”
Paul rose to fame on social media as part of a group of young mothers from the Church of Jesus Christ of Latter-day Saints who made dance videos and parenting content in Utah.
It has been reported that Salt Lake County District Court records show Mortensen today filed for a protective order against Paul via his attorney, but that the filing was sent back for a correction and an amended petition.
“The best way I can describe it is, it’s an addiction,” says Taylor Frankie Paul.
The star of “The Secret Lives of Mormon Wives” is seated by a window in an empty Starbucks within a downtown Salt Lake City hotel, reflecting on her relationship troubles in an interview Feb. 19. Followers of Paul’s screen life are all too familiar with the drama. Now, others can’t escape knowing about it too.
Days later, a dispute with her on-again, off-again partner would lead to an investigation by police that surfaced in multiple news reports this week, and on Thursday, the release of a video recording of a separate dispute in 2023 would lead to a pause on “The Bachelorette,” her latest starring role on reality TV, three days before it was set to premiere.
Her brush with fame began with #Momtok, as the self-proclaimed founder of the Utah-based group of Mormon moms that spawned the so-called corner of TikTok where they shared choreographed dance videos and light lifestyle content. But in 2022, she rose to notoriety after revealing in a TikTok Live session details about an arrangement she had with her then-husband Tate Paul to pursue intimate relations with other consenting couples (without having extramarital sex); she confessed to violating their agreement by having an emotional affair. The salacious revelation, which became known as the “soft-swinging” scandal, lit up social media and, eventually, led to the creation of Hulu’s breakout hit “The Secret Lives of Mormon Wives.” Much of Paul’s story across the show’s four seasons has revolved around her rocky relationship with Dakota Mortensen, the man she began dating following her divorce.
Dakota Mortensen and Taylor Frankie Paul in a scene from “The Secret Lives of Mormon Wives.” The pair share a 2-year-old son.
(Fred Hayes / Disney)
Even as the show documented the lead-up to Paul becoming the new face of “The Bachelorette,” her biggest screen opportunity yet, the pair’s on-again, off-again dynamic remained as turbulent and confusing as ever, down to the “Mormon Wives” season’s final minutes. A despondent Paul nearly upended the start of production on ABC’S dating series when she missed her flight to Los Angeles after sleeping with Mortensen, who is the father of her youngest son, Ever, the night prior. (She took a later one.)
“I was just still stuck in the cycle,” she says, noting she hasn’t watched the “Mormon Wives” finale. “That’s why I knew I had to leave [to do ‘The Bachelorette’], if that makes sense … I can’t help people understand it because my own brain doesn’t understand it. The only thing I can relate it to is, it is a drug; the toxicity is a drug. It’s always a mind game and I fall for it every time, and I cave and it’s just so dumb. I get exhausted saying it to people because I’m like, ‘I don’t blame you guys. I’m mad at me.’”
The hook of a 31-year-old mother of three trying to find love — who unapologetically wears her troubles on her sleeve — was supposed to be what made her a desirable candidate for the latest crossover experiment to hit Disney’s reality TV universe. But in the week leading up to Sunday’s Season 22 premiere of “The Bachelorette,” reports surfaced detailing allegations of domestic violence involving Paul and Mortensen. Utah’s Draper City Police Department confirmed there is an open investigation involving the pair; a spokesperson for the department declined to share more details amid the ongoing investigation. But according to a person familiar with the situation, allegations were made by both parties involving incidents on Feb. 24 and Feb. 25, less than a week after our interview. No charges have been filed in the case.
Taylor Frankie Paul in a promotional still from ABC’s “The Bachelorette,” now on pause.
(Sami Drasin / Disney)
Paul was previously arrested and charged in 2023 for a separate dispute involving Mortensen, eventually pleading guilty to one count of aggravated assault; other charges were dropped. Part of that incident was documented in the first season of “Mormon Wives.” On Thursday, TMZ published a video of the incident, leading Disney Entertainment Television to hit pause on the planned premiere of “The Bachelorette.” “In light of the newly released video just surfaced today, we have made the decision to not move forward with the new season of ‘The Bachelorette’ at this time, and our focus is on supporting the family,” the statement from Disney read. Whether the season will be released at a later time or be re-edited remains to be seen, according to a person familiar with the matter.
“Taylor is very grateful for ABC’s support as she prioritizes her family’s safety and security,” read a portion of a statement provided by a representative for Paul. The statement went on to say Paul suffered “extensive mental and physical abuse as well as threats of retaliation.”
While Season 5 of “The Secret Lives of Mormon Wives” began production in January, cameras were not following Paul during the time of the recent incidents; Paul was focused on publicity commitments for “The Bachelorette.” Hulu and ABC declined to comment on the ongoing investigation. Mortensen could not be reached for comment. Production on “Mormon Wives” is currently on pause and a decision on Paul’s status as a cast member has not been made, according to a person briefed on the situation.
Paul’s chaotic reality now casts a shadow on both shows. The programming experiment aimed at expanding and blending the audiences of ABC’s veteran dating series and Hulu’s budding answer to the “Real Housewives” franchise now becomes an example of too much of a good thing — in this case, overextending a breakout hit early in its run — and how it can backfire. And it puts a spotlight on the discourse surrounding vetting failures and oversights in reality TV, as well as the compulsion or limits by viewers to rubberneck, particularly by savvy viewers of a genre that thrives on sordid personal drama.
How the ‘Mormon Wives’ crossover took shape
At a time when the traditional television landscape faces steep challenges, accelerated by a radical shift in viewing habits spurred by streaming and social media, Disney has been blurring the lines between its linear and streaming properties — ABC and Hulu — to maximize the reach of its unscripted assets. “Mormon Wives,” which has released four seasons in less than two years, has become a key player in that effort. Earlier this year, two of its cast members, Jen Affleck and Whitney Leavitt, competed against each other on “Dancing With the Stars.” And Paul’s casting as “The Bachelorette” makes her the first heroine who was not a contestant on a previous season of “The Bachelor.”
