theme park

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

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

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

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

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

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

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

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

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

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

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

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

(Jay L. Clendenin / Los Angeles Times)

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

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

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

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

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

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

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

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

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

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

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

(Genaro Molina / Los Angeles Times)

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

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

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

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

(Juliana Yamada / Los Angeles Times)

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

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

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

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

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

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

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

Gutierrez said narratives about Disney’s motives were inaccurate.

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

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

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

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

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

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

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

(Business Wire)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

Las Vegas — I turn a bend and see a figure in a cornfield. The gray sky is foreboding, a storm clearly on the horizon. When I take a step forward, I’m hit with a gust of wind and fog. Suddenly, it’s no longer a silhouette in the haze but a scarecrow, shrouded in hay, lurching toward me.

Only I am not on a Midwestern farm, and there is no threat of severe weather. I‘m in a warehouse in Las Vegas, walking through a maze called “Scarecrow: The Reaping.” I jump back and fixate my phone’s camera on the creature, but that only encourages them to step closer. I‘m hurried out of the farmland and into a hall, where giant stalks now obscure my path.

Welcome to Universal Horror Unleashed, which aims to deliver year-round horrors and further expand theme park-like experiences beyond their hubs of Southern California and Central Florida. Horror Unleashed, opening Aug. 14, is an outgrowth of Universal’s popular fall event, Halloween Horror Nights, which has been running yearly at the company’s Los Angeles park since 2006 and even longer at its larger Florida counterpart.

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Like Halloween Horror Nights, there are maze-like haunted houses — four of them here themed to various properties such as “The Texas Chainsaw Massacre” and “The Exorcist.” Their more permanent status allows for a greater production factor — think disappearing walls and more elaborate show scenes — and they are surrounded by brooding bars, a pop-up rock-inspired dance show and a host of original walk-around characters. “Hey, sugar,” said a young woman as I near the warehouse’s main bar, a wraparound establishment themed to a large boiler. The actor’s face was scarred with blood, hinting at a backstory I didn’t have time — or perhaps the inclination — to explore.

Horror Unleashed is opening just on the cusp of when theme parks and immersive-focused live experiences are entering one of the busiest times of the year: Halloween. The holiday, of course, essentially starts earlier each year. This year’s Halloween Horror Nights begins Sept. 4, while Halloween season at the Disneyland Resort launches Aug. 22. Horror shows and films are now successful year-round, with the likes of “Sinners” and “The Last of Us” enrapturing audiences long before Oct. 31. Culture has now fully embraced the darker side of fairy tales.

A scene from the “Texas Chainsaw Massacre” maze at Universal Horror Unleashed in Las Vegas.

Texas Chainsaw Massacre at the Universal Horror Unleashed.

A gruesome moment during the “Texas Chainsaw Massacre” maze at Universal Horror Unleashed.

“You can make every month horrific,” says Nate Stevenson, Horror Unleashed’s show director.

That’s been a goal of David Markland, co-founder of Long Beach’s Halloween-focused convention Midsummer Scream, which this year is set for the weekend of Aug. 15. When Midsummer Scream began in 2016, it attracted about 8,000 people, says Markland, but today commands audiences of around 50,000. “Rapidly, over the past 10 or 15 years, Halloween has become a year-round fascination for people,” Markland says. “Halloween is a culture now. Halloween is a lifestyle. It’s a part of people’s lives that they celebrate year-round.”

There will be challenges, a difficult tourism market among them, as visits to Las Vegas were down 11.3% in June 2025 versus a year earlier, according to data from the Las Vegas Convention and Visitors Authority. And then there’s the question of whether audiences are ready for year-round haunts that extend beyond the fall Halloween season to winter, spring and summer. I entered Horror Unleashed for a media preview on an early August night when it was 105 degrees in the Las Vegas heat. It’s also been tried before, albeit on a smaller scale. Las Vegas was once home to Eli Roth’s Goretorium, a year-round haunted house that leaned on torture-horror and shuttered after about a year in 2013.

But Universal creatives are undaunted.

Frankenstein’s monster comes alive during a Universal monsters maze at Universal Horror Unleashed.

More than a decade, of course, has passed, and Horror Unleashed is more diverse in its horror offerings. A maze themed to Universal’s classic creatures winds through a castle and catacombs with vintage-style horrors and a mid-show scene in which Frankenstein’s monster comes alive. Original tale “Scarecrow: The Reaping,” which began at Universal Studios Florida, mixes in jump scares with more natural-seeming frights, such as the aforementioned simulated dust bowl.

TJ Mannarino, vice president of entertainment, art and design at Universal Orlando, points to cultural happenings outside of the theme parks in broadening the terror scene — the success of shows such as “The Walking Dead” and “American Horror Story,” which found audiences outside of the Halloween season, as well as “Stranger Things,” which he says opened up horror to a younger crowd. Theme parks are simply reflecting our modern culture, which is craving darker fantasies. Universal, for instance, recently opened an entire theme park land focused on its classic monsters at its new Epic Universe in Florida, and even Disney is getting in on the action, as a villains-focused land is in the works for Walt Disney World’s Magic Kingdom.

An anxiety-ridden actor in “The Exorcist: Believer” maze at Universal Horror Unleashed.

“We think our audience really wants this,” says Mannarino, noting theme park attendance surveys were prodding the company to give horror a permanent home. And at Universal’s Orlando park, Halloween Horror Nights starts earlier, beginning in late August.

“Just a couple years ago, we started in August, and we were selling out August dates,” Stevenson says. “On a micro level, we’re seeing that, boy, it doesn’t matter if you extend past the season or extend out before the season — people are coming. People want it.”

