The Disneyland Resort will in 2026 be getting a little more patriotic.
Soarin’ Around the World at Disney California Adventure will in 2026 be converted to Soarin’ Across America, a move timed to the 250th anniversary of the United States of America. The makeover is planned for next summer at both California Adventure in Anaheim and in Florida at Walt Disney World’s Epcot.
Disney unveiled the news via a social media post with actor Patrick Warburton, who plays the chief flight attendant of Soarin’. In the clip, Warburton, as the fan favorite character of Patrick, promises “amber waves of grain” and “purple mountain majesties” while showcasing red, white and blue mouse ears fit for the Fourth of July. A post on the Disney Parks Blog hints that the new film will also capture various American cityscapes.
The Soarin’ makeover will coincide with a number of Disney initiatives designed to honor America’s 250th birthday. “Disney Celebrating America” will launch on Veterans Day, Nov. 11, and continue through July 4, 2026. Various Disney networks, from ABC to ESPN, will engage in America-themed programming. Disneyland and Walt Disney World will host a special, one-off fireworks show on the Fourth of July.
An attraction poster for Soarin’ Across America released via the Walt Disney Co.’s corporate media site.
(The Walt Disney Co.)
The celebration arrives at a divisive time in American history. A poster for the attraction showcases the Statue of Liberty juxtaposed with the American flag and bald eagle. It’s art that conveys a sense of nationalistic pride, and it’s perhaps representative of shifting an outward-facing, global ride with one that may suddenly be more inward-looking.
It coincides with a time when U.S. politics are pushing a so-called America First agenda (see President Trump’s tariffs) while the Walt Disney Co. itself has faced criticism for its handling of recent controversy surrounding late night comedian Jimmy Kimmel and pro-administration ICE-recruitment ads running on its various streaming services. Disney’s own social media posts announcing the move are filled with rampant debate as to whether this is an instance of propaganda as it runs the risk of feeling jingoistic.
That being said, it is not unprecedented for the Disney theme parks to lean into American exceptionalism, although in recent years the parks have been shifting away from some of its America-centric viewpoints to showcase a more global and diverse vision. In 2022 when the park resurrected the Electrical Parade it struck its giant American eagle and flag float from the procession, replacing it instead with a showcase of scenes from more recent Disney and Pixar animated films, including “Encanto,” “Coco” and “Frozen.”
Yet Disneyland, of course, is a place of tradition, and even today the park houses a robotic Abe Lincoln (temporarily displaced for a show honoring Walt Disney), stages flag retreats and tells the story of the first Christmas each December.
Soarin’ debuted with California Adventure in 2001 as Soarin’ Over California. The latter typically returns each spring as part of the park’s popular Food & Wine Festival.
A Disney representative described Soarin’ Across America as a “limited time” offering.
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.
“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.
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.
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.
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?”
Disney Cruise Line marked another milestone for their new cruise ship Disney Destiny set to sail in November with tributes to Hercules, the Lion King and Marvel
Julie standing in front of the shipyard before Disney Destiny was floated out
Disney Cruise Line marked another milestone its the expansion of its fleet as the latest of its cruise ships, Disney Destiny, was floated out earlier this week.
I was lucky enough to be invited to the Meyer Weft shipyard in Germany for the highly-anticipated event, which gave fans a first look at the 1,122ft-long ship, which is estimated to have cost up to $1.1billion (approx £743million) to build.
While a float out is a big deal for cruise lines, I wasn’t prepared for how much of an event it would turn out to be. My first clue was when we turned up to find that hundreds of locals had already been camping in the parking lot for days beforehand, and were already lining up near the shipyard’s riverbanks to get some of the best views of the ship.
Meyer Weft and Disney Cruise Line pulled out all the stops too; there were food and drink stalls, iconic Disney songs playing in the background, and of course those all-important fireworks when the ship made its grand appearance. Minnie Mouse herself made an appearance, dressed in a new superhero outfit in a nod to the artwork that features on the bow of the Destiny.
There was a general buzz of anticipation, and considering a float out takes a couple of hours, the atmosphere was impressive.
