The fierce war of words between President Trump and ABC’s “The View” has long been a staple of the daytime talk show known for its spirited discussions about politics and pop culture.
But the signature “Hot Topics” segment that frequently blasts Trump has suddenly gone cold as speculation escalates that the Trump administration is considering taking action against “The View.”
Show host Whoopi Goldberg and her all-female panel has been conspicuously silent on ABC’s suspension of “Jimmy Kimmel Live!” in the wake of blistering backlash over Kimmel’s comments about slain right-wing activist Charlie Kirk. The late-night host said during the monologue on his show Monday that the “MAGA gang” was characterizing Tyler Robinson, the Utah man accused in the shooting death of Kirk, “as anything other than one of them and doing everything they can to score political points from it.”
FCC Chairman Brendan Carr has indicated that “The View” might be investigated to see whether it qualifies as “a bona fide news program,” which would exempt it from the agency’s equal time rule.
The absence of commentary since the news about Kimmel broke on Wednesday has been particularly glaring after late-night hosts Stephen Colbert, Seth Meyers and Jon Stewart criticized the decision by the Walt Disney Co.-owned network on their respective programs Thursday night. The network’s action has been largely condemned in entertainment circles, sparking major protests outside Disney headquarters and Kimmel’s Hollywood Boulevard studio.
MSNBC anchor Nicolle Wallace on Thursday called out the silence of “The View” during her “Deadline: White House” show, noting Walt Disney Co. had previously pledged $15 million to Trump’s library to resolve a defamation lawsuit over inaccurate statements about Trump by ABC News anchor George Stephanopoulos.
“Those women are fearless, and the story didn’t come up,” Wallace said. “It’s obviously being felt and acted upon at ABC more broadly.”
Trump’s bitter campaign against “The View” and his desire to cancel it was highlighted last July after co-host Joy Behar declared that Trump was “so jealous” of former President Obama.
White House spokesperson Taylor Rogers fired back in a statement sent to entertainment venues calling Behar “an irrelevant loser suffering from a severe case of Trump Derangement Syndrome … She should self-reflect on her own jealousy of President Trump’s historic popularity before her show is the next to be pulled off air.”
In sharp contrast to the current hush about the president, Goldberg and her co-hosts unleashed a vicious attack on Trump after he blasted the show during a campaign rally last year.
“So I watched that stupid ‘View’ where you have these really dumb people,” Trump told the large crowd, which responded with boos.
Saying that “politics can do strange things to demented people,” he relayed how he had hired Goldberg as a comedian before his political career, “and her mouth was so foul. She was filthy dirty, disgusting … I said I would never hire her again.”
The opening segment of “The View” the following day showed the hosts entering as Christina Aguilera’s “Dirrty” played.
Addressing Trump, Goldberg said, “As a matter of fact, I was filthy, and I stand on that … How dumb are you? You hired me four times … and you didn’t know what you were getting? How dumb are you?”
Co-host and senior ABC News legal correspondent and analyst Sunny Hostin weighed in: “Donald Trump, I want to thank you for personally (sic) telling so many lies and committing so many alleged crimes and providing us with material on a daily basis. You help us do our jobs, and I am so appreciative.”
Noting that she was a former prosecutor, she added, “I admit, I may not have spent as much time in a courtroom as you have … And like Madam Vice President Kamala Harris, I’ve had a history of prosecuting sex offenders, so thank you for keeping people like us in business.”
Hostin concluded with an invitation to Trump to come on “The View: “I’ll even give you a free ‘View’ mug — not to be confused with a mug shot. Because that’s your area.”
Walt Disney World Resort, Florida is a family favourite, but social influencer Alex Dobson has dropped a video expressing his thoughts on the park – and it’s gone viral in just a day
A ‘real review’ of Walt Disney World, Florida has dropped online, with over 2k likes in less than a day(Image: Anadolu Agency via Getty Images)
It’s estimated that just under 1 million UK visitors travel to Orlando annually, with 80% of those visiting ‘the most magical place of earth’. However, while Disney World and Disney Land are widely loved by children and held with a fierce nostalgia by many parents (and non-parents), the reality can sometimes prove to be less than dreamy.
What’s more, one viral video recently popped the Mickey-ears shaped bubble with one deft swipe. Alex Dodman is a social influencer with roughly 450,000 followers across TikTok and Instagram.
