The NFL has reached a deal to take a 10% ownership stake in the Walt Disney Co.’s ESPN, the league and Disney announced Tuesday evening, a move that is expected to solidify the sports media outlet’s relationship with the league for years to come.
In return for the equity stake valued at more than $2 billion based on recent valuations of the company, ESPN will take over the NFL’s cable properties including the NFL Network and Red Zone, the popular channel that continuously updates fans on the slate of Sunday contests. The NFL Network also has the rights to seven regular season games.
In addition to the sale of NFL Network, the NFL and ESPN are also entering into a second non-binding agreement, under which the NFL will license to ESPN certain NFL content and other intellectual property to be used by NFL Network and other assets.
The deal is a big win for ESPN Chairman Jimmy Pitaro, who took over the Disney unit in 2018 with a mandate to improve the company’s relationship with the NFL.
The equity stake comes ahead of ESPN’s move into the direct-to-consumer streaming business this fall, which gives consumers the opportunity to purchase the company’s sports channels without a cable or satellite TV subscription. NFL Network will also be available on the streaming service.
“This is an exciting day for sports fans,” Pitaro said Tuesday in a statement. “By combining these NFL media assets with ESPN’s reach and innovation, we’re creating a premier destination for football fans. Together, ESPN and the NFL are redefining how fans engage with the game — anytime, anywhere. This deal helps fuel ESPN’s digital future, laying the foundation for an even more robust offering as we prepare to launch our new direct-to-consumer service.”
The new product is aimed at recapturing sports fans who are forgoing cable and satellite services. ESPN has seen its reach in cable decline from 98 million homes in 2013 to around 72 million as a result of cord-cutting.
“Today’s announcement paves the way for the world’s leading sports media brand and America’s most popular sport to deliver an even more compelling experience for NFL fans, in a way that only ESPN and Disney can,” Disney Chief Executive Bob Iger said in a statement.
ESPN has the broadcast rights to “Monday Night Football” and two Super Bowl games in the current NFL contract that runs through 2033 but is expected to be reopened in 2029.
The deal with Disney means the NFL’s other partners — Fox, NBC, CBS, YouTube and Amazon — will be bidding against an entity that the league has a financial interest in next time the media rights come up.
Lachlan Murdoch, executive chairman of Fox Corp., told Wall Street analysts Tuesday he is not concerned the NFL’s partnership with ESPN will impact his network’s standing with the league.
“We have a tremendous relationship with the NFL,” Murdoch said. “We appreciate that they are fans of the broadcast and cable networks, and we look forward to working with them and deepening our relationship with them as we move forward.”
Walt Disney Co. is expected to announce that the NFL is taking an equity stake in the Burbank-based entertainment giant’s sports media property ESPN, according to people familiar with the plan who were not authorized to comment publicly.
Disney may reveal the deal during its earnings call Wednesday. Representatives at the NFL and ESPN declined comment Friday.
In return for the equity stake, ESPN is expected, at minimum, to take over the NFL’s cable properties including the NFL Network and Red Zone, the popular channel that continuously updates fans on the slate of Sunday contests. The NFL Network also has the rights to several regular season games late in the season.
In addition, the NFL owns the league’s production unit, NFL Films, and NFL+, the streaming service that enables subscribers to watch games and other related content on mobile devices.
ESPN has the broadcast rights to “Monday Night Football” and two Super Bowl games in the current NFL contract that runs through 2033 but is expected to be reopened in 2029. The impending deal with Disney means the NFL’s other partners — Fox, NBC, CBS, YouTube and Amazon — will be bidding against an entity that the league has a financial interest in next time the media rights come up.
Discussions between the NFL and Disney have been ongoing for more than 18 months as concerns heightened about the viability of ESPN when consumers continue to bypass or cancel pay TV subscriptions.
The NFL accounts for the vast majority of most-watched programming on U.S. television screens every year, according to Nielsen. But as the TV business has been fragmented and disrupted by streaming, there are even more competitors wanting their own package of pro football games.
In 2022, the NFL awarded the rights to its Sunday Ticket package to Google’s YouTube TV. The seven-year deal for the package, which gives viewers access to out-of-market network TV broadcasts of the league’s Sunday afternoon games, underscored the migration of younger viewers to streaming platforms for video viewing.
