In 1957, Walt Disney was concerned that his cartoons lacked depth. So he invented the multiplane camera

In 1957 Walt Disney was fed up with his animated films being so flat. He needed to make his characters go from 2D to 3D, and he and his engineers created something prodigious: the multiplane camera. The system. Its operation went beyond traditional method of animated film productionand divided each frame into several planes so that landscapes and characters gave the sensation of being represented in three dimensions. The result, as you can see in this video, is amazing. Walt Disney himself explained in a masterful way how an invention worked that solved a fundamental problem: cartoons had no depth, and they needed to evolve to have it. The difficulty. That was not easy in the 50s, of course. Today’s technology has made 3D movies almost child’s play for an industry that embraced them as the next big revolution and then killed them. defenestration of these contents almost in its entirety. The animation process they followed at Disney made it completely handmade, and each second of animation involved enormous work that required each of the 24 frames to be photographed (the number varied depending on the formats) manually with cameras that would then produce those frames to join them into the final footage. Solving. The problem was that this made it almost impossible to add that depth effect: if you zoomed in on a landscape, everything increased at the same time wherever you were. That was unreal, and for example it caused the moon to increase in size in a night landscape scene at the same time and in the same proportion as a tree close to the viewer’s position. In order to correct this and other problems and produce those 3D frames, Disney and its engineers came up with the idea of ​​creating a multiplane camera that was used in certain scenes by dividing the planes of the scene. In the case of zoom, some shots approached faster than others, which gave this global zoom an amazing realism for the time. and the solution. The same thing happened when this technique was used when creating characters for these films that suddenly gained that depth that made them able to rotate, move forward or backward in the shot and all of this was reflected in the perspective. In the first video it is Mickey who demonstrates it, but this second video with Bambi as the protagonist also reveals the wonderful operation of a simply brilliant technique. In Xataka | The new sequel to ‘Pirates of the Caribbean’ exists, but it is not from Disney: this is how the legal ecosystem of fan films works In Xataka | There is an open dispute over the meaning of “the stork” from ‘The Lion King’. One worth 27 million dollars

Disney scraps Marvel creative team and loses many of the artists who gave visual shape to the MCU

The character and setting designers who built the visual identity of the Marvel Universefrom the first Iron Man suit to the looks of recent villains like Killmonger, have in some cases been in the studio for more than ten years. On April 14, many of them received their dismissal letters: these tasks will be outsourced. What has happened? This April 14, in the middle of CinemaCon (a paradoxical moment, with the industry in full swing to announce films for the next two years), The Walt Disney Company executed the first big snip of the Josh D’Amaro era, your new CEO: about a thousand layoffs throughout the company. Marvel has been one of the company’s worst-hit factions: around 8% of the combined workforce of Marvel Entertainment in New York and Marvel Studios in Burbank. have suffered cuts in almost every department: film and TV production, comics, franchises, finance, legal and visual development. What the CEO says. D’Amaro, in an internal communication to those affectedacknowledges that the decision is “harsh” but clarifies that it does not reflect “his contributions or the overall strength of the company.” That is, he suggests that it is a restructuring designed before he stepped foot in the CEO’s office, inherited from the roadmap that Bob Iger left ready before leaving. It makes sense: a layoff of a thousand people is not decided overnight. Goodbye Marvel. The most symbolic blow has been suffered by the Visual Development department of Marvel Studios. Virtually all equipment has been dismantled: Only a small group of permanent employees remain to coordinate the hiring of external artists per project. This team was responsible for aspects as essential to the MCU as the costume and character design of the franchise’s films, since one of the most significant features of the MCU is the visual coherence they have maintained in thirty productions. Radical change. Now all that work is outsourced. From now on, Marvel Studios will retain a minimal team that will be responsible for hiring external artists based on each project. It is a common practice in the video game industry and in the production of visual effects (in the latter field, in fact, it had been done this way at Marvel, not without its corresponding controversies), but it represents a substantial change in model for a department that had always been integrated into the foundations of the studio. Is Marvel going bad? Not quite. It is a logical step after the latest movements that the company has made. After recognizing that under the command of Bob Chapek quantity had prevailed over qualitywhich had given rise to a certain exhaustion, after Iger’s return as CEO in 2022 there was a turnaround in the opposite direction. In 2025 there was only one MCU premiere, in 2026 we will only have ‘Spider-Man: Brand New Day’ and ‘Avengers: Doomsday‘ in theaters and ‘Daredevil: Born Again’ and ‘VisionQuest’ on Disney+. This reduction in scale is what has made it evident that the staff was oversized. Layoffs in film and television production are the direct consequence of the reduction of the calendar. The numbers, in proportion. Between 2023 and 2025, the Iger era has already eliminated around 8,000 positions at Disney and generated a savings of 7.5 billion dollars. The current 1,000 layoffs represent less than 1% of the company’s 231,000 global employees, a number that in absolute terms may not seem very large. But the truth is that in the specific case of the Marvel Visual Development team it amounts to a certain erasure of the department at a critical moment: when we have to start preparing the continuation of ‘Doomsday’: ‘Secret Wars’, scheduled for release in December 2027. Other changes. Many of the layoffs affect the marketing department, unified under the sole command of the newly appointed head of that area of ​​the business, Asad Ayaz. As has been knownthe cuts reach marketing, advertising, production and corporate functions teams at ESPN, the studios and the product and technology area, in addition to the aforementioned cuts at Marvel. The decision fits the profile of D’Amaro, who has spent almost three decades at Disney, but his career is unrelated to the audiovisual content business. He was the architect of the largest theme park expansion in the company’s history, and the Experiences division he led generated, in the first quarter of 2026, about 75% of Disney’s total operating profit. In Xataka | ‘Avengers: Doomsday’, everything we know about Marvel’s next big event