Prior to the reports about Paul, The Times spoke to Robert Mills, who leads Walt Disney Television Alternative, as well as show producers, about collaboration efforts within the company’s broadcasting universe as a way to expand and reward viewer curiosity.
Mills, a veteran ABC unscripted executive, said it was a way the company can distinguish itself from its competitors, particularly as it seeks to build Hulu’s unscripted slate against streaming rivals with deeper benches. And the possibilities on how to apply it to “Mormon Wives” began the summer ahead of its launch. As “Dancing With the Stars” producers were in the final stretch of casting the show’s 33rd season, Mills says there was talk of having one of the women be a contestant on the competition that fall, to coincide with the new show’s arrival.
“I do remember saying, ‘If it’s not this season, I know we’re going to have somebody next season because you can just feel this,” he says, referring to the energy surrounding “Mormon Wives.” “When the show took off, then it became, ‘OK, now we know we’re doing it.’”
And while having a cast member compete on “Dancing With the Stars” may, on its own, create a curiosity factor for audiences of both shows, the added layer of having the journey play out on “The Secret Lives of Mormon Wives” had the potential to heighten the story and viewing experience. And why not have two “Mormon Wives” cast members in the same season to see how their competitiveness plays out? So they did.
Dancer Jan Ravnik with partner Jennifer Affleck on “Dancing With the Stars.” (Eric McCandless/Disney)
Mark Ballas and Whitney Leavitt, who reached the semi-finals on the dancing competition series. (Eric McCandless/Disney)
The casting process for “DWTS” was documented in the third season of “Mormon Wives,” with Affleck and Leavitt pitching themselves to ABC executives. And their journey on the competition, including moving their families to Los Angeles and their eventual falling out, is featured in Season 4.
Corporate synergy within the Disney portfolio is nothing new, particularly on “Dancing With the Stars.” Disney Night is a recurring themed episode on the competition show, with contestants dancing to Disney, Pixar and Marvel tunes. And the series has featured stars from “Bachelor” nation before. But navigating the ins and outs of stories that intertwine without overstepping has required nimbleness.
“We basically carved out times where they [the ‘Mormon Wives’ crew] could film rehearsals and we always had a producer present just in case something happened that was dramatically important for our show,” says Conrad Green, the showrunner of “Dancing With the Stars.” “It’s like a gentleman’s agreement — we’re borrowing talent off another show so we have to work together and it works for everyone’s benefit.”
Stretching out a successful series typically leads to spin-offs — and yes, Mills says, those conversations are happening with “Mormon Wives” — at least at the time of the interview. In the meantime, the crossover strategy has become its key feature. Its third season featured the fallout from an explosive crossover with Hulu’s “Vanderpump Villa,” which follows Lisa Vanderpump, a former Bravo star, and her staff at various luxury European estates. MomTok stars Demi Engemann and Jessi Ngatikaura were guests on that show’s second season and got embroiled in drama with staff member Marciano Brunette, who alleges he had intimate connections with both women. The recent fourth season of “Mormon Wives” revisits the crossover, with some of the women’s spouses partaking in their own “Villa” getaway that fuels more drama.
Layla Taylor, left, Jessie Ngatikaura, Mikayla Matthews and Demi Engemann of “The Secret Lives of Mormon Wives” at the castle in “Vanderpump Villa.”
(Andrea Miconi / Disney)
Paul’s casting in “The Bachelor” universe continues the long-running franchise’s efforts to revamp as it ages, to mixed results. In 2021, the franchise cast its first Black male lead; last year, it entered the senior citizen dating space with spin-off “Golden Bachelor.”
After Paul posted a TikTok in June 2025 jokingly announcing her “bid” as a single mother looking for love, members of the company’s publicity department took notice and, before long, discussions began. When the idea to bring on a star outside the franchise was presented to”The Bachelorette” showrunner Scott Teti, he did some homework.
“Of course, I had heard of her — it’s hard not to hear of that name,” he says. “But I had to familiarize myself with it because I hadn’t watched her show. Instantly, you realize how honest and truthful she is, almost to a fault. Although she’s unrelatable in a lot of ways, with the attention she gets from media and social media … she has a layered story that I think is very relatable to a lot of people — being a single mother and not having success in past relationships and still really wanting to find love.”
He adds that though she was a “fish out of water” the first night, she found her way. “She made herself vulnerable and she finally let her walls down and made herself open to being in a relationship, finding someone,” he says. “At the same time, because she is used to doing things her own way, and not really caring what anybody thinks, that is what made it interesting. That is why this season is so big, and there are so many pivotal points in the season that will leave you on the edge of your seat.”
At least that was the plan.
Dressed in beige lounge pants and an oversize T-shirt adorned with mushrooms when we meet, Paul is affable despite her sluggish demeanor as she navigates the schedule demands in this window between “Mormon Wives” Season 4 and her debut as “The Bachelorette.” She pulls out her phone to share a series of TikTok videos that capture what she says is her current mental state — one features a man sarcastically talking about how he’d rather be petty than regulate his emotions. No stranger to finding a wide audience with viral videos, Paul sees the crossovers as “genius marketing.” But also acknowledged their potential challenges to #MomTok.
“I think it’s really cool to see all the different opportunities you can venture off into,” she says. “I think the con of that, with #MomTok, is that with all the opportunities, it kind of spreads us apart. We’re doing our own thing. It could break friendships. You’re getting envious. You get competitive.”
As the cast’s fame and opportunities grow, whether across Disney or outside of it — Leavitt, for example, is starring as Roxie Hart in “Chicago” on Broadway — the way to keep the series interesting is to incorporate all those moments into the show rather than pretend they live outside of it.
“We have not shied away from breaking the fourth wall,” says “Mormon Wives” showrunner Andrea Metz. “We have not shied away from talking about what is really happening with them. And I think that people like that. The trajectory of their fame and their stars rising has been very quick, but it’s also been really exciting.”