Netflix, the world’s largest subscriber-based online video service, has the rights to Christmas Day games, which last year drew tens of million of viewers to the streamer, which has been building up its live programming business.
ESPN has long been the most expensive part of the pay TV bundle, currently getting close to $9 per subscriber. It is now in around 73 million homes, down from 98.5 million in 2013.
Traditional television is losing ground to streaming. Earlier this year, Nielsen reported that TV consumption through streaming services had exceeded broadcast and cable viewing combined for the first time.
ESPN is adapting to the streaming landscape, launching its first stand-alone direct-to-consumer product that will give consumers access to all of its channels without a pay TV subscription. The service will cost $29.99 a month.
TV ratings for ESPN have improved and ad sales have remained strong as advertisers value audiences who watch live programming.
Disney’s stock price fell about 2% to $116.59 on Friday as the broader markets absorbed the pain of President Trump’s new tariffs and weak jobs data.
ESPN is run by Jimmy Pitaro, who has been considered a potential internal candidate to replace Disney Chief Executive Bob Iger when he retires at the end of next year. Disney’s share price has risen 5% so far this year.
As a deep-pocketed producer, David Ellison helped breathe new life into Paramount franchises including “Mission: Impossible,” “Star Trek” and “Top Gun.”
But can the high-flying son of a billionaire make a full-fledged media company airworthy again? Can he use Silicon Valley money and movie business know-how to restore the legacy of one of the entertainment industry’s original studios, following a deal clinched through an act of political appeasement?
Those are the questions Hollywood talent, studio rivals and insiders will be asking as Ellison takes the controls of the new Paramount, after regulators finally approved the long-awaited $8-billion merger with his Santa Monica production company Skydance Media. The deal — two years in the making, and approved by the FCC only after a $16-million settlement with Trump and promises to mindwipe any trace of DEI from the company — is expected to close Aug. 7.
After that, Ellison, backed in large part by his father, Oracle Corp. co-founder Larry Ellison, will bring in his own team to face the daunting challenges.
Chris McCarthy, the architect of Paramount’s recent streaming strategy, is out. Paramount Pictures and Nickelodeon head Brian Robbins is also expected to exit while CBS chief George Cheeks is staying. The incoming management team includes former NBCUniversal Chief Executive Jeff Shell, who is currently a heavyweight at Ellison’s bidding partner RedBird Capital.
Skydance Chief Creative Officer Dana Goldberg will run the film studio, and former Netflix executive Cindy Holland will play a major role at the new company. Also joining is Sony Pictures movie executive Josh Greenstein.
This may be a different team from the one that labored under outgoing controlling shareholder Shari Redstone, but it’ll be contending with most of the same problems.
Paramount is dogged by issues buffeting all legacy media companies, including the decline of traditional TV ratings, the post-COVID-19 realignment of the theatrical box office and the escalating costs of sports rights, as my colleague Stephen Battaglio and I reported last week. Those difficulties were exacerbated at Paramount by chronic underinvestment and years of shambolic leadership, as corporate governance experts have long pointed out.
Ellison has direct experience with movies, having produced many of them, including some of Paramount’s biggest hits (as well as some notable flops). He’s less steeped in running TV channels and streaming services, which have urgent needs. The scion is also coming in to make good on a promise to investors: to find $2 billion in cost cutting, which will mean layoffs and disruption.
Paramount+ has been growing, thanks in part to the NFL, CBS shows and a run of original hits including “Landman,” “1923” and “Tulsa King.” But the service has lost money for years, and the app is clunky. (It’s expected to reach full-year U.S. profitability in 2025.) McCarthy spent big bucks on talent, including Taylor Sheridan and the creators of “South Park,” enough to make Matt Stone and Trey Parker billionaires, according to Forbes.
Analysts say the service will need substantial investment in content and technology to make it competitive while also partnering with other companies to increase its reach through discounted bundles and other initiatives.
The new owners will have to decide what to do with the cable channel business, which includes such eroding brands as MTV, BET and Comedy Central.
Many observers tend to assume Ellison will eventually spin those off, following the lead of NBCUniversal and Warner Bros. Discovery. In a sadly comical reminder of what can happen with a merger gone wrong, David Zaslav’s Warner Bros. Discovery on Monday announced that the two companies resulting from its pending breakup will be called — wait for it — Warner Bros. and Discovery Global.
