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

In World War II, the British were looking for an antibunker bomb. So they copied a Disney idea

The morning of last Sunday, June 22, The United States deployed its B-2 With a mission: launch, for the first time, its new MOP pumps on Iranian bases. These mass bombs have a single function: eX PLACE IN Underground Bases And, despite being avant -garde armamentits technology began to be tested decades ago, in the Second World War. It was the British who developed a bomb capable of bursting a bunker, and their inspiration came from the most unexpected place. A Disney movie. Need. It is in the war when the brightest minds of each country gather to invent new ways of killing. Even if they don’t know what the consequences of their creations will be. The World War I It was a period of Technological Revolutionthe second more of the same and In the Cold War The Explosion of nuclear bombs (and almost that of chickens). In short: each country in conflict wants have the “fattest” bomb. In the mid -2GM, the British sought a powerful bomb, but with a more concrete objective than that of causing all possible damage: they wanted something capable of advising a blow to the bunkers heart and Nazi submarine factories. Thus, they developed the Tallboy and the Grand Slampumps of five and ten tons respectively designed to hit near the target, penetrate the earth, exploit and cause damage to the shock waves transmitted through the ground. The idea was good, but they still needed something more concrete than those “earthquake” bombs. And then, someone saw this propaganda movie of Disney: Drawing pump. Leaving aside that you could keep your mouth open because … yes, that Disney produced ithe who saw the short was Edward Terrellof the Royal Reserve of Naval Volunteers. It is said that, after watching the film, Terrell and other officers, they would ask if it would be possible to design a bomb that directly crossed the concrete and destroy objectives such as the Nazi submarinesas seen in one of the frames, instead of waiting for the expansive wave of an earthquake to damage the underground base. In September 1943, engineers got to work while the viability of the pump was discussed. There were those who opposed, but Churchill was approved and, there, the development began. Edward Terrell and two other RAF officers with a Disney bomb Promising. The Disney pump, baptized Officially as “4,500 pump assisted by rocket to drill concrete” (‘Disney bomb’ has much more stuck, where we are going to stop) it was massive not so much because of the dimensions, but because of the weight and its explosive capacity. With just over five meters long and 43 centimeters in diameter, it had a weight of 2,000 kilos. As his name indicated, he was driven by RP-3 rockets And as an explosive it was loaded with 230 kilos of ‘Shellite‘, a mixture designed during World War I. Thrown from Boeing B-17 or B-29 aircraft, its operation was simple: to boost with the rockets to reach a speed of more than 1,500 km/h, penetrate everything possible due to accumulated kinetic energy and detonate late within the installation. In addition, its maximum penetration was about 5 meters of reinforced concrete, enough to cause great damage to enemy structures. Afternoon, too late. The bomb was promising, but it took too long. They began to develop late (when they had the idea, go) and that caused that it was not ready until almost the end of the conflict. In January 1945 they carried out some tests and, although the bomb was British, it was the United States Air Force that had of it. Between February and April 1945 they launched a total of 158 Disney bombs against bunkers and submarine factories in Germany. A clear objective was Valentin, a U-Bats factory That it was about to be completed, something that the allies could not allow and managed to cause damage to the target with armor 4.5 meters thick, but had a trick: it had already been previously damaged by the Grand Slam bombs of the British. A fair shotgun. The Disney bomb was a disaster for two reasons. The first and most obvious is that it came very late and attacks on underwater bases did not mean a real difference in the outcome of the conflict in the European territory. But, in addition, they failed. During the Valentin bunker attack More than 60 pumps were launched, but only one directly impacted and, as we say, the damages caused were preceded by the explosions of the British bombs thrown days before. For more inri, in evidence during the years after World War II with controlled releases in the Helgoland Islandof 76 bombs released, it was discovered that the lighting of the rockets failed in 37% of the cases, very limiting the penetrating power of the projectile. In addition, some bombs exploited prematurely and would not serve to achieve the objectives. Yes one thing was discovered: the maximum penetration of 5.08 meters in concrete. The MOP, Disney’s legacy. In the end, between technical, tactical and temporary problems, the efficacy of the Disney pump was extremely limited, but it is clear that it represented an important technological advance in the Antibunker war. So much that he laid the foundations for future penetration weapons. And of those rains, these sludge, as they say. The GBU-57A/B. launched by the US against Iran is the latest technology of the MOP bombs, or ‘Massive Ordnance Penetrator’. The big difference with the Disney pump is that this huge 6.25 meters long projectile and the FRIOLERA OF 13,600 KILOS (2,400 of them are explosives) Yes it works, also penetrating up to 60 meters of concrete. And another difference is that it is launched from such high (12 kilometers from a B-2) that does not need engine, since it is gaining speed as it falls, being very precise thanks to its laser guidance. In short, technology that is not so much of science fiction and that shows that we are great … Read more