The father-of-three is famous for his ‘real reviews’ of family days out, attractions and holidays, as well as viral trends and cultural events – and now his spotlight is firmly on the Disney resort.
Just under 1 million UK visitors are welcomed to Florida by Minnie and co every year(Image: getty )
Opening the review with a wry, “It’s almost like we’ve been programmed to think that this is the most magical place on earth”, while filming a motorway gantry leading into the theme park that proclaims the very same, Alex boldly claims that “it’s probably the most overpriced tourist p**stakes in history”.
As many a parent who’s been through the Disney World machine will attest to, the resort is not cheap. A Disney World holiday for a family of four from the UK, including flights, can range from around £6,500 to £15,000 or more, depending on the various packages.
And the repeated financial roundhouse kicks are not entirely conducive to a happy holiday between married people, either, with Alex saying it’s likely they’re going to “pretend they’re having a good time posting about it online, when in reality they’ve probably argued about 1,000 times, been on the brink of divorce, and each child has had an overstimulated meltdown every half an hour”.
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According to the influencer: “A ticket to get in here for the day for two adults, two kids and a baby was $709 and because I actually wanted the kids to go on a ride this time, I got some lightning Lane tickets for three rides for an extra $136… How is this even allowed?”
‘Main Street’, the thoroughfare with full view of the Disney Castle, is one to swerve, says Alex.
Not impressed with people that “pretended to cry when they first saw the castle”, he cracked on to the rides – saying that “having some lightning Lane tickets did work well”.
He was less than impressed with the rides themselves, saying the ‘Barnstormer’ “lasted for 25 seconds”, ‘Peter Pan’s Flight’ was “basically pitch black” and ‘It’s a Small World’ was “everyone’s favourite nightmare”.
Main Street, Walt Disney World Resort “feels like every person on the planet stopping to take a photo in front of a pretend Castle”, says Alex (Image: AFP via Getty Images)
Conceding that he did understand why “this place is some people’s happy place”, Alex reflected that the ‘trap’ may lie in the fact that Brits have travelled all the way to Orlando.
For that reason, it’s tempting to give in to the cost to embrace a “once in a lifetime” trip. However, he went on to say that: “There’s no way you can enjoy this without having in the back of the mind how utterly screwed you’re being done by Disney”.
Summing up, Alex considered the pay off of such a pricey trip, saying: “Did the kids enjoy it? Yeah. But we also went to Clearwater Beach for the weekend, and they said they had a better time jumping in the sea there, which was free”.
He added: “However you chop it up, it’s way too expensive.”
Alex was baffled by adults that went to Disney World solo (Image: Getty Images)
Comments to the video were mixed, with some wholeheartedly agreeing and others fiercely defending the place that they deeply love.
Many pointed out that Alex’s big mistake was not booking park hopper tickets that make the experience a whole lot more affordable. Doing more research could have helped him to avoid the busiest queues, too.
One follower helpfully supplied: “Yeah, feels like you need so much insider knowledge to not be stung so much with Disney. Park hopper tickets are a better and cheaper option. Staying at Disney property helps for costs with parking for free and dining plans.”
Another person was keen to help too, saying: “Disney World takes a lot of research to do it well and paying for lightning lanes on these type of rides shows you didn’t complete basic training in Disney world trip planning. I think it’s to do with having really little kids too it’s so much fun in the bigger better rides with older kids”.
One poster was relived that they weren’t missing out, saying: “Thank you for blessing us poor who can’t get there that we aren’t depriving our kids and ourselves of the most magical experience on earth”.
And one full-blown fan was clear where her loyalty lay, expressing: “I’m in the Disney cult. Please don’t save me if I blink. They can take my hard earned cash from me so I can walk down that busy street, get tears in my eyes and reminisce of days gone by. “
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)
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.
For decades, Pixar could hardly miss with its original animated films.
Whether the subject was toys, fish or a cantankerous old man, the Emeryville-based computer animation studio churned out hit after hit.
But since the COVID-19 pandemic, Pixar and other animation studios have struggled to break through at the box office with the same kinds of original movies that defined the industry. Instead, sequels such as “Inside Out 2” have ruled the genre.
This weekend, Walt Disney Co.-owned Pixar will face its latest test with the release of “Elio,” an original film about a young boy who seeks connection with aliens to make up for his loneliness on Earth.
The movie is tracking to bring in $18 million to $25 million in ticket sales from the U.S. and Canada during its opening weekend, according to box office analysis. (The film’s reported budget is in the range of $150 million to $200 million.)