The central bar, themed to a boiler room, at Universal Horror Unleashed.

Universal is betting on it, as the company has already announced that a second Horror Unleashed venue will be heading to Chicago in 2027. Smaller, more regional theme park-like experiences are once again something of a trend, as Netflix has immersive venues planned for the Dallas and Philadelphia regions, and Universal is also bringing a kid-focused park to Frisco, Texas.

There are antecedents for what Universal is attempting. Disney, for instance, tried an indoor interactive theme park with DisneyQuest, for which a Chicago location was short-lived and a Florida outpost closed in 2017. Star Trek: The Experience, a mix of theme park-like simulations and interactive theater, operated for about a decade in Las Vegas before it shuttered in 2008.

“I know there’s horror fans and Halloween fans who are always looking for something to do,” Markland says. “What [Universal is] doing is very ambitious and big, and so I’m nervous along with them. We’ll see how it goes. I’m sure people will go as soon as it opens and through the Halloween season, but after that, I don’t know. … They’ve definitely invested in Halloween and horror fans. They’re all-in.”

Horror, says author Lisa Morton — who has written multiple books on the Oct. 31 holiday, including “Trick or Treat: A History of Halloween” — is thriving in part because today it is taken more seriously by cultural critics. The genre also has metaphorical qualities — the struggle, for instance, that is life, art and creativity in “Sinners” or the underlying themes of PTSD that permeated the latest season of “The Last of Us.” That makes it especially appealing, she says, for today’s stressful times.

“I suspect that’s part of the reason horror is booming right now,” Morton says. “Everything from climate change, that we seem to have no voice in, and our politics, that don’t seem to represent us. Many of us are filled with anxiety about the future. I think horror is the perfect genre to talk about that. When you add a layer of a metaphor to it, it becomes much easier to digest.”

To step into Horror Unleashed is to walk into a demented wonderland, a place that turns standard theme park warmth and joy upside down. Don’t expect fairy tale-like happy endings. The space’s centerpiece performance is twisted, a story centering on Jack the Clown and his female sidekick Chance, who have kidnapped two poor Las Vegas street performers and are forcing them to execute their acts to perfection to avoid murder. The deeper one analyzes it, the more sinister its class dynamics feel, even if it’s an excuse to showcase, say, street dancing and hula hoop acrobatics.

A circus show at Universal Horror Unleashed features various Las Vegas performers.

The space has an underlying narrative. Broadly speaking, the warehouse is said to have been a storage place for Universal Studios’ early monster-focused horror films. That allows it to be littered with props, such as the throne-like chair near its entrance, and for nooks and crannies such as a “film vault” to be renamed a “kill vault.” Somehow — horror loves a good mystery — the space has come alive, and don’t be surprised to be greeted by a vampire or a costumed swampland figure that may or may not be related to the Creature from the Black Lagoon.

The goal, says Universal creatives, is to give Horror Unleashed a bit of an immersive theater feel, something that can’t really be done among the chaotic scare zones and fast-moving mazes of a Halloween Horror Nights event. But here, guests can linger with the actors and probe them to try to uncover the storyline that imbues the venue. One-to-one actor interaction has long been a goal of those in the theme park space but often a tough formula to crack, in part because cast members are costly and in part because of the difficulty to scale such experiences for thousands.

“As we’ve evolved this style of experience, we have given more and more control of the show to the actors,” says Mannarino on what separates Horror Unleashed from Halloween Horror Nights. “It’s less programmed. It’s less technology. I’ve had conversations with tech magazines, and they’ll ask me what is the most critical piece, and I’ll say it’s the actors. … The lifeblood of our all stories — we can build all of this, but it doesn’t go without the actors.

“It’s what really drives this whole animal,” he adds.

A dark moment in “The Exorcist: Believer” maze at Universal Horror Unleashed.

It extends a bit to the mazes as well. Audiences should expect to spend about five to seven minutes in each of the four walk-through attractions, but unlike a Halloween Horror Nights event, where guests are rushed from room to room without stopping, in Las Vegas there will be one dedicated show scene per maze. Here, groups will be held to watch a mini-performance. In the “Exorcist” maze, for instance, that means witnessing a full exorcism, complete with special effects that will have walls give way to demonic specters. In the ‘70s-themed “Texas Chainsaw Massacre” haunt, look out for a bloody scene designed to drench guests.

The mazes are intended to be semi-permanent. Stevenson says there’s no immediate plans to swap them out in the near future but hints that Horror Unleashed will be an evolving venue and, if all goes according to plan, will look a bit different in a few years. Thus, he says the key differentiator between Horror Unleashed and Halloween Horror Nights is not necessarily the tech used in the mazes, but the extended time they can devote to unwrapping a story.

“When Universal builds a haunted house, the level of story that starts that out is enormous,” Stevenson says. “There’s so much story. All of our partners need that because they base every little nuanced thing off of that story. Unfortunately, we don’t always have the chance to tell that story, and all our fans tell us they want to know more story.”

A sampling of food and drinks at Universal Horror Unleashed, including a bread dish with bourbon-laced cheese.

Tacos and a chainsaw-themed flatbread at Universal Horror Unleashed.

Story percolates throughout the venue. Flatbreads, for instance, are shaped like chainsaw blades. Desserts come on plates that are mini-shovels. Salad dressing is delivered in syringes. In the past, says Mannarino, no one wanted their food to be played with. ‘“Don’t do horrible things to my food!’” he says in mock exaggeration. “But now, people really love that.”

Little, it seems, is obscene, when every day can be Halloween.