China has managed to create an AI that has made Hollywood tremble. Disney has not been amused at all

The phenomenon of the month in AI is Seedance 2.0. To date, the most amazing text-to-video creation model and theard a dart at the same industry from Hollywood. So much so that Disney itself has legally warned Bytedance, the Chinese giant behind this model. The notice. Sources of Reuters They claim that Disney has sent a cease and desist letter to Bytedance, accusing the Chinese company of having used company characters to train its Seedance 2.0 model. According to statements, Bytedance would have created a package of copyrighted characters to feed this artificial intelligence, the main reason why it is so accurate at recreating them. Bytedance’s response. The Chinese company has not acknowledged having used copyrighted characters to train its model, but it has reacted to Disney’s notice. “We are taking steps to strengthen current safeguards as we work to prevent unauthorized use of intellectual property and likeness by users.” Beyond the statement, the company has not detailed what measures it is taking to prevent users from distributing copyrighted content, such as the one we have been seeing flooding the network for two weeks. They are not the first. Disney has already taken similar measures against Character.AIan AI specialized in creating animated characters capable of perfectly emulating Disney characters. The company It only has an alliance with OpenAIwith whom he signed an agreement so that Sora could generate more than 200 characters thanks to a three-year license. The operation included a $1 billion investment by Disney in OpenAI. Doors to the countryside. “Creative prompt engineering” and code modifications to make AI bypass the very limitations for which it is programmed are inevitable, in addition to all the derived Open-Source models that can be trained outside the jurisdiction. The key here is not in the dispute between Disney and Bytedance, it is that China has created the first model that directly threatens the creation of cinematographic content. Join the enemy. For some time now, the film industry has been clear that the coming years they will be cuts and embrace of AI. CEOs like Sony have already spoken out and positioned themselves as “very focused on AI”, making it clear that the current problem for movies is expense. Models like Seedance now allow us to generate in minutes what previously required entire teams and million-dollar budgets. In the coming years, video generation models will force the industry to rethink its cost structure. In Xataka | We are entering a new era of robotics driven by AI and Disney is its perfect showcase

Disney+ has discovered that Generation Z does not want to watch its two-hour movies. So he’s going to give them vertical microdramas