Disney has managed to resurrect the live-action thanks to ‘Lilo & Stitch’. The next on the list is much more risky

‘Lilo & Stitch’ has been one of the undisputed surprises at the 2025 box office. He not only exceeded the most warm expectations of Disney at his premiere, recovering his budget in just a couple of days. He has also put an end to the curse of remakes in real image of Disney classics, which carried a frankly terrible quality and box office. And now, all right, right? Well… Alien pepinazo. As We comment on the week of its premierethis remake of the 2002 animated classic raised worldwide 341 million dollars. Virtually half of that amount, 157.8 million, was in international markets, becoming the second best premiere of the year, only behind ‘A Minecraft movie‘. It has already folded the amount, with 610 million. In Spain, According to ComscoreIt was even better: 5.7 million euros at its premiere, and has already reached 11.57 million. Here it has been the best premiere of the year, providing a good oxygen ball to the battered state box office. An effective formula. ‘Lilo & Stitch ‘is the last success of a formula that until recently seemed infallible: remake in real image and with CGI effects the company’s animated classics. A apparently undressing idea That, although he has encountered critical voices that have always gone very well at the box office. Thus it was with one of the first of his style, ‘101 Dalmatas’, in 1996, and with the first of the current surge of remakes, the ‘Alice in the Wonderland’ of Tim Burton of 2010 and his sequel. And they still had to get the great successes. Tachillas and refritos. But from there they did nothing more to climb: ‘Cinderella’, ‘The book of the jungle’, ‘Maleficent’ … until they reached the two great bombings: ‘The beautiful and the beast’ in 2017, with 1,263 million collection, and ‘The León King’ in 2019, with 1,662 million. Two successes of criticism and public that settled the formula under which films were continued that, however, came across increasingly frequent criticisms, such as the rather terrible ‘Aladdin‘ and ‘Dumbo‘, both released the same year, 2019. Free fall. However, it was a formula that could not last forever. The public’s fatigue due to the patent lack of originality of Hollywood, and that has affected to franchises as successful as Marvel Or Star Wars also made a dent in this genre. It was seen, for example, in ‘Peter and the dragon’ or ‘mulán’ (also devalued by the moment it premiered, during the pandemic and directly in Disney+to boost the newly released platform). The last disasters have been ‘The Little Mermaid‘, very affected by the wear stormy promotion With its two faced protagonists. To all this are added a series of films that have barely echoed among the public and that in many cases theaters have been skipped, such as ‘Pinocchio’, ‘Peter Pan & Wendy’ or ‘The Lady and the Vagabundo’. And a couple of exceptions. However, the formula is not completely exhausted, or that should think of Disney. ‘Mufasa’, despite a lazy start, with a premiere well below expectations, honored the strength of the franchise of ‘El Rey León’ and endured all Christmas, adding 670 satisfactory millions of dollars. Incomparable with the collection of his predecessor, but still, one of the successes of 2024. And the case of ‘Lilo & Stitch’ already knows him. Why are you? The reason why these two have worked in seemingly adverse times for remakes is double: on the one hand, ‘MUFASA’ and ‘Lilo & Stitch’ are less conflictive in their delivery, and they have not had to endure discredit campaigns, Review-pumping and other tactics of harassment and demolition of Toxic fandom. On the other, there are two franchises with good health: ‘The Lion King’ is the most popular and blockbuster remake in the history of Disney; And Stitch is a phenomenon of merchandising Disney Recent: Annual Sales of Products related to the character have gone from 200 million dollars in 2019 to exceed 2.6 billion dollars in the last yearaccording to ‘The Wall Street Journal’. A future with doubts. But the thing does not end here, because there are no guarantees of success in the coming years. Some remakes have been affected by the prick at the ‘Snow White’ box office, such as ‘entangled’, whose production has been arrested. Of many there are almost no data, such as ‘The Humpback of Notre Dame’, ‘Hercules’ or ‘The Aristogatos’. But the authentic doubts are with ‘Vaiana’, scheduled for July 2026, and that involves a certain risk: its animated precedent is unusually close, 2016 and, in fact, a sequel to theaters has just released. Will you accuse this success more or less safe the wear of the formula? When we review the successes of 2024 (Among them, by the way, ‘Vaiana 2’), we talked about a problem that Hollywood cannot continue hiding for longer: all its blockbusters are sequelae, remakes or REBOOTS. It is a formula that supposes bread for today and hunger for tomorrow, and the best test is the remake in real image of ‘Vaiana’. It is as simple as this: Hollywood is running out of films to make remakes: the dead end inside a dead end. Header | Disney In Xataka | Magneto is 85 years old, but still, Marvel and Disney believe it is the only solution to save their Maltrecho MCU