TD Cowen analyst Doug Cruetz, in a recent note to clients, speculated that Ellison didn’t buy the Paramount assets just to “break it up for parts.”
We’ll see.
Another looming and potentially costly issue is the NFL’s relationship with CBS Sports. The change of control will trigger an early renegotiation of Paramount’s contract with the league once the transaction closes. That’s important because the NFL has significant leverage in dealmaking, considering that its games account for the vast majority of most-watched programming on television.
Ellison has promised to bring technological enhancements to Paramount. That would mean a more functional app for Paramount+ and an improved personalized recommendation system. It might mean using tech to make movies cheaper and faster. A year ago, Ellison noted a partnership between Skydance Animation and Oracle to build a so-called studio in the cloud. What technology can’t do is pick the movies people want to see, and that’s where the new leadership group will have to prove themselves.
But the biggest hurdle will be overcoming the stain covering the deal itself after the concessions required to get it over the finish line.
Paramount paid a substantial sum to make peace with President Trump, who had sued the company over CBS News’ “60 Minutes” interview with his 2024 election rival, then-Vice President Kamala Harris. The case was frivolous, 1st Amendment experts said. But the Redstone family and the Ellisons were desperate to get the deal done. As a result, the new company is starting off on a crooked foundation, as one Hollywood insider put it to me.
Stephen Colbert, speaking on “The Late Show,” called Paramount’s settlement a “big fat bribe.” Days later, he learned that his show would be ending in May. Even assuming the company told the truth in saying that the cancellation was a purely financial decision (i.e., the show was too expensive and it was losing money), the optics were bad.
Comedians responded the way comedians do. The “South Park” team, having secured a $1.5 billion deal to bring the long-running animated series to Paramount+, opened their 27th season with, effectively, a pair of middle fingers raised to Trump and their parent company.
The show depicted a flapping-headed cartoon Trump in bed with Satan, similar to its past portrayal of Saddam Hussein, and ended with an AI-generated PSA showing the president wandering the desert and stripping naked, revealing tiny, talking genitalia.
The Trump settlement cast a pall over whatever plans Ellison has. CBS News lost key figures in part due to Paramount’s push to reach a peace accord with the president (Tanya Simon being named to run “60 Minutes” is seen as a relief). But whatever you say about the corporate behind-the-scenes machinations that took place to make the deal happen, you can’t say the artists have lost their spine.
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In a return to form for Walt Disney Co.’s Marvel Studios, “The Fantastic Four: First Steps” opened with a robust $118 million in the U.S. and Canada and $218 million globally, according to studio estimates, slightly outperforming prerelease projections.
This comes after middling results and poor reviews for “Captain America: Brave New World” and tepid sales (but better reviews) for “Thunderbolts*.” Last summer’s “Deadpool & Wolverine” was a $1.34-billion hit.
Like Deadpool and Wolverine, the Fantastic Four — known as Marvel’s first family — came to Disney through the company’s acquisition of 21st Century Fox entertainment assets. Fox made three “Fantastic Four” movies, all bad. “First Steps” earned mostly positive reviews from critics and fans (88% on Rotten Tomatoes; “A-” from CinemaScore).
The $218-million global opening weekend was similar to that of James Gunn’s DC reboot “Superman,” released earlier this month. That film just crossed the $500 million box office milestone, with a strong $289 million domestically and a less-impressive $213 million overseas.
Theaters have been on a winning streak this summer. So far this year, ticket sales are up 12% from 2024, according to Comscore. But the rest of the season looks thin. Next weekend features Paramount’s “The Naked Gun,” Universal’s animated “Bad Guys 2” and Neon’s Sundance horror breakout “Together,” starring real-life couple Dave Franco and Alison Brie.
Finally …
One marker of a great artist is the number and diversity of musicians who take inspiration from their work. And Ozzy Osbourne, the Black Sabbath frontman who died last week, had plenty of admirers who covered his songs.
The Times’ Mikael Wood already rounded up the Prince of Darkness’ 10 essential tracks. Here are some of the best covers, with help from Rolling Stone and Loudwire.
It was clobberin’ time this weekend, as Marvel’s “The Fantastic Four: First Steps” nabbed the top spot at the box office with a performance that returned the Walt Disney Co.-owned superhero franchise to form.
The movie hauled in $118 million in the U.S. and Canada and grossed $218 million globally in its opening weekend. The film, which stars Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach and Joseph Quinn, is just the latest remake of the comic book property, though the first under Walt Disney Co.’s ownership.
