Disney

The cost to experience the Happiest Place on Earth continues to rise as the Disneyland Resort unveiled its annual price increases for the upcoming year.

The Disneyland Resort on Wednesday morning increased prices on most tickets for guests 10 and older, with the price to visit a single park on its most in-demand days now $224 per person, up from $206. The price of its lowest-tier offering — a one-day, one-park ticket for often a less crowded weekday — will remain the same at $104. (Disneyland Resort ticket prices vary depending on the day and consumer demand.)

Pricing for all other one-day, one-park tickets on more popular days will increase between 1.5% and 4.8% — Disneyland has six tiers of pricing based on crowd levels — and most increased moderately between $3 and $7, a lower jump than in years past. Park hopper add-ons, which allow a guest to visit both Disneyland Park and Disney California Adventure on the same day, are now between $70 and $90 per day, up from $65 to $75 per day, depending on the crowd calendar.

Parking at the resort has also increased, up $5 to $40 per day for a standard vehicle.

Once in the park, those who opt for the line-skipping Lightning Lane Multi Pass will find that service starts at $34 per day, up from $32, but the program is also subject to variable pricing. For instance, today a Lightning Lane Multi Pass is $40 per guest.

Its Magic Key annual pass has also experienced an increase for its top two tiers, the so-called Inspire and Believe passes. The Inspire pass, which offers the most year-round access and highest merchandise and dining discounts, including the cost of parking, is up $150 to $1,899. The Believe key is up $100 to $1,474. Prices for its two lowest tier Magic Keys — the Enchant and Imagine — did not change.

Currently, only the Enchant and Imagine keys, the latter for Southern California residents, are available for sale. All are available for renew, as Disney makes Magic Key passes for sale available at various times throughout the year.

Disneyland has maintained its lowest $104 ticket for seven years now. This year, for instance, one can visit the park in early November at that rate in the days between the resort’s Halloween and holidays celebrations. From Oct. 7 through April 4, 2026, Disneyland has also increased its number of $104 days, up from 20 to 32 for the upcoming months.

“Disney Parks offer a full day of experiences each day, with ticket, hotel, and dining options designed to suit a wide range of needs and budgets for all who visit,” read a statement from the company. “Our commitment to creating magical experiences for everyone remains at the heart of what we do — and that will never change.”

The resort has also unveiled a new California ticket offer, which is set to go on sale Dec. 3. The deal is for a 3-day park-hopper ticket, which can be used on non-consecutive visits, and starts at $249 per person, which amounts to $83 per day. A Lightning Lane Multi Pass add-on will bring the cost of the ticket to $351 per person, or $117 per day. The offer is good for visits from Jan. 1, 2026 to May 21, 2026.

Disneyland is currently in the midst of its 70th anniversary celebration, which will continue until next summer. As part of the latter, Disneyland unveiled the show “Walt Disney — A Magical Life,” featuring the first-ever audio animatronic of the company’s founder. Disneyland this week announced an update is coming soon to one of its most historic attractions, as it will be adding Rapunzel’s Tower to its Storybook Land Canal Boats, a leisurely boat ride through tableaus of exquisite miniatures.

While Disneyland has yet to announce its full slate of programming for 2026, popular festivities such as Lunar New Year and the Food & Wine Festival are set to return. Disneyland Park in its Star Wars: Galaxy’s Edge area will unveil a new mission on its attraction Millennium Falcon: Smugglers Run to tie into the upcoming film, “The Mandalorian and Grogu.” The new interactive scenes are set to debut May 22, 2026.

Disney’s experiences division — which includes the Disney theme parks, cruise line and Aulani resort and spa in Hawaii — reported revenue of $9.1 billion, up 8% compared with the previous year, in its most recent quarterly earnings report. Operating income rose 13% to $2.5 billion.

Taylor Swift has already conquered the music world and the concert business, so it’s no surprise that this weekend she reigned supreme over the box office — again.

Swift’s latest venture into theaters came in the form of a listening session/fan party of sorts for her latest album, “The Life of a Showgirl.”

The 89-minute movie, titled “The Official Release Party of a Showgirl,” featured the premiere of the Swift-directed “The Fate of Ophelia” music video, as well as behind-the-scenes footage and commentary from Swift about the inspiration for her new songs.

As expected with anything Swift, the film quickly rocketed to the top of a weekend box office that didn’t have a lot of new big-name releases. The one-weekend-only affair hauled in $34 million in the U.S. and Canada, AMC said Monday morning. Globally, it made more than $50 million. Paul Thomas Anderson’s “One Battle After Another” was the runner-up in its second outing this weekend, grossing about $11 million domestically.

But the lack of competition doesn’t dilute the impact Swift had — and has had — on the box office. Her three-day theatrical total beats opening weekend grosses for other recent, studio films such as the Leonardo DiCaprio-led “One Battle After Another” ($22 million), 22-year sequel “Freakier Friday” reuniting Lindsay Lohan and Jamie Lee Curtis ($28.6 million) and my personal favorite, “Downton Abbey: The Grand Finale” ($18.1 million).

I may not be a Swiftie, but I know plenty who made their way to theaters this weekend, with some dressing up for the occasion. My colleague, Malia Mendez, wrote about the Taylormania that took over AMC Century City, which screened the Swift film 21 times over three screens, just on Saturday.

There’s something to be said about harnessing the power of a fan base to drive people to theaters. Look at Swift’s last theatrical appearance — 2023’s “Taylor Swift: The Eras Tour” made about $180 million domestically and brought in more than $261 million worldwide, making it the highest-grossing concert film of all time.

As she did with the “Eras Tour” film, Swift bypassed the typical Hollywood system and worked directly with AMC Theatres Distribution to release “The Official Release Party of a Showgirl.” The film played at all of AMC’s 540 locations and also showed at other theaters such as Cinemark and Regal.

The unconventional release was welcome news for theaters, which have struggled to bring in crowds as they did before the pandemic

“On behalf of AMC Theatres and the entire theatrical exhibition industry, I extend our sincerest appreciation to the iconic Taylor Swift for bringing her brilliance and magic to movie theatres this weekend,” AMC Chief Executive Adam Aron said in a statement. “Her vision to add a cinematic element to her incredible album debut was nothing less than a triumph.”

The film’s success is another reminder of the value of nontraditional, alternative content for theaters at a time when they need to employ fresh strategies to lure younger audiences to the multiplex.

As the number of movies released by studios has decreased, theaters are on the hunt for content to put on their screens. Lately, that’s ranged from episodic streaming series like “The Chosen,” which chronicles the life of Jesus, to concert films, opera performances and anniversary screenings of hits such as “The Sound of Music,” “Jaws” or “Back to the Future.”

It’s a business that really took off after the pandemic. Distributor Fathom Entertainment has specialized in this kind of nontraditional content for more than 20 years, but it is now seeing increased interest in these types of titles, particularly anniversary screenings, which now tend to make up between 20% and 40% of the company’s annual revenue.

Providing these kinds of titles is a way to mitigate the uncertainty of the film business, where there can be highs driven by hotly anticipated releases and lows when there’s little in the lineup.

“Our bread and butter is, and has continued to be, the big studio releases,” said Daniel Fastlicht, chief operating officer of the Lot, a luxury dine-in theater chain based in La Jolla with four locations. “What we want to see more than anybody is more content. But if that doesn’t happen, we still need to fill our auditoriums with people.”

All of the Lot’s theaters had at least one or two screens showing the Swift film, and the atmosphere was light, with people singing and dressing up, including a few in Travis Kelce jerseys, said Marcos Sayd, director of operations. He noted that alternative content helps their theaters fill the less-scheduled holes in their calendar. In addition to the Swift release, the Lot also programs local documentaries and films, as well as one-off events such as the Newport Beach Film Festival to draw audiences in.

And they’re not alone. Other theaters have been looking to position themselves as gathering places for communal experiences, whether that’s to celebrate T-Swift fandom, sing and dance to “KPop Demon Hunters” or collectively scream at a horror movie. Will the post-pandemic zeal for connection repopulate theaters again? Only time will tell, but the popularity of Swift’s latest film is a positive sign.

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Last week, YouTube agreed to pay $24.5 million to settle a lawsuit President Trump filed after his account was banned by the Google-owned streamer following the Jan. 6, 2021, riots at the U.S. Capitol.

San Bruno-based YouTube is the latest tech and media company to settle one of Trump’s lawsuits. Meta, Twitter (now X), Paramount Global and Walt Disney Co.-owned ABC News have all paid multimillion dollar sums in settlements. Most of the YouTube settlement dollars will go to Trump, who plans to contribute it to the Trust for the National Mall, which is “dedicated to restoring, preserving, and elevating the National Mall” and will also fund construction of the White House State Ballroom, according to court documents.

Finally …

My colleagues, Matthew Ormseth and Summer Lin, wrote about how the strange case of an illicit casino-turned-marijuana stash house/psilocybin mushroom-growing location that eventually led police to find an Arcadia mansion filled with 15 children, most of whom were born to surrogates.

On Monday, YouTube became the latest media and tech company to settle one of President Trump’s lawsuits.

The Google-owned streamer agreed to pay $24.5 million to settle a lawsuit Trump filed after his account was banned following the Jan. 6, 2021, riots at the U.S. Capitol. That brings Trump’s haul from media and tech companies to more than $90 million in the last year.

Some of these suits deal with conflicts the president has experienced with news networks such as ABC and CBS. Others confront the fallout from the attack on the U.S. Capitol.

Some of the settlement money will pay for renovations to a presidential library Trump is building on 2.6 acres of waterfront property in Miami. Other funds will go to the nonprofit Trust for the National Mall, with the intention of building a Mar-a-Lago-style ballroom, which is expected to cost $200 million overall.

Here’s a rundown of the payouts:

YouTube: $24.5 million

After the Jan. 6 attack on the U.S. Capitol, YouTube suspended the president’s account on the platform because of Trump’s alleged role in the insurrection. At the time, the company had cited “concerns about the ongoing potential for violence” and violation of its “policies for inciting violence.”

Trump’s lawsuit, filed in 2021 at the U.S. District Court in Northern California, argued the account’s suspension was “censorship.” Before the case was settled, YouTube had already lifted its suspension on Trump in March 2023, in light of the then-upcoming presidential race.