That would be considered a soft debut by Pixar standards, indicating the dilemma the animation business — and the movie industry writ large — faces with original content. While audiences often say they want to see new stories, box office ticket sales show they gravitate toward sequels, reboots and other familiar fare.
“You need to be launching new franchises to keep the pipeline fresh,” said Doug Creutz, senior media and entertainment analyst at TD Cowen. “Since the pandemic ended, original animated films have just been getting killed at the box office … no matter how good they are.”
Pixar executives, nonetheless, say they’re committed to telling original stories, which are key to the future health of the industry.
“You wouldn’t have Pixar without ‘Toy Story,’ our first original film 30 years ago!” Pixar Chief Creative Officer Pete Docter wrote in an emailed statement. “And while we also love digging into new layers of familiar worlds and characters through our sequels, I’d say there’s a unique thrill in unearthing a new story.”
Disney and Pixar’s previous original movie “Elemental” made just $29.6 million in its opening weekend in 2023, causing many in the industry to write it off as a flop, before strong word-of-mouth reviews propelled the film to a solid worldwide gross of $496 million.
Sister studio Walt Disney Animation Studios has also recently struggled with originals, including 2022’s “Strange World” and 2023’s “Wish.”
The pandemic had a major effect on theatrical attendance for animated films. At the onset, studios including Pixar put their new animated movies on streaming services to give families something to watch during the COVID-19 stay-at-home orders and keep people from spreading the disease.
Movies such as 2020’s “Soul,” 2021’s “Luca” and 2022’s “Turning Red” were all sent straight to the Disney+ streaming service. Despite critical acclaim — winning an Academy Award for animated feature — “Soul” grossed just $121.9 million in worldwide theatrical revenue.
Even when movie theaters started reopening, families were slow to return due to health concerns and familiarity with watching movies at home, which dented animated films’ box office potential. Pixar’s 2022 “Toy Story” spinoff “Lightyear” did poorly at the box office partially due to this timing, as well as quality issues, marketing challenges and right-wing backlash to an on-screen kiss between a same-sex couple.
Other studios, too, face challenges with originals.
Universal Pictures’ 2023 original animated movie “Migration” also saw a soft box office total. The same year, Universal grossed more than $1 billion from “The Super Mario Bros. Movie,” based on the Nintendo game franchise.
Last year, Universal’s “The Wild Robot,” which is adapted from a 2016 children’s book, debuted to strong reviews, but grossed $333 million in box office revenue, compared with the $492 million reaped by Paramount Pictures’ “Sonic the Hedgehog 3.”
So far this summer, many of the films that have propelled the box office are family-friendly — Warner Bros. Pictures’ “A Minecraft Movie,” and live-action remakes “Lilo & Stitch” from Disney and “How to Train Your Dragon” from Universal.
Last year, Pixar’s “Inside Out 2” hauled in nearly $1.7 billion in global box office revenue last year, while Universal and Illumination Entertainment’s “Despicable Me 4” grossed $969.6 million worldwide and Disney’s “Moana 2” made $1 billion.
The common denominator among these films? They’re all sequels, reboots or rely on known intellectual property.
But industry insiders and analysts say that simply focusing on new chapters of existing stories risks making the animation space stale.
“If you’re trying to grow the business, you need new content, you need new franchises, you need new things for people to be excited about,” said Creutz of TD Cowen.
But beyond the box office, Pixar original films can get exposure — and drive business — through other parts of the Disney empire. Movies eventually debut on Disney+ and characters will show up on merchandise or in the theme parks, which can expand a film’s reach.
“Pixar is in the long-term business,” said David A. Gross, who writes a movie industry newsletter. “They want to create stories that last, and if that works in bringing back a sequel, great, but there is enormous value for streaming for these pictures, whatever they do in theatrical. There are a lot of revenue streams.”
Pixar intends to release three movies every two years, and the company’s strategy is to make one original for every sequel, company sources said. For instance, “Elio” was intended for release in 2024, but was delayed by the dual writers’ and actors’ strikes of 2023. Instead, it swapped with “Inside Out 2” since sequels can be easier to move through the production process due to existing assets.
“Pixar was really instrumental in defining the look and the feel and the tone of computer-animated films,” said Christopher Holliday, a senior lecturer in liberal arts and visual cultures education at King’s College London, who wrote a book about computer-animated films.