Disney has already capitalized on its ownership of the “Deadpool” and “X-Men” properties — its 2024 film, “Deadpool & Wolverine,” garnered more than $1 billion in global box office revenue.
Fox produced and released three “Fantastic Four” movies, none of which were well-received by audiences or critics. A 2015 reboot was particularly reviled.
Quality was not an issue this time. The movie notched a 88% approval rating on aggregator Rotten Tomatoes and an “A-” grade from audience polling firm CinemaScore.
The movie exceeded pre-release estimates. “First Steps” was expected to gross $100 million to $110 million in its debut weekend, on a reported budget of about $200 million.
The theatrical reception for “The Fantastic Four” is a relief for Disney and Marvel, which has struggled in recent years to reap the box office earnings it once did with its superhero films.
The Anthony Mackie-led “Captain America: Brave New World” received middling reviews from critics and brought in about $415 million in global box office revenue. Ensemble movie “Thunderbolts*” received strong reviews, but made only $382 million worldwide.
Disney Chief Executive Bob Iger said earlier this year that the company “lost a little focus” in its zeal to produce more shows and movies for the Disney+ streaming platform, acknowledging that “quantity does not necessarily beget quality.”
“By consolidating a bit and having Marvel focus much more on their films, we believe it will result in better quality,” he said during an earnings call with analysts in May.
Anticipation was high for “The Fantastic Four,” and Disney went all out with the marketing. The company hired a skywriter to craft encircled 4’s in the sky near downtown Los Angeles on the day of the premiere and featured a drone show outside the Dorothy Chandler Pavilion after the showing.
“While Marvel films have settled into a fairly predictable core audience after multiple under-cooked films and streaming series in the post-’Avengers: Endgame’ era, the brand remains sturdy when the right film comes along,” Shawn Robbins, director of movie analytics at Fandango and founder of site Box Office Theory, wrote in a weekend theatrical forecast published Wednesday.
Warner Bros.’ DC Studios’ “Superman” came in second at the box office this weekend with a domestic total of $24.9 million for a worldwide gross so far of $503 million.
Former 21st Century Fox and Walt Disney Co. executive Peter Rice has been named head of ceremonies and content for the 2028 Summer Olympics and Paralympics in Los Angeles, LA28 organizers said Wednesday.
In this role, the longtime TV veteran will be in charge of the physical production and creative oversight of the opening and closing ceremonies for both games. The 2028 Summer Olympics’ opening ceremony will be held at two venues — the Coliseum and SoFi Stadium. The Games’ closing ceremony will be held at the Coliseum.
In a statement, Rice said he looked forward to producing ceremonies that would honor the legacy of the Coliseum and “celebrate the cutting-edge future” of SoFi Stadium.
“These venues have hosted some of the most legendary moments in sports history,” Rice said. “I’m thrilled to deliver a powerful artistic experience that adds a new chapter to LA’s Olympic and Paralympic story.”
LA28 President and Chairperson Casey Wasserman said Rice’s background in “creativity, operational insight and production excellence” made him ideal for the position.
“He’s been a leading figure in shaping the modern television and film landscape and is the perfect asset to reimagining the delivery of the Opening and Closing Ceremonies for the digital age, leaving a legacy well beyond the Games,” Wasserman said in a statement.
Rice spent decades at Rupert Murdoch’s 21st Century Fox, eventually rising to the role of president. After Disney acquired the entertainment assets of 21st Century Fox in 2019, he became chairman of Disney’s TV content division. At one point, analysts and insiders speculated that he could become Disney’s CEO.
Skip Brittenham, a prominent Hollywood attorney whose clients included Harrison Ford, Henry Winkler and Eddie Murphy, has died at age 83.
Brittenham died Thursday, said Ziffren Brittenham LLP, the firm he founded in 1978.
“Everyone in our industry knew of Skip’s legal prowess,” the firm said in a statement. “But some may not have known of his quiet generosity, his ability to find humor and opportunity in the darkest moments, and his unwavering belief that media and the entertainment industry must serve people, not the other way around.”
The firm did not disclose the cause of death.
Brittenham was known in the entertainment industry as a powerful dealmaker. Beyond his starry client list, Brittenham helped to forge Pixar’s initial deal with Disney, was behind the splitting of DreamWorks and ushered Disney’s acquisition of Miramax.