And the highs and lows are in full view, as this week proves.
Was she ready for ‘The Bachelorette’?
How all this might impact #MomTok — the power of their clique to withstand the various in-fighting and drama has become a perennial concern each season — is already playing out in the headlines.
Before recent allegations against Paul threatened the outcome of “The Bachelorette,” Paul’s entanglement with Mortensen had already cast doubt for some viewers of both franchises about whether she went into the dating series with any seriousness. The break between wrapping “Mormon Wives” and starting filming on “The Bachelorette” was one day. Paul admits she isn’t sure she was ready for the experience.
“I might not have been ready, but ready is a decision — just do it,” she says. “It was like a rehab, almost. It’s full detox. I had no contact — in no world does it happen with the co-parent. Whether or not I was ready, it was what was so needed for me, at the very least to just get away from it. And I wanted to find someone and love.”
“‘The Bachelorette’ is one of the hardest things I ever did,” she continues, “but also the most amazing things I ever did. I have my kids back home. I’m not just here looking for me. The emotional exhaustion was a lot. I’m dating 20-something guys. I am putting my all into one conversation after the other, every single day, all day. Your brain is just kind of fried.”
Then she considers a question that didn’t feel as prescient then: Does she feel like it broke the cycle she’s had with Mortensen?
“Yeah, I feel like it helped,” she says. “Obviously things — [we’re] within the process of the show, I can’t speak on it yet. But you’ll see it all unravel.”
DISNEY is launching another cruise ship next year – with some first time princess appearances.
In 2027, Disney Cruise Line will be launching its ninth ship called the Disney Believe.
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Disney Cruise Line is launching a new ship next year called Disney BelieveCredit: Disney Cruise Line
The ship will be the fourth ship in the Wish class, joining Disney Wish, Disney Treasure and Disney Destiny.
It will be themed on “dreamers and doers who dare to pursue their own happily ever after”.
On board, stories that will be featured will be from Disney, Pixar, Marvel, and Star Wars.
Each Wish class ship features its own theme, for example Disney Wish is enchantment-themed, Disney Treasure is adventure-themed and the Disney Destiny is heroes and villains-themed.
Disney Believe will be ‘promise and possibilities-themed’.
Disney Cruise Line stated: “Onboard the Disney Believe, powerful tales of characters who believe in themselves and their dreams will come to life in exciting new ways.
“From the mystical worlds of Encanto and Frozen, to the wishing wells of Snow White, to the depths of the sea with Moana and The Little Mermaid, there are endless stories waiting to be discovered and new chapters ready to unfold onboard.”
These characters already feature onboard some of the Wish class ships, with an Arendelle dining experience onboard the Disney Wish.
However, Snow White currently does not feature prominently on any of the current Wish class ships.
The Disney Believe is expected to launch in late 2027.
Disney also announced last month that the Disney Wish ship will be coming to the UK next year.
The ship will sail from Southampton on three to seven-night European sailings.
Entering through the Grand Hall, passengers will meet famous Disney princes and princesses.
Inside each stateroom, passengers will find spacious wardrobes, sprawling beds and a theme specific to a Disney character.
Disney Believe will be promise and possibilities-themedCredit: Disney Cruise
When it comes to food on board the ship, guests won’t be short for choice, with market-style buffet options and immersive dining adventures, such as Arendelle: A Frozen Dining Adventure.
As for other entertainment, passengers can head to West-End style shows including Disney Seas the Adventure, where passengers follow Goofy on a journey sailing the ship.
For a thrilling adventure, head on the Disney AquaMouse ride, which features lighting, special effects and scenes of Mickey and Minnie on different adventures.
And the ultimate night for the whole family is Pirates’ Night, where Captain Jack Sparrow takes a fateful leap from the ship’s funnel.
Parents wanting some time to themselves can check their kids into either the full-service nursery or kids and teens clubs before exploring the ship’s adult-only spaces such as the Senses Spa & Salon.
The cheapest sailing is a three-night Belgium cruise from Southampton, sailing to Zeebrugge (Bruges) in Belgium costing from £1,633 for two people.
In other cruise news, here’s the ultimate family cruise – it has a water roller coaster, a private island and an onboard beach club.
Walt Disney Co. installed Josh D’Amaro as chief executive Wednesday, beginning a new chapter for the storied Burbank entertainment giant.
Bob Iger passed the reins during Disney’s virtual annual meeting of shareholders, completing the company’s high-stakes and tightly choreographed changing of the guard. After spending two decades molding Disney into a media colossus, Iger segued into a senior advisory role, which will run through December when he officially retires.
The leadership shift comes amid an upheaval in Hollywood as traditional companies wage a desperate battle for survival.
D’Amaro, in his first address to shareholders, pointed to Disney’s signature storytelling as its competitive edge.
“While others in our industry are consolidating just to compete, or struggling to be relevant in a fragmented and disrupted world, Disney is in a category of one,” D’Amaro said during a video segment at the meeting. “This next chapter will be driven by staying focused on world-class creativity, enhanced by technology, bringing unforgettable stories to audiences wherever they are.”
D’Amaro, 55, becomes the ninth leader in Disney’s 102-year history. He was selected last month by Disney board members after a two-year internal bake-off among high-ranking division leaders. Board members were impressed with his business acumen, charisma and his deep love for Disney and its fabled history.
D’Amaro inherits a company that is beloved by millions. It generates $94 billion a year in revenue and employs 230,000 people.
He faces enormous challenges as he steers the ship through a turbulent media environment and tense geopolitics. The war in Iran prompted a sharp increase in fuel costs, which could become a drag on Disney’s critically important tourism business. Executives already have signaled “headwinds” in international visitation at its U.S. theme parks this year.
Lingering Middle East tensions also could weigh on Disney’s plans for a new Persian Gulf waterfront theme park and resort near Abu Dhabi.
D’Amaro, who served as parks and experiences chief until Wednesday, got his corporate start at Disneyland 28 years ago.