In court documents filed Monday, Alphabet, the parent company of YouTube and Google, did not admit any wrongdoing in the matter. The company did not agree to make any policy or product changes in the deal.

Of the $24.5 million, $22 million is going to Trump, who will contribute the money to the Trust for the National Mall, which is “dedicated to restoring, preserving, and elevating the National Mall” as well as supporting the construction of the White House State Ballroom, according to the filing.

Alphabet will also have to pay an additional $2.5 million to other plaintiffs in the case, including the American Conservative Union and writer Naomi Wolf.

Social media platforms Facebook (now Meta) and Twitter (now X) had suspended Trump’s accounts over Jan. 6, 2021. At the time, Twitter put out a statement, saying that recent tweets from his “account and the context around them — specifically how they are being received and interpreted on and off Twitter” had to be suspended to avoid “the risk of further incitement of violence.”

Mark Zuckerberg of Meta also posted a statement on Facebook after banning Trump’s Meta accounts. He wrote, “We believe the risks of allowing the President to continue to use our service during this period are simply too great.”

In July of that year, Trump sued the companies for “censorship.”

By January 2023, Meta had reinstated Trump’s Facebook and Instagram accounts, as had X in 2022.

Shortly before Trump was going to take office for his second term, in January 2025, Meta decided to pay the incoming president $25 million to settle the lawsuit. Elon Musk, who had purchased Twitter and renamed it “X” in the interim, agreed to pay $10 million to settle its Trump case.

Paramount Global: $16 million

Paramount Global agreed to pay $16 million to resolve Trump’s legal salvo against “60 Minutes” over the editing of an interview with his 2024 opponent, then-Vice President Kamala Harris.

Trump claimed “60 Minutes” edited an interview with Harris to make her look better and bolster her chances in the election. CBS denied the claims, saying the edits were standard and the case was viewed as frivolous by 1st Amendment experts.

Trump wrote on Truth Social that CBS “did everything possible to illegally elect Kamala, including completely and corruptly changing major answers to Interview questions, but it just didn’t work for them.”

Last May, CBS offered $16 million to settle the civil suit filed in Texas. The lump sum included the president’s legal fees and an agreement that “60 Minutes” will release transcripts of interviews with future presidential candidates.

Less than a month after the settlement, the FCC approved Skydance Media’s acquisition of Paramount, which owns CBS.

Disney: $16 million

Earlier this year, ABC news anchor George Stephanopoulos appeared on the network’s “This Week” news program and asserted that Trump was found liable for raping writer E. Jean Carroll. In May 2023, a jury in New York declined to find Trump liable for rape, but did find him liable for sexual abuse of Carroll.

Trump responded to the on-air comments with a defamation lawsuit filed in federal court in Florida. The lawsuit was settled by ABC News, owned by Disney, last December. Disney agreed to pay $15 million toward Trump’s presidential library and $1 million of Trump’s legal fees.

The settlement also included an editor’s note, posted on the ABC News website, expressing regret for Stephanopoulos’ comments.

Times staff writer Stephen Battaglio contributed to this report.

In the latest salvo between Hollywood and artificial intelligence companies, tech start-up Character.AI has removed many Disney characters from its chatbot platform after the Burbank entertainment giant sent the firm a cease-and-desist letter, alleging copyright infringement.

Chatbots on the Character.AI platform impersonated well-known Disney characters such as Elsa, Moana, Peter Parker and Darth Vader and generated replies that simulated the “essence, goodwill, and look and feel of each character” and also incorporated their backstories, according to a letter dated Sept. 18 from a law firm representing Disney.

“These actions mislead and confuse consumers, including vulnerable young people, to believe that they are interacting with Disney’s characters, and to falsely believe that Disney has licensed these characters to, and endorsed their use by, Character.ai,” the letter said. “In fact, Character.ai is freeriding off the goodwill of Disney’s famous marks and brands, and blatantly infringing Disney’s copyrights.”

Disney also raised concerns about reports that chatbots have engaged users in inappropriate conversations.

A spokesperson for the Menlo Park-based startup said in an email that Character.AI responds “swiftly” to rights holders’ requests to remove content and noted that all of the characters on the service are generated by users.

On Tuesday afternoon, a few Disney characters remained on the platform, including Elsa from the hit animated film “Frozen.” The spokesperson said removing the characters is a process.

“We want to partner with the industry and rightsholders to empower them to bring their characters to our platform,” the spokesperson said. “Our goal is to give IP owners the tools to create controlled, engaging and revenue-generating experiences from deep fandom for their characters and stories, expanding their reach using our new, interactive format.”

Friction between Hollywood studios and AI firms has been growing.

In June, Disney and Comcast’s Universal Pictures sued AI company Midjourney, alleging that its image generator infringed on its copyrighted characters from franchises such as “Star Wars” and “Despicable Me.”

Warner Bros. Discovery joined the legal fight earlier this month, alleging that Midjourney’s software was producing rip-offs of characters such as Scooby-Doo and Superman.

A 10-second bit by ABC comedian Jimmy Kimmel plunged Walt Disney Co. into a full-blown crisis that rippled across America.

President Trump, the Federal Communications Commission chief and others were angered this month over Kimmel’s remarks about the Charlie Kirk shooting, which they said had suggested the suspect was a “Make America Great Again” Republican. Kimmel asserted Trump supporters were “trying to score political points” from the tragedy.

TV station groups pulled the program and Disney benched the comedian, sparking a bigger backlash. Protesters lit into the Mouse House for seemingly kowtowing to the Trump administration, consumers canceled Disney+ and Hulu subscriptions and more than 400 celebrities, including Tom Hanks, Jamie Lee Curtis and Lin-Manuel Miranda, signed a letter calling for a defense of free speech. Some investors bailed, briefly erasing nearly $4 billion in corporate market value.

Disney Chief Executive Bob Iger and his team turned the tide last week when they returned Kimmel to his late-night perch.

But the pressure on Disney’s top brass remains. Trump was not happy over Kimmel’s comeback, grousing that he may lob another lawsuit at ABC. In December, Disney agreed to pay $15 million to end a defamation suit Trump brought against the network and anchor George Stephanopoulos over misstatements.

And FCC Chairman Brendan Carr — who threatened ABC over Kimmel’s comments — isn’t backing down; he’s already opened one investigation into Disney and ABC for their diversity embrace.

“This [situation] isn’t going away anytime soon,” Nien-hê Hsieh, a Harvard Business School professor, said in an interview. “How it is managed certainly matters a lot.”

The Kimmel controversy exposed cracks at the Burbank company that has long meticulously managed its image. It also highlighted the fraught environment facing Disney’s next leader during a period of significant challenges for the entertainment juggernaut.

“Succession is difficult for any company — the stakes are high,” Hsieh said. “But Disney also is kind of a lightning rod that attracts criticism because of its brand and its prevalence and prominence.”

Iger, 74, is retiring for a second time in late 2026, when his contract expires. Within a few months, Disney’s board is expected to name a replacement — a pivotal decision for a company that has long struggled with succession.

Aside from the Trump administration, Disney’s next boss must navigate the shift to streaming, competition from tech giants, the rise of artificial intelligence, a potential economic slowdown and fragile geopolitics with a theme park in China and one planned for the Middle East. The new CEO also must try to keep Disney from again being drawn into America’s culture wars.

Disney Chief Executive Bob Iger is expected to retire at the end of 2026 after nearly 20 years leading the Burbank entertainment giant.

(Jay L. Clendenin / Los Angeles Times)

Four internal candidates are vying for the job, including Dana Walden, co-chairman of Disney Entertainment, who oversees television and streaming and managed the Kimmel crisis with Iger.

Josh D’Amaro, Disney’s theme parks and experiences chief, is viewed by many as the leading contender.

Also in the CEO mix are ESPN Chairman Jimmy Pitaro; and Disney Entertainment Co-Chairman Alan Bergman, who oversees movies, including the Marvel, Pixar and Star Wars franchises, and, in concert with Walden, entertainment streaming services.

“The next leader needs to be very attuned to how the company is perceived and valued by its customers and clients,” Hsieh said. “This is a moment for people to be very clear about their values.”

Disney’s values were questioned by many after the decision to yank Kimmel from the air.

As protesters buzzed around Disney’s Burbank headquarters and Kimmel’s darkened theater on Hollywood Boulevard, the voice of the company’s former chief rang out.

“Where has all the leadership gone?” Michael Eisner asked in a stinging Sept. 19 social media post. “If not for university presidents, law firm managing partners, and corporate chief executives standing up against bullies, who then will step up for the first amendment?”

Disney hadn’t formally addressed the situation. The only public message was a terse ABC statement on Sept. 17 — minutes after Iger and Walden moved to suspend the show: “ ‘Jimmy Kimmel Live’ will be pre-empted indefinitely.”

Kimmel was furious. It was about an hour to showtime and his studio audience was queued up outside the El Capitan Entertainment Centre. He had intended to clarify his words that night.

But Walden and Iger were worried the comedian was dug in, and his planned remarks would only inflame the situation.

Disney’s move to bench Jimmy Kimmel prompted protests, including days of demonstrations outside the El Capitan Entertainment Centre, where “Jimmy Kimmel Live!” is taped.

(Genaro Molina / Los Angeles Times)

What was initially viewed by Disney executives as a social media storm — vitriol from Trump supporters — had morphed into an existential threat for ABC when Carr, the FCC chairman, threatened to go after station licenses.

Carr urged other broadcasters to take a stand — a call heeded by Nexstar Media Group, which needs FCC approval for its proposed $6.2-billion takeover of a rival TV station owner, Tegna.

Nexstar pulled Kimmel’s program, followed by the politically conservative Sinclair Broadcast Group. The two companies own stations that provide 22% of ABC’s coverage.

Protesters called for a Disney boycott this month outside the darkened stage of ‘Jimmy Kimmel Live!’ The comedian returned Sept. 23.

(Juliana Yamada / Los Angeles Times)

ABC’s ambiguous seven-word statement suggested to many that Kimmel wasn’t returning.

“Great News for America: The ratings challenged Jimmy Kimmel Show is CANCELLED,” Trump wrote on his Truth Social platform that night. “Congratulations to ABC for finally having the courage to do what had to be done.”