‘Avatar’ is one of the most profitable films in history. And yet Disney is considering killing the saga

James Cameron’s trilogy has generated 6.7 billion dollars at the box office. Despite this, the future of the two remaining sequels is up in the air, Disney is considering making the following films cheaper, and the theme park attraction that was announced with all honors a few months ago may never be built. The numbers. The figures for ‘Avatar: Fire and Ash’, the third installment of the franchise, are objectively colossal: 404 million grosses in the domestic market, 1,085 million in the rest of the world, third highest-grossing title of 2025. A success for any current Hollywood franchise, but at this point we are all clear that James Cameron’s saga is not a typical product. The low. The first way of reduce enthusiasm is by comparing the collection with its precedents. The first installment, from 2009, is still the highest grossing film in history, with 2,920 million dollars. The second, ‘The Sense of Water’, is the third with 2,340 million. Compared to those figures, ‘Fire and Ashes’ is no less than a billion short. It remains a good business (350 million, plus 150 in marketing), but It’s not even the highest-grossing movie of 2025since it was beaten by ‘Zootopia 2’, also from Disney, and by ‘Ne Zha 2‘. The Wrap has made an in-depth analysis of the topic and highlights the opinion of Paul Dergarabedian, head of market trends at Comscore. The analyst states that “‘Fire and Ashes’ grossed half that of the first film. And the ticket prices in 2009 were not those of 2025.” In March, during the Saturn Awards, Cameron collected trophies for Best Director, Best Screenplay and Best Science Fiction Film for the third ‘Avatar’ and recognized that “To be perfectly clear, we have not even made a decision to move forward at this time.” Short and cheap. The Wrap is also the medium that I spoke with insiders from Disney who confirm that internal conversations are being held to make the next deliveries “shorter and cheaper.” The release dates of the fourth and fifth films (December 2029 and December 2031), and the answer to how to reduce costs without extirpating the identity of ‘Avatar’ is not easy to elucidate. Why are they so expensive? Some details of the process that illustrate why “cheaper” can be a complication: for example, the production involves at least two complete shoots: one motion capture with actors and another, mostly digital, to define the staging, the camera movements and all the elements of the computer-generated universe. According to Cameron acknowledged.making the fourth and fifth deliveries together (as he did with the second and third) would mean an investment of around 800 million without changes in the method. More expenses: Costume designer Deborah Scott, Oscar-nominated for her work on the third installment, illustrates the scale of the problem. Each suit is designed, manufactured in the physical world, and then digitally “translated” with the help of animators and technicians. This process is multiplied in each film by hundreds of characters, creatures and environments. Cameron has publicly committed to do not use AI and always support the human work behind the film, which also prevents lowering prices in this way. What has gone wrong? Why hasn’t the third ‘Avatar’ reached the 2 billion of the previous installments? Cameron’s team affirms, according to the same medium, that Disney launched the film in a very similar way to ‘The Sense of Water’, three years earlier, but with more margin: there was more time between the trailers and the premiere, which allowed some expectation to be generated. Added to this are commercial obstacles such as the fact that it is the longest film in the saga (197 minutes) and that there has been a certain lack of merchandising and other parallel actions. It all adds up to making it a film that could have performed better. California über alles. The uncertainty extends beyond the movies: Disney had announced the construction of an ‘Avatar’ themed area at Disney California Adventure, designed to complement the popular Pandora land that has existed since 2017 in Animal Kingdom (Florida). Construction was scheduled to begin in 2026 but the scheduled closure of the ‘Monsters Inc. Mike & Sulley to the Rescue’ attraction, necessary to begin work, has been postponed until 2027. One year late, for now. Disney parks expert Jim Shull told The Wrap that the franchise “as a cultural force is exhausted. No one is demanding to see more. If ‘Avatar 3’ had been a massive hit and people were clamoring for the fourth and fifth installments, that would change the equation. But there’s not much demand.” And he proposes a much more obvious alternative: expanding the ‘Zootopia’ areas, in line with the success of the ‘Zootopia: Hot Pursuit’ attraction at Shanghai Disneyland. In addition, there are logistical issues: the ‘Avatar’ water attraction required a complicated and expensive water treatment plant of its own. In Xataka | China saves ‘Avatar 3’: a good part of its billion in revenue comes from the only market that still goes to the movies