Disney+ has decided to join the battle for the viewer’s thumb. The company announced this week at CES that will incorporate vertical videos to its platform during 2026, a commitment to the format that dominates TikTok and Instagram. The news marks a strategic shift for a giant traditionally associated with the traditional (and horizontal) cinematographic experience. What does it consist of? If Disney previously sold large screens in dark rooms, now it is not exactly seeking to replace them, but rather to create a new habit: that opening Disney+ is a gesture as automatic as doing so with any social network. Netflix measures its impact in monthly viewing hours, but Disney wants what YouTube and TikTok already have: compulsive daily views. In an industry where engagement Everyday life has become the battlefield, Mickey and Spider-Man will learn to do choreography in vertical format. What will it include? Now, as explained by Erin Teagueexecutive vice president of product management, the plan aims for a feed personalized with algorithms that will mix news and entertainment. The raw material will be varied: from original productions designed for vertical format to recycled material from social networks and scenes from series or movies reformatted for mobile screens. Teague acknowledges that what they intend is to turn Disney+ into “a must-visit destination every day.” It is no longer enough to be the service where you can watch the latest season of something, but to be the one that you open without thinking, several times a day, just like you do with other apps that don’t even charge a subscription. where does it come from. The strategy does not come from nowhere. Disney had already tested the waters with the so-called “Verts” in the renewed ESPN application, launched in August 2025. Those vertical sports clips (highlights, quick analyzes, statements) functioned as a laboratory before escalating the bet to the rest of the Disney+ ecosystem. Rita Ferro, global head of advertising at Disney, commented in the presentation that ESPN had captured 33% of all live sports audiences during 2025 in the United States, leaving its closest competitor at 20%. The evolution of the vertical format. The vertical format has been redefining how we consume audiovisual content for years. Teague herself, before signing for Disney, worked for years on YouTube and witnessed from the inside how Google initially underestimated TikTok’s push. The answer (YouTube Shorts) was a long time coming, but when it did it changed many preconceptions: most of these short videos they end up consuming themselves on televisionsnot on mobile phones. The vertical conquered the living room, and that’s where Disney+ wants to be. Aside from this, Netflix tried publishing vertical anime videos in 2021, but never took the proposal beyond limited experiments. No competitor has yet found the formula, and Disney wants to be the first to get it right. Who has already done it. None other than Procter & Gamble, the multinational consumer products companyreinvent the soap opera and launch this January ‘The Golden Pear Affair‘, a “micro soap opera” of 50 episodes designed specifically for consumption on social networks, since its distribution will start on platforms such as Instagram and TikTok before migrating to its own mobile application. This is not advertising disguised as content: it is content designed from scratch to sell products: if the product placement classic interrupted the narrative, here the narrative is born to serve the product. Meanwhile, the fever of microdramas that conquered Asia a few years agoreaches other continents with production companies like TelevisaUnivision making compressed soap operas. The Spanish-speaking network has been exploring the “microdramas”ultra-brief versions of the soap opera format. and disney you know this works: Apps like ReelShort and Crazy Maple Studio have been dominating niche markets with sixty-second vertical dramas for years. Its model (free hook episodes, payment to unlock more chapters) has shown that addictive narrative works even atomized. These Asian platforms generate tens of millions annually with content that Hollywood would have considered impossible to make profitable a few years ago. Advertising implications. The vertical format is not just an aesthetic or generational issue. It is, above all, a new advertising space: Disney announced a metric that merges Disney’s own data with information from external providers, saying that the format was a very attractive space for advertisers. And it also introduced an artificial intelligence-powered video generation tool that allows advertisers to convert existing materials into renewed ads. It is no longer necessary to produce spots from scratch; just feed the machine with assets priors and brand guidelines. So now Disney’s recent deal with OpenAI does. acquires a renewed meaning. Transformation or concession. Teague openly acknowledged that “Gen Z and Gen Alpha aren’t necessarily thinking about sitting through two-and-a-half-hour long content on their phones.” Disney does not want to attract new generations to its classic catalog, but rather to speak in the same language as these young people who have always been its potential audience. For millions of users, cinema is no longer the basic unit of entertainment, and Disney has decided that, rather than compete with Netflix, it has to do so with WhatsApp, Instagram and TikTok. In Xataka | “I cried 152 times in 2025”: Generation Z lists their emotional crises and turns them into infographics

We are entering a new era of robotics driven by AI and Disney is its perfect showcase