The company “is now at one of those crossroads where they are trying to balance films that have an audience built into them,” Holliday said. “And then they’re also balancing their identity as a studio of innovation that is pushing the boundaries and the limits of computer animation.”
Next year, Pixar plans to release “Toy Story 5” as well as an original film called “Hoppers” about a new technology that allows humans and animals to communicate. In 2027, Pixar said it will debut “Gatto,” an original movie about a cat with multiple lives.
“We think audiences love originals too,” Docter said. “Sure, it might be a bit harder nowadays to break through all the noise out there, but if we do our jobs, and create something that people will love, we trust that audiences will show up.”
Disney+ is back with a mega-cheap £1.99 streaming offer – these are the series our team is loving
16:00, 13 Jun 2025Updated 16:21, 13 Jun 2025
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Series we’re loving on Disney+
The weekend is here and for those keen to relax on the sofa with a bingeable series, there’s lots on offer. Disney+ is making headlines for the return of one of its most affordable deals, as prices drop to £1.99.
Shoppers will have to sign up for the subscription to get the £1.99 price, but there is no required contract and users can leave after each 30-day window. The deal is available to snap up by June 30, and it lasts for four months before rising to the previous £4.99 rate.
With a packed TV guide for the summer, including the live-action Snow White and Marvel’s Ironheart, there’s plenty to watch. As a team filled with series lovers, we’ve got a handful of recommendations from the new Welcome to Wrexham season, reality dramas The Secret Lives of Mormon Wives, or decade classics like Grey’s Anatomy.
Disney+ has brought back its popular deal that lets new and returning customers join its Standard with Ads plan for £1.99 per month for four months.
This means members can stream hit shows like Andor, The Bear and Alien: Earth, plus countless titles from Star Wars and Marvel, for a fraction of the usual price.
Narin’s favourites – Daredevil: Born Again and Welcome to Wrexham
Daredevil: Born Again might be the best TV series I’ve watched this year so far. Charlie Cox and Vincent D’Onofrio reprise their roles as Daredevil and Kingpin as the two old adversaries clash once more, with both men trying to juggle their public personas and secret lives inextricably linked with New York’s crime-ridden underbelly.
The result is a show that takes the best of the already-brilliant Netflix run (including some fan favourite returns) and surprisingly makes it even darker and more brutal – what would Walt say?
As a proud comic book geek I freely confess that Marvel fatigue has been a thing for a while now, with much of their output proving a miss rather than a hit for me. Daredevil: Born Again (and actually also Thunderbolts which will be coming to the streaming giant in due course) are a pleasing and much-needed return to quality and definitely a must-see.
Ryan Reynolds and Rob McElhenney from Welcome to Wrexham(Image: Alberto E. Rodriguez)
Welcome to Wrexham season four is streaming now on Disney+ and this £1.99 deal allows you to watch the thrilling climax of the celeb-led club’s season week by week. In the four short years since A-listers Ryan Reynolds and Rob McElhenney bought Wrexham AFC for £2 million the club’s fortunes have transformed, taking it into a £150m+ force in football.
This show offers a great behind-the-scenes look at that ascendance, led by both men alongside a cast of supporting characters, including the team’s sweary yet brilliant manager Phil Parkinson and Executive Director Humphrey Ker.
Don’t let the football distract you, though – at its core, this is as much a show about the community and people who live around Wrexham as the on-pitch shenanigans and all the better for it. If you like your reality TV heartwarming rather than angsty then this is your next perfect binge watch.
Harriet’s favourite – The Secret Lives of Mormon Wives
If drama, gossip, affairs and the craze of social media is your thing then I’d highlighy recommend The Secret Lives of Mormon Wives. Season 2 of the reality series has recently hit Disney+ after a gripping first season – and I’ve never been more hooked on a series.
The Secret Lives of Mormon Wives Season 2 is out on Disney+(Image: Disney)
Yes, you have to enjoy shows like Keeping Up with Kardashians and The Real Housewives to love this. The series follows a group of MomTok influencers and their Mormon community as they navigate growing social presence and scandals.
Jake’s favourite – Andor Season 2
I’ve been a huge Star Wars fan since I was a little kid, but had almost given up on the franchise after some of its recent output left me with Jedi fatigue. That was until the new season of Andor pulled me well and truly back in.
After admittedly not being blown away by the first season, I was completely gripped by the eponymous rebel spy’s latest mission, so much so that I binged the whole thing in one weekend. It may not feature any lightsabers or Jedi, but what it does offer cements its position as one of the greatest Star Wars titles there is and without doubt, the best episodic instalment yet.