Disney executives privately said they were simply hitting pause. ABC executives and talent were getting death threats, according to one insider who was not authorized to discuss the situation. Later, in Sacramento, a gunman fired three shots into the lobby of an ABC-affiliated station. No one was injured.

But Disney’s initial response was roundly criticized for being weak, an abdication of the 1st Amendment. “To surrender our right to speak freely is to accept that those in power, not the people, will set the boundaries of debate that define a free society,” Anna M. Gomez, the sole Democrat FCC commissioner, said in a statement.

Executives defended the ABC statement, noting that anything Disney had said at that moment could have exacerbated its troubles with the FCC and station groups. One insider added that company also needed time to weigh whether it was worth bringing back the show.

Iger and Walden held a Sunday sit-down with Kimmel on Sept. 21 to clear the air. The following day, Disney announced his show would return.

“It wasn’t a reaction to any regulatory threats or political threats — it was an editorial decision because we felt the comments were ill-timed and, thus, insensitive given the topic,” Horacio Gutierrez, Disney’s chief legal and compliance officer, said in an interview Monday. “We felt our responsibility was to avoid further inflaming the situation during a very delicate and emotional time for the nation and that couldn’t be achieved in the heat of the moment.”

Gutierrez said narratives about Disney’s motives were inaccurate.

“The guidance we were given by Bob as we were thinking this through was to do the right thing, and that’s what we did in both preempting the show and in putting it back on the air,” he said. “Other people can comment about what they would have done or said … but the reality is the action of the company speaks louder than any words.”

Brian Frons, a former senior ABC executive and a UCLA Anderson School professor, said the way the crisis was handled reflected Iger’s measured leadership style.

“This situation could have turned into a firefight with the [Trump] administration — a direct confrontation,” Frons said. “It could have been Florida-Chapek all over again.”

Disney’s last major public relations debacle was in early 2022, when former Disney CEO Bob Chapek tumbled into a political quagmire with Florida Gov. Ron DeSantis.

Disney belatedly opposed a Florida law banning school conversations about sexual orientation, the so-called Don’t Say Gay bill, prompting DeSantis to retaliate with a takeover of a Central Florida land-use board overseeing development around Walt Disney World.

Chapek’s shaky handling of the Florida dispute, which led conservatives to declare the company had become “woke,” was among the reasons Disney board’s fired him in November 2022, returning Iger to the top job.

Disney Chief Executive Bob Iger (left) and Bob Chapek (right) who served 2 1/2 years as chief executive. Chapek was removed in November 2022 to make way for Iger’s return.

(Business Wire)

Chapek had been Iger’s hand-picked successor but lasted in the job just 2½ years as pandemic dealt a crushing blow to theme parks, movie theaters and sporting events.

“In our instant-response culture, we want managers to have an immediate response and confrontation,” Frons said. “Sometimes, the instant solution might not be the best one.”

The Kimmel crisis and Chapek’s stormy tenure hover over succession.

Disney’s Achilles’ heel has long been its leadership handoffs. Over the years, Iger postponed several planned retirements, prompting at least one prospective successor, Tom Staggs, to exit the company in frustration.

The switch to Iger from Eisner 20 years ago was even more tumultuous, a move made to tamp down a shareholder revolt.

Before Iger was in the wings, Eisner recruited Creative Arts Agency co-founder Michael Ovitz — a debacle that ended in a court battle and a $140-million Disney payout.

Walt Disney Co. Chairman James P. Gorman is the former chief executive of Morgan Stanley.

(China News Service / China News Service via Getty Images)

Last year, Disney turned to James P. Gorman, Morgan Stanley’s former executive chairman, to oversee the succession process amid past criticism that some board members were too deferential to Iger. (A source close to the company disputed that characterization.)

Gorman became chairman of Disney’s board in January. He’s credited with orchestrating a smooth transition at the bank where he served as CEO for 14 years.

Disney’s board has said it would consider internal and outside candidates when determining who’s best equipped to lead the $206-billion company.

Walden was viewed as the early favorite, but some believe that Trump’s election last November might have changed that. The 60-year-old television executive has long been supportive of Democrat causes and is a friend of former Vice President Kamala Harris.

Walden joined Disney in 2019 after Disney swallowed Rupert Murdoch’s Fox entertainment properties, including the Fox television and movie studios and a controlling stake in Hulu. She oversees ABC, ABC News, Disney Channel, National Geographic and, with Bergman, the streaming services.

It’s not clear whether the Kimmel controversy helped or hurt her chances. By the end of last week, both Nexstar and Sinclair had abandoned their boycotts, returning the show to their ABC-affiliated stations.

“If this situation holds, Dana may have proved herself as a very effective crisis manager,” Frons said.

Clockwise from top left: Alan Bergman, Josh D’Amaro, Dana Walden and Jimmy Pitaro.

(Evan Agostini, Chris Pizzello and Richard Shotwell / Invision via AP)

D’Amaro, the parks and experiences chief, is thought to have an edge. Neither Disney nor the board have signaled that there is a front-runner.

The 54-year-old executive runs Disney’s biggest and most prosperous unit — theme parks, resorts, cruise lines and experiences, including video games. D’Amaro is an architect of Disney’s $60-billion campaign to expand and revitalize its parks and resorts and double the number of cruise ships.

The charismatic D’Amaro brims with enthusiasm for Disney where he’s spent most of his adult life — more than 27 years.

Bergman, 59, is a savvy executive who runs Disney’s film studios, its major creative franchises, as well as theatrical and streaming releases and marketing. He oversees Disney Music Group and its Broadway show unit.

And Pitaro, the Connecticut-based ESPN chief, has helped lead Disney’s push to streaming as the once lucrative cable business has contracted. The 56-year-old executive, a former consumer products and Yahoo executive, has managed Disney’s dealings with the NFL, NBA and Major League Baseball.

Some worry that none of the candidates will match Iger’s skills.

“This idea that you’re going to replace the CEO — a person who is at the height of their power — with somebody in a similar place is pretty hard,” Frons said. “Instead, you have to ask: Who is the person who can best position Disney for the future in all the businesses that are important today and might be important in the future?”

Sept. 29 (UPI) — YouTube has agreed to pay $24.5 million, toward the construction of a new White House ballroom, to settle a lawsuit by President Donald Trump for suspending his channel in 2021 following the Jan. 6, riots.

The online video platform, owned by Alphabet, will pay $22 million from the settlement to the nonprofit Trust for the National Mall, which is “dedicated to restoring, preserving and elevating the National Mall, to support the construction of the White House State Ballroom,” according to court documents. The ballroom is estimated to cost $200 million, according to the White House.

The other $2.5 million from YouTube’s settlement will go to other plaintiffs, including the nonprofit American Conservative Union.

YouTube is the third tech platform to settle with Trump, who also settled with Meta and Twitter for banning his accounts in 2021. Trump settled with Meta for $25 million and with Twitter, renamed X, for $10 million.

All three platforms claimed Trump’s posts after the U.S. Capitol riots risked inciting further violence. Trump said the suspensions amounted to censorship. All of his accounts were reinstated after tech leaders took a more supportive stance, with Elon Musk of X, Meta’s Mark Zuckerberg and Alphabet chief executive officer Sundar Pichai attending Trump’s inauguration in January.

Trump also has received settlements from media outlets, including CBS and ABC News. ABC and Disney settled with the president for $15 million toward his future presidential library after he accused the network and anchor George Stephanopoulous of defamation. And Paramount Global paid out $16 million for CBS’ editing of a Kamala Harris interview on “60 Minutes.”

Last week, YouTube said it would reinstate a number of banned accounts, which had violated the channel’s now defunct rules about posting misinformation about COVID-19 and the 2020 election.

YouTube “values conservative voices on its platform and recognizes that these creators have extensive reach and play an important role in civic discourse,” the platform said.

Disney World visitors have been left stunned after discovering prices at the holiday resort. While parents raised concern, some children were said to be “in tears”

Disney World may be a magical place, but it seems the prices are enough to break the spell, and recent reports have also suggested the theme park has been quiet lately. One man, known as i_dad_so_hard on TikTok, recently took a trip to the Florida theme park and was gobsmacked by the cost of basic items.

In a video shared on the social media platform, he documented his journey around the theme park, highlighting the “ridiculous” prices he encountered. His trip wasn’t exactly a bargain, as he revealed just how pricey some things were. As he strolled around Disney World, he pointed out that a blueberry vodka lemonade was going for $15.50 (£12.00), while a Canadian apple slushy was a steep $16.50 (£12.50). Although he conceded the prices “could be worse”, he declared he’d “never” fork out for them.

Elsewhere in the park, a pair of Crocs were priced at a hefty $64.99 (£48.00), and a jumper was over $80.00. He also showcased a phone case with a price tag of $39.00 (£29.00), and it’s not the first time someone has alerted people to the cost at a Disney resort.

As he continued his tour, he came across a Minnie Mouse handbag. Over the video, he wrote: “A meltdown was had over this backpack.”

After showing the bag to the camera, he disclosed it was a whopping $100.00 (£75.00), adding: “Not my child, but a child went full send tantrum.”

As he strolled about, he remarked: “Whatever price you think it’s going to be inflated to, and then add 50% to that. Are we thinking on the candle? $35.00 (£26.00).

“Yeah, you just want to get some Disney ears for your kids. $35.00 there. It’s $100.00 in Disney ears for three kids. So, the next time you see someone with a Disney hat on, it’s basically like Gucci.”

Since the clip was posted, it’s racked up more than 20,000 views, with viewers flocking to share their reactions.

One viewer commented: “We took our son to Disney. After much crying (two days), we had to buy the bubble wand. I felt ashamed for buying it.”

Another chimed in with: “Everything is ridiculously high. I paid $60.00 for two three-piece chicken dinners.” A third also responded: “This is why Disney will never see me.”

Others think punters are happy to fork out the hefty prices though, with a fourth writing: “If one pays it, it’s their problem. I’ve never been there and don’t have any plans to.”

Someone else also weighed in with: “Idiots keep paying it, so why not?” One more penned: “As long as people pay it, they will ask it.”