For decades, Disney has been a pioneer in bringing its characters to life through animatronics, an already classic part of its theme parks that gives them that ‘magic’ that dazzles children and not so children. However, for some time now they have been working on going further with the help of the latest advances in robotics and AI so that the experience ends up being even more authentic. For this reason recently announced that Olaf, the little snowman from the Frozen franchise, would arrive in its parks as the first completely autonomous robotic character. As the company announced, Olaf will debut in the parks of Hong Kong and Paris during 2026. The interesting thing is that here we are not talking about a simple automaton, but rather its engineers have applied reinforcement learning and used the latest advances in robotics to accurately replicate the character’s movements. Olaf’s internal parts A controlled scenario. The robotics that coexist with us beyond experimentation have traditionally been anchored to functional and specific objectives, from industrial robots to quadrupeds that traverse complex terrain. Disney knows that there is a niche where they can take advantage of the capabilities of this technology to ‘give life’ to their characters and, how could it be otherwise, continue selling tickets to their parks. In this sense, theme parks become perfect settings for experimentation and development of advanced robotics, since they are controlled environments where robots can interact with thousands of people every day, learn from those interactions and perfect their behaviors, always with supervision. The technical challenge that Olaf poses. According to the paper published by Disney Research Hub (and the interesting video published on his channel), creating Olaf posed certain problems. The character has a huge head supported by a tiny neck, small feet with no visible legs, and a walking style that does not respect real physical laws. To solve this, the engineers designed a system of asymmetrical legs (one inverted with respect to the other) hidden under a polyurethane foam “skirt” that simulates its snow body. This skirt not only conceals the internal mechanics, but absorbs impacts and allows for recovery steps without breaking the visual illusion. Reinforcement learning scheme that applies policies to modify your behavior Just like they explain To the engineers responsible for its development, each facial joint, from the eyes to the jaw, is controlled by spherical and flat mechanical links that allow for full expressiveness while keeping tiny actuators hidden beneath the disguise. The key: thereinforcement learning. Instead of manually programming each move, the team trained Olaf using reinforcement learning guided by reference animations created by artists. According to explained Kyle Laughlin, senior vice president of Walt Disney Imagineering, told Variety “a process that used to take years can now be done in days and weeks.” Laughlin account that the system generates millions of simulations where the robot learns to walk, maintain balance and emulate gestures exactly as a child learning to move would do. But it’s not just about walking, since the AI ​​must also capture that spark of personality that makes the character recognizable. And for this, those responsible explain that specific rewards were used that rewarded the precise imitation of the original animated cycle. Noise and temperature. Two technical obstacles that threatened to ruin the robot’s credibility. On the one hand, the sound, since the robotic steps were too mechanical and noisy. According to they count Those responsible introduced an additional reward during training that penalized sudden changes in the vertical speed of the foot when touching the ground. In this way they managed to reduce the average noise of each footfall from almost 82 dB to just 64 dB, all without significantly compromising their gait. The second problem was overheating. And its thin neck houses small actuators that must support the weight of its large head, also covered by an insulating suit. The solution involved feeding real-time temperature data to the AI ​​system using a thermal model integrated into the simulation. Thus, when the actuators approach the 80°C limit, the system subtly adjusts the posture to reduce engine torque before any damage is done. A collaborative ecosystem accelerated by Newton. Behind the technological leap is Newton, a physics engine jointly developed by NVIDIA, Google DeepMind and Disney Research announced during GTC 2025 last March. “This is how we are going to train robots in the future,” counted Jensen Huang himself, CEO of NVIDIA, at the last GTC conference showing the technology. Newton allows you to accurately simulate how robots interact with deformable objects such as fabric or food, something crucial for costumed characters like Olaf, and is designed to integrate with MuJoCo, the physics engine already used by Google DeepMind to simulate complex joint movements. From BDX to Olaf. The Star Wars-inspired bipedal BDX droids, which debuted in Galaxy’s Edge in fall 2023 and have since appeared at events like SXSW or even filming scenes for the upcoming “Mandalorian and Grogu“, were Disney’s initial step towards this technology. According to Laughlin, the company has “a solid roadmap” to deploy more autonomous characters with greater expressiveness and interactivity in theme parks and cruise ships. This idea is foreseen in the plan announced by Disney for invest 60 billion dollars over the next decade on new attractions. Valuable data. The arrival of this type of technology to its parks It also provides them with reusable infrastructure. And the techniques used in Olaf, such as the compact asymmetric design, its thermal systems or its control based on acoustic reduction, can also be applied to future characters with equally strange morphologies. In addition, it must be taken into account that the robots would operate daily under the public eye at all times, something that becomes an advantage, since each interaction generates valuable data on how to improve their behavior. In the face of what seems to be an imminent arrival of new humanoid robots powered by AI, Disney can end up being a very profitable customer in this new era … Read more

OpenAI knows that it needs to continue generating memes and virals. That’s why she’s willing to pay Disney a lot of money for her content.