There simply aren’t enough superlatives to describe the series; it’s beautifully shot, each performance is Emmy-worthy and the high-stakes of Andor’s mission result in incredibly intense viewing – especially in the latter half of the series. Going back to watch Rogue One – which is set immediately after the Andor finale – completely changes the viewer’s perspective on the story, making a great film even better.
Jada’s favourite – Abbotts Elementary
Quinta Brunson has been on my radar since she first went viral for her ‘he got money’ videos when I was a teenager, with her enthusiastically telling anyone who would listen that her cinema date was rich since he bought a large popcorn. I’ve watched her through the Buzzfeed years and when I heard that her award-winning show was going to be available to stream on Disney+ I knew it was time to get a subscription.
Abbott Elementary is about a public school in Philadelphia where the odds aren’t really in anyone’s favour. It’s so consistently funny that I’d love to be a fly on the wall of their writer’s room. Quinta plays Janine Teagues, a perky second-grade teacher with so much enthusiasm to make a positive difference. The cast are all hilarious in their own right, Ava the principal (played by Janelle James), who bribed her way into a job has to be one of the standout characters and over the seasons she seems a little more vulnerable even if she remains obnoxiously tone deaf.
There’s romantic tension with Janine and Gregory, played by Everybody Hates Chris star Tyler James Williams, that had me routing for them the whole way through as they awkwardly navigate their feelings.
It’s easily the best mockumentary sitcom I’ve ever seen, my only gripe is the episodes are released later in the UK than the US – so I made sure to catch up to the season finale when I visited the states earlier this year.
Eve’s favourite is something Disney+ doesn’t offer
1883 is, without a doubt, one of the best TV series I have watched to date. I’m a bit of an all-rounder when it comes to the shows I watch.
I’m a sucker for Gilmore Girls and Ginny & Georgia (both on Netflix) as well as the hit, edge-of-your-seat, relatively brutal mob-family extravaganza Mobland (Amazon Prime), Ted Lesso (Apple TV), The Last of Us (NOW) and New Girl (Disney+). All of which bring very different things to the table. But when I was recommended 1883, aside from knowing the bare bones of its description, I had no idea what to expect.
Ginny and Georgia season 3 – Get Netflix free with Sky
Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.
This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Ginny and Georgia.
A prequel to the highly regarded Yellowstone (a show still on my watch-list), 1883 is an American Western drama miniseries which follows the origin story of the Dutton family to the Yellowstone ranch. The show sees the five Dutton family members in post-Civil War America flee poverty in Texas and embark on a long, arduous journey through the Great Plains in the hope of a better future in Montana.
A description of the show on IMDB reads: “The post-Civil War generation of the Dutton family travels to Texas, and joins a wagon train undertaking the arduous journey west to Oregon, before settling in Montana to establish what would eventually become the Yellowstone Ranch.”
Exploring the use and roles ranchhands/cowboys as well as the history, challenges and conflicts faced by the Indiginous Americans during this period, it’s an action-packed, heart-wrenching story that had me hooked.
The 10-part series features some pretty big names in the world of film as country music such as Tim McGraw, Faith Hill, Sam Elliott and even has cameos from Billy Bob Thornton and Tom Hanks. Its sequel, 1923, stars Helen Mirren and Harrison Ford – also an incredible watch on Paramount+
Phoebe’s favourite – Grey’s Anatomy
Grey’s Anatomy is my mum’s favourite TV show of all time. She has been a loyal viewer since the first series aired in the mid-2000s, so when it was announced that the American medical drama would be available on Disney+, I wanted to see what all the fuss was about.
I signed up and began binge-watching the gripping show right away. I can happily say Grey’s Anatomy has earned a place in my top TV shows of all-time. It’s full of heart and passion, and a bunch of characters I adore. The show’s creator Shonda Rhimes has me laughing out loud one minute and ugly crying the next. With there being 21 series and over 400 episodes waiting to be watched, it’s sure to keep households entertained for months.
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.’”
There’s an oft-repeated Disneyland creation myth: Artist and animation art director Herb Ryman was given 48 hours to draw an early, heavily detailed and romanticized map of the theme park, which would be used to help sell the project to investors. Although that’s all true, Ryman’s work — one of the most famous and important Disneyland drawings — was far from the first map of Disneyland, as it is often colloquially referred to.