Typically, products at Disney World, including food, merchandise and keepsakes fluctuate dramatically in cost; nevertheless, guests can anticipate fast-food meals beginning at approximately $15.00 (£11.00) for adults, whilst sit-down dining starts from roughly $22.00 (£16.37). Merchandise is reported to range from between $25.00 (£18.60) to $100.00 (£74.39) for shirts and hoodies, with other items like ears costing around $25.00. However, these prices can fluctuate.

Recently, it’s been suggested that Disney World has been attempting to make holidays more affordable for visitors. The attraction has offered discount promotions for resort guests in some cases, while also maintaining premium-priced experiences and large-scale investments in new attractions.

The company asserts it offers various price points to try and accommodate different budgets. There are also a wide range of ticket and hotel options for visitors to choose from. Disney World has been contacted for further information.

Dodger Stadium won’t be empty Sunday, even though the next time the Dodgers play at home will be Tuesday in a National League Division Series opener.

But LA Card Show will make its Dodger Stadium debut that day with a Dodger blue-tinged format that includes a watch party of the team’s regular-season finale starting at 12:10 p.m. on DodgerVision.

Most of the time, however, attendees likely will have their heads down, studying the intricacies of trading cards and memorabilia of all stripes and types. More than 350 collectibles vendors will display, buy, sell and trade wares across sports, Pokémon, Disney and other trading card games along with comics, toys and art.

“It’s the perfect blend of card show and cultural experience, and Dodger Stadium provides the ultimate backdrop for us to lean in and create an extraordinary event,” said Chris Koenig, executive director of Dodgers 365, the program that brings outside events into Chavez Ravine.

The event begins at 10 a.m. and will include live DJ sets, food vendors, brand activations, giveaways and an autograph lounge with former Dodgers Ramón Martínez, Joe Kelly and Orel Hershiser, who owns a collectibles store in Claremont called Legends’ Attic.

Tickets are available at lacardshow.com/tickets.

A group of Walt Disney Co. shareholders is demanding the company release information related to the suspension of late-night host Jimmy Kimmel, according to a recent letter.

The letter, dated Wednesday and sent by the American Federation of Teachers union and press freedom group Reporters Without Borders, said the groups want transparency into Disney’s decision last week to indefinitely suspend the show “Jimmy Kimmel Live!” following comments he made in his monologue about the shooter who killed conservative activist Charlie Kirk.

Disney reinstated Kimmel’s show Tuesday, saying in a statement that the initial decision was made to “avoid further inflaming a tense situation at an emotional moment for our country” and calling some of his comments “ill-timed and thus insensitive.”

The late-night host’s suspension set off a political firestorm and nationwide debate about free speech. Protesters demonstrated outside the El Capitan Theatre in Hollywood as well as Disney’s Burbank headquarters. More than 400 celebrities signed an open letter decrying attempts at government censorship. Some called for consumers to cancel their Disney+ streaming subscriptions.

“Disney shareholders deserve the truth about exactly what went down inside the company after Brendan Carr’s threat to punish ABC unless action was taken against Jimmy Kimmel,” American Federation of Teachers President Randi Weingarten said in a statement. “The Disney board has a legal responsibility to act in the best interests of its shareholders — and we are seeking answers to discover if that bond was broken to kowtow to the Trump administration.”

Prior to the initial suspension decision, Federal Communications Commission Chairman Brendan Carr had called for Disney to take action against Kimmel during a podcast interview that aired last week. Carr said there could be consequences for the TV stations that carry his show. Shortly before Disney announced Kimmel’s initial suspension, TV station groups Nexstar Media Group and Sinclair Broadcast Group each said they would preempt the show and have said they will not bring it back.

The letter calls for Disney to provide records, including any meeting minutes or written materials, related to the suspension or return of Kimmel’s show.

“There is a credible basis to suspect that the Board and executives may have breached their fiduciary duties of loyalty, care, and good faith by placing improper political or affiliate considerations above the best interests of the Company and its stockholders,” the letter said.

Disney did not respond to a request for comment.

Times staff writer Meg James contributed to this report.

Sept. 24 (UPI) — The FCC is prohibited from influencing network content but Chairman Brendan Carr and President Donald Trump have used pressure campaigns on ABC and others to test those limits.

The Trump administration’s attempt to push Jimmy Kimmel Live! off the air worked, briefly. While consumer backlash convinced Disney and ABC to reverse course, the alarm has been sounded over the weaponization of federal authority to suppress free speech.

Kimmel returned to ABC on Tuesday, lamenting the importance of standing up for free speech in his opening monologue, calling attempts to take shows like his off the air for sharing dissenting opinions “un-American.”

“Ten years ago this sounded crazy: Brendan Carr, the chairman of the FCC, telling an American company ‘We can do this the easy way or the hard way,’ and ‘These companies can find ways to change conduct and take action on Kimmel or there’s going to be additional work for the FCC ahead,'” Kimmel said. “In addition to being a direct violation of the First Amendment, it is not a particularly intelligent threat to be made in public.”

Section 326 of the Communications Act states that the commission cannot interfere with the right to exercise free speech.

Former FCC Commissioner Tom Wheeler, who served during the Obama administration, told UPI Carr is bringing the commission into “uncharted territory.”

“The FCC is approaching 100 years old,” Wheeler said. “Over that period, one of its primary purposes has been to make sure when it comes to broadcasters using the people’s airwaves that there is a diversity of voices and a diversity of ownership.”

“That’s something that has held true until today, when we see the chairman of the FCC attempting to influence what people hear and we hear the president of the United States saying that he wants to consider yanking the broadcast licenses for those who don’t agree with him,” he continued.

One of the FCC’s chief responsibilities is licensing. It is responsible for ensuring that licenses are distributed and used in the public’s interest, convenience and necessity. The statute does not go on to define what public interest means, leaving it up to the heads of the FCC to determine this over the years.

Throughout its history, according to Wheeler, FCC chairmen have taken seriously the importance of fulfilling their duties in a neutral and independent way.

The FCC operations manual refers to Section 326 of the Communications Act and the First Amendment, stating that both “expressly prohibit the commission from censoring broadcast matter. Our role in overseeing program content is very limited.”

“Those are pretty explicit,” Wheeler said of the First Amendment and Section 326. “The public interest definition ought to presumably fall within the four corners of those kinds of descriptions.”

The FCC’s role in overseeing content may be limited, as its manual acknowledges, but it still has influence.

Networks are required to renew their licenses every eight years. This applies to all networks, including major networks like ABC and local companies.

The FCC must also approve the transfer of licenses when companies merge. For example, when Disney bought ABC, the ownership of its licenses needed to reflect this transfer of ownership. This is also true for companies like Sinclair and Nexstar purchasing local networks.

Nexstar has an agreement in place to purchase Tegna for $6.2 billion. If the deal is approved, Nexstar would own 265 stations in 44 states and the District of Columbia, including 132 of the top 210 TV markets in the country, expanding its reach to 80% of U.S. households.

The FCC has a 39% cap on how many households a network group can reach. It is called the National Television Ownership rule and its purpose is to maintain diversity, competition and localism by preventing a small number of companies from controlling the airwaves.

In June, the FCC Media Bureau filed a public notice that it seeks new public comments to refresh the record on television network ownership rules. It is looking for input on whether it should retain, modify or eliminate the 39% cap on network ownership. It last did this in 2017.

“The FCC has an economic lever over those that it regulates,” Wheeler said. “There’s economic leverage that Brendan Carr has been very successful in playing up.”

Nexstar owns 32 ABC affiliate networks and Sinclair owns more than 30. Both announced Tuesday that they will not air Jimmy Kimmel Live! despite ABC electing to bring it back.

The licenses held by networks permit them to use the public’s airwaves to broadcast content. It does not give them ownership of those airwaves. They belong to the public.

The licensing renewal process is usually straightforward and without much controversy, Gigi Sohn, Benton Institute senior fellow and public advocate, told UPI.

“Throughout almost the entire history of the FCC there has been one time and one time only that the FCC has denied a license renewal based on the content of programming,” Sohn said. “That was in the ’60s when a Mississippi radio and TV station refused to run any news program or any program of any kind about the Civil Rights movement and instead ran racist programming.”

Sohn added that the FCC, in that instance, did not tell the station it could not run one program and had to run another or had to change how it edited its programs. Instead, it determined the station was not serving the public interest because it was not giving its audience access to all the information related to the stories it was broadcasting.

“That is something that the FCC has the right to do when it looks at the overall programming of a broadcaster,” Sohn said. “What it doesn’t have the right to do is bully a network — into dropping one program because he made a joke about, not even about the president, not about Charlie Kirk, but about the way the president’s followers were reacting to the Kirk murder.”

After Jimmy Kimmel’s comments on his late-night show about the late Charlie Kirk, the FCC chairman threatened to take action against ABC and parent company Disney. Media companies Nexstar and Sinclair quickly followed with statements that were critical of Kimmel’s comments.

Within hours of Carr’s threats, ABC announced Jimmy Kimmel Live! would be preempted indefinitely.

According to Sohn and Wheeler, Carr wielded his regulatory power in this instance to influence ABC to remove Kimmel’s show from the airwaves due to his longtime criticism of the president. They add that it is not the first time Carr has done something like this since becoming chairman earlier this year.

A pending merger between Skydance and Paramount remained under scrutiny by Carr and the FCC for months before being approved in July. During the hold up, Carr investigated CBS News over its editorial decisions.

Trump meanwhile had an open lawsuit against CBS, seeking $20 billion over allegations that 60 Minutes edited an interview with former presidential candidate Kamala Harris in a way that was favorable to her and her candidacy. On July 2, it was reported that Paramount Global, the parent company of CBS, settled with Trump for $16 million.

The FCC approved the Skydance-Paramount merger on July 24. As conditions of the merger, Skydance agreed to Carr’s demands that the company will end or not establish any diversity, equity and inclusion policies.

It also agreed to hire an ombudsman to oversee CBS News editorial decisions. The ombudsman, Kenneth Weinstein, is the former president and CEO of conservative think tank the Hudson Institute.

Harold Feld, senior vice president of Public Knowledge, told UPI a bad precedent is being set by networks like ABC and CBS as they give into pressure from the FCC and the president.

“Not only does it show the administration that these guys are going to cave and therefore we can keep pushing them, but it also means we won’t get coverage when the administration does this to other companies,” Feld said. “If the news has been cowed into submission it means the administration is free to do this to anyone and nobody will find out about it.”

