star wars

It has been a roller coaster week for theme parks boss Josh D’Amaro, who was named the next chief executive of Walt Disney Co. last week.

Once he officially takes the helm of the Mouse House in mid-March, he must tackle several key areas to chart the future of the 102-year-old media and entertainment giant.

For one, he’ll need to bolster Disney’s pipeline of content. As the saying goes, “content is king.”

The Burbank company already has a strong stable of franchises and stories that power its entertainment and streaming businesses, theme parks, merchandise and cruise ships, but Disney will need to keep building on that.

Strong sequels like last year’s “Zootopia 2” and live-action adaptations such as “Lilo & Stitch” — both of which grossed more than $1 billion in worldwide box office revenue — show that good stories can keep paying dividends in new ways, Moffett Nathanson senior research analyst Robert Fishman wrote in a note to clients last week.

On the bright side: This year’s film lineup has several historically strong franchise contenders, including Disney and Pixar’s “Toy Story 5,” Lucasfilm’s “Star Wars: The Mandalorian and Grogu” and Marvel Studios’ “Avengers: Doomsday.” (Marvel, however, has struggled in recent years to pump out consistent hits at the box office.)

But Disney also needs to develop new stories — which has been more of a struggle.

Disney and Pixar’s “Elio” misfired at the box office last year, as original animated movies have had a harder time bringing in the massive audiences they once did because of the drop-off in theater attendance since the pandemic.

That puts more pressure on Disney and Pixar’s upcoming “Hoppers,” an original animated film out in March. The film has gotten strong early traction in online trailer views, Fishman wrote.

The content investment also extends to scripted series, which Fishman noted are a “critical component of success and cannot become an afterthought to theatrical.” He singled out Disney-owned FX as a “prestige outlet” that can contribute to both television and streaming lineups. The network has had a number of successes, including 2024’s “Shogun,” which was one of my favorites.

D’Amaro likely will get help on the content side from soon-to-be president and chief creative officer Dana Walden, a longtime television executive who is respected in Hollywood and well-versed in the entertainment knowledge he lacks.

D’Amaro’s area of expertise is Disney’s experiences sector, which includes the theme parks, cruise line, merchandise and Aulani resort and spa in Hawaii and brings in the lion’s share of operating income for the company. In the fiscal first quarter of this year, the experiences business hauled in a record $10 billion in revenue.

The challenge there will be maintaining Disney’s market dominance in the theme park space while continuing to invest to drive growth and managing attendance in the face of ongoing competition from arch rival Universal Studios.

On the investment front, Disney is all in. The experiences business is in the midst of a 10-year, $60-billion expansion project that would add new themed lands to parks around the world, including at Anaheim’s Disneyland Resort. The company also is building a park in Abu Dhabi and added new cruise ships.

In the near term, however, are concerns about “international visitation headwinds” at Disney’s U.S. parks. The company signaled in its most recent earnings call that those foreign visitor trends could contribute to “modest” operating income growth for the experiences division in the fiscal second quarter, along with pre-launch costs for a new cruise ship and an upcoming “Frozen” land in Disneyland Paris.

To keep attendance rates up, the company shifted its marketing and promotional focus to a more domestic audience, said Hugh Johnston, senior executive vice president and chief financial officer, on the earnings call. But stock analysts — and D’Amaro — undoubtedly will be keeping an eye on international attendance rates and what that will mean for the theme parks going forward.

The part of the company with the potential to drive the most growth, analysts say, is its streaming business.

After recording billions of dollars in losses, Disney’s streaming services, which included Disney+, Hulu and ESPN+, finally reached profitability in 2024. The company’s next goal is to reach 10% operating margins in its entertainment streaming business comprised of Disney+ and Hulu — a milestone that would give investors confidence in its vision.

To get there, continued investment in local language content will be a key priority to increase international subscriptions, as well as bolstering the tech that powers the platforms and provides recommendations.

In short, D’Amaro faces a choice.

“Some investors are thinking, ‘Will he choose to be the same? Or can he start a new era?’” asked Laurent Yoon, senior analyst at Bernstein.

At least one former Disney CEO has weighed in.

“My advice to Josh is continue Bob Iger’s strategy that creativity will handle profits, always protect the brand, and keep close the words of Walt Disney: ‘We love to entertain kings and queens, but the vital thing to remember is this — every guest receives the VIP treatment,’” Michael Eisner posted on social media last week.

