Doomsday. Disney’s response has been to invent its own IMAX

On December 18, 2026, two of the most anticipated blockbusters of the last decade share release date. Warner Bros. has contracted exclusivity on all IMAX screens in the United States for ‘Dune: Part Three’ for three weeks. It is a vital space for the box office blockbusters of this type, so Disney, following Bender’s teachings on the moon from the legendary pilot episode of ‘Futurama’, decides to set up its own IMAX for ‘Doomsday‘. He called it Infinity Vision. The contract of evil. The key is in a contract signed before both premieres collided. Warner Bros. booked December 18, 2026 for ‘Dune: Part Three’ in June 2024, almost a year before Disney moved ‘Avengers: Doomsday’ on that same date. Under this contract, Villeneuve’s film has all IMAX screens blocked for three consecutive weeks starting December 18, leaving the Marvel film without access to that circuit in the US market. In favor of ‘Dune’. In addition to the contractual issue, there is an added topic: ‘Dune: Part Three’ has been filmed mainly with 65mm IMAX cameraswhile ‘Avengers: Doomsday’ has done so with IMAX certified digital cameras. For the IMAX standard, there is a difference: the 65mm negative produces a native image in the expanded format of the characteristic IMAX screens, which makes ‘Dune 3’ a more technically competent release. Something that IMAX will undoubtedly use as a selling ingredient. Despite insistent rumors, it seems that Marvel will not move the release date, and Kevin Feige confirmed it at CinemaCon. Infinity Vision arrives. It was there where Disney announced Infinity Vision as a new certification for premium rooms. This is a seal that will help the viewer “find the best screens in their area.” This rating refers to the largest possible screen sizes, laser projection for superior brightness and sharpness, and premium audio formats for an immersive sound experience. That is to say, about 75 certified rooms in the United States and more than 300 globally. What Infinity Vision is not. It is not a new format. It is simply a certification for rooms that already exist and can boast high-quality equipment. IMAX, with its characteristic aspect ratio of 1.43:1, is a different experience from traditional cinema, a space that Infinity Vision does not come out of, no matter how much it is applied to high-quality screens. The Infinity Vision certificate will start with the re-release of ‘Endgame’, as an appetizer before the arrival of ‘Doomsday’. Why IMAX matters. To understand why Disney has a problem, let’s look at the numbers. IMAX occupies less than 5% of the screens, but for large studio productions it represents between 15% and 25% of the collection of the first weekend. For example, ‘Dune: Part Two‘ grossed $81.5 million domestically and $178.5 million worldwide in its opening weekend, with premium formats (IMAX and 70mm) accounting for 48% of the total opening business. That is, almost half of the box office concentrated in a small percentage of the theaters. With ‘Oppenheimer’, IMAX generated 35 million global dollars in the premiere alone, 20% of the opening total. EITHER said by the CEO of IMAX himselfRichard Gelfond: the format has added 15% of the box office in premium releases during 2025. IMAX’s global revenues are on track to exceed $1.4 billion in 2026and ‘Dune 3’ is one of the main drivers of that growth. Disney, for its part, is the largest contributor to IMAX revenue among all the Hollywood studios, which gives an idea of ​​the volume of business that is at stake with ‘Doomsday’. The precedent. In 2025, Jurassic World Rebirth was one of the few big blockbusters that could not have a premiere in IMAX for scheduling reasons. Some analysts blame this for its somewhat weaker performance than other deliveries. Meanwhile, Warner has already reported that the 70mm IMAX screenings of ‘Dune: Part Three’ they have already sold out in 19 locations in North America and London. A panorama for ‘Doomsday’ that, although it does not point to problems for what will undoubtedly be one of the great assets at the box office this year, may have more than one anxious executive in the Disney offices. In Xataka | If you download ‘Torrente Presidente’, Santiago Segura has the same message for you as if you downloaded ‘Torrente 3’