Former FCC Commissioner Anna M. Gomez issued a statement after the suspension of Kimmel’s program was reinstated.

“As this FCC considers steps that would let the same billion-dollar media conglomerates that caved in to government pressure grow even bigger, we must combat these efforts to stifle free expression,” Gomez said.

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JIMMY Kimmel returned to his show on Tuesday night after ABC yanked him from the air nearly a week ago.

Kimmel, 57, addressed his audience after his show was pulled last week over controversial comments he made about political activist and influencer Charlie Kirk’s shooter.

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During his opening monologue, Kimmel took the time to speak out about free speech and the political climate in America.

The late night host took to the stage as he was welcomed with a standing ovation and chants of “Jimmy, Jimmy, Jimmy.”

The comedian opened the show with a crack, “If you’re just joining us, we are preempting your regularly scheduled encore episode of Celebrity Family Feud to bring you this special report.”

“I’m happy to be here tonight,” he added.

“I’m not sure who had a weirder 48 hours, me or the CEO of Tylenol,” he said with a chuckle.

Kimmel took the time to thank a slew of friends, including his “fellow late-night talk show hosts, my friend Stephen Colbert who found himself in this predicament. My friend, John Stewart, Seth Meyers, and Jimmy Fallon.”

He also thanked the many people who don’t align with his political leanings but who still stood up for his right to say it.

He thanked Ben Shapiro, Clay Travis, Candace Owens, Mitch McConnell, and then said “and even my old pal Ted Cruz,” before running a sound bite from the Texas senator.

Kimmel then continued “Some of the things they say even make me want to throw up but it takes courage for them to speak out against this administration. They did it. They deserve credit for it.”

ON HIS COMMENTS ON CHARLIE KIRK’S KILLER

The late-night host’s voice cracked as he opened up about the murder of activist Charlie Kirk and cleared the air, denouncing his killing unequivocally.

He continued, “I do want to make something clear, because it’s important to me as a human and that is you understand that it was never my intention to make light of the murder of a young man,” he said as he fought back tears.

“I posted a message on Instagram the day he was killed, sending love to [Kirk’s] family and asking for compassion, and I meant it, and I still do, nor was it my intention to blame any specific group for the actions of what was obviously a deeply disturbed individual.”

“That was really the opposite of the point I was trying to make. But I understand that to some that felt either it was ill-timed or unclear or maybe both, and for those who think I did point a finger, I get why you’re upset,” he continued.

“If the situation was reversed, there’s a good chance I’d have felt the same way. I have many friends and family members on the other side who I love and remain close to, even though we don’t agree on politics at all, I don’t think the murderer who shot Charlie Kirk represents anyone.

“This was a sick person who believed violence was a solution and it isn’t it ever and also, selfishly, I am the person who gets a lot of threats. I get many ugly and scary threats against my life, my wife, my kids, my co workers because of what I choose to say, and I know those threats don’t come from the kind of people on the right who I know and love.”

“So that’s what I wanted to say on that subject,” he continued.

ON RIGHT TO FREE SPEECH

Kimmel then turned to the First Amendment, explaining that he’s spoken with comedians in countries like Russia and the Middle East who said they’d be thrown in jail or worse for making fun of those in power.

“They know how lucky we are here.

“Our freedom to speak is what they admire most about this country, and that’s something I’m embarrassed to say I took for granted until they pulled my friend Steven [Colbert] off the air and tried to coerce the affiliates who run our show in the cities that you live in to take my show off the air.

“That’s not legal. That’s not American. That is un-American.”

He then turned his sites to Federal Communications Chairman, Brendan Carr.

“Brendan Carr, the chairman of the FCC, telling an American company, We can do this the easy way or the hard way,’ and that these companies can find ways to change conduct and take action on Kimmel, or there’s going to be additional work for the FCC ahead, in addition to being a direct violation of the First Amendment, is not a particularly intelligent threat to make in public,” Kimmel said.

The late night host then shared a clip of President Donald Trump vehemently heralding free speech in a quote in 2022.

He then played another quote from the president, which was from this week, in which he said of Kimmel “Look, he was fired. He had no talent. He’s a whack job, but he had no talent. More importantly, then talent, because a lot of people who have no talent get ratings, he had no ratings,” to which the audience booed.

Kimmel then joked “He tried, did his best to cancel me instead, he forced millions of people to watch the show which backfired ‘bigly.’

“He might have to release the Epstein files to distract us from this now,” to which his audience erupted in raucous applause.

RATINGS BOOST?

As The U.S. Sun previously revealed, ABC execs are expecting Tuesday night’s show will prove a ratings boom.

The source said, “Everybody is excited about Kimmel’s expected ratings boost this week.

“Jimmy is becoming an icon for free speech… and now he’ll be even more secure as long as he plays his cards right.”

However, the late night host’s big return wasn’t aired in all markets.

Affiliate carriers, Sinclair and Nexstar, said they wouldn’t be airing Kimmel’s return on their stations.

“There are ongoing talks this morning [Tuesday] between Nexstar, Sinclair, and Disney, but Disney has drawn the line and is prepared for the fight,” an insider revealed.

On Monday night, Sinclair Broadcasting Group announced its decision to preempt Jimmy Kimmel Live! across its ABC affiliate stations, replacing the program with local news.

However, an insider pointed out that affiliate stations have contractual obligations to carry ABC programming, including advertisements that have already been sold.

The source alleged, “The affiliates are basically posturing for the White House,” while suggesting that the companies may be attempting to breach their contracts with ABC.

NEXSTAR’S BIG MOVE

Nexstar is seeking approval from the Trump administration’s FCC for an unprecedented acquisition of its competitor, Tegna, according to The New York Times.

If approved, the deal would likely surpass the current cap on households a single media company can reach.

An insider told The U.S. Sun that Disney is ready to take on Sinclair and Nexstar in the ongoing dispute over the suspension of Kimmel Live!

“Disney legal is prepared to fight it out, and right now, from a brand perspective, they’ve got nothing to lose by fighting,” the source said. “Disney holds the cards here.”

When reached for comment by The U.S. Sun, Nexstar declined to respond.

ABC and Sinclair were also contacted for comment.

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LATE NIGHT DRAMA

Jimmy Kimmel Live! was suspended after backlash erupted over controversial comments the comedian made regarding the suspected assassin of activist and influencer Charlie Kirk.

Just hours before his scheduled return on Tuesday night, Kimmel broke his silence.

The comedian posted a photo of himself with his late friend and producer Norman Lear, captioned, “Missing this guy today.”

KIMMEL RETURNS

On Monday afternoon, ABC issued a statement confirming that “thoughtful discussions” had taken place with Kimmel following his suspension.

The statement read, “Last Wednesday, we made the decision to suspend production on the show to avoid further inflaming a tense situation at an emotional moment for our country.

“It is a decision we made because we felt some of the comments were ill-timed and thus insensitive.

“We have spent the last days having thoughtful conversations with Jimmy, and after those conversations, we reached the decision to return the show on Tuesday.”

CHAOS ON SET

As The U.S. Sun exclusively revealed last week, the decision to pull Jimmy Kimmel Live! was made just minutes before taping began on Wednesday, September 17th.

“Things transpired very fast. Word filtered down to the individual stations around 3 pm that Jimmy would get pulled, and it sent station heads panicking,” an insider shared.

“Jimmy and the crew were getting ready to film when, at 3:45 pm, news broke widely, and that’s how the crew found out. They were shocked.”

Andrew Alford, president of Nexstar’s broadcasting division, described Kimmel’s remarks as “offensive and insensitive at a critical time in our national political discourse.”

KIRK’S MURDER

Charlie Kirk was killed on September 10th while speaking with students at Utah Valley University in Orem.

Tyler Robinson, 22, allegedly fired a single shot at Kirk, according to officials.

Robinson turned himself in 33 hours later after confessing the crime to his family, Utah Governor Spencer Cox confirmed.

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Sept. 23 (UPI) — Nexstar Media Group will not air “Jimmy Kimmel, Live!” and joined the Sinclair Broadcast Group in pre-empting the ABC talk show when it is scheduled to resume on Tuesday.

Nexstar officials announced their decision a day after Sinclair said it also would pre-empt Kimmel’s show due to his falsely claiming the alleged shooter of conservative activist Charlie Kirk was a MAGA supporter.

“We made a decision last week to pre-empt ‘Jimmy Kimmel, Live!’ following what ABC referred to as Mr. Kimmel’s’ ill-timed and insensitive’ comments at a critical time in our national discourse,” Nexstar officials said in a news release, as reported by NBC News.

“We stand by that decision pending assurance that all parties are committed to fostering an environment of respectful, constructive dialogue in the markets we serve.”

Nexstar and Sinclair own a combined total of nearly 70 local stations that account for nearly a fourth of ABC stations, according to The New York Times.

Nexstar and Sinclair intend to air news programming instead of Kimmel’s talk show.

Rep. James McGovern, D-Mass., wrote a letter to Nexstar Media Group executives that “demands answers” regarding why they are pre-empting “Jimmy Kimmel, Live!” on affiliate stations.

“The public owns the airwaves — not the FCC chairman, not [President] Donald Trump and not Nexstar,” McGovern said Monday in a press release.

“Local TV stations have a responsibility to serve the public interest — not advance political vendettas against those who express opinions the government doesn’t like,” he continued.

“Using the threat of license revocation to strong-arm a network into silencing a comedian is not only corrupt — it’s almost certainly unconstitutional.”

During his opening monologue on Sept. 15, Kimmel said, “The MAGA gang desperately [is] trying to characterize this kid who murdered Charlie Kirk as anything other than one of them and doing everything they can to score political points from it.”

ABC and its owner, the Walt Disney Corp., suspended his show indefinitely the next day but announced it would resume Tuesday night.

Baby Yoda fans rejoice: The first trailer for “The Mandalorian and Grogu” is finally here.

Walt Disney Studios released a new teaser for its upcoming “Star Wars” film on Monday, offering a first look at the Mandalorian Din Djarin and his charge Grogu’s next adventure. The movie is a spin-off of TV’s “The Mandalorian” and picks up after the events in the Disney+ series’ third season, which aired in 2023.