Disney and OpenAI have announced a three-year licensing agreement that will allow users to create short videos featuring more than 200 Disney, Marvel, Pixar and Star Wars characters through soraOpenAI’s AI video generation platform. The operation includes an investment of $1 billion by the Mickey Mouse company in the AI ​​startup. Change of sight. Disney has gone from sue AI platforms like Midjourney for unauthorized use of its characters to become OpenAI’s first major content licensing partner. The company also sent a cease and desist letter to Character.AI in September for the same reason. This change in strategy gives clues to Disney’s move, choosing to monetize and control the use of its intellectual property instead of trying to stop it completely. What users can do. Starting in early 2026, according to OpenAI, Sora users will be able to generate short videos for social networks with characters such as Mickey Mouse, Iron Man, Darth Vader, Elsa, Simba or Groot, as well as iconic costumes, accessories, vehicles and settings from these franchises. From ChatGPT, users will also be able to create static images of these same characters using text instructions. The agreement expressly excludes the faces and voices of real actors. The business model behind the agreement. OpenAI need viral content to maintain the attention of users, and in recent months it has made it clear to us that this route is its current main source of income to attract more users who want to go through the hoops of its subscription plans. Disney characters are precisely the type of content that fits this vision. That is why the company is willing to pay to license this intellectual property. Disney as a corporate client of OpenAI. Beyond the license, Disney will become a “major customer” of OpenAI, under the terms of the agreement. The company will deploy ChatGPT to its employees and use OpenAI APIs to build new tools, products and experiences, including functionality for Disney+. In fact, perhaps the most striking thing about the agreement is that a curated selection of videos generated by Sora It will be available to play from the streaming platform. Investment and purchase options. Disney will provide $1 billion in equity investment and will receive warrants to acquire additional stakes in OpenAI in the future. The transaction is still subject to negotiation of definitive agreements and approvals prior to closing. Commitments on responsible use. Both companies say in the joint statement that they will maintain “robust controls” to prevent the generation of illegal or harmful content, respect the rights of content creators and protect the use of people’s voice and image. OpenAI is further committed to implementing age-appropriate policies and other safety measures on the service. The vision of the CEOs. Bob Iger, CEO of Disney, assures that “the rapid advance of artificial intelligence marks an important moment for our industry” and defends that collaboration will allow “extending the reach of our narrative in a thoughtful and responsible way.” For his part, Sam Altman, head of OpenAI, affirms that the agreement “shows how AI companies and creative leaders can work together responsibly to advance innovation.” What’s coming now? It remains to be seen if this licensing model extends to other studios and large content owners. Everything indicates that it certainly will not be the only large company to take advantage of this type of agreement. The litmus test will be when all the content in Sora is released and if it gains enough traction on networks for OpenAI to consider it a small victory in its quest for make ChatGPT a profitable tool for your business. In Xataka | Quietly, a country is becoming a technological power thanks to data centers: India

Disney+ wants viewers to create AI content of its characters. The precedents are not very encouraging.