Disney’s most profitable business for years has been amusement parks. And Netflix is ​​going to follow in their footsteps

In a turn that will not be too surprising to those who closely follow the finances of entertainment giants like Disney, Netflix has made the leap to the physical world. Last Wednesday, the platform inaugurated its first permanent entertainment center in King of Prussia, a town located 25 kilometers from Philadelphia. A real dive into Netflix products that makes it clear that there are no authors or stars here, but a single corporation with things very clear. What does it consist of? Netflix House is a two-story complex with a surface area equivalent to a football stadium and that allows visitors to tour replicas of scenes from series such as ‘Wednesday‘, ‘The squid game‘ either ‘Stranger Things‘. For example, there is a replica of the room that Wednesday shares with Enid at Nevermore Academy, where visitors solve a murder with Thing through their cell phones, or a escape room based on ‘One Piece’. There is also a nine-hole mini golf course with automatic ball tracking technology, whose courses are themed to series such as ‘Bridgerton’ or ‘The Squid Game’. Finally, there are virtual reality rooms. As a culmination, a restaurant with dishes inspired by the series, and the TUDUM theater, with 229 seats for screenings. The company already plans to open a second headquarters in Dallas on December 11 and a third in Las Vegas in 2027. Admission is free, although the experiences have a cost: from $15 for a game of mini golf to $39 for the main immersive attractions. On the go. The flexibility of the model was demonstrated before the inauguration. The success of ‘The K-pop Warriors’ It caught those responsible for the installation by surprise, but its presence was incorporated into the venue on the fly with life-size figures of its protagonists and merchandising exclusive. And of course, more dedicated content is promised in the coming months. It is one of the strong points of the project: that although there is always the presence of timeless hits such as ‘The Paper House’ or ‘The Squid Game’, last-minute audience bombshells can be incorporated to make it an experience that breathes a certain life of its own. British roots. This concept that Netflix exploits does not come from the United States, but from the United Kingdom: for example, Fabien Riggall founded Secret Cinema in 2007 with the idea of ​​making your childhood wish come true of “living inside a movie.” Its first event brought together 400 people in an abandoned railway tunnel to screen a film whose title was kept secret until the last moment, with stages and actors decorated to give the atmosphere. Since then, the company has raised over £130,000 for charitieswith increasingly spectacular and complex installations. A few years before, in 2000, Punchdrunk already existed, immersive theater collective where the public was not limited to passively observing the work, but went on a tour of spaces where the action took place. London has ended up consolidating itself as global epicenter of these interactive experiences. Like a virus. Of course, this idea did not come from Netflix: its rivals have been operating comparable facilities for decades. Disney is the clearest example given its long experience in amusement parkswill allocate 60,000 million dollars to its experiences division over the next decade. Universal invested 7 billion in its recently inaugurated Epic Universe, based on franchises such as Harry Potter or Super Mario. Let us remember that Disney’s parks division contributes 70% of the profits of the company. Of course, be careful with the powerful comparative advantage of the Netflix proposal: entry to Netflix House is free. It’s just the beginning. This is not an isolated experiment or an extra next to Netflix’s main business: the platform’s decision to stop communicating its number of subscribers should give us a clue about how they have peaked in certain aspects, and need to continue expanding their reach. Netflix has reached agreements with cinema chains in the United States and sporting events have become core part of its offer. He has already made it clear that the plan is to open up to 25 of these Netflix Houses around the world and to continue releasing plays like ‘Stranger Things: The First Shadow‘. We are going to continue hearing about Netflix for a long time. Header | Netflix In Xataka | The chaos of streaming is causing a phenomenon that we thought was in recession: downloads are increasing

If Midjourney survives Disney’s demand we could be facing the most radical transformation in Hollywood’s history