But D’Amaro’s own words provide an idea of what he’s thinking. At a global town hall meeting with Disney employees last week, D’Amaro spoke about the company’s legacy — and its path forward.

“We are 100 years old, but we’re 100 years young as well, willing to embrace new technology, new creators and new markets,” he said. “That willingness to change and take risks is what keeps the brand going, and it’s something I intend to continue to push on.”

Stuff We Wrote

Film shoots

Number of the week

Post-apocalyptic horror film “Iron Lung” has grossed $34.3 million in worldwide box office revenue, a remarkable number given the film’s reported $3 million production budget and self-distribution route.

Written, directed and executive produced by YouTuber Mark Fischbach, who goes by the online alias of Markiplier and also stars in the film, “Iron Lung” follows the story of a convict who sails a blood ocean in a submarine. The movie had a $17.8-million opening during the weekend of Jan. 30, placing it right behind Disney’s 20th Century Studios’ “Send Help,” which grossed about $19.1 million in its debut. “Iron Lung” picked up an additional $6 million this past weekend.

Its success reignited the debate about self-distribution and the theatrical draw of content creators.

What I’m watching

Since the Olympics started last week, I’ve been all in on figure skating, a sport I’ve watched since I was a kid who marveled at the artistry and athleticism of stars like Kristi Yamaguchi, Scott Hamilton, Brian Boitano and Michelle Kwan.

So I was supremely interested in this piece by my colleague Thuc Nhi Nguyen about the strength of the U.S. Olympic figure skating team this year, and the camaraderie between U.S. women Amber Glenn, Alysa Liu and Isabeau Levito.

Disney Cruise Line has confirmed the Disney Wish will sail from Southampton for the first time in summer 2027 with European itineraries – and I’ve been onboard to review the incredible ship

Mickey Mouse fans across Britain, it’s time to dust off those iconic ears – because we’re about to welcome an unprecedented wave of Disney enchantment next summer.

In a historic first, the Disney Wish cruise liner will set sail from British shores. Launching from Southampton, the flagship vessel of Disney Cruise Line’s Wish class fleet is confirmed to embark on a series of sun-drenched European voyages throughout summer 2027.

This maiden European adventure will feature sailings ranging from three to 10 nights, departing from the UK, Spain or Italy, with exciting new ports of call including Zadar in Croatia, Trieste close to Venice in Italy, and Hellesylt in Norway.

Having recently experienced the Disney Wish firsthand with my other half and our two year old, I was absolutely thrilled when this announcement dropped – especially since I’ve already been daydreaming about our next voyage. Here’s my guide to the standout features aboard the Disney Wish, and exactly why I’ll be at the front of that virtual queue when bookings launch later this month.

The entertainment

Adults, prepare to unleash your inner child aboard the Wish (whilst, in our experience, your little one also literally unleashes theirs). This isn’t your typical cruise offering a single show, a handful of activities, and then leaving you lounging aimlessly poolside.

Instead, expect an action-packed schedule brimming with spectacular performances, trivia contests, deck celebrations, live musical acts, and two cinemas screening the freshest Disney releases alongside timeless favourites. For those preferring a more relaxed approach, there’s ample poolside real estate – and the onboard spa continuously tempted us throughout our stay.

The ship’s top deck boasts several pools, a feature I particularly appreciate as it prevents overcrowding in one spot. However, being someone who can’t sit idle for more than a couple of minutes, I made a beeline for the AquaMouse water slide.

With its twists, turns and initial surprises, it’s easy to see why it’s dubbed Disney’s first sea attraction – it wouldn’t feel out of place in a theme park!

Deck parties are another must-add to your schedule. On the day of embarkation, Mickey Mouse and his pals host a ‘Sail Away’ party on the top deck that’s well worth attending. Expect lively music, dancing and a grand countdown before the ship’s horn blares out a Disney melody!

One evening is always dedicated to a pirate theme. Dress up, meet characters like Captain Hook, and join in the fun with Mickey and friends at parties featuring spectacular fireworks at sea (Disney Cruise Line is the only cruise company permitted to offer this).