“What amuses me most about Skip is he often represents everyone in the deal,” Ford, who was a client before he rose to fame with “Star Wars,” told The Times in 2005. “And, he does a really good job for everybody … I’ve always walked away from every negotiation and thought, ‘Jesus, how did he get that?’”
Ken Ziffren, one of two lawyers with whom Brittenham founded the firm, told The Times in 2005 that early in their partnership, the two discovered they were wooing the same prospective client, comedian Richard Pryor.
“Skip did not back down,” Ziffren said. “He got Pryor.”
Born Harry M. Brittenham, the eldest son of an Air Force fighter pilot, he spent much of his childhood moving from one base to another. Although he attended Air Force Academy, Brittenham got hit in the eye with a squash racket in 1963. His 20-20 vision — a requirement for pilot training — was gone.
He spent four years negotiating contracts for the Air Force before enrolling in law school at UCLA.
Outside of his professional life, Brittenham was a passionate fly-fisher with decades of experience. He competed in and won several worldwide fishing competitions and practiced the sport across six continents.
The love of nature Brittenham tended to as he pursued fly-fishing led him to serve as a longtime board member of Conservation International, a leading environmental organization that honored him with its Heroes of Conservation Award.
Brittenham was also an avid fan of science fiction, and he authored a sci-fi graphic novel titled “Anomaly” in 2012. Speaking with The Times ahead of the book’s release, Brittenham said he wanted to dabble in his creative side and tap into his childhood love for Marvel and DC Comics to show people he was more than just a negotiator.
“I don’t like to just try things out,” he said. “I like to jump all the way in and figure out how to do something unique and different.”
Although Brittenham is remembered as a tenacious lawyer, he also had a reputation as a family man, often leaving the office by 5 p.m. to be with his wife and children.
Brittenham was married to actor and screenwriter Heather Thomas, and he had three daughters: Kristina, Shauna and India. He is also survived by his brother Bud, two devoted sons-in-law Jesse Sisgold and Avi Reiter, and four grandchildren.
Television executive James Stark Bennett II, known for developing talk show “Live with Regis and Kathie Lee,” has died at 78.
Bennett, who went by Jamie, died July 6 after a fight with cancer, according to his family.
He spent more than a decade at CBS, where he was an executive at television and radio stations in San Francisco and Chicago before coming to Los Angeles, where he served as vice president and general manager at KCBS-TV.
Bennett then moved over to the Walt Disney Co., where he served as senior vice president of Buena Vista Television Productions. In that role, he developed such shows as “Live with Regis and Kathie Lee,” “Siskel & Ebert” and the game show “Win, Lose or Draw.”
He later became president and chief executive at ACI, a Los Angeles-based TV and film distributor. When ACI was bought by Britain-based Pearson Television in 1995, Bennett and his family moved to London, where he ran the company’s worldwide production.
He eventually moved back to L.A., where he got involved in volunteer work and expanded his career beyond the entertainment industry by becoming chief operating officer at the Southern California Institute of Architecture. There, he was instrumental in helping the school establish its permanent base in L.A.’s Arts District, his family said. He also served on the board of the Ojai Music Festival, later becoming its president and CEO for five years until 2020.
Bennett was born in New York City on June 1, 1947. He later graduated from UC Berkeley, where he chaired a student-run summer program in Washington, D.C., and started his media career as the program director for the university’s radio station. After getting his MBA from Harvard Business School, he moved back to New York to take a job at CBS, which launched his media career.
He and his wife, Carolyn, eventually purchased an 11-acre farm in Ojai, which became their permanent residence. Bennett is survived by his wife, Carolyn, their three children and other family members.
By now, many Disney fans have had a chance to see the officially released images by the company as well as close-up pictures taken by park guests. There have been quibbles, to say the least, with many a fan showing snapshots of the animatronic side by side with pictures of a much younger Disney. It’s important to note that the figure captures Disney in 1963. Disney died in 1966 at 65.
The show has me thinking a bit on how the animatronic medium can be used best. Disney introduced its audio-animatronics in 1963 with the Enchanted Tiki Room, but elevated the form in 1965 with the “Great Moments With Mr. Lincoln” production. We have no filmed footage of Abraham Lincoln, meaning he exists to us largely in our mind. “Walt Disney — A Magical Life” contains a 15-minute documentary-like film, “One Man’s Dream,” which is narrated by Disney and Walt Disney Co. Chief Executive Bob Iger, allowing us an instant comparison.