The trailer includes plenty of footage of the fan-favorite Force-wielding toddler being his usual adorable self as he flips switches on a spaceship, eats snacks and hangs out with Anzellans — the diminutive alien species who are often droidsmiths. It also shows Mando (potrayed by Pedro Pascal) and Grogu blowing up an AT-AT, taking in an event at a Hutt arena and meeting up with Sigourney Weaver’s character, a New Republic colonel named Ward. Ward seems unimpressed with Grogu’s attempts to help himself to her bar snacks.

The trailer was released amid the heightened scrutiny of Disney after its suspension of late-night host Jimmy Kimmel. Last week, the company’s broadcast network ABC announced it was dropping “Jimmy Kimmel Live!” indefinitely following remarks the host made in the aftermath of right-wing influencer Charlie Kirk’s killing that drew the ire of Federal Communications Commission Chairman Brendan Carr as well as affiliate-station owners Nexstar Media Group and Sinclair Broadcast Group. According to the Hollywood Reporter, “The Mandalorian and Grogu” teaser release had been planned for last week.

Among the backlash to ABC’s decision were calls for a boycott and to cancel subscriptions to Disney-owned services such as Hulu and Disney+. So it’s no surprise that folks online — including those in the comments section on the trailer’s YouTube video — had called out the new trailer as a distraction from Disney’s current troubles. The company has since announced “Jimmy Kimmel Live!” will return Tuesday.

Directed by “The Mandalorian” creator Jon Favreau, “Star Wars: The Mandalorian and Grogu” will be the first movie set in the galaxy far, far away to hit theaters since “Star Wars: Episode IX — The Rise of Skywalker” in 2019. The new movie is slated for a May 22 release.

Announcement comes nearly a week after the late-night host was controversially suspended for remarks about Charlie Kirk.

US entertainment company Disney has announced that Jimmy Kimmel Live will return to the air, six days after it suspended the talk-show host following threats by the Federal Communications Commission (FCC) chairman over comments the host had made about conservative activist Charlie Kirk’s alleged killer.

In announcing the decision on Monday, ABC’s parent company said the show will return to the air on Tuesday and that it had suspended production of the late-night comedy show “to avoid further inflaming a tense situation at an emotional moment for our country”.

Kimmel’s show was taken off the air on September 17, after he joked about the political reaction to the killing of right-wing activist Charlie Kirk.

The decision by US network ABC to pull the show led to widespread criticism, as well as boycotts against Disney and its streaming services.

In a statement issued on Monday, the ABC said it had “spent the last days having thoughtful conversations with Jimmy, and after those conversations, we reached the decision to return the show on Tuesday”.

Disney CEO Bob Iger, Disney Entertainment co-chair Dana Walden and Kimmel were in talks over the weekend and reached a decision on Monday to return Kimmel to the air, according to two people familiar with the matter, the Reuters news agency reported.

The decision was guided by what was in the entertainment company’s best interest, rather than external pressure from station owners or the FCC, the sources said.

Kimmel is expected to address the issue when his show returns on Tuesday, according to the sources.

A spokeswoman for Kimmel could not immediately be reached for comment by Reuters.

Trump, who has repeatedly pressured broadcasters to stop airing content that he has found objectionable, had celebrated the news of Kimmel’s suspension and referred to it erroneously as an outright cancellation of the show.

Kimmel, who has frequently targeted Trump in his show, drew fire for remarks he made last Monday about the September 10 assassination of Kirk, who was shot down while addressing a crowd of 3,000 people on the campus of Utah Valley University in Orem.

Kirk, a 31-year-old conservative political activist and podcast host, had been credited for building support for Trump and the Republican Party among young voters in 2024.

Tyler Robinson, a 22-year-old technical school student from Utah, has been charged with Kirk’s murder, but the precise motive for the killing remains unclear.

Since returning to the White House in January, Trump has used his office and the courts to attack unflattering speech about him that he has called defamatory or false. Throughout both his terms, Trump has threatened to rescind licences for local broadcast affiliates of national networks. Licences are approved by the FCC, a nominally independent regulatory body.

Disney’s move signals the first big push back against the Trump administration by big media.

The ABC suspended Kimmel’s show on Wednesday after Carr threatened investigations and regulatory action against licensed broadcasters who aired Kimmel.

The owners of dozens of local television stations affiliated with the ABC said they would no longer carry the show, including Nexstar, which needs FCC approval for a $6.2bn merger with Tegna.

On Friday, Senate Commerce Committee Chair Ted Cruz, a Republican, said that Carr’s threat was dangerous.

NEW YORK — The decision about whether to keep Jimmy Kimmel on his late-night ABC show depends on far more than his jokes. The choice is complicated by a web of business and regulatory considerations involving ABC’s parent company, other media companies and the Trump administration.

It’s the inevitable result of industry consolidation that over years has built giant corporations with wide-ranging interests.

ABC owner Walt Disney Co., a massive organization with far-flung operations, frequently seeks federal regulatory approval to expand, buy or sell businesses or acquire licenses. And the Trump administration has not spared the company from investigations, opening multiple inquiries in just the last few months to investigate alleged antitrust, programming and hiring violations.

Kimmel was suspended from his show last week following comments suggesting that fans of Charlie Kirk were trying to “score political points” over the conservative activist’s shooting death. Federal Communications Commission Chairman Brendan Carr called the remarks “truly sick” and suggested his agency would look into them.

Carr answers to President Trump, a frequent Kimmel target whose dislike of the comedian is well known.

Two companies that operate roughly a quarter of ABC affiliates nationwide, Nexstar Media Group and Sinclair Broadcasting, also said they would not air Kimmel’s show.

Disney took a step in December to avoid a confrontation with Trump by paying $15 million to settle Trump’s defamation lawsuit against ABC News and anchor George Stephanopoulos, in a case many civil rights attorneys considered weak. It also made moves to dismantle some of its diversity, equity and inclusion practices, including removing references in its annual report to its Reimagine Tomorrow program aimed at “amplifying underrepresented voices.”

Apparently that wasn’t enough.

In April, the FCC sent a a blistering letter to Disney Chief Executive Bob Iger saying it suspected the company was so thoroughly “infected” with “invidious” practices favoring minorities that it had no choice but to open an investigation.

Among other questions, the inquiry sought to determine whether Disney had really ended policies designed to ensure characters in its shows and its hiring practices favored “underrepresented groups.”

Meanwhile, a Disney deal struck in January to buy a stake in the streaming service FuboTV fell under scrutiny too, with several reports that the Justice Department was investigating possible antitrust violations.

The Federal Trade Commission also launched an inquiry into whether Disney broke rules by gathering personal data from children watching its videos without permission from parents. Disney settled the case this month by paying $10 million and agreeing to change its practices.

Disney also needs approval from the Trump administration for ESPN to complete its acquisition of the NFL Network.

It hasn’t helped that Disney was a target for many conservatives well before the current controversy. Republican Florida Gov. Ron DeSantis battled with the company over its criticism of a DeSantis-backed law that restricted discussion of sexual orientation in schools.

Kirk wasn’t a fan, either, criticizing Disney when it closed Splash Mountain rides at theme parks three years ago to remove references to the 1946 film “Song of the South,” which has long been decried as racist for its romanticized depictions of slavery.

The move, Kirk’s website posted, was “destructive to our cultural and societal fabric.”

The companies with ABC stations that put out statements disavowing Kimmel have their own business before the government. Nexstar needs the Trump administration’s approval to complete its $6.2-billion purchase of broadcast rival Tegna.

Sinclair has its own regulatory challenges. In June, it entered into an agreement with the FCC to fix problems with paperwork filed to the agency and to observe rules about advertising on children’s shows and closed-captioning requirements. It has also petitioned the regulator to relax rules limiting broadcaster ownership of stations.

The companies are being asked by advocates and others to put aside financial concerns to stand up for free speech.

“Where has all the leadership gone?” ex-Disney Chief Executive Michael Eisner wrote Friday on social media. “If not for university presidents, law firm managing partners and corporate chief executives standing up to bullies, then who will step up for the First Amendment?”

The administration’s attacks on Kimmel have also been criticized in some unexpected places, such as the Wall Street Journal and Bari Weiss’ website, the Free Press — both known for their conservative editorial voices — and by Republican Sen. Ted Cruz of Texas, a staunch conservative and Trump ally.

The comedian’s comments don’t justify the right wing’s move toward regulatory censorship, the Journal wrote in an editorial. “As victims of cancel culture for so long, conservatives more than anyone should oppose it,” the Journal wrote. “They will surely be the targets again when the left returns to power.”

“When a network drops a high-profile talent hours after the FCC chairman makes a barely veiled threat, then it’s no longer just a business decision,” the Free Press wrote in an editorial. “It’s government coercion. Is it now Trump administration policy to punish broadcasters for comedy that doesn’t conform to its politics?”

Bauder and Condon write for the Associated Press.

More than 100 members of the Writers Guild of America East and their supporters jammed the sidewalk in front of Walt Disney Co.’s Lower Manhattan headquarters Friday to protest ABC’s decision to pull “Jimmy Kimmel Live!”

The late-night program has been dark since Wednesday, when the Disney-owned network announced in a terse statement that it will be “preempted indefinitely.” The move followed decisions by two major owners of ABC affiliates to drop the show because of Kimmel’s remarks about the suspect in the shooting death of right-wing activist Charlie Kirk.

Members of the union, which represents TV and film writers, marched with signs calling the move an attack on free speech and accusing Walt Disney Co. executives of lacking backbone.

Among the messages: “Disney and ABC Capitulation and Censorship,” “Always Be Cowards,” “Absolute Bull— Cowards” and “Disney/ABC Bows to Trump Extortion.” There were chants of “Bring Jimmy back.”

The demonstration reflected anger building in the creative community over Kimmel’s removal, which Federal Communications Commission Chairman Brendan Carr called for during a podcast interview that aired on Wednesday.

Carr said if action was not taken against Kimmel, there could be consequences for the TV stations that carry his show.

On Monday’s show, Kimmel seemed to suggest during his monologue that Tyler Robinson, the Utah man accused in the shooting death of Kirk, might have been a pro-Trump Republican. He said MAGA supporters “are desperately trying to characterize this kid who murdered Charlie Kirk as anything other than one of them and doing everything they can to score political points from it.”