Disney Destiny will sail to the Bahamas in November
Although it was all a very smooth process, it was nail-biting to watch all the same. For a start, although the ship’s engines have been built and are powerful enough for the ship to move forward, these don’t actually get used because there’s such a small margin of error in terms of navigating the riverbank and space.
Instead, a tiny (well, tiny compared to the cruise ship) tug boat sailed out and was hooked up to the ship with ropes; and that turned out to be the way they would be dragging out the huge ship which boasts a 144,000 gross tonnage. The smaller boat slowly zig zagged as it pulled the Disney Destiny out of the construction hall. There were only a few metres either side with room for error, so precision was key, and I felt nervous for the captain whose responsibility it was to ensure that the ship stayed well away from the sides!
The huge cruise ship gets pulled by a small tug boat
There were around four or five shipyard workers who also walked along the edge of the riverbank, reportedly to keep an eye out in case the ship got too close, and to help assist the smaller boat with ropes.
Luckily, they knew what they were doing and the ship was floated out seamlessly, with fireworks and pyrotechnics going off once it had officially left the hall, as well as a new upbeat song being unveiled that will be the ship’s anthem.
As for the Disney Destiny itself, there’s going to be plenty for Mickey Mouse fans to get excited about. A sister ship to the Disney Wish and Disney Treasure, this new addition to the fleet boasts a ‘heroes and villains’ them complete with a Cruella De Vil themed bar, a Marvel lounge inspired by the Sanctum from Doctor Strange, and a Pirates of the Caribbean themed pub.
Disney Destiny will sail on her maiden voyage on November 20, 2025 from Fort Lauderdale, with itineraries to The Bahamas and Western Caribbean. You can get more details about the ship and book sailings at disneycruise.disney.go.com. You can also find out more about the shipyard at meyerwerft.de.
Continued growth in streaming subscriptions and strong domestic tourism to its theme parks propelled Walt Disney Co.’s fiscal third quarter earnings, even as its theatrical results dipped, the company said Wednesday.
The Burbank media and entertainment giant reported $23.7 billion in revenue for the three-month period that ended June 28, up 2% compared with the same quarter a year earlier. Earnings before taxes totaled $3.2 billion, 4% higher than a year ago . Earnings per share were $2.92, up from $1.43 last year.
“We are pleased with our creative success and financial performance,” Disney Chief Executive Bob Iger said in a statement. “With ambitious plans ahead for all our businesses, we’re not done building, and we are excited for Disney’s future.”
The company’s entertainment division, which includes its studios, Disney+, Hulu and linear television business, reported $10.7 billion in revenue, 1% higher than a year earlier. Its operating income, however, totaled $1 billion, down 15% compared with the previous year. That was the result of lower results in content sales and licensing, which includes theatrical distribution, and linear television.
Disney’s content sales and licensing unit reported revenue of $2.3 billion, up 7% compared with a year ago , but recorded a loss of $21 million in operating income. The company attributed that to lower theatrical distribution results during the third quarter of this year, when it released Disney and Pixar’s original animated film “Elio,” which struggled at the box office, as well as Marvel Studios’ “Thunderbolts*,” which received strong critical reviews but had a middling commercial performance.
The earnings only captured part of the theatrical results for the live-action adaptation of “Lilo & Stitch,” which would go on to gross $1 billion in global box office revenue. The quarterly earnings were also negatively impacted by the comparison to last year’s “Inside Out 2” box office performance.
Disney’s linear networks including ABC and the Disney Channel continued to struggle, reporting revenue of $2.3 billion, down 15% compared with last year. Operating income fell 28% to $697 million. Part of that decline was due to the lower international results stemming from the company’s Star India merger.
Still, Disney’s streaming business saw gains during the third quarter, posting a 6% increase in revenue to $6.2 billion and operating income of $346 million, compared with a loss of $19 million a year earlier.
The company now has 183 million Disney+ and Hulu subscriptions.
Disney’s theme parks also boosted revenues, despite concerns about a drop-off in international tourism to the U.S. fueled by trade tensions. The 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. Operating income rose 13% to $2.5 billion.