From my vantage point — again, about three-fourths of the way into the theater — the animatronic was a more-than-respectable approximation of Disney. It’s not perfect, perhaps — the face is a little bulky, the cheeks just a bit off — but that’s because I still think the medium is best suited for more fantastical characters and creations, shows and figures that let us use our imagination rather than aim to capture life. Audio, however, is taken direct from Disney’s speeches, with an emphasis on creative inspiration, and while it has been cleaned up, there’s no mistaking that it’s Disney’s voice.
Ultimately, Walt Disney Imagineering, the creative team responsible for theme park creations, deserves to be commended for this risk, as it has me eager to see how audio-animatronics will continue to evolve and elevate our immersive experiences. At its core, this is a robot, and no robot will directly capture human life, at least not yet, but this is as close as Walt Disney Co. has come.
The Walt Disney animatronic figure has been in the works for about seven years, according to Walt Disney Imagineering.
(Richard Harbaugh / Disneyland Resort / Image Group LA)
In 2018, Paul Simon walked onto the Hollywood Bowl stage for what most in the crowd believed to be his last tour stop in Los Angeles, ever. Simon expected that too — he’d billed the event as his “Homeward Bound — Farewell Tour.” After 50 years of performing, a then-record three Grammy wins for album, a catalog of some of the most sophisticated and inquisitive American songwriting ever put to paper — he’d go out in full garlands.
So what a shock and delight when Simon, now 83, announced a few years later that he was not quite done yet. In 2023, he released a new album, “Seven Psalms,” an elliptical, gracious invocation for the arc of his life, drawing on biblical imagery and intertwined guitar fugues.
But even better, Simon would also return to the stage for a new tour, including a five-night run at Disney Concert Hall. For L.A. fans, these shows were one last chance to reconnect with Simon, who now had a profound late-career album to bookend his catalog. Those songs spanned from his years in the Greenwich Village folk scene of the ‘60s and ‘70s to a Sabrina Carpenter duet on “Saturday Night Live’s” 50th anniversary special.
Wednesday’s show — the last of the Disney hall stand — got to all of it, with Simon still in exquisite form in the last light of his performing career.
If Simon, seven years ago, had any doubts about his interest or ability to perform live at this exacting level, they must have disappeared the second he got a guitar in his hand at Disney Hall. The set opened with a full run of “Seven Psalms,” a short yet profound song cycle in which a dense, ornamental acoustic guitar figure recurs over several songs in an intimate valediction.
“Seven Pslams” belongs alongside David Bowie’s “Blackstar” or Johnny Cash’s “American Recordings” albums in the canon of wide-lens looks at the mystery of late life. Simon’s music was wise before its time even when he was a young man. But the perspective he has at this vantage, on the backside of 80 with a rejuvenated muse, was especially moving.
“I lived a life of pleasant sorrows, until the real deal came,” he sang on “Love Is Like a Braid.” “And in that time of prayer and waiting, where doubt and reason dwell / A jury sat, deliberating. All is lost or all is well.“
Simon’s band members for this stint — a dozen or so strong, spanning percussion, woodwinds and guitars — were mostly impressionists during this portion, adding distant bells and chamber flourishes to the patina of these songs.
While he kicked up his heels a bit on the bluesy “My Professional Opinion,” there was a trembling power in “Trail of Volcanoes” and, especially, “Your Forgiveness,” in which Simon took stock of his time on Earth and whatever lies next. “Two billion heart beats and out / Waving the flag in the last parade / I have my reasons to doubt,” he sang, followed by a gracious incantation: “Dip your hand in heaven’s waters, god’s imagination … All of life’s abundance in a drop of condensation.”
Paul Simon plays and sings Wednesday at Disney Concert Hall in Los Angeles.
(Gina Ferazzi / Los Angeles Times)
The hit-heavy back half of the show was a little rowdier. One fan even made a bit of history when he tossed a $20 bill onstage, which was enough for Simon to gamely oblige his request to play a verse of “Kodachrome.”