YouTube has already eaten Disney

In 2025, YouTube generated about $62 billion in revenue and surpassed Disney as the world’s largest entertainment company by revenue. It did so without a single film studio, without decades-old franchises behind it, and without making contracts with any of its main content creators. The model that made it possible has been being built in silence for twenty years. The figures. These 62 billion dollars exceed for the first time the media segment of The Walt Disney Company, which generated 60.9 billion excluding its theme parks and experiences, that is, we are talking strictly about the audiovisual sector (Disney parks and resorts contributed around 9 billion additional dollars to the group). The comparison measures the content and media distribution business, where it competes with YouTube. And in that area there is no longer any doubt who is in charge. Advertising, first notice. It was clear that the surprise. YouTube earned $40.4 billion in advertising alone during 2025, more than Disney, NBCUniversal, Paramount and Warner Bros. Discovery combined, whose combined advertising revenue amounted to 37.8 billion. A year earlier, in 2024, that same combination of studios still surpassed YouTube in advertising: 41.8 billion compared to 36.1 billion. The rest of YouTube’s income comes from subscriptions: YouTube TV has around 10 million subscribers, YouTube Premium and YouTube Music have approximately 107 million according to the studies cited. These are lines of business that did not exist before or were marginal, and that now represent about 22 billion dollars annually. The secret of low risk. The important question is not how much YouTube earns but how it earns it. Disney maintains studios, pays salaries to directors, actors and scriptwriters, finances productions with budgets that in franchises such as Marvel or ‘Avatar’ frequently exceed $200 million in revenue per film, but assumes the risk that this investment will not be recovered at the box office. YouTube doesn’t do any of that. Not even hiring its creators. Although that doesn’t mean it doesn’t deliver. The YouTube Partner Program, launched in 2007, established that the platform shares 55% of the advertising revenue generated by each video with the creator who produces it. The creator provides the content, the risk and the work. YouTube provides the infrastructure, distribution and monetization system. In total, the platform has paid more than $100 billion to creators, record labels and media partners throughout its history, according to YouTube itself. It is, in terms of costs, a structure that traditional studies can hardly replicate. Hearing, second notice. The 2025 revenue is not the first time YouTube has surpassed Disney in something relevant. On the audience front, the gap opened earlier. YouTube, according to the studies cited, captured 12.5% ​​of the total television consumption time in the United States, overtaking Disney, Fox and Netflix. The figure includes consumption on connected televisions, a rapidly growing segment and that has transformed YouTube from a mobile platform to a regular presence in the living room. The great risk. The great creators of the platform are those who have their own studios, production teams and budgets that rival those of conventional television. They have been, in practice, media companies for years. The externalization of risk that has put YouTube in first position has a reverse: the platform’s income depends on millions of people who, at any time, can migrate to another environment or stop producing, without contractual obligations. Disney can lose money due to a movie’s failure at the box office. YouTube, in theory, can take a significant blow to its ecosystem. Disadvantages of outsourcing everything. Featured image | Xataka In Xataka | YouTube’s lawyers are clear that “YouTube is not a social network.” The future of the platform depends on it

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

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