We have been thinking for 50 years that lemmings are rodents that commit suicide. The guilt of everything has Disney

If they mention the lemmings we will immediately think of The legendary action video game and puzzles of Psychnosis of 1991. The mechanics of that game, in which the herd of creatures obeyed us blindly, even opting for sacrifice, have a specific origin: a Disney documentary. But … what if everything he told were not only false, but orchestrated by the filming team itself to obtain images of the lemmings suicide? What is a lemming (really). A Lemming It is a small rodent that usually lives in areas near the Arctic or in Biomas de Tundra. They are similar to field mice and musk rats. They measure between 13 and 18 cm in length, they have very short tail, chubonch and hairy snout, short legs and small ears. With a garrita on the front legs they dig into the snow. They are herbivores and live in large tunnel systems. And no, against what is said, they do not have a docile attitude and a flock behavior: although they move in a group by the very high demographic explosions they experience, they are aggressive even with the predators. What was believed to be a lemming. That demographic explosion (which actually obeys mere survival: The reproduction cycles are short and the very fertile females to compensate for the attack of predators and the shortage of food at certain times) is precisely what the 1958 documentary ‘white hell’ was inspired. Produced by Disney, this production talked about how, due to the multitude of offspring that they have since there are not enough resources to maintain them, the lemmings are sacrificed for the good of the population and threw themselves by cliffs, committing suicide. The film even offered images of the moment. The origin of the myth. Long before the filming of ‘Blanco Hell’, Rumorology around Lemmings was abundant: In the 16th century, the Bavarian geographer Jacob Ziegler defended that these rodents fell from heaven when there was a storm and died when the grass grew in spring. This thundered statement was based on local folklore: being the Arctic fauna, the native populations of Inuits or Yupiks had their legends around the lemmings, similar to those of the geographer. Little by little, science was denialing this almost celestial origin of rodents, although for centuries it was believed that the herds were traveling transported by the wind. In pop culture. Science fiction and fantasy was the one that possibly grabbed this idea of ​​the lemmings that moved by air and transmuted it into bugs that commit suicide throwing themselves into the void. Since the fifties we find precipitating Lemming in works such as the story ‘The march of the fools’ of Cyril M. Kornbluth, of 1951, where the lemmings with space travelers who march to Venus to die in a collective suicide are compared. A legend of Disney comics, CARK BANKShe drew in an adventure of the ducks to Lemmings jumping through Norwegian cliffs. And nothing less than Arthur C. Clarkein his story ‘the possessed’ explains with a case of alien group possession the behavior of rodents. What really happened in the documentary. The director of ‘Blanco Hell’, James Algar, I intended to record an authentic sacrifice of the Lemmingsbut he did not look like. So the photo director came up with a group of local children to hunt Lemmings, 25 cents the piece. Once they had enough, they were cleared them. A cruel resolution (nothing strange in Documentaries about animals of the time), but today is somewhat uncomfortable to see: ‘Blanco Hell’ went on to accompany other Disney films to which time has not treated very well, and was withdrawn from Disney+ together with classic cases such as The racist ‘Song of the South’. In pop culture. And thus the myth was founded, which gave us an extraordinary video game and a wrong belief in the popular culture that persists until today, as the same Begoña Villacís demonstrated, which in 2017 signed in the confidential an article entitled ‘Catalonia, an army of lemmings‘. Although few stories as fun around the nice rodents as an article of ‘Popular Science Monthly’ that, in 1877, said that suicide lemming what they want is to throw themselves into the Atlantic to immerse themselves in search of the lost continent of Lemuria. Damn rodents. Header | Wikipedia, Psygnosys In Xataka | The amazing video that shows an octopus by changing color while you think is dreaming