Simon and his band had looser reins here. “Graceland” and “Under African Skies” still radiated curiosity for the world’s musical bounty, with the fraught complexity of that album nonetheless paving a stone on the road for African music’s current global ascent. (He introduced his bassist, Bakithi Kumalo, as the last surviving member of the original “Graceland” band.)
An elegant “Slip Slidin’ Away” led up to a poignant “The Late Great Johnny Ace,” which took a tale of rock ‘n’ roll self-destruction and pinned it to a generational sense of cultural collapse. Simon didn’t reference any current events beyond the John F. Kennedy, Robert F. Kennedy and John Lennon assassinations, but you could feel a contemporary gravity in the song.
Veteran drummer Steve Gadd reprised his jazzy breaks for “50 Ways to Leave Your Lover,” and the fatherhood ballad “St. Judy’s Comet” was a sweet, deep-cut flourish. (That mood continued when Edie Brickell, Simon’s wife and vocalist, slipped in from the side stage to whistle the hook on “Me and Julio Down by the Schoolyard.) But the band hit full velocity on a pair of songs from “The Rhythm of the Saints.” “Spirit Voices” conjured an ayahuasca reverie with its thicket of guitars and hand percussion, while the sprawling and time-signature-bending “The Cool, Cool River” showed Simon the musician — not just the poet — still in absolute command.
Simon’s set never got to “Bridge Over Troubled Water” or “You Can Call Me Al,” but the final encore wrapped with just him and a guitar and the eternal hymn of “The Sound of Silence.” His guitar work retained all its original power in the opening instrumental runs, and Simon looked genuinely grateful that, perhaps even to his own surprise, the stage hadn’t lost its promise or potency for him just yet.
Who knows whether Wednesday was the last time Angelenos will get to see Simon perform live (this tour wraps next month in Seattle). If it was, then it was a beautiful benediction for one of America’s defining songwriters. But if it wasn’t, take any chance you get to see him again.
It’s all about a California (and high-growth) state of mind.
A park photographer, Kristin Wagner, photographs visitors as they enter Disney’s California Adventure, just below a recreation of the Golden Gate Bridge.
(Don Kelsen/Los Angeles Times)
In a period of grand expansion, Disneyland would start to become a proper resort — a metamorphosis that, while it didn’t work immediately, would be course-corrected and set up Disneyland for a new generation of growth. This era added Disney California Adventure, turning the destination into one that the Walt Disney Co. hoped would command multiday stays.
What was new
A former parking lot across from Disneyland was remade into Disney California Adventure, which would open in February 2001. The long in-development project was designed to honor California culture, but was pitched initially as a West Coast answer to Walt Disney World’s Epcot. The Times was kind in its opening coverage, praising the park’s change of pace from Disneyland and admiring how its architecture blurred fiction and reality.
The hang-gliding simulation Soarin’ Over California was an instant hit, and “Eureka! A California Parade” was Disney theatricality at its weirdest, with floats that depicted Old Town San Diego, Watts and more. But California Adventure’s prevalence of amusement park-like rides failed to command the crowds of its next door neighbor. Disney’s own documentary “The Imagineering Story” took a tough-love approach to the park’s early days, comparing some of its initial designs to those of a local mall. In time, however — with multiple makeovers and additions — California Adventure would become a beloved, world-class theme park, though it would stray from its initial California-centric conceit.
During this era, Disneyland also added the Grand Californian Hotel and its Downtown Disney District. A luxurious take on California’s Arts and Crafts movement, the Grand Californian remains the resort’s signature hotel and home to its finest dining establishment, Napa Rose, under renovations at the time of writing. Disney would also add a second haunted attraction with the Twilight Zone Tower of Terror in 2004. Over at Disneyland, Tomorrowland in 1998 would receive a transformation, one it has yet to fully recover from. The beloved People Mover would be no more, a Jules Verne-inspired art style would come and gradually go, and Buzz Lightyear Astro Blasters would arrive in 2005.
The Many Adventures of Winnie the Pooh would in 2003 evict the Country Bears from their music hall.
Did you know?
This era is home to two of Disneyland’s shortest-lived major attractions. Superstar Limo at California Adventure was conceived as a ride in which paparazzi would chase celebs, a concept deemed in poor taste in the wake of the death of Princess Diana. It was refashioned as a sort of tour of Hollywood with heavily caricatured figurines of the likes of Whoopi Goldberg, Regis Philbin, Drew Carey, Cher and more, but would close within a year. At Disneyland, People Mover‘s replacement Rocket Rods could never consistently operate, and the ride would last just about two years. The tracks remain.