“Like so many of you, my connection to Disney goes back to my childhood, long before I began my career here,” D’Amaro told shareholders. “I grew up in a Disney family. We watched ‘The Wonderful World of Disney’ on Sunday nights. I was 10 years old when my family visited Disneyland for the first time. … Disney has always been a place of imagination, innovation and infinite potential.”
Disney previously announced a $60-billion, 10-year expansion program, which D’Amaro has led. But executives must strike a balance by keeping attractions true to their nostalgic core. In Anaheim, the expansion could result in at least $1.9 billion of development.
Disney also must continue to grow its animation business and manage revenue declines from its traditional linear television channels, including ESPN and ABC. It needs to turbocharge its streaming services with compelling movies and TV shows to remain competitive with Netflix and other leaders in the field.
Disney teased upcoming fan favorites, including the May release of Lucasfilm’s “Star Wars: The Mandalorian & Grogu,” a “Bluey” feature film (the kids show featuring an animated puppy, a blue heeler) and a sequel to a “Lilo & Stitch” film for 2028.
Streaming is key to Disney’s future, D’Amaro said.
“Disney+ will continue to evolve beyond a traditional streaming service to become the digital centerpiece of our company,” D’Amaro said, calling the service “a portal that connects our stories, experiences, games, films, and more in entirely new ways.”
The company plans to unify Disney+ and Hulu later this year.
Disney also must continue to incorporate technology while safeguarding its characters and franchises.
“We will continue to develop and embrace new technologies to empower our storytellers — but never at the expense of our characters and worlds, our creative partners, or the trust people place in us,” D’Amaro said. “Because Disney at its core is a company that celebrates human creativity.”
Wednesday also marked a reorganization of the company, configured by Iger, D’Amaro and Disney’s board.
Board members recognized that D’Amaro, who has spent most of his career in the parks division, lacks deep connections among Hollywood’s writers and producers. They elevated longtime television executive Dana Walden, who had been vying for the top job, to the newly formed role of chief creative officer and the company’s first woman president.
ESPN will continue to be managed by Jimmy Pitaro and Disney Entertainment, Studios chairman Alan Bergman will remain in his influential role overseeing film studios including production, marketing and distribution, and sharing oversight for streaming programming with Walden.
D’Amaro’s total compensation package is valued at about $40 million a year, including a $2-million annual base salary, $26.2 million in annual long-term stock incentives, a cash bonus and a one-time promotion award of $9.7 million.
“Josh is a wonderful choice to lead the Walt Disney Co.,” Iger said in a pre-recorded video. “He has passion for our businesses and brands, respect for our people, and he appreciates what makes this company so unique.”
Iger is wrapping up an unprecedented 52-year career at ABC and Disney.
He first stepped into the CEO role in 2005; his first 15 years were almost magical.
Iger led acquisitions of Pixar Animation, Marvel Entertainment and Lucasfilm, the studio behind “Star Wars,” that turned Disney into a blockbuster machine. Sports king ESPN spawned staggering profits, and Disney’s theme parks set industry standards.
Disney’s former Chief Executive Bob Iger will stay on through the end of the year as a senior advisor.
(Jay L. Clendenin / Los Angeles Times)
His decision to buy much of Rupert Murdoch’s 21st Century Fox, a $71-billion deal that closed in 2019, boosted Disney’s television production, refreshed its TV executive bench, and provided a controlling stake in general entertainment streaming service Hulu. The acquisition also gave Disney access to fan-favorite franchises, including “Deadpool,” “The Simpsons,” and James Cameron’s “Avatar.”
But the purchase left Disney saddled with debt just as the COVID-19 pandemic prompted production shutdowns and closures at theme parks and sports venues. It would take several years for Disney to recover.
Iger initially passed the CEO baton to Bob Chapek in February 2020. Iger, then chairman, retired the following year but came back in November 2022 to a mess. At the time, the company was losing billions of dollars on its shift to streaming but that unit is now profitable.
Iger spent the next three years focusing on four business pillars, including improving the quality and profitability of its film studios.
During the last two years, Disney has produced five franchise films that racked up more than $1 billion in worldwide ticket sales, including “Inside Out 2,” “Zootopia 2,” and “Avatar: Fire and Ash.”
The company is banking this year on several other films with blockbuster potential, including Disney and Pixar’s “Toy Story 5,” “Star Wars: The Mandalorian & Grogu” and Marvel Studios’ “Avengers: Doomsday.”
“I would want to be known as someone who was given the keys to this kingdom and brought it to a place that even Walt would be proud of — more storytelling, more innovation, more risk‑taking, and more creation of happiness,” Iger said during a “The Rest is History” podcast last year.
During the meeting, Iger appeared in a prerecorded video that celebrated his numerous career highlights. Shown were clips from his cub years when Iger was a newscaster with bushy black hair. His journey was depicted, including his orchestration of multi-billion-dollar acquisitions that strengthened Disney with more characters and franchises.
Iger, 75 and now gray, ended by thanking shareholders “for the trust you placed in me, for the memories we created together, and for allowing me the honor of serving,” he said. “It has meant more to me than I can say.”
Animated pixie dust twinkled on the screen, courtesy of the fairy, Tinker Bell.
“Bob, on behalf of our employees, cast members, shareholders, and fans around the world, thank you so much for your tremendous leadership, your steadfast support, and your countless contributions to The Walt Disney Co.,” D’Amaro said, as the hand-off was complete.
“You’ve set an incredible example for all of us. … You will be missed,” D’Amaro said.
There was little fanfare during the business portion of the investor meeting.
The company’s slate of board directors were elected with 93% of the vote. Shareholders also approved executive compensation packages with about 85% of votes.
Shareholder-led proposals to compel reports on charities eligible for Disney’s gift-matching program, a review of the company’s accessibility practices in its theme parks for disabled guests, and a push for cumulative voting at future meetings all failed to muster support.
Disney shares closed at $99.41, down roughly 1% on the day.
Disney has a new captain, and his eyes are on the stars.
