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Succession, recession and DEI talk. What to expect from Disney’s annual meeting

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Succession, recession and DEI talk. What to expect from Disney’s annual meeting

Last year, Walt Disney Co.’s annual shareholder meeting was fraught with tension as a billionaire activist investor sought to shake up the boardroom and change the course of the company.

This year, by comparison, will be less charged.

The Burbank media and entertainment company is coming off a strong year for its studio business, with hit films “Inside Out 2,” “Deadpool & Wolverine” and “Moana 2” each grossing more than $1 billion globally. Disney movies grossed an overall worldwide box office of more than $5 billion in 2024.

Disney also reached profitability for the first time in its streaming businesses, which include Disney+, Hulu and ESPN+.

But the company faces questions about softer results in its theme parks division, which has become Disney’s main economic driver. Disney has also recently tried to stay out of political culture wars, particularly as the Trump administration has targeted diversity, equity and inclusion efforts within corporations.

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Ahead of the company’s shareholder meeting Thursday morning, The Times spoke with analysts and investors about what they want the company to address.

The CEO succession plan

Though Disney has signaled it won’t name a successor to Chief Executive Bob Iger until early 2026, investors and analysts are eager for more details about how the search is progressing.

Disney Entertainment Co-Chair Dana Walden, fellow Entertainment Co-Chair Alan Bergman, parks, products and experiences Chair Josh D’Amaro and ESPN boss James Pitaro are all seen as potential internal successors.

Disney’s newly appointed chairman of the board, former Morgan Stanley executive chairman James P. Gorman, leads the CEO succession planning committee. The company said in its proxy statement that management succession planning “remains a top priority for the board.”

Finding the right successor for Iger, 74, is key to the company’s future stability. The firm fumbled in its last attempt to find a replacement for Iger; now-former CEO Bob Chapek lasted less than three years.

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Brian Mulberry, client portfolio manager at Zacks Investment Management, began reducing the firm’s Disney shares after Iger’s departure. Though the firm’s portfolio does not currently include shares of Disney, Mulberry is keeping a close eye on the stock price and wants to get clarity on some of the company’s financial issues before coming to a new position.

“With Bob Iger on his way out, ‘Who’s going to right the ship’ is what we’re particularly looking for in the meeting,” he said.

The prolonged ambiguity about the succession plan is making investors antsy, said Laurent Yoon, senior analyst at Bernstein.

“Bob Iger already came back more than two years ago,” he said. “That uncertainty is not any clearer than before.”

Parks and recession fears

Disney’s experiences division, which includes its theme parks, cruise line and merchandise, ended 2024 with more muted growth due to inflation, expansion costs for the cruise line and softer results at its international parks.

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The company will also face greater competition in Florida this summer when rival Comcast Corp. opens its Epic Universe theme park in Orlando — something analysts have frequently queried Disney executives about during earnings calls.

Disney said during its fourth-quarter earnings call in November that it expected to see 6% to 8% growth in operating income this year from its experiences division. But amid growing economic pessimism and fears of a recession, analysts and investors will be looking to see how the company addresses these potential threats to consumer spending.

“This summer is a very important season for Disney because [the parks business is] expected to recover, and if there’s a recession, then that’s a problem,” said Yoon, who maintains a “Buy” rating for the company’s stock. “There will be questions around what Disney would do in case there seems to be some macro headwinds.”

Even before concerns about an economic downturn took hold, there were growing questions about the affordability of a Disney vacation. Ticket prices at the parks have increased over the years.

Gavin Doyle, who has owned a small number of Disney shares since 2009, will be keeping an ear out for any mentions of discount offers, special promotions or even new details about expansions at the parks.

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“There’s just a lot of levers they can pull … ways to bring people back in a time when demand may be softening,” said Doyle, founder of MickeyVisit.com, a parks affordability guide.

Handicapping ESPN’s flagship streamer

Live sports is a key attraction for consumers, and Disney has frequently mentioned its plans to launch its standalone ESPN flagship streaming product this summer.

But analysts and investors would like more information about pricing, the look of the product, how its experience will be different from the ESPN channel on linear television and how it will work with other services.

With Disney’s continued transition from linear television to streaming, the company will need to make sure “that transition is smooth,” said Yoon of Bernstein.

The company has already launched an ESPN tile on the Disney+ homepage to try to reduce churn and encourage new subscribers.

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Culture wars

One proposal on the company’s proxy statement is an item from the National Center for Public Policy Research, a conservative think tank that is calling on Disney to reconsider its participation in the Human Rights Campaign’s corporate equality index.

The corporate equality index is an annual report that rates employers on their workplace inclusivity for LGBTQ+ workers.

The National Center for Public Policy Research, which often makes proposals at Disney’s shareholder meeting, said Disney’s participation in the index indicated that the company was involved in “partisan behavior” and that it should rethink that decision due to “fiduciary duty to its shareholders.”

Disney recommended its shareholders vote no on the proposal.

The proposal hints at the type of culture wars that Disney has recently started to shrink from. The company recently acknowledged that it removed a trans athlete storyline from a Pixar animated series, saying “many parents would prefer to discuss certain subjects with their children on their own terms and timeline.”

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Disney has also softened some of its internal DEI policies, as have other Hollywood studios and businesses in other industries.

Movie Reviews

‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

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Movie Reviews

Michael Jackson documentary set to release after massive re-write

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Michael Jackson documentary set to release after massive re-write
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‘Michael’ — a new movie about the King of Pop – is drumming up big buzz. The film was produced in-part by the co-executors of the late singer’s estate, and has some critics questioning whether it is too focused on sanitizing the singer’s troubled image.

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