The company that literally changed copyright laws To prevent Mickey Mouse from falling into the public domain, it wants its subscribers to create content with its ultra-protected characters. The company’s CEO announced that Disney+ will integrate generative AI tools so that viewers can produce short videos with characters from the house. Contradiction or strategy? Perhaps it is the first diffuse step towards something more radical: a future where studios tolerate spin-offs created by fans. The advertisement. In its last communication of results to shareholdersCEO Bob Iger announced that platform users will be able to create and consume self-generated content, primarily short videos. He has called these changes the most significant since 2019, and Iger confirmed that in addition to its already known alliances with companies with Epic Games, Disney has conversations with AI companies that have not been revealed. His priority, as he has commented, is to protect the properties of the house, which undoubtedly contrasts with the idea of ​​letting viewers generate content to their liking. Where are the shots going? The model Disney is likely exploring already exists. Showrunner, from Amazon-backed Fable Studio, calls itself the “Netflix of AI”. The platform allows you to generate complete animated episodes using simple 10-15 word descriptions. Its SHOW-2 technology automatically manages aspects such as script, animation, voices and editing. Last year they created nine unauthorized episodes of ‘South Park’ that racked up 80 million views. Edward Saatchi, CEO of Fable Studio, has confirmed that he has had conversations with Disney about licensing intellectual property. Saatchi’s vision: specific models where fans pay subscriptions to create stories within official universes. Users could even insert themselves into episodes by supplying photos or videos. Of course, the limitations are abundant: we are talking more about a gimmick with episodic content than about a real possibility of extensive narrative arcs. Showrunner also currently only produces animation. But it represents exactly what Disney seems to be trying: turning its passive audiences into co-creators, all under strict controls. Why now. According to the Deloitte Digital Media Trends 2025 study56% of Generation Z affirm that content on social networks is more relevant to them than traditional series and movies. They don’t just want to passively watch: they also want to participate. On the other hand, Disney+ added 3.8 million subscribers in the last quarter, but needs to differentiate itself in the saturated streaming market. And AI, in which Platforms like Netflix are also enteringgives that opportunity that will reward the fastest, which also has clear precedents in the publishing world: the fanfic phenomenon. Where are we going? We can guess. In the short term, we could see basic tools that allow creating short clips with limited characters and strict moderation. The content probably cannot be exported or taken to social networks. In the medium term, things get interesting. If the model workswe could see more complex narratives and a change that would be truly revolutionary: the entry into the canon of fan content that is especially popular. In an ideal world, compensation models would arrive for featured creators, in a similar way to partner programs that we already see on YouTube or TikTok. New rates could be proposed for platforms that allow creation, compared to cheaper ones that only allow content to be consumed. Again, we have very clear precedents: the communities of modding of the video games that have turned games like ‘Minecraft’ into fully participatory experiences. And before that, games like ‘DOOM’ they grew to infinity thanks to the contribution of the fans. The risks. For the brand, they are very clear: the loss of control of what can and cannot be shown. Disney would have to implement very strict and possibly costly moderation strategies to avoid situations like the memorable chaos generated by ‘Fortnite’ players when they started interacting with Darth Vader’s voice. Then there’s the legal maze: who actually owns the authorship of fan-generated content? Is it a derivative work, a collaboration, or a complete property of Disney or whoever it may be? Not to mention sexual or violent content that breaks laws: who is responsible for that? Beyond the legal implications are the concerns of artists: as Kotaku statedthis may be a way for large corporations to bridge the agreements reached after the 2023 strikes. If it is the viewers who work for free… why pay professional story creators? In Xataka | The chaos of streaming is causing a phenomenon that we thought was in recession: downloads are increasing

The two largest travel agencies in Spain fight to sell trips to Disney. This is the business of children’s dreams

Ávoris has lost the exclusivity it maintained in Spain to market trips to the Disney parks. El Corte Inglés Travel obtained authorization in May to distribute these packages through its Smytravel platform, breaking a monopoly that allowed its great rival to consolidate its leadership in the ranking of Spanish travel agencies. Now both giants compete directly for the same pie: the 500 independent agencies integrated into Traveltool and the thousands of Spanish families who ask about the price of a trip to Disney every year. Why is it important. Disney is not just another product: it is the star product of family tourism in Spain (and increasingly even for adults without children). Its parks received 142 million visitors in 2024, almost doubling its closest competitor, and Disneyland Paris is the loose leader. This trip is sold almost exclusively through physical agencies, generates high margins and attracts families who are especially willing to spend a lot of money to make their children’s dreams come true. Whoever controls Disney controls a substantial part of the family travel business. The background. The exclusivity of Ávoris has never pleased its competitors: For years, agencies that wanted to sell Disney had to resort to the group’s tour operators: LePlan and Touring Club. That made Ávoris the inevitable intermediary of a business with guaranteed demand. This privileged situation used to generate recurring complaints in the sector for what they considered unjustified favorable treatment. Yes, but. Ávoris has not sat idly by. It has launched improvements to the LePlan and Touring Club platforms with a new centralized page that offers training, inspirational content and tools to design personalized Disney experiences. The answer comes weeks after Tourmundial (the brand of El Corte Inglés) announce combined packages to Disneyland Paris with accommodation, transportation, tickets and complementary services. Between the lines. This trade war points to something deeper in Spanish society: the touristification of childhood. Going to Disney has become an almost obligatory milestone, a natural extension of the first communion as a rite of passage and as an experience that “must be lived.” Not taking your children to see Mickey and company can generate a feeling of social exclusion, as if the experience were an essential requirement for a complete childhood. So agencies don’t just sell trips, they sell the feeling of tranquility from meeting social expectations and the fulfillment of the child. In Xataka | The incredible story of the couple who lived at Disneyland for 15 years without the visitors realizing it Featured image | Capricorn song