Taking over the reins from Bob Iger on Wednesday, new chief executive Josh D’Amaro signaled a bold shift for the entertainment giant: a future where emotional storytelling remains the “North Star,” but cutting-edge technology provides the fuel.
From ESPN to the Magic Kingdom, D’Amaro said in his first letter to employees as the top boss that his mission is to turn a century of nostalgia into a more personal, high-tech reality for fans worldwide.
“Used thoughtfully, it can empower our storytellers, strengthen our capabilities, and help us create more immersive, interactive and personal ways for people to experience Disney,” he wrote in the Wednesday morning note.
D’Amaro also said he wants the sprawling company, which includes film and TV studios, a tourism division, streaming services and live sports programming, to operate as “one Disney,” saying the global businesses all play a role in deepening consumers’ relationship with the Mouse House.
That connection people have with Disney’s brand is key to the company’s future. Consumers have more film, TV and experiences to choose from than ever, meaning Disney needs to distinguish itself among competitors.
To do that, D’Amaro plans to focus on the emotions consumers feel when they encounter Disney. As an example, he reminisced about his own first visit to Disneyland more than 40 years ago.
He recalled the joy on his father’s face as the two rode Peter Pan’s Flight together. And when they soared over the miniature version of London on the ride, he remembered his father leaning in and saying, “See, I told you. It feels like we’re flying!”
“That feeling of flying I had on Peter Pan all those years ago is still real to me,” he wrote in the Wednesday morning note. “And today, I am honored to move forward with all of you — with ambition, optimism, and absolute confidence in what we can build together.”
That new era also included a goodbye to Bob Iger, who handed over the reins Wednesday and now moves into a senior advisory role for the rest of the year before his planned retirement.
The company paid tribute to Iger in a video during Disney’s annual shareholders meeting Wednesday morning.
With clips from his earliest public appearances as Disney’s CEO, a highlight reel of the acquisitions the company made under his tenure and even a nod to his previous career behind the anchor desk, the video highlighted Iger’s legacy at the company and the role he played in bulking up Disney’s franchises, global theme parks, sports and streaming platforms.
When asked in the video about where he’ll go from here, Iger laughed and replied, “To Disneyland.”
In a pre-recorded speech, Iger said his time at Disney has spanned much of his life and that he never expected to become CEO of the company — much less twice.
“Over the years, we experienced extraordinary change and faced real challenges that were particularly profound in the last three years,” Iger said. “It was daunting at times, but through it all, what sustained me was the passion I saw every day from great storytellers, innovators, leaders and people around the world.”
In his parting remarks during that speech, he expressed confidence in the new leadership team of D’Amaro and Dana Walden, who is now president and chief creative officer of the company.
“I will be cheering on Josh, Dana and all of you as I sail off into the sunset,” he said. “So thank you for the trust you placed in me, for the memories we created together, and for allowing me the honor of serving. It has meant more to me than I can say.”
Walt Disney Co.’s incoming president and chief creative officer, Dana Walden, has unveiled her leadership team, which includes several familiar faces from the company’s film, television and marketing units.
Walden will become Disney’s first woman president on Wednesday. She will report to Josh D’Amaro,who will succeed Bob Iger as Disney’s chief executive, following the company’s annual meeting with shareholders and its high-profile leadership handoff.
Walden’s senior team includes her longtime creative partner, Alan Bergman. As chairman of Disney Entertainment and Studios, Bergman will continue to oversee Disney’s film studios, including production, marketing and distribution.
Bergman also will retain oversight of Disney’s streaming programming in concert with Walden.
Disney executives Joe Earley and Adam Smith were named co-presidents of Disney’s entertainment direct to consumer offerings — Disney+ and Hulu. Both executives will be responsible for strategy and financial performance and report to Walden and Bergman.
Earley and Walden worked together when they were Fox executives; Earley will also serve as head of content strategy.
Smith continues in his role as Disney Entertainment chief product and technology officer. He also will continue to collaborate with ESPN Chairman Jimmy Pitaro on matters related to ESPN and ESPN+.
Debra OConnell will step into a newly-formed role as chairman of Disney Entertainment Television.
She will have a broad TV portfolio that includes ABC Entertainment, Disney-branded cable channels, Hulu Originals as well as programming from National Geographic, 20th Television and 20th Television Animation.
OConnell will continue to oversee ABC News and the ABC-owned television stations, including KABC-TV Channel 7 in Los Angeles.
Disney’s incoming president Dana Walden has established her senior leadership team.
(Richard Shotwell/Richard Shotwell/Invision/AP)
Sean Shoptaw, who serves as executive vice president for games and digital entertainment, and his organization, will shift from Disney Experiences and into Walden’s division.
Shoptaw oversees Disney’s games business and its collaboration with Epic Games to develop a Disney universe connected to Fortnite.
John Landgraf remains chairman of FX and will continue to report directly to Walden.
Asad Ayaz, who is chief marketing and brand officer, has an influential remit across Disney’s various business segments. He will report to D’Amaro and Walden.
“The strength of Disney has always been the emotional connection between our stories and the people who love them,” Walden said in a statement. “As fans engage with Disney across more formats and platforms than ever before, we are bringing together the full power of our creative businesses to build an even more connected experience for audiences.”
If April is the cruelest month, per T.S. Eliot, the Oscars surely must be the cruelest (and longest) season. Other awards shows push their way into the queue for moments of borrowed red carpet glory, but the Academy Awards are what the buildup is all about and the one people remember.
Thankfully, the countdown can now be measured in hours and minutes rather than months, with the 98th Academy Awards slated to start Sunday at 4 p.m. at the Dolby Theatre at Ovation Hollywood. Conan O’Brien is back to host the awards for the second straight year.
The 2026 Oscars will air on ABC, and those with cable subscriptions can also watch the show by logging in to the ABC app or abc.com. The telecast will stream live on Hulu, YouTube TV, AT&T TV and FuboTV. Internationally, the ceremony will be broadcast in more than 200 territories.