Disney has always been the favorite entertainment of children. Now he is being razed by YouTube

Although the last financial results of Disney They showed an upward trend from which they may be proud, with a growth of the benefits of 5% and an arrival finally of profitability in the sector of the streamingDisney’s creative crisis is something that has been discussing for months. And an extra detail is added to it, which does not stop strengthening an idea that, despite the numbers, is around the company: Disney are no longer interested. Disney Channel debacle. Disney has been, of a lifetime, the brand par excellence of child entertainment. And although the numbers endorse their financial health, certain signals point to the loss of interest of their most active and desirable audience, children. One of these signs was the Disney Channel closure in many countriesamong them Spain, at the end of last year. The traditional entrance door to Emporio Disney has fallen, since its position among the top 10 chains, with almost 2 million average daily spectators in 2014, to number 80 in 2023, According to Nielsen. Children matter. Who wants children if they have nostalgic adults, we could ask ourselves? Very simple: Children are the very important two -legged engine of the business: parks and merchandising, which together with the cruises are part of a third of the business (the other two are entertainment and sports). And although cinema and streaming contributed in 2024 45% of the benefits to Disney, experiences are a very close 37%. Of course, a wing of the income they cannot give up. Experiences, by the way, that are also adults without children. Adults also matter, but less. Children are also indicative of an aspect of the Disney Fandom to which everyone looks at: the renewal of spectators and consumers. The new blood that makes the continuous flow of spectators and clients stagnate. For example, The recent ‘Thunderbolts‘, apart from having a predominantly male audience, most were adults: 70% of their audience was over 25 years. He nostalgia factor Marvel and ‘Star Wars’ has a side effect: the progressive and inevitable aging of the public. YouTube, the new normality. The key to this loss of interest in Disney by children is how they are moving to more versatile platforms, less rigid, such as YouTube. They prefer to see shorts instead of movies or series, and the numbers are evident: in Nielsen data than Business Insider rescuedchildren from 2 to 11 years old saw three times more videos on YouTube last year than in Disney+. Disney herself seemed to prove this problem in 2022, when she said that more than 60% of Disney+ subscribers were adults without children. The algorithmic content is the most. The world’s most watched programs for children are on YouTube and are optimized algorithmically so that these visits do not stop growing and small spectators stay longer. Key factors such as the duration of visualization, colors, music and narrative structures are learned by the algorithm, which outlines the programs almost in real time. Thus successes work as Cocomelónwith 196 million subscribers, or Kids Diana Showwith 134 million. One of the most recent channels, Vlad and Nikialready takes the lead with 140 million and a very quick growth. Next to them they continue to win classics like Baby Shark. Disney to rescue. To try to solve this issue, Disney has undertaken a series of maneuvers to attract the youngest public, even if it is unable to compete with algorithmic modifications almost in real time. Among those maneuvers is the arrival of ‘Bluey‘A Disney+, one of his most successful licenses and that, According to Nielsenbecame the series of streaming more viewed of 2024. its multimedia incursions in franchises very dear to children, such as ‘Fortnite’ (which welcomed a few weeks ago To a new Skins, mechanical avalanche and battle passes from ‘Star Wars’) also go in that direction. A future oriented to children. In recent months, Disney has been releasing series specifically designed for children based on their successful franchises, such as ‘the adventures of young Jedi’ or ‘Spidey and their superequipo’. It is one of the great needs of the entertainment giant: bring children closer to their own brands, beyond successful licenses such as ‘Bluey’. This depends on survival in a panorama where, despite the kindness and color of the products, the battle is absolutely ruthless. Header | Disney In Xataka | Disney already knows where to build his next great theme park: Abu Dhabi. And he will not cost him a cent

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