Adam Driver contacted Soderbergh to make a more “personal” film about Kylo Ren. Until Disney stopped them

It is the eternal tension between creativity and corporate control that grips a Hollywood devastated by the presence of franchisesand which especially suffocates Disney, which either fails to get some of its most iconic brands to overcome the feeling of wear and tear (Marvel), or fails to get them to take creative flight (Indiana Jones, ‘Star Wars‘). The last test, the cancellation of a project that could have been a bubble of fresh air in George Lucas’s galactic saga. The return of Ben Solo. In one interview with The Associated PressAdam Driver revealed that Disney rejected a sequel film focused on Ben Solo, better known as Kylo Ren), titled ‘The Hunt for Ben Solo’, which he developed with director Steven Soderbergh and screenwriter Scott Z. Burns for two years. Despite enthusiastic support from Lucasfilm, including Kathleen Kennedy and Dave Filoni, the project was vetoed by Disney CEO Bob Iger and co-chairman Alan Bergman, who argued that they were not sure Solo would still be alive after his redemption and death in ‘The Rise of Skywalker‘, from 2019. How it was going to be. The project was born from Driver’s personal interest in closing the arc of Kylo Ren, a character whose evolution he felt was incomplete. Originally, Driver had believed that there would be a reverse arc to that of Darth Vader that we saw in the prequels, but the trilogy produced by JJ Abrams did not develop it as the actor expected. After a call from Kennedy in 2021, Driver teamed up with Soderbergh to create a more intimate, character-driven film, inspired by the somewhat more twilight tone of ‘The Empire Strikes Back’. How would I resurrect? Driver insists in that the apparent death of Ben Solo was just that, apparent, and that Disney was carried away with a literal vision of the films. And with this he left aside the tradition of the ‘Star Wars’ universe of resurrecting characters through clones, spirits, time travel or mystical forces, as happened with Emperor Palpatine himself in ‘The Rise of Skywalker‘.​ Driver suggests with his statements that, once again, instead of betting on imagination and betraying expectations, Disney embraced linear and conventional narratives. The shadow of Han Solo. In Marvel only in recent times and with very specific cases, such as ‘The Marvels‘, ‘Eternals‘ either the latest installment of Captain AmericaDisney has encountered box office failures that, in any case, have not been resounding either. On the other hand, we have been six years since the last ‘Star Wars’ film, and this despite the notorious success of the last trilogy. The reason may have been how poorly received proposals such as ‘Han Solo‘ or ‘Rogue One’, which tried to propose narratives outside the Skywalker Saga. Stage fright. However, that saga has ended and Disney seems paralyzed by a stage fright that could be reinforced by the poor reception of series like ‘Obi Wan Kenobi‘ either ‘The Acolyte‘. The success of parallel projects with a certain radical component such as ‘Andor‘ do not seem to encourage the company to pursue alternative paths for the franchise, knowing that it has to invest a disproportionate amount of budget and marketing in selling new films in the series, and that is the reason why in recent years we have seen more cancellations than ideas coming to fruition. Maybe things will change with the (for now) film starring Ryan Gosling that seems well underway. Although until the time comes, we may see a few corpses along the way like this ‘The Hunt for Ben Solo’ In Xataka | One thousand euros for the Star Wars Death Star: the most expensive Lego set to date does not make all fans happy ​

When Disney canceled Kimmel for comments about Trump, the greatest victim was another: his streaming service