A visit to the theatre promises a fantastic show, whether it’s the charming ‘Seas the Day’ performance, or West End-calibre productions of The Little Mermaid and Aladdin.

The Kids’ Club

Families must give a big cheer for the exceptional kids’ club, known as the Oceaneer Club. Included in the cruise package, it boasts zones inspired by Marvel, Star Wars and the Disney Princesses.

We barely saw our friends’ children all week; they were utterly smitten with the place!

The Oceaneer Club caters to children aged 3 and above, so our toddler was a tad too young but there were open house hours where he could scamper about, including ‘Toddler Time’ which provided a fantastic space for him to burn off some energy.

A handy hint for other parents; the Small World Nursery accommodates babies and toddlers under 3. You’ll need to book and it’s an additional $10 per hour, but it does afford you that much-needed breather if you fancy a trip to the spa or an adults-only bar!

Character encounters

An often overlooked benefit of a Disney cruise is the ease of meeting the characters. Besides the shows, there are plenty of chances to meet your favourites throughout the day, with queues typically lasting around 10-15 minutes.

Characters roam the ship, and you can also join dance parties where they’ll have a little jig with the kids – a truly delightful interaction. For princess fans, it’s worth trying to secure a spot for A Royal Gathering; this is free but fills up fast, offering you the opportunity for meet and greets with the likes of Cinderella, Belle, Moana and Rapunzel.

The food

Disney cruises operate on an all-inclusive basis, and even with my most valiant attempts, I’m fairly certain I didn’t manage to sample every single dining venue on offer. Beyond the Marceline Market eatery featuring a conventional buffet spread, passengers can indulge in pizzas, tacos and barbecue fare at the Festival of Foods street food-inspired zone, or help themselves to the self-serve ice cream stations.

For dinner service, Disney has a ‘rotational dining’ system which eliminates the scramble for bookings; you’re guaranteed a table at each of the ship’s three restaurants. There’s a Frozen-themed venue complete with live entertainment and abundant character meet-and-greets, the sophisticated 1923 which exudes elegance whilst paying homage to legendary Disney pictures, and the Worlds of Marvel restaurant where guests become immersed in an interactive superhero escapade.

Whilst these are all covered in your fare, additional premium options are available for an extra charge. Brunch at the Palo Steakhouse proved to be a genuinely memorable experience for our party.

Reservations are required, but this adults-only establishment truly embodied fine dining, with the cuisine being utterly exquisite. Pastries, pizzas, brunch staples such as Eggs Royale and puddings all feature on the bill of fare.

A cautionary note; it’s unlimited dining and those servings are substantial – I genuinely believed I might never manage another morsel. (This proved incorrect the instant I spotted the Inside Out inspired confectionery shop, where I constructed an ice cream creation that I suspect has left me on a sugar rush ever since).

For those partial to an evening drink, there’s a variety of options. The Bayou lounge offers live music, exquisite cocktails and a relaxed vibe, while Nightingale’s is an adults-only bar.

However, it was the themed bars that kept drawing me back – from the Star Wars-inspired Hyperspace Lounge, where you feel as though you’re journeying through space, to the pirate-themed Keg and Compass pub, where you can enjoy a proper pint.

My verdict

I’ve been thoroughly impressed with the Disney Wish; it truly caters to everyone. It’s a sophisticated ship with ample adults-only areas for those seeking tranquillity, but there’s also plenty of room for families.

The overall atmosphere is fantastic, and it’s definitely one I’ll be keen to book again. Plus, on a personal note, the extra sprinkle of Disney magic worked wonders for us; amidst all the excitement and fun during the day, our two year old actually managed to sleep through the night!

Want to book it for yourself? The Disney Wish will embark on 3, 4 and 5-night European sailings in summer 2027. Bookings open on February 23, 2026. For more details, visit disneycruiseline.com.

PARK CITY, Utah — Welcome to a special Sundance Daily edition of the Wide Shot, a newsletter about the business of entertainment. Sign up here to get it in your inbox.

Good evening — it’s Monday, Jan. 26, and you’re reading the last of our Sundance dispatches. Today we’ve seen a high of 36 degrees on a notably sunny day. We waited and waited for deal news, but it hasn’t quite arrived yet.

We’re hearing about distributors circling both Olivia Wilde’s “The Invite” and the provocative “Josephine,” the latter of which is coalescing into a critical favorite at the fest.