Beginning in 2029, the show will stream exclusively on YouTube.
Follow along live as we wait to hear the words “And the Oscar goes to … ”
Actress in a supporting role Elle Fanning, “Sentimental Value” Inga Ibsdotter Lilleaas, “Sentimental Value” Amy Madigan, “Weapons” Wunmi Mosaku, “Sinners” Teyana Taylor, “One Battle After Another”
Actor in a supporting role Benicio del Toro, “One Battle After Another” Jacob Elordi, “Frankenstein” Delroy Lindo, “Sinners” Sean Penn, “One Battle After Another” Stellan Skarsgård, “Sentimental Value”
Adapted screenplay “Bugonia,” Will Tracy “Frankenstein,” Guillermo del Toro “Hamnet,” Chloé Zhao and Maggie O’Farrell “One Battle After Another,” Paul Thomas Anderson “Train Dreams,” Clint Bentley and Greg Kwedar
Original screenplay “Blue Moon,” Robert Kaplow “It Was Just an Accident,” Jafar Panahi “Marty Supreme,” Josh Safdie and Ronald Bronstein “Sentimental Value,” Joachim Trier and Eskil Vogt “Sinners,” Ryan Coogler
Documentary short “All the Empty Rooms” “Armed Only with a Camera: The Life and Death of Brent Renaud” “Children No More: ‘Were and Are Gone’” “The Devil Is Busy” “Perfectly a Strangeness”
Animated short “Butterfly” “Forevergreen” “The Girl Who Cried Pearls” “Retirement Plan” “The Three Sisters”
Cinematography “Frankenstein,” Dan Laustsen “Marty Supreme,” Darius Khondji “One Battle After Another,” Michael Bauman “Sinners,” Autumn Durald Arkapaw “Train Dreams,” Adolpho Veloso
Costume design “Avatar: Fire and Ash,” Deborah L. Scott “Frankenstein,” Kate Hawley “Hamnet,” Malgosia Turzanska “Marty Supreme,” Miyako Bellizzi “Sinners,” Ruth E. Carter
Film editing “F1,” Stephen Mirrione “Marty Supreme,” Ronald Bronstein and Josh Safdie “One Battle After Another,” Andy Jurgensen “Sentimental Value,” Olivier Bugge Coutté “Sinners,” Michael P. Shawver
Live-action short “Butcher’s Stain” “A Friend of Dorothy” “Jane Austen’s Period Drama” “The Singers” “Two People Exchanging Saliva”
Makeup and hairstyling “Frankenstein,” Mike Hill, Jordan Samuel and Cliona Furey “Kokuho,” Kyoko Toyokawa, Naomi Hibino and Tadashi Nishimatsu “Sinners,” Ken Diaz, Mike Fontaine and Shunika Terry “The Smashing Machine,” Kazu Hiro, Glen Griffin and Bjoern Rehbein “The Ugly Stepsister,” Thomas Foldberg and Anne Cathrine Sauerberg
Original score “Bugonia,” Jerskin Fendrix “Frankenstein,” Alexandre Desplat “Hamnet,” Max Richter “One Battle After Another,” Jonny Greenwood “Sinners,” Ludwig Göransson
Original song “Dear Me” from “Diane Warren: Relentless” “Golden” from “KPop Demon Hunters” “I Lied to You” from “Sinners” “Sweet Dreams of Joy” from “Viva Verdi!” “Train Dreams” from “Train Dreams”
Production design “Frankenstein” “Hamnet” “Marty Supreme” “One Battle After Another” “Sinners”
Sound “F1” “Frankenstein” “One Battle After Another” “Sinners” “Sirāt”
There’s a hidden door in Downtown Disney. Only this one isn’t meant to be walked through.
Flanking a stage near the monorail station, you’ll find a glistening white tower, the work of artist and activist Nikkolas Smith, who has adopted the term “artivist.” At first glance, the tower — one of Downtown Disney’s most striking works — appears to be a nod to Disneyland’s Midcentury art, for its curved lines and space-age optimism wouldn’t be out of place in Tomorrowland.
That’s there, says Smith, but there are also a number of more subtle inspirations.
The tower is a nod to five Black architects, trailblazers whose creations sometimes went unnoticed or overlooked. And that’s why at the base of the structure is a looping opening meant to signify a half-open doorway.
Downtown Disney’s Legacy Tower touches on the styles of different Black architects as it rises into the sky.
(Gary Coronado / For The Times)
Smith shares a distressing anecdote. “They had to learn how to read drawings upside down, because they weren’t allowed to sit next to the white clients,” Smith says, adding they also had to endure unequal pay. “So I was incorporating things like the half doorway to symbolize their struggle.”
Officially designated as the Legacy Tower, Smith himself fixates on that word — “legacy.” The term, he says, represents a thematic constant across his work. A regular collaborator on a number of Walt Disney Co. projects and a former architect with Walt Disney Imagineering, the division of the company focused on theme park experiences, Smith is something of a connector. His canvas art, full of fast-moving brush work, is often rooted in the past while urgently seeking to draw links to the present.
Artist Nikkolas Smith went viral for his portrait of Martin Luther King Jr. in a hoodie, a tribute to slain teenager Trayvon Martin.
(Nikkolas Smith)
His 2025 children’s book, “The History of We,” tells the story of how humanity can trace its roots to Africa. And one of his best-known pieces is of Martin Luther King Jr. in a hoodie, meant to evoke the image of Trayvon Martin, the slain 17-year-old whose death inspired a social justice movement. The work went viral in 2013 while Smith was still working for Imagineering. It altered his career trajectory.
“It was like, ‘I cannot just make art about churros and rides right now,’” Smith says. “There’s a time for that, and there’s also a time to talk about this.” He references his portraits related to the killings of Black men, many at the hands of police officers, such as Philando Castile and Michael Brown.
“At the end of the day, Disney understood that,” Smith adds. “They understood that I needed to make art that was extremely important at the moment, about justice or the lack of justice.”