Disney said visitors spent more at the parks during the third quarter, and that its domestic parks and experiences operating income increased 22% to $1.7 billion.
Disney’s sports unit, which includes ESPN, reported revenue of $4.3 billion, down 5%, due to higher programming and production costs for the NBA and college sports rights and the lack of NHL Stanley Cup Finals rights, which Disney has every other year. Operating income was $1 billion, up 29% from last year.
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.”
Joanna Miller was 10 — no, “10 and three-quarters,” she clarifies — when she lost her grandfather. Even then, in December 1966, she shared him with the world.
For Miller’s grandad was Walt Disney, a name that would emblazen one of the largest entertainment conglomerates in the world, and come to signify uniquely American storytelling, family-friendly optimism and the creation of the modern theme park. Front-page stories across the globe announced his death, hailing him as a “world enchanter,” “amusement king” and “wizard of fantasy.”
But to Miller, he was just “grampa.”
She peppers stories about Disney in her conversations, often going down tangents as she recalls heartwarming moments. Such as the Christmas season when Disney, despite having access to Hollywood’s most renown artists, put Miller’s drawings on a holiday card. “The bad art we were doing when we were 6 years old? He treated them like they were great works,” she says.
She pauses, a tear forming in her eye. “He was just the greatest guy. The best guy.”
Jennifer Goff, from left, Tammy Miller, Joanna Miller, Walter Miller and Chris Miller speak onstage during the Walt Disney Family Museum’s second annual gala at Disney’s Grand Californian in November 2016 in Anaheim. Joanna has become vocal that her grandfather, Walt Disney, never wanted to be immortalized as a robotic figurine.
(Joe Scarnici / Getty Images for the Walt Disney Family Museum)
Miller is, to put it mildly, protective of Disney. So is the Walt Disney Co., and as Disneyland Resort’s 70th anniversary in July approaches, both share a goal — to remind audiences of the man behind the corporate name. Last fall the company announced that an audio-animatronic of Disney would grace the opera house on Main Street, U.S.A., long home to “Great Moments With Mr. Lincoln.” The new show, “Walt Disney — A Magical Life,” will give parkgoers a sense of “what it would have been like to be in Walt’s presence,” Disney Experiences Chairman Josh D’Amaro explained at the announcement.
The way Miller sees it, it’s an abomination.
“Dehumanizing,” she wrote in a Facebook post that went viral among Disney’s vast fandom. Calling the figure a “robotic grampa,” she wrote, “People are not replaceable. You could never get the casualness of his talking.” She also argued staunchly that Disney was against such mechanical immortalization.
Interior of the Illinois Pavilion at the New York World’s Fair, May 15, 1964, where an animatronic of Abraham Lincoln was unveiled.
(Bob Goldberg / Associated Press)
She stands by the post — she’s one of the few, she says, to have seen the animatronic in the fake flesh — but also nervously laughs as she reflects on the attention it has brought her. Miller has long lived a private life, noting she considers herself shy — she declined to be photographed for this story — and says repeatedly it pains her to take a stand against the Walt Disney Co. She frets that the company will take away her access to the park, granted as part of an agreement when her father, the late Ron W. Miller, stepped down as CEO in 1984.
Roy Disney, left, and Ron Miller check over film strips in the editing room in 1967 at Disney’s film studio in Burbank. The family sold naming and portrait rights of Walt Disney in 1981 to the company.
(Associated Press)
But as Miller sees it, she has to speak up. “He’s ours,” Miller says of Disney. “We’re his family.”
Most robotic figures in Disney parks represent fictional characters or overly-saturated political personalities, such as those in Florida’s Hall of Presidents, which includes President Trump and living former presidents. Few speak and most are limited to statuesque movements. And unlike an attraction in which the company has full narrative control, such as a Pirates of the Caribbean, “Walt Disney — A Magical Life” represents real life and a person who happens to have living, vocal descendants.
And real life is complicated.
“When you get older,” Miller says, sometimes when things go wrong in life, “you just start to get pissed off. And you get tired of being quiet. So I spoke up on Facebook. Like that was going to do anything? The fact that it got back to the company is pretty funny.”