The live-action “Legend of Zelda” movie has found its stars.
Legendary game designer Shigeru Miyamoto, who’s an executive producer on the film, announced Wednesday on X that Bo Bragason will portray Princess Zelda and Benjamin Evan Ainsworth will play Link in Nintendo and Sony’s film. Miyamoto created the hit video game series with Takashi Tezuka.
This is Miyamoto. I am pleased to announce that for the live-action film of The Legend of Zelda, Zelda will be played by Bo Bragason-san, and Link by Benjamin Evan Ainsworth-san. I am very much looking forward to seeing both of them on the big screen. (1/2) pic.twitter.com/KA5XW3lwul
British actor Bo Bragason is known for her roles in BBC One’s “Three Girls” and “The Jetty,” as well as Disney+’s “Renegade Nell” and the 2024 vampire comedy “The Radleys.”
Ainsworth, also from the U.K., voiced Pinocchio in Disney+’s live-action “Pinocchio” in 2022 and played Miles in Netflix’s “The Haunting of Bly Manor.” He also stars in the Canadian series “Son of a Critch” and the comedy “Everything’s Going to Be Great.”
The actors’ young ages — 21 and 16 — have sparked fan speculation that the film may draw from “The Wind Waker” or “Ocarina of Time” games, which feature Zelda and Link as teens.
While initially slated for a March 2027 release, production delays have shifted the film’s launch to May 7, 2027.
The project is helmed by director Wes Ball, known for the “Maze Runner” trilogy and “Kingdom of the Planet of the Apes.” A huge fan of the franchise, Ball told Entertainment Weekly in late 2023 that he wanted to create something more akin to “a live-action Miyazaki” than “The Lord of the Rings.”
“That wonder and whimsy that he brings to things, I would love to see something like that,” he told EW about the renowned Japanese animator.
Avi Arad is also producing the film.
The adaptation marks Nintendo’s second big-screen foray after 2023’s mega-successful “The Super Mario Bros. Movie.” The animated film grossed about $1.4 billion worldwide.
The action-adventure video game franchise, released in 1986, follows young hero Link on his quests to rescue Princess Zelda and overcome the villain Ganon. Missions include navigating dungeons, solving puzzles and taking on an array of enemies.
Celebrated for its innovative gameplay, installments of the popular game include “The Legend of Zelda: Ocarina of Time” and “The Legend of Zelda: Breath of the Wild.” In the years since, the franchise has expanded beyond video games and into other media like animated series and comic books, and now film.
Starting July 21, the streaming service will offer its first original program from ABC News with senior political correspondent Rachel Scott and international correspondent James Longman as co-anchors.
The short-form program, called “What You Need To Know,” will be taped each morning and made available to Disney + users on demand starting at 6 a.m. Eastern, ABC News announced Monday.
ABC News international correspondent James Longman.
(Heidi Gutman / ABC)
The title was originally used for the ABC television network’s afternoon edition of “Good Morning America,” now known as “GMA 3.”
The new program is another opportunity for ABC News to reach younger consumers who have abandoned traditional TV for streaming. The news division has its own 24-hour free streaming service, ABC News Live.
“This new effort expands ABC News’ significant footprint on Disney+, allowing us to reach and connect with new and diverse audiences,” ABC News President Almin Karamehmedovic said in a statement.
The program will be a quick-paced compendium with short segments that range from “breaking headlines and the day’s biggest stories to entertainment buzz and viral videos.”
“What You Need to Know” will be the first network anchor role for Scott, a Los Angeles native and rising star within ABC News. Scott, 32, raised her profile during the 2024 presidential campaign when she delivered tough questioning to President Trump at the National Assn. of Black Journalists’ convention in Chicago.
The appearance led to death threats against Scott, who needed security in the days that followed.
Scott was also honored by the White House Correspondents Assn. for her coverage of the assassination attempt on Trump in Butler, Pa.
Longman, 38, has been a foreign correspondent for ABC News since 2017. He will co-anchor “What You Need to Know” from London, where he is based.
Longman, who is gay, has reported on the challenges facing LGBTQ+ people in oppressive regimes around the world.
He recently wrote a memoir, “The Inherited Mind,” which traces the history of mental illness in his family.