We’ve been speaking the last few days with a parade of fascinating stars and directors: Ethan Hawke, Salman Rushdie, the legendary Billie Jean King, Brittney Griner, many more. Check out our videos right here as we make them live.

Mark Olsen spoke with director NB Mager about her debut feature “Run Amok,” which premiered at the festival today. Here are some recommendations for you.

What we’re watching today

“Gail Daughtry and the Celebrity Sex Pass”

Miles Gutierrez-Riley, John Slattery, Ken Marino, Zoey Deutch and Ben Wang in the movie “Gail Daughtry and the Celebrity Sex Pass.”

(Sundance Institute)

Twenty-five years ago, the Sundance premiere of David Wain’s “Wet Hot American Summer” reignited the ’80s-style sex romp. Now he’s returned to Park City to see if he can rescue the comedy again.

“Gail Daughtry and the Celebrity Sex Pass” stars Zoey Deutch as a Kansas hairdresser whose fiancé cheats on her with his “hall pass”: a get-out-of-the-doghouse-free exemption for canoodling with his movie-star crush. (I’ll let you discover that cameo yourself.)

To even the score, Gail travels to Los Angeles to sleep with her own idol, Jon Hamm, and is soon skipping down Hollywood Boulevard with a ragtag group of new friends, including “Mad Men’s” John Slattery as himself. There’s a sensitive indie way to tell this story — and then there’s Wain’s giddy lampoon of “The Wizard of Oz.”

Too many modern comedies are jokeless anxiety attacks. I just wanna laugh. I need to laugh. If you need to laugh, this is your hall pass to get slap-happy. — Amy Nicholson

“Chasing Summer”

Iliza Shlesinger stars in the movie “Chasing Summer.”

(Eric Branco / Summer 2001 LLC / Sundance Institute)

Comedian Iliza Shlesinger writes and stars in “Chasing Summer,” directed by Josephine Decker. Having recently lost her job and her boyfriend at the same time, Jamie (Shlesinger) returns to her parents’ house in the small Texas town where she grew up.

As she falls back into some of the same social dynamics from when she was a teenager, possibly rekindling an old flame (Tom Welling), Jamie also enjoys an affair with a much-younger man (Garrett Wareing).

Though Schlesinger’s bawdy humor and Decker’s explorations of female interiority in films such as “Shirley” and “Madeline’s Madeline” (both played at Sundance) might make for an unexpected collaboration, it’s a surprisingly good match. Funny and insightful, the movie shows that sometimes you can in fact go home again. — Mark Olsen

The sexy ‘Sundance tribute’ in ‘Gail Daughtry’

Having the world premiere of “Gail Daughtry and the Celebrity Sex Pass” at Sundance was a full-circle moment of sorts for director and co-writer David Wain. His first introduction to the festival was Steven Soderbergh’s hall of famer “sex, lies and videotape,” and Wain noted after the well-received premiere of his new film that he “overtly stole” two sex scenes from that indie classic as “a tribute to Sundance.”

Of course, “Gail Daughtry” is about as opposite as you can get from Soderbergh. It’s an absurdist, cameo-filled comedy proudly shot on location in L.A. that co-writer Ken Marino described before the screening as a “silly, fun romp.”

Even before its theatrical release, it already has the hallmarks of a cult classic à la another Wain and Co. film, “Wet Hot American Summer,” and features many faces from that movie as well as the State, the comedy troupe that cast member Kerri Kenney-Silver explained started in a supply closet at New York University because they couldn’t get any other rehearsal space.

“Making movies with your friends is a privilege,” cast member Joe Lo Truglio said. And with their ever-expanding circle of friends, we’re the ones who benefit. — Vanessa Franko

Some deal news

Neon has acquired the worldwide rights to horror film “4 X 4: The Event” from filmmaker Alex Ullom, the indie studio said Sunday afternoon.

The deal is the first to be made in Park City so far, though the film was not shown at Sundance and will begin production later this year. The value of the deal was not disclosed.

The film follows eight contestants who join an illegal “sensory assault” livestream in which they can only harm each other with items they can buy online, Neon said in a statement.

The studio previously bought global rights to Ullom’s first horror film, “It Ends,” after it premiered at SXSW last year. — Samantha Masunaga