The remarks prompted a widespread conservative backlash on social media, including demands for Kimmel’s firing. Kimmel, who has expressed sympathy for Kirk’s family online, has not yet commented on his removal.

President Trump has also said that late-night hosts who are critical of his administration should be banished from the airwaves. Trump cheered ABC’s decision, as he did the recent cancellation of CBS’ “The Late Show With Stephen Colbert.”

Kimmel remains off the air and has had discussions with Disney executives about how to bring the show back on the air. But his future with the network remains uncertain.

Greg Iwinski, a late-night TV writer and council member of the WGA East, said the threat of pulling a broadcast license is a dangerous weapon that can be used on any program and ultimately chill free expression.

“You can use that for any broadcast network anywhere,” Iwinski said. “Any late-night show, daytime show, game show or sitcom — any show you don’t like. Everything is under threat that is on network TV.”

Iwinski warned that ABC’s actions will only invite the Trump administration to exert more control over the broadcast airwaves.

“What if a relationship on a drama doesn’t fit the values of Donald Trump?” he said. “What if it’s not racially representative of what he thinks — ‘Well, we’re going to pull your licenses’ — all of that is on the table.”

The WGA East members were joined by local government officials supporting their cause, including New York City Comptroller Brad Lander.

Statements of protest over ABC’s moves are coming from all corners of the entertainment industry, including from Michael Eisner, the former Disney chief who preceded Bob Iger’s first run in the job.

“Where has all the leadership gone?” Eisner wrote Friday on X. “If not for university presidents, law firm managing partners, and corporate chief executives standing up against bullies, who then will step up for the first amendment?”

Eisner said ABC’s action is “yet another example of out of control intimidation” by the FCC.

“Maybe the Constitution should have said, ‘Congress shall make no law abridging the freedom of speech, or of the press, except in one’s political or financial self-interest.’” Eisner added. “By-the-way, for the record, this ex-CEO finds Jimmy Kimmel very talented and funny.”

Disney did not immediately comment on Eisner’s post.

Damon Lindelof, the Emmy-winning co-creator of the hit ABC series “Lost,” said in an Instagram post Wednesday that he would no longer work for Disney or ABC unless Kimmel is reinstated.

A major Republican voice weighed in on Friday as well, with Sen. Ted Cruz (R-Texas) saying the FCC chair’s threats are “dangerous as hell” and compared them to organized crime tactics.

Carr, who has been in lockstep with Trump on matters concerning the media, has said that stations have the right to pull the show if owners believe the content conflicts with community standards.

“Broadcast TV stations have always been required by their licenses to operate in the public interest — that includes serving the needs of their local communities,” he wrote Thursday on X. “And broadcasters have long retained the right to not air national programs that they believe are inconsistent with the public interest, including their local communities’ values. I am glad to see that many broadcasters are responding to their viewers as intended.”

Walt Disney Co., Universal Pictures and Warner Bros. Discovery on Tuesday sued a Chinese artificial intelligence firm called MiniMax for copyright infringement, alleging its AI service generates iconic characters including Darth Vader, the Minions and Wonder Woman without the studios’ permission.

“MiniMax’s bootlegging business model and defiance of U.S. copyright law are not only an attack on Plaintiffs and the hard-working creative community that brings the magic of movies to life, but are also a broader threat to the American motion picture industry,” the companies said in their complaint, filed in U.S. District Court in Los Angeles.

The entertainment companies requested that MiniMax be restrained from further infringement. They are seeking damages of up to $150,000 per infringed work, as well as attorney fees and costs.

This is the latest round of copyright lawsuits that major studios have brought against AI companies over intellectual property concerns. In June, Disney and Universal Pictures sued AI firm Midjourney for copyright infringement. Earlier this month, Warner Bros. Discovery also sued Midjourney.

Shanghai-based MiniMax has a service called Hailuo AI, which is marketed as a “Hollywood studio in your pocket” and used characters including the Joker and Groot in its ads without the studios’ permission, the studios’ lawsuit said. Users can type in a text prompt requesting “Star Wars’” iconic character Yoda or DC Comics’ Superman, and Hailuo AI can pull up high quality and downloadable images or video of the character, according to the document.

“MiniMax completely disregards U.S. copyright law and treats Plaintiffs’ valuable copyrighted characters like its own,” the lawsuit said. “MiniMax’s copyright infringement is willful and brazen.”

“Given the rapid advancement in technology in the AI video generation field … it is only a matter of time until Hailuo AI can generate unauthorized, infringing videos featuring Plaintiffs’ copyrighted characters that are substantially longer, and even eventually the same duration as a movie or television program,” the lawsuit said.

MiniMax did not immediately return a request for comment.

Hollywood is grappling with significant challenges, including the threat of AI, as companies consolidate and reduce their expenses as production costs rise. Many actors and writers, still recovering from strikes that took place in 2023, are scrambling to find jobs. Some believe the growth of AI has threatened their livelihoods as tech tools can replicate iconic characters with text prompts.

While some studios have sued AI companies, others are looking for ways to partner with them. For example, Lionsgate has partnered with AI startup Runway to help with behind the scenes processes such as storyboarding.

The Ellison era of Paramount was barely a month old when another major potential Hollywood merger appeared on the horizon.

Last week the share prices of Paramount and Warner Bros. Discovery surged following reports that the former was preparing a bid to take over the latter with a mostly cash offer backed by the Larry Ellison family. This would come a remarkably short time after Skydance Media, the production company founded by Larry’s movie producer son David, combined with Paramount in an $8-billion deal.

A merger of Paramount and Warner Bros. Discovery would have profound ramifications for the media and entertainment industry.

It would consolidate two of Hollywood’s oldest studios, Paramount and Warner Bros., in the most significant movie business merger since Walt Disney Co. devoured the entertainment assets of 21st Century Fox in 2019. The film industry has still not recovered from having the 20th Century Fox studio effectively taken off the board.

Additionally, a merger would put two mass-market streaming services, Paramount+ and HBO Max, under the same roof, probably leading to the eventual melding of the two. The Ellison clan’s move would also bring Warner Bros. Discovery’s linear TV networks, including CNN, HGTV, Food Network and TNT, together with Paramount’s Comedy Central, MTV and BET.

All of this would lead to substantial “synergies,” meaning cuts and layoffs, at a time when the job market in entertainment and corporate media is already fraught as the industry reconfigures itself. Paramount is currently bracing for thousands of layoffs as the new owners seek $2 billion in cost savings.

That’s not to mention the changes that would likely come if CNN came under the control of Ellison.

Larry Ellison, the Oracle Corp. billionaire who, depending on the day, is one of the world’s two wealthiest people alongside Elon Musk, is known to be Trump-friendly. The effects of the Ellison reign are already being felt at Paramount’s CBS News, where a former conservative think tank leader was recently appointed as ombudsman and where center-right and staunchly pro-Israel journalist Bari Weiss is expected to have an influential role after Ellison buys her digital media startup the Free Press.

So why is all this happening now, and why so quickly?

After all, the Wall Street Journal first reported Ellison’s interest in Warner Bros. Discovery on Sept. 11, just weeks after the Paramount-Skydance combo closed on Aug. 7.

In a sense, this scenario is unsurprising. Wall Street has been practically begging for another wave of consolidation in the media business, as the audience for theatrical movies shrinks, cord-cutting guts TV profits and more of viewers’ attention turns to YouTube, Netflix and TikTok. Most of the legacy entertainment companies don’t have the streaming firepower to compete. They need to combine to measure up.

But the timing is unexpected, and the unavoidable political considerations are particularly interesting.

With Trump in the White House, the political winds are clearly blowing in the Ellisons’ direction, after the Skydance and RedBird Capital team that bid for Paramount placated federal regulators with promises to eliminate diversity, equity and inclusion initiatives and to make CBS News more balanced, at least in eyes of Trump-appointed FCC Chairman Brendan Carr.

Paramount paid $16 million to settle Trump’s lawsuit over a “60 Minutes” Kamala Harris interview. Ellison and his team want to make a Warner Bros. deal happen when a friendly administration is in power.

Paramount has lately upped its spending, acquiring the rights to UFC (run by Trump friend Dana White), locking down “South Park” for Paramount+ and announcing a deal with Activision to make a “Call of Duty” movie.

Also of note is that Ellison’s group is coming in with an offer for the whole company even as Warner Bros. Discovery Chief Executive David Zaslav prepares to split the media giant into two firms: one with the studios, HBO and streaming businesses, and the other with the TV networks. Putting in a bid now could dissuade other potential buyers that might be interested in just one part.

Apple and Amazon have long been seen as potential bidders for Warner Bros. (Amazon already owns MGM), but it’s unlikely they would want a bunch of TV channels that are on the brink of being orphaned. Analysts have speculated that one reason for the proposed split was to make the studio and streaming assets more attractive to buyers by uncoupling them from the challenged pay-TV business. That split is expected to take place sometime in mid-2026.

Paramount’s bid could also preempt those that may want to do a deal, but are firmly on the Trump administration’s bad side. NBCUniversal owner Comcast Corp.’s CEO Brian Roberts has been the subject of disparaging Trump missives. Comcast is liberal network MSNBC’s parent company (for now). A regulatory review involving a perceived Trump enemy would likely not go well.

Of course, competitive bids could emerge anyway, for example, if a private equity player such as Apollo Global decided to get into the mix after previously expressing interest in Paramount through an unsuccessful team-up with Sony.

Big mergers in media and entertainment often fail, and they’re always disruptive.

Warner Bros. itself was involved in some of the most disastrous deals ever: AT&T’s purchase of Time Warner, and before that, the media company’s ill-fated marriage with AOL. Warner Bros. is now on a box-office hot streak, but that has come after years of Zaslav taking heat for killing projects such as “Batgirl.”

Such deals result in mass layoffs. Movie theater owners will most likely see darker days ahead as they’ll be minus yet another big supplier of blockbusters. Journalist Richard Rushfield, of the Ankler newsletter, demanded that somebody do something to stop it. We’ll see.

An Oracle scion buying two studios one after the other probably wasn’t the tech takeover of Hollywood that many people envisioned. Analysts long assumed that Apple would be the one to buy an entertainment powerhouse — maybe even Disney — despite having not shown any particular inclination for doing so. But though it’s not the Silicon Valley roll-up people anticipated, it may be the one they’re going to get.