Tool or enemy? It is clear that the relationship between generative and Hollywood IAS is going to bring a lot of tail: they were one of the key points of the requests of actors and screenwriters in the strikes that paralyzed Hollywood A few months ago. But far from being circumstantial allies, producers and artificial intelligences do not team, but quite the opposite: for the first time, two Majors of cinema demand a company of AI. What requests for demand. It is notorious because it is the first time that happens, although very possibly it will not be the last. The demand accuses Midjourney of violating the copyright of the plaintiffs, Disney and Nbcuniversal, both directly and secondary. That is, Midjourney is accused of both performing without authorization acts reserved for the holder of rights and facilitating the tools for others to do so. This infraction has occurred during the training process of its AI model and by showing images generated by artificial intelligence of copyright characters. The precedent of strikes. Interestingly, now you are Majors They face the companies of AI representing the industry, but it was also the IA that caused the fracture of the industry two years ago: the scriptwriter union faced the Alliance of Film and Television Producers in May 2023 (The actors in July joined the conflict), paralyzing Hollywood For six months. The agreement that was reached significantly restricted the use of the generative AI: this is prohibited so that the producers generate a script without a screenwriter, or replicate the image of an actor without permission, but its use is allowed as tools for the technicians. What can and what is not. Producers are clear What do you want from AI companies: “Piracy is piracy, and the fact that it is done by an AI company does not make it less offender,” says Disney’s legal department. It clashes like this with an assumption of technology: that it is legal to train machines with protected material, low the rules of Fair Use that in the US defends, for example, to parodies. The result enters a very diffuse legal landand that is why the result of this demand is essential for the future of the entertainment industry: Should Chatgpt images inspired by Ghibli’s work account with Hayao Miyazaki? They are not the first. Although this action is a point and apart from the size of the plaintiffs, there have been other previous ones (one of the most sounded: the New York Times demanding Microsoft and OpenAi): This updated map details the 42 current demands against AI companies. The one that brings together more conflicts is Midjourney, which does not put limitations to its Prompts If you try to make ChatgPT make a version of an image of Darth Vader, for example, you will find a warning that the petition violates its content policies. Midjourney, on the other hand, adds Dozens of artists’ demands and creators to absorb and inspire themselves in their work. There is no back. There is much at stake with this demand, to the point that if it goes ahead it can mean the end of many companies linked to AI, which could have to return to their zero models. Hollywood would have a free way, thus, to generate new income through the licenses of its properties, or creating companies that use “legal”, giving rise to producers built entirely under these cases, such as Asteria Film, Natasha Lyonne and Bryn Mooser’s companythat only has official material and will soon release its first film. We may be, in that sense, in a “wild” era for the IAS, which has their days counted before they begin to be preceded. Trump’s idyll with the IAS. However, this purpose can run into an impediment: large technological corporations have already taken steps to ensure that they have the law on their side. Not only the great CEOs Tech supported Trump In his presidential possession: Openai, for example, sent a report to the White House In January defending that the use of material bachelor in training of AI systems should be free. Several laws around Copyright relaxed as an immediate effect, and then the avalanche of images inspired by Ghibli generated by chatgpt came. We are not seeing a clash between weak rivals, precisely: both sides have a lot to win and they will invest millions so that the demand is resolved in their favor. The future of this war. This conflict just started. Disney and Universal (depending on how long and successful this demand) they go behind other companies: they have started by Midjourney, possibly because it is the weakest. But, if for whatever, Midjourney or whoever continues to win the demand and has free way to generate images under copyright, we will be before A total revolution: The studies, as we have met them until now, could abandon their role as guardians of the franchises and the characters and anyone could generate their own material of licensed content. The new role of studies. Studies would simply be property licenses. It is a dramatic turn, but not completely unreal. After all, it is what they are already doing: exploit properties in Attraction parks and produce infinite sequelae and Continuous refritos Of the same images, the same characters and the same stories. We may be taking the first steps towards the disintegration of Hollywood as we know it. Header | Disney In Xataka | Sony seems determined to embrace AI to reduce costs in their films. Their own producers have doubts

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