Ryman’s work was in fact an iteration of sorts, based upon years of master planning from Walt Disney and early collaborator Marvin Davis, a cinematic art director responsible for much of Disneyland’s early designs. Some never-before-seen work of Davis and other Disneyland designers will be unearthed in the new book “The Happiest Place On Earth,” from animation producer Don Hahn and theme park designer Christopher Merritt. Both Hahn and Merritt have over the years morphed into theme-park historians, and the book is being released July 15 to coincide with Disneyland’s 70th anniversary.
“Marvin Davis claimed that, as he sat there, probably in a room by himself at the studio with Walt standing over him poking him in the shoulder, he did 133 revisions of these maps to get to the Disneyland layout by 1955,” Merritt says. “A few of these maps have been shown before but a lot of these have not been seen before.”
The archives at Walt Disney Imagineering, the secretive division of the company responsible for theme-park experiences. Found in the archives were multiple maps from Marvin Davis that explore Disneyland’s roots.
(Walt Disney Co.)
The book will trace the development of Disneyland, starting in the early ’50s when Disney flirted with the idea of placing the park next to the studio in Burbank — concepts drawn by Harper Goff — to many of Davis’ gradual advancements of the theme-park form. Study them, and they reveal how many of Disneyland’s core ideas were in place by the early 1950s, although they morphed. Alice in Wonderland, for instance, was once envisioned as a walk-through attraction, to be placed across the way from an archery in Fantasyland.
Hahn makes the case that many of the early seeds for Disneyland were planted during a 1948 trip that Disney and animator Ward Kimball took to Chicago. There, the two attended the Chicago Railroad Fair, which had, among its attractions, Abraham Lincoln reenactments and a re-creation of a frontier town.
“His first memo he did when he got home from the Chicago Railroad Fair was all about trying to create these certain regions,” Hahn says. “If you look at the early Burbank parks, there was a western village, there was a stagecoach, there was a railroad station, there was a Tom Sawyer-ish island. A lot of those things came from the Railroad Fair.”
And there was a lot of early experimentation and many a discarded idea. One of Merritt’s favorite rejected concepts was a Tomorrowland exhibition dedicated to hunting for uranium. The attraction has been referenced by Disney and others over the years as a “lost” attraction, but “The Happiest Place on Earth” will feature some never-before-seen concept art from Imagineer Claude Coats.
“Uranium Hunt was an attraction strangely enough to be placed in Tomorrowland, although Claude designed it with Southwestern rock work,” Merritt says. “It was kind of outside rock maze, and the idea was they would hand you Geiger counters, and there was going to be real radioactive uranium embedded in the rock work that you would measure. In the end, they would give you a souvenir uranium to take home with you, which is just crazy-pants.”
Not all of the early Disneyland ideas are as outlandish. What follows are a few of the maps — and some early designs — that led to what would become Disneyland as we know it today.
Early sketches reveal an opera house, general store and more
A Harper Goff-drawn concept for a Disney theme park in Burbank. This is believed to have been drawn in 1951.
(Walt Disney Co.)
An early 1950s sketch layout of Disneyland, focusing on merchandising outlets.
(Walt Disney Co.)
Disney first considered a theme park across from its studios in Burbank, land that is today occupied by Walt Disney Animation Studios and the West Coast headquarters of ABC. The idea, in its early conceptions, included much of what would later make its way to Disneyland — a train, a steamboat and less detailed versions of Main Street and a Frontierland.
Of particular note here is the second photo, unearthed in “The Happiest Place on Earth” for the first time. The focus is on merchandising locations, but those who study the image will spy an opera house and a general store, believed to be the first time such concepts appear. There’s also a spaceport, a haunted house and a re-creation of London’s Tower Bridge. Shops are said to be themed to properties such as “Cinderella” and “Pinocchio.”
“It shows the holistic thinking, too, of not just the attractions but commerce,” Hahn says. “Where the stores would be, where the cafes would be, and kind of a guest-experience mentality. That was a real theme-park innovation, where you’re transported in time to Frontierland but the food and the costumes add up to Frontierland as well. You see the beginnings of that in a map like this.”
The beginnings of Frontierland and the Storybook Land Canal Boats
An early Disneyland map drawn by Marvin Davis. This map was likely drawn around 1953.
(Walt Disney Co.)