Get back to the company it did, as Miller soon found herself having an audience with Walt Disney Co. CEO Bob Iger.
These days, Miller is in the midst of remodeling Disney’s first L.A. home in Los Feliz, a craftsman bungalow owned in the 1920s by his uncle Robert and aunt Charlotte, who let Disney stay with them when he came from the Midwest. Miller envisions the house hosting events, perhaps workshops and artist talks for arts education nonprofit Ryman Arts.
Its feel is of a mini museum. In the garage sits a Mercedes Benz, the last vehicle Disney owned. Black-and-white images of Disney furnish the walls, decorative “Fantasia” dishware shares space with vintage toys in a glass-doored cabinet, and animation artwork, waiting to be framed, is laid out on one of the beds.
“I have been thinking a lot about this house and what it means,” Miller says. “I wouldn’t be here. Grampa wouldn’t have met granny. This all started because people were helping out grampa. Aunt Charlotte was making peanut brittle in this house that they sold at Disneyland. So this house, there would not be Disney company if it weren’t for this house.”
Miller’s relationship with the company has wavered over the decades. She’s more excited to share memories of Disney than recall the tumultuous corporate period when her father oversaw the behemoth company. On Saturdays, Disney would often bring her and her siblings to the studio. There, they had the run of the place, cruising around the backlot in their very own mini-cars designed for Disneyland’s Autopia ride. Those visits largely ended when Disney died, as her father dedicated his weekends to golf.
Championing Disney, and preserving his legacy, runs in her family. Her mother, Diane, who died in 2013, was the guiding force behind the foundation of San Francisco’s Walt Disney Family Museum. Miller, who long sat on the board, said the idea of creating an animatronic of Disney is not new, and was once considered for the museum.
“When we started the museum, someone said, ‘Hey, let’s do Walt as an animatronic,’” Miller recalls. “And my mom: ‘No. No. No. No.’ Grampa deserves new technology for this museum, but not to be a robot himself.” Her mother, says Miller, “wanted to show him as a real human.”
As American film producer and studio executive Walt Disney talks on the telephone, his wife, Lillian,, plays with three of their grandchildren, Joanna, Tamara and Jennifer in January 1962 in Anaheim. The couple are in their apartment above the Disneyland fire station.
(Tom Nebbia / Corbis via Getty Images)
Miller says she first heard of Disneyland’s animatronic last summer, a few weeks before D’Amaro announced the attraction at the fan convention D23. The show will follow a similar format to the Lincoln attraction, in which a film plays before the animatronic is revealed. Lincoln, for instance, stands and gives highlight’s of the president’s speeches, doing so with subtle, realistic movements. Disney, promises the company, will be even more lifelike, with dialogue taken from his own speeches. D’Amaro said “A Magical Life” had the support of the Disney family, singling out Disney’s grandnephew Roy P. Disney, who was in the audience.
Miller stresses that she does not speak for her five siblings or other descendants, but as she wrote in a letter to Iger, “I do speak for my grandfather and my mother.” Shortly after her Facebook post, Miller was invited to see the figure and meet with Iger and members of Walt Disney Imagineering, the secretive creative team responsible for theme park experiences.
“He was very kind,” Miller says of Iger. “He let me do my spiel.”
But she wasn’t swayed. She says she asked him to create a set of guidelines on how the company would portray Disney, and Iger promised to protect his legacy. “But I don’t think he has. They’re different people. He’s a businessman, grampa was an artist.”
Imagineering and Disneyland discussed the project at a media event in April, but the animatronic was not shown, nor were pictures revealed. Imagineering did display an early sculpt used in modeling the robot to show the care taken in crafting Disney. The sculpt depicts Disney in 1963, when he was 62. One could detect age spots on Disney’s hands and weariness around his eyes.
Miller recalls her reaction when she saw the figure.
“I think I started crying,” Miller says. “It didn’t look like him, to me.”