Last week was frantic to Jimmy Kimmel: In just a few days, a joke about the Charlie Kirk murder He caused his dismissal, generated protests throughout the country and returned to the program. And, apparently unrelated, Disney raised prices of its streaming platform. Everything was connected in a process that may have cost the company more than she expected. What happened. Although reality bifurcó in multiple ways, summarizing, Late Night’s presenter Jimmy Kimmel was suspended on September 17 by Disney after jokes about the murder of Charlie Kirk in which accused the government of instrumentalizing his death. The dismissal generated immediate criticisms for alleged political censorship under pressure from the Trump administration and the Federal Communications Commission of the United States after the suspension were the pressures of the latter to companies that were waiting for the granting of permits for mergers. Kimmel returned on September 23after they accentuated The protests that accused the government of pressing private entities against political enemies. How much it cost Disney. The Boicot public ads by stars and Influencers They did Bag to Bag to Disneywith a cost of about 5,000 million dollars in stock value. The casualties were estimated around a million, but journalist Marisa Kabas has obtained more precise informationwhich has echoed media such as discussing film or engadget: they became 1.7 million subscribers who canceled their service between September 17 and 23, 436% above the usual cancellation rate. But the thing had to get worse, because Disney was about to make an unexpected ad. A climb. Kabas herself also advanced Monday night to the official announcement: Disney was about to announce an increase in prices of her services of streamingand possible, that could have accelerated the decision of ABC (property of Disney) to return the program to Kimmel. They are ups between two and three dollars for the different Disney+ and Hulu packages, and obviously, it was planned long before the death of Charlie Kirk: the avalanche of cancellations due to the problem with Kimmel was only an addition to those that the company would already foresee when announcing the increases. Too much for a single company, which has rushed to return the presenter as an emergency measure. The question is … why didn’t they delay the announcement of the climbs? Throw forward. There is talk of several possible reasons to, despite the image crisis, continue with the ads, most of the Disney category as a great corporation with hardly any waist to quickly react to these viral phenomena. On the one hand, Disney traditionally announces this type of increase in Octoberwith the beginning of his new fiscal year. This calendar has been respecting for years, it is a rigid program that does not fit for image crisis. On the other hand, it was possibly notified of clients and interested parties, without contemplating postponements. Finally, there is the most important thing: it is a calculated risk, and Disney needs money. Despite the cancellations, the company decided to maintain the increase in the hope of stabilizing income. In addition, he avoided setting a dangerous precedent, to give in external pressures. Disney, Annus horribilis. It is not being a good year for Disney’s finances. Kimmel is only the last disaster (and all the fall remains) of a 2025 that started with a couple of powerful cinematographic failures: ‘Captain America: Brave New World’with lower performance than expected, and ‘Snow White‘, A critical and box office puncture that has even led to rethinking the future of some remakes of real image classics. Neither ‘Thunderbolts‘He has won the expected. And Pixar and Star Wars, the other powerful franchises of the house, go through a popular pothole. Of course, not everything has been disasters: ‘Lilo & Stitch‘It has been one of the box office pumps of the year and a good 2026 is expected, with the new deliveries of’Avatar‘(which arrives in December this year) and’Avengers‘(already for December that comes). Header | Anthony Quintano In Xataka | The streaming economy is completely broken and things will only get worse within the coming years

‘Lilo & Stitch’ lands today at Disney+. It’s just a small sample of everything that comes in September