These early Disneyland schematics from Davis begin to capture Disneyland’s “hub” idea, that is, a central area that leads to and from its themed spaces. There’s a large theater space, believed to be designed in the hopes of Disneyland becoming a television production locale, and a significant plot dedicated to a river with surrounding attractions — the map calls for a space for otters, as well as a swamp area.
The Frontierland concept is still present, complete with a pony ranch and a stagecoach, as is a haunted house and a land themed to miniatures, a concept that would ultimately become the Storybook Land Canal Boats. Merritt notes that this design is location-agnostic, as Anaheim had not yet been decided upon for Disneyland.
Of particular note here is an introductory land like a Main Street, U.S.A., leading to a central hub. “These maps are revelatory when you look at them all in sequence,” Merritt says.
Davis’ early maps also highlight a residential street with large Victorian homes. The second image, in particular, mentions a town hall and a church. Hahn and Merritt believe this land was heavily influenced by the look and tone of “Lady and the Tramp.”
Main Street starts to materialize
An early Harper Goff design that influenced the look of Frontierland.
(Walt Disney Co.)
Some early Harper Goff designs for what would become Disneyland.
(Walt Disney Co.)
Early Disneyland concept art from Harper Goff
(Walt Disney Co.)
These, says Merritt, are a selection 1951 drawings from Harper Goff. The work is exploratory, in that it could have been envisioned for multiple parts of the park. While Goff’s impact on Frontierland is well documented — and Hahn notes, perhaps, an influence from Knott’s Berry Farm’s Ghost Town in these images — it’s also believed some of these designs were kicked around as a potential Main Street, U.S.A., concept.
Main Street, says Hahn, is often noted as being largely influenced by Disney’s time as a child in Marceline, Mo. While that isn’t really doubted these days among Disney’s fan base, Hahn says that theory wasn’t arrived upon immediately. He notes that some of Goff’s early concept work has a slight Victorian bent, which Goff drew from both “Lady and the Tramp” and his own childhood.
“It’s really the childhood of nobody,” Hahn says of Main Street. “It’s an idealized America. Goff grew up in Colorado, and a lot of these are his Victorian memories of his Colorado hometown. These are set designers who were bringing their movie chops to Disneyland.”
Welcome to the park’s destination: Anaheim
A pivotal early Disneyland map drawn by Marvin Davis.
(Walt Disney Co. )
Merritt and Hahn believe this third early schematic of Disneyland from Davis — the drawing is undated — is perhaps the first to envision Anaheim as the park’s destination. The image needs only to be rotated and one can see many of the pieces that would comprise the park — a Main Street, a central hub and, for the first time since Goff’s drawings of the Burbank park, a train that encircles the grounds.
Zoom in, and one will see there’s a large “emporium” to greet guests — and shoppers — on Main Street, U.S.A., as well as a castle-like moat to mark the entrance to Fantasyland. Still present are TV production spaces at the front of the park, and the map lists a host of attractions, including a horse-drawn carriage, train rides and boat rides.
Maps begin to show the Disneyland attractions we know today
A fall 1953 map of Disneyland from Marvin Davis.
(Walt Disney Co.)
A September 1953 map of Disneyland from Marvin Davis.
(Walt Disney Co.)
A September 1953 map of Disneyland from Marvin Davis.
(Walt Disney Co.)
These three Davis maps are from September 1953, made just days apart. The bottom drawing is a bit more simplified, as it was designed to be shown to TV networks and financiers. One can see a ride inspired by Disney’s “True-Life Adventures” on the right side of the park. This would ultimately become the Jungle Cruise and be flipped to the left side of the park.
All three maps, however, were instrumental in the final design of Disneyland, envisioning Anaheim as the ultimate destination. Of note in the middle image is a Recreation Land, home to a ball field, a mini-golf course and a bandstand. At this time, Disneyland was still envisioned as housing a circus, a concept that was explored in the actual park after opening but soon discarded. Yet Fantasyland, a Land of Tomorrow, Frontierland and what would become Adventureland are all present.
Fantasyland is home in these drawings to attractions themed to “Snow White and the Seven Dwarfs,” “Peter Pan,” “Alice in Wonderland,” Pinocchio” (denoted as Pleasure Island) and “Fantasia.” Also present is what would become Autopia, signifying that Disneyland in late 1953 had many of its early attractions solidified. Still, many, such as a Mother Goose area, would pop-up and then disappear from the maps.
Says Merritt, “You’re going to want to get your magnifying glass to look at some of this stuff.”