There are at least two Walt Disneys. There’s the company founder, Mickey Mouse designer and Disneyland creator who, later in life, visited millions of Americans via their television sets on the weekly “Disneyland” show and became known as “Uncle Walt.” Then there’s the man Miller knew, a grandfather who exists to the rest of us only via stories.
Sometimes these public-private personalities overlapped, such as the moments Disney would be paraded down Disneyland’s Main Street with Miller and her siblings in tow. Miller pulls out a photo showing her face buried in her lap as she tried to hide from Disney’s adoring fans. Or the times fans caught Miller looking out from Disney’s Main Street apartment, a place where she spent many nights as a child and that still stands today.
She recalls Disney stopping to talk to people at the park. “It was the dearest thing,” she says. He would take photos with fans and sign autographs. “I never ever saw him not be less than tickled and honored that people loved him so much.”
Imagineers argue that the two Walt Disneys are being lost to history.
“Why are we doing this now?” said longtime Imagineer Tom Fitzgerald. He cited two reasons, the first being Disneyland’s 70th anniversary. “The other: I grew up watching Walt Disney on television. I guess I’m the old man. He came into our living room every week and chatted and it was very casual and you felt like you knew the man. But a lot of people today don’t know Walt Disney was an individual.” The company also says that animatronic technology has advanced to a point it can do Disney justice.
Miller is sympathetic to Imagineering’s arguments. It’s clear she holds tremendous respect for the division, believed to have been the aspect of the company Disney held dearest to his heart. She gushes about Star Wars: Galaxy’s Edge, the most recent major addition to Disney’s original park. “It’s amazing,” Miller says.
Yet she doesn’t buy into the theory that the company is simply out to preserve Disney’s legacy. If that were the case, she argues, then episodes of his weekly “Disneyland” show would be available on streaming service Disney+.
Worse, she worries an animatronic will turn Disney into a caricature. The robotic Lincoln works, says Miller, because we lack filmed footage of him. She wishes the company had abandoned the animatronic and created an immersive exhibit that could have depicted Disney in his park.
“I strongly feel the last two minutes with the robot will do much more harm than good to Grampa’s legacy,” Miller wrote in her letter to Iger. “They will remember the robot, and not the man.”
Portrait of American movie producer, artist and animator Walt Disney as he sits on a bench in the 1950s in his Disneyland in Anaheim.
(Gene Lester / Getty Images)
Miller has a number of letters and emails of support, some from former Imagineers, but has crossed out their names before handing them to a journalist. Most contacted for this story didn’t return calls or emails, or declined to speak on the record, noting their current business relationships with the Walt Disney Co. The legacy of Disney is “precious yet vulnerable,” said one such source, refusing to give a name because they still work with the company. “Isn’t it honorable when a granddaughter defends her grandfather? There’s nothing in it for her.”
Miller says she simply wants the company to respect Disney’s wishes — that he never be turned into a robot.
“In all our research, we never found any documentation of Walt saying that,” Imagineer Jeff Shaver-Moskowitz said in April. “We know that it’s anecdotal and we can’t speak to what was told to people in private.”
And therein lies a major hurdle Miller faces. Those who Miller says knew of Disney’s preferences — her mother, her father and Imagineers he was closest to, including confidant and former Imagineering chief Marty Sklar — are all dead. That leaves, unless someone else comes forward, only her.
Miller, however, is realistic. Her family’s biggest mistake, she argues, was selling the rights to Disney’s name, likeness and portrait to the company in 1981 for $46.2 million in stock.
It leaves the family little to zero say in how Disney is preserved in the park, although Imagineering says it has worked closely with the Walt Disney Family Museum and those descendants who are currently on the museum board in constructing the animatronic show.
But there’s one thing the Walt Disney Co. can’t control, and that’s Miller’s voice — and her memories.
On their trips to Disneyland, Miller’s grandfather was happy to stop for autographs, but he also signed — in advance — the pages of an office pad. When the crowds became a bit much, he would hand a park-goer an inscribed piece of paper.
“After 10-15 minutes,” Miller recalls, “he would say, ‘Hey, I’m with the grandkids today, and we have things to do.’”