Stuff we wrote

Numbers of the week

An anime film slayed its Hollywood competition at the box office over the weekend.

“Demon Slayer: Kimetsu no Yaiba Infinity Castle,” already a big hit in Japan, was the highest-grossing movie domestically, beating new films “Downton Abbey: The Grand Finale,” “The Long Walk” and “Spinal Tap II: The End Continues.”

The film, distributed by Sony Pictures and Crunchyroll, opened with a better-than-expected $70 million in ticket sales from the U.S. and Canada, according to studio estimates, making it the biggest anime opening ever. It’s also the highest-grossing domestic debut of the year so far for an animated film.

Its global weekend for Sony, which owns the Crunchyroll anime brand and streaming service, totaled $132.1 million, which includes 49 international markets.

Including grosses from Japan, the movie’s worldwide tally has surpassed $450 million, according to Comscore.

The success of “Demon Slayer,” part of a long-running popular franchise and not to be confused with Netflix’s hit “KPop Demon Hunters,” is a relief to theater owners at a time when other genres are struggling, including superheroes, comedies and original animation. It’s the latest evidence of anime’s growing global clout.

Comedian Nate Bargatze didn’t shortchange the Boys & Girls Clubs of America, nor did he kill the Emmys telecast’s ratings on Sunday night.

The 77th Emmy Awards ceremony from the Peacock Theater in Los Angeles delivered an average of 7.42 million viewers on CBS, up 8% from last year’s audience for ABC.

Once among the most-watched live awards shows on television, the Emmy Awards audience declined dramatically over the last decade as most of the series celebrated no longer have the broad reach they did when traditional TV still dominated the culture, reports Stephen Battaglio.

But the audience level appears to have stabilized. Nielsen data shows that ratings for the Emmy Awards grew for the second consecutive year. The figure is the highest since 2021, when the telecast also aired on CBS.

HBO Max’s “The Pitt,” Apple TV+’s “The Studio” and Netflix’s “Adolescence” were big winners.

Film shoots

Finally …

Listen: The music of Le Tigre, just because it rocks. I just started the audiobook of Le Tigre and Bikini Kill frontwoman Kathleen Hanna’s memoir, “Rebel Girl.” Essential for punk rock fans.

Disney World, in Florida, is reported to be “dead”, as rides are quiet and there are few queues. Americans have expressed worry about the state of tourism in the US

There’s been plenty of upheaval at Disney World lately, with a beloved attraction shutting its doors for good after 54 years. However, holidaymakers are now spotting another major shift at the popular destination, as the resort has apparently become “dead.”

Claims are emerging that the famous theme park has grown remarkably quiet this summer, with visitors sharing different theories about what might be behind it. The issue was recently highlighted by a man called thenobleways on TikTok, who filmed his latest trip to Disney World to share his thoughts on what was happening in Florida.

During his weekend visit, he insisted Disney World was “empty.” This comes months after several rides at the theme park shut down permanently.

He said: “I’m at Magic Kingdom right now, and this place is a tomb. There is literally nobody here. There is no wait time for anything.

“Space Mountain – walk on. Haunted Mansion – walk on. Pirates of the Caribbean – walk on. The longest I have even seen a wait time for Seven Dwarfs today [is] 30 minutes.

“Peter Pan’s Flight – up to 30 minutes, but everything is walk on all day long. I don’t know what’s going on. It’s Labor Day weekend – should be crowded, should be packed normally – this place is empty.

“I am absolutely loving it, but what do you think? What’s going on? Why is there nobody here? I have never seen it like this.

“It’s been years since I’ve seen it this empty, especially on a holiday weekend. I don’t know, I’m going to enjoy it while I can.”

The clip has racked up more than 7,000 views since being posted, with viewers rushing to share their theories about the quiet scenes.

One person commented: “People don’t want to go to Florida.” Another chimed in with: “Too expensive, politics, Trump.”

A third weighed in: “Florida is imploding financially and nobody wants to go there. Miami and the other beaches are struggling as well.”

Meanwhile, a fourth also remarked: “Nobody can afford Disney anymore. Think [it’s] the tariffs.”

Someone else also pitched in with: “That’s because it’s Florida. Disney in California is packed. Let’s face it, Florida is in major decline.”

Last month, CBS reported that tourism is actually on the rise in Florida, despite a drop in Canadian visitors. Visit Florida previously estimated 34.435 million people travelled to Florida from April 1 to June 30, which increased from 34.279 million people during the same period last year.

However, Disney is reported to have experienced a decline in tourism. The drop in travel to Orlando, particularly linked to the Walt Disney World theme parks, is said to partly stem from Disney Experiences’ major renovation projects taking place across the resort.

There could be a multitude of reasons for the dwindling crowds in Orlando, including steep ticket prices that some find hard to justify, a decrease in international visitors, particularly from Canada, stiff competition from Universal’s upcoming Epic Universe park and the ongoing effects of the pandemic.

“The Conjuring: Last Rites” gave movie theaters a needed jolt over the weekend with a much better than expected domestic opening of $84 million and a global take of $194 million, a franchise best and the latest success for Warner Bros. and its New Line Cinema banner.

But it will take more than supernatural scares to ease Hollywood’s jitters after a weak summer movie season that exposed more challenges facing the traditional film industry.

Ticket sales fell slightly from last year’s summer season, which for the movie business spans from the first weekend of May through Labor Day. Movies grossed $3.67 billion in the U.S. and Canada this summer, down 0.2% from the same period in 2024, according to data from Comscore. More importantly, it’s still down from the pre-pandemic norm of about $4 billion, a disappointing result given that summer typically accounts for about 40% of annual grosses.

If you account for inflation, it’s even worse. Adjusting for today’s dollars, summer revenue was down 34% from 2019, meaning theater attendance was weaker than the topline revenue stats suggest. With actual attendance still impaired compared with the days before COVID-19, there’s a growing sense that the industry’s fears have come true: Audience habits have changed, and they’re not going back.

The problem wasn’t a lack of movies compared with last year. The effects of the 2023 writers’ and actors’ strikes have dissipated by now.

Rather, the issue was a shortage of big studio movies that audiences really wanted to see. The biggest release was Disney’s “Lilo & Stitch” remake, which collected $424 million domestically. There was nothing like last summer’s “Inside Out 2” or “Deadpool & Wolverine,” which both generated more than $600 million in North America.

The problem of the shrinking overall audience could be due to multiple factors.

In particular, theater owners blame the shrinking of the theatrical window — the period of time a new movie is held back from home video after its big screen debut — to roughly 45 days from the previously standard 90 days. Audiences know they don’t have to wait long before a new movie becomes available in their living room. That encourages them to save their money for only the biggest, Imax-worthy spectacles. The growing influence of Imax and premium large format screening may exacerbate that trend, as audiences choose between paying extra for a better “experience,” or just waiting to see “F1 The Movie” on their couch.

There were plenty of sequels and reboots, but those often performed worse than prior installments, indicating that audiences were less enthusiastic about seeing another Marvel movie or rampaging dino feature. “Jurassic World: Rebirth” made $861 million globally, which was big, but still the series’ smallest outing since 2001’s “Jurassic Park III.” Warner Bros.’ “Superman” collected a healthy $614 million, but that was still less than 2013’s “Man of Steel” ($670 million).

Superheroes didn’t come flying to the rescue. Marvel’s “Thunderbolts” put up a modest $382 million while “The Fantastic Four: First Steps” opened strong but collapsed in subsequent weeks for a total of $511 million worldwide, a middling outcome for the Disney-owned comic book universe. No wonder studios are increasingly looking at video games as a source of intellectual property for movie adaptations, as my colleague Sam Masunaga recently wrote. After all, Generation Alpha’s list of favorite franchises is dominated by video game-related titles, according to a recent National Research Group report.

Another threat emerged as international audiences appeared to sour on some U.S. blockbusters. “Superman” and “Fantastic Four” grossed less abroad than they did at home, which is an unusual result for big-budget action flicks.

It’s not clear why, but some explanations have been floated. China is no longer the reliable source of revenue that it once was, as audiences increasingly favor local-language productions. Some speculate that America’s diminished standing abroad has contributed to audience fatigue. The quintessential Americanness of the Superman brand is also widely believed to be a factor in that film’s underperformance outside the U.S.

Original animation struggled, as Pixar fielded its worst opening weekend ever with “Elio.” To add insult to injury, Sony Pictures Animation’s “KPop Demon Hunters” became a cultural phenomenon, but only after first launching on Netflix.

The rest of the year has some major releases, but they’re not expected to bring the business back to full strength. September is usually a slow month for moviegoing, “Last Rites” notwithstanding. Disney’s “Zootopia 2,” Universal’s “Wicked: For Good” and James Cameron’s “Avatar: Fire and Ash” will probably do huge business. But while individual films can do well, the overall picture isn’t so rosy.

Stuff we wrote

Number of the week

Artificial intelligence company Anthropic agreed to pay $1.5 billion to authors and publishers to settle a lawsuit that accused the company of illegally using written work to train its chatbot Claude.

The topline figure is the largest known settlement for a copyright case, equating to $3,000 per work for an estimated 500,000 books, The Times’ Queenie Wong reported.

But the case was not an outright win for authors worried about AI being trained on their published material. Far from it.

U.S. District Judge William Alsup of San Francisco ruled in June that Anthropic’s use of the books to train the AI models constituted “fair use,” meaning it wasn’t illegal. Fair use is a doctrine that allows for the limited use of copyrighted materials without permission in certain cases, such as teaching, criticism and news reporting. It’s an essential part of AI companies’ defense against copyright infringement claims.

The real problem for Anthropic was that the startup had illegally downloaded millions of books through online libraries. So the piracy was the true sin in this case, not the training of AI on books without permission.

Anthropic pirated at least 7 million books from Books3, Library Genesis and Pirate Library Mirror, online libraries containing unauthorized copies of copyrighted books, to train its software, according to the judge. However, it also bought millions of print copies in bulk and scanned them into digital and machine-readable forms, which Alsup found to be in the bounds of fair use.

Film shoots

Finally …

Listen: Zach Top’s “Ain’t in It for My Health,” for throwback country goodness.

Read: Amy Nicholson’s review of “The Wizard of Oz” at Sphere in Las Vegas.