Smith left Disney in 2019 after 11 years but has maintained a close relationship with the company, so much so that Imagineering called upon Smith to design the tower, which opened in 2023.
Artist Nikkolas Smith, left, chats with guests Ricky Yost and Martina Yost of Aubrey, Texas, who recognized Smith from a recent Disney cruise excursion.
(Gary Coronado / For The Times)
As the Legacy Tower spirals toward the sky, its patterns and and lattice work nod to the likes of James H. Garrott, Robert A. Kennard, Roy A. Sealey, Ralph A. Vaughn and Paul Revere Williams. All were active in Los Angeles — Williams, for instance, was a pivotal designer on the LAX Theme Building — and Smith interlaces decorative flourishes in varying styles that twist around one another to work up the Legacy Tower’s pointed spheres.
The door of the Legacy Tower symbolizes perseverance, Smith says. “They made it through, despite all of the obstacles they had to go through.”
Smith had studied the architects while a student at Hampton University, and has documented on his Instagram their various stylings, which range from restrained to whimsical to ornate. A section referencing Vaughn is modern minimalism, whereas an area dedicated to Sealey is full of jagged, pointed linework. All of it is held together via a coiling design that feels full of movement.
The patterns of the Legacy Tower are nods to the likes of James H. Garrott, Robert A. Kennard, Roy A. Sealey, Ralph A. Vaughn and Paul Revere Williams.
(Gary Coronado / For The Times)
“How can I show humanity’s interconnected future? That’s the idea,” Smith says. “There’s this African theme of Sankofa. If we look toward our future, we have to look at the past and value and appreciate the past. I thought it would be great if I could really commemorate some Black designers and architects as the foundation and backstory of the tower. And I was also thinking about these breezeway block patterns that you see in Leimert Park.”
And yet it also feels like something that belongs in the park. Smith says he looked at some Tomorrowland designs.
“A Midcentury Modern vibe was Walt,” Smith says, referring to park patriarch Walt Disney. “That was Walt’s thing. It all connects. I love that people can hopefully now connect both things. You can connect Tomorrowland and Walt with Paul Revere Williams.”
It’s clearly Smith’s favorite design of his for Disney, although it’s not the only space at the resort that features his artistry. During his decade-plus with Imagineering he regularly worked on teams that focused on projects at Disney California Adventure, which this year is celebrating its 25th anniversary. He was heavily involved, he says, in the evolution of Avengers Campus, contributed to a small promenade stage in Pixar Pier and helped envision the facade of Guardians of the Galaxy — Mission: Breakout!, which transformed the former Tower of Terror into a sci-fi structure.
Nikkolas Smith says elements of Downtown Disney’s Legacy Tower symbolize perseverance.
(Gary Coronado / For The Times)
Smith looks back fondly at his years at Imagineering, specifically calling out his time on the Guardians project. The former fake hotel is now full of glistening bronze pipes, a retro futurist look that former Imagineer Joe Rohde, who led the design, has said takes influence from the high-tech aesthetic of architect Renzo Piano, who worked on France’s Pompidou Centre.
“How much can we add to it? How much can we get away with gluing onto this thing?” Smith says of the Guardians facade. “What is the right amount of ‘Guardians of the Galaxy,’ without being too much? Without scaring people on the freeway?”
Today, Smith continues to focus on social justice work, and has also collaborated with filmmaker Ryan Coogler, such as completing concept designs for his Oscar-nominated film “Sinners.” Smith’s 2023 children’s book “The Artivist” documents the importance of creating art that’s in conversation with the world, believing it’s not only a source for education but for empathy. Smith’s weekly paintings speak out often against the current administration, and Smith has been particularly vocal on the ICE raids.
A selection from “The Artivist,” an illustrated book from Nikkolas Smith.
(Nikkolas Smith)
“Some people say that all art is activism, but I feel that some of the best art that is created is art that has a message,” Smith says. “And hopefully that message has to do with the humanity of all people, and for me, I like to focus on marginalized communities, and how we can value the humanity of everybody. That’s why I make picture books about the origins of humanity and the origins of this country.”
The Leimert Park resident says his wife and young son regularly visit the Disneyland Resort. And when he does, Smith says, he always takes a moment to stop by the Pixar Pier stage that he contributed to, which is often used for character meet and greets.
“They were team projects, and I do go up to them with so much pride,” he says. “I go up to the Pixar Pier promenade stage, and I just go up to it and touch it. … The beautiful thing about Disney is these creations are usually around for a lifetime.”
It turns out you can take the artivist out of Disney, but you can’t fully take the Disney out of the artivist.
It took months of effort, lobbying and mounds of cash for Paramount Skydance to finally clinch its prize of Warner Bros. Discovery.
Now, however, the David Ellison-led company faces a long and challenging road to merge these two media giants and set it up for a successful future.
Key to that will be striking a delicate balancing act between investment and paying down its debt load of $79 billion, which is massive even by Hollywood standards.
Notably, the figure is even greater than Warner’s nearly $55 billion of debt post-merger with Discovery, a burden that hamstrung the company for years and led to successive rounds of layoffs and relentless cost cutting.
Last week, my colleague Meg James wrote about the concerns Fitch Ratings and S&P Global Ratings have about Paramount’s credit, given the mountain of debt the company will now carry. Fitch downgraded its credit to BB+ — “junk” territory — from BBB-, and S&P Global Ratings placed the company’s ratings on “negative watch.”
Carrying that amount of debt comes with significant risks.
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For one, a company with a lot of debt that is “junk”-rated is going to be under pressure to cut costs. “Junk status” means a company’s debt is rated below the level that credit agencies consider investment grade. Such a rating means it can be more expensive to refinance or take out new loans, raising the cost of capital.
Paramount executives have already said they plan to find $6 billion in “synergies” within three years, though they’ve emphasized that the majority of their cost cutting will come from “non-labor sources,” including consolidating their streaming technology and cloud providers, combining IT systems across the company and “optimizing the combined real estate footprint and the broader corporate overhead,” among other ideas.