We are starting the month of September, one that we usually associate with the return to the routine. It still has been very good time, but within not much that moment of the year will begin where The film plan, sofa and popcorn is the most wanted. To do this, it is essential that we have a streaming platform that gives us options to see And there is Disney+ one of the most popular: Today he is premiering one of his last films, ‘Lilo & Stitch‘. As usual, we can subscribe to the platform monthly since 5.99 euros a month. * Some price may have changed from the last review A new September with several outstanding premieres As we say, this new real action movie has been made of begging, but it is now available to see within the Disney+catalog. After the arrival of ‘Thunderbolts*‘, This is the new star movie that we can enjoy within the platform. It doesn’t matter if we saw the original animation or we have never seen the story of this nice extraterrestrial: It is a movie that is worth it (and much). Although this is the premiere that comes to us today, the month of September will be quite moved in terms of premieres. Just a few days later, on September 9, the 5th season of ‘arrives at the 5th season of’Only murders in the building‘. This, which will premiere at once 3 chaptersHe will bring three actors like Steve Martin, Martin Short and Selena Gomez. In addition, the new season of the ‘Futurama’ animation series, the original series’ Adidas vs. will also arrive at Disney+. Puma ‘or the movie’ Match: the queen of appointment apps’, among other things. If we add to all this a huge catalog where there are very good options like the new one ‘ALIEN: Planet Earth‘, we have a perfect option for This return to the routine becomes a little more enjoyable. Some of the links of this article are affiliated and can report a benefit to Xataka. In case of non -availability, offers may vary. Images | Disney+ In Xataka Selection | Five cheap kitchens or rooms that will allow you to forget TDT receptors In Xataka | Disney+ comparative, Netflix, HBO, Prime Video, Movistar+ Lite, Filmin, Apple TV and Rakute TV: Catalog, Functions and Prices

Abu Dabi’s Disney Park will not look like any other. For a hot reason

The next Disney park, which will be built in Abu Dhabi is going to be a bargain for the company, and that is that He will not cost him a cent. La Razón: The Arab Grupo Miral will give life to the park with Disney’s licenses, and these will only be dedicated to collecting money. Goodbye to the usual Disney. The park’s approach will not arrive free of problems: after months of speculation, Mohamed al Zaabi, CEO of the Miral, has gone out to stop the rumors: Outdoor park would never work. If almost completely interior, it is a change of paradigm: all of the six parks that Disney has active have closed spaces, but most of its attractions are outdoors. Because. A theme park in Abu Dabi sounds very good until The average temperature of the place It comes into play: it exceeds 30 degrees from May to September and 35 in July and August. And what is worse, has maxims of 40 degrees or more than June to September, which makes the enjoyment to the outdoor. According to Al Zaabi, what Miral now raises is a hybrid Disney park. This means that it will have external areas and interior areas. The leader states that it is still early to decide, but believes that “a good percentage will be on a roof.” In Orlando, headquarters of one of the Disney Worldthe National Meteorological Service Extreme heat alert when 45 degrees are exceeded. In Abu Dhabi, the temperature exceeds 43 degrees. The problem is the thermal sensation at that temperature: more than 54 degrees. This is the mastodontic Ferrari World who will be a neighbor of Abu Dhabi’s Disney, almost completely covered. The model to follow. In Miral they know the land well and how to ensure that the experience in the parks is pleasant. On the island of Yas, a place that houses the Formula 1 circuit, and it is planned to build the new park, they already have SeaWorld, Ferrari World and Warner Bros. World. The latter are striking and known for their mastodontic size, but above all for hosting almost all their attractions inside, with a great ally, the air conditioning. According to The Question and Answers website From Ferrari Park: “Ferrari World Abu Dhabi is a theme park covered with air conditioning. (…) which makes it an ideal world destination regardless of season or weather” Other historical changes for petrodollars. In a publication a month ago to Zaabi already mentioned that “everything we do here, we do it differently.” And the reality is that yes, bringing large events to the countries in the area has forced draft changes. As a great example is Catar 2022the first soccer World Cup that had to be held in November for high temperatures. It is so hot in the country that the government had to Install air conditioning on the street. Speaking of differences, we can not forget those of workers’ conditions. The high temperatures were also the key reason that Formula 1 began to be held at night in circuits such as Abu Dhabi. In Baréin in April, whose grand prize was held during diurnal hours of 2004 to 2014the ambient temperature during the race often exceeds 35 degrees. And what is worse, the asphalt temperature of the circuit, built in the middle of the desert, oscillated between 48 and 56 degrees. The minimum value was 13 degrees higher than that of the asphalt of the Montmeló circuit, for choosing an event that is held near dates. Images Bastien NVS and Kevin JD In Unspash, Visit Abu Dhabi In Xataka | We have known how to eliminate the tails of the attraction parks. Disney keeps them for something

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