And as I wrote last week, most Hollywood observers and those familiar with Ellison’s plans predict that Paramount will be forced make steep layoffs to offset the cost of the deal and eliminate overlapping roles and functions between the two historic studios.
At the same time, in order to compete with well-funded rivals, Paramount-Warner Bros. will also need to invest in new programming — something that can be difficult for a heavily leveraged business .
Paramount executives have said their cost-cutting efforts won’t include a reduction in production capacity, and Ellison has reiterated that there will be continued spending on programming. Beyond content, he’ll also likely need to invest in improving the technology along with the look and feel of the streaming platforms.
“Whether or not they have the capital to do all of that and to try to get their leverage down is something I’m curious to hear about,” said Naveen Sarma of S&P Global Ratings.
It’s possible that Paramount may not be able to pursue a good opportunity in the future because it has used up all its debt capacity and can’t raise additional financing, said Kelly Shue, a professor of finance at Yale School of Management.
“It might cause them to underinvest in good projects in the future,” she said.
And the company needs to spend on good projects.
The economics of this deal hinge on the combined heft of Paramount and Warner’s two libraries and valuable intellectual property, which will unite Harry Potter, DC Studios, SpongeBob SquarePants and “Mission Impossible” all under one roof.
And on the theatrical side, Ellison has said the combined company will release 30 films a year — 15 from each studio. That would be a substantial increase from 2025, when the two companies released 18 films — eight at Paramount and 10 from Warner Bros.
“While studios content budgets might not come under immediate focus for cost cutting, we have a hard time seeing no content costs savings considering opportunities to reallocate or pull back from at least the linear networks,” MoffettNathanson’s Robert Fishman wrote in a note to clients last week.
Of course, all of this would come only after the deal’s completion. On the immediate horizon, Paramount needs to secure international regulatory approval as well as at home. Although state attorneys general including Rob Bonta of California have said this is not a “done deal,” most analysts expect that any opposition there is only likely to slow — not stop — the transaction.
A very masculine year in film
A recent study from San Diego State University put a number on something we all suspected: The percentage of female protagonists in the top 100 films last year dropped. A lot.
Female protagonists made up just 29% of the top-grossing films in 2025, down from 42% in 2024, according to the university’s annual study of women’s representation in top films. A selection of film titles from the last year says it all: “The Running Man,” “A Working Man,” “Superman.”
That 29% figure has, unfortunately, been very consistent over the years — it was the same in 2016 and has largely hovered in the range of high 20s to low 30s for the last decade, with a few exceptions (40% in 2019 and 42% in 2024).
Focusing on just the protagonists in the top 100 films means that small fluctuations can change that percentage greatly.
But when the study looked at a broader sample size of the more than 1,900 characters in those films, the results weren’t much better.
The percentage of women in speaking roles was 38%, up just 1% from 2024. And the percentage of major female characters declined to 36% in 2025 from 39% the year before.
The fact that these figures have not moved much, in spite of the countless panels and think pieces about the issue, suggests there isn’t much will in Hollywood to change, said Martha Lauzen, author of the study and founder and executive director of San Diego State’s Center for the Study of Women in Television and Film.
“Representation is social relevancy and social capital,” she told me. “So when you see fewer women than men, that’s a message.”
Stuff We Wrote
Film shoots
Number of the week
Walt Disney Co. and Pixar’s “Hoppers” came in big at the box office this weekend with a $46-million opening in the U.S. and Canada — the strongest domestic debut for an original animated movie since “Coco” in 2017. Globally, the film made $88 million.
The reception is an encouraging sign for original animated movies, which have largely struggled at the box office since the COVID-19 pandemic while their sequel counterparts have shined.
What I’m watching
Several months ago, some friends and I started a movie club, where we each nominate a film we want to watch and we rotate who gets to make the final selection. Last week, we watched the 1996 comedy “First Wives Club,” which I had never seen but loved for its goofy antics, unexpected song-and-dance number and the focus on the enduring power of female friendships.
Walt Disney Co. and Pixar’s “Hoppers” took the box office crown this weekend in an encouraging sign for the company’s original animated films.
The film generated $46 million in ticket sales in the U.S. and Canada, marking the highest domestic opening for an original animated movie since 2017’s “Coco,” according to studio estimates. The global box office total for “Hoppers” was $88 million.
The zany movie features a young environmental advocate who “hops” her consciousness into a robotic beaver and bands together with other woodland creatures to stop a planned freeway expansion through a glade.
The film is directed by Daniel Chong, who created the Cartoon Network animated series “We Bare Bears.”
The muscular debut for “Hoppers,” as well as the strong performance from Sony Pictures Animation’s “Goat” last month, has been a positive sign for audience interest in original animated films.
Since the pandemic, theatrical returns for animated sequels have far surpassed that of original films. Disney’s “Zootopia 2,” for instance, has now grossed more than $1.8 billion in global box office revenue, with more than $426 million domestically. Disney and Pixar’s 2024 hit “Inside Out 2” also crossed more than $1.6 billion globally.
By contrast, Disney and Pixar’s 2025 original film “Elio” brought in about $154 million in worldwide box office revenue.
Original films are vital to Pixar’s future, as the Emeryville-based studio built its reputation on its string of nearly uninterrupted original blockbuster hits, including 1995’s “Toy Story” and 2004’s “The Incredibles.”
Paramount Pictures and Spyglass Media Group’s “Scream 7” came in second at the box office with $17.3 million in its second weekend in theaters. Warner Bros. Pictures’ “The Bride!,” Sony’s “Goat” and Warner Bros.’ “Wuthering Heights” rounded out the top five at the box office, according to data from Comscore.
With several strong releases, as well as popular holdover films from 2025 that continue to bring in revenue, the first few months at the box office have been a notable improvement over last year’s dismal first quarter.
Domestic box office revenue so far is up more than 12% compared to the same time period in 2025, according to Comscore.
