Probably. Between now and then, I think we'll have some good streaming numbers offset by movie numbers and worries about a coming recession impacting travel.
-
Controversial Topics
Several months ago, I added a private sub-forum to allow members to discuss these topics without fear of infractions or banning. It's opt-in, opt-out. Corey Click Here
DIS Shareholders and Stock Info ONLY
- Thread starter hhisc16
- Start date
PolymerSkywalker
DIS Veteran
- Joined
- May 26, 2023
No doubt the consumers signed up due to streaming a large library with no commercials. The advertising at a lower cost than your premium tier likely will work. You have a huge part of the younger crowd that are conditioned to watch ads on youtube already.
That increase is crazy. Where you on a special discount that expired? I expected the cord cutting to slow down as the non-techies just held on to what they knew and what worked for them, but with those kind of increases, they will be driven to cut too. (Just FYI, My MIL went with Direct TV Stream, it's very much like classic cable and she has not seen any increase in over two years.)
PolymerSkywalker
DIS Veteran
- Joined
- May 26, 2023
The crazy thing is a lot of us streamers have seen our bills steadily go up too. I cut the cord many years ago, but have slowly built my bill all the way back up to where it was before. Hulu, Disney+, ESPN+, Paramount+, and Neflix, and good wifi and it all adds up quick.
Last edited:
clarker99
DIS Veteran
- Joined
- May 15, 2019
Let's also remember that Disney is pushing a bunch of costs and depreciation into FY23. Basically, FY23 is a tank year.
wabbott
DIS Veteran
- Joined
- Aug 4, 2021
https://www.latimes.com/entertainme...ryan-murphy-plans-to-leave-netflix-for-disney
‘Dahmer’ producer Ryan Murphy plans to leave Netflix for Disney - Los Angeles Times
Bloomberg
6/20/23
Superstar TV show creator Ryan Murphy is planning to leave Netflix Inc. for the Walt Disney Co., where he would be reunited with the executives who helped him make hit shows such as “Glee” and “American Horror Story.”
Murphy has been negotiating a new deal with Disney over the last year. Most of the details were ironed out before the writers’ strike began in May, according to people familiar with the matter. They declined to be identified or discuss the terms because Murphy’s time at Netflix isn’t quite finished. It’s always possible he could change his mind.
Spokespeople for Murphy, Disney and Netflix all declined to comment.
The move would be a homecoming of sorts for Murphy, one of the most prolific producers in modern TV. He spent most of his career at Fox working with Dana Walden, who is now the co-chair of Disney Entertainment. Walden, both a colleague and a close personal friend, joined Disney when the company bought most of Fox’s entertainment assets.
Inside the business of entertainment
Murphy left Fox for Netflix in 2018, as the Disney-Fox deal was in process, in what was then seen as a coup for the streaming service. Murphy was one of several high-profile producers who moved to Netflix, which offered them hundreds of millions of dollars and creative freedom to defect from traditional media companies. Netflix signed Murphy to a five-year-deal that was reported to be worth as much as $300 million.
Yet Murphy struggled in his time at Netflix, which cycled through creative executives that oversaw the relationship with the producer. His first three original series, “The Politician,” “Hollywood” and “Ratched,” failed to attract large audiences. “The Prom,” a movie Murphy directed, didn’t fare much better.
Journalists and executives debated whether the problem was Netflix, which offered Murphy too much latitude, or Murphy, who had lost his golden touch. Netflix had more success with Shonda Rhimes, another super-producer who signed a lavish deal in 2017.
Murphy finally found his footing with “Dahmer-Monster: The Jeffrey Dahmer Story,” a true crime series that debuted last year. It ranks among Netflix’s 10 most-watched original series ever. Another hit, “The Watcher,” followed not long after.
Yet by late last year, Murphy was already talking with Disney about coming back. He had continued to work with Walden and John Landgraf, the head of FX, on shows such as “9-1-1,” “Pose” and “American Crime Story” and kept an office on the Fox lot. He’ll still work with Netflix on the shows he’s created for them.
While the terms of Murphy’s deal aren’t known, the market for producers isn’t as frothy as it was a few years ago when Netflix and Amazon were looking to build up their pipelines of original programming. Most media companies are cutting spending on new programming and may use the strike to end expensive overall deals with talent that haven’t produced much.
Disney is looking to cut $5.5 billion and has fired thousands of workers. The company does own most of Murphy’s catalog, which allows it to buy him out of future royalties as part of his deal.
‘Dahmer’ producer Ryan Murphy plans to leave Netflix for Disney - Los Angeles Times
Bloomberg
6/20/23
Superstar TV show creator Ryan Murphy is planning to leave Netflix Inc. for the Walt Disney Co., where he would be reunited with the executives who helped him make hit shows such as “Glee” and “American Horror Story.”
Murphy has been negotiating a new deal with Disney over the last year. Most of the details were ironed out before the writers’ strike began in May, according to people familiar with the matter. They declined to be identified or discuss the terms because Murphy’s time at Netflix isn’t quite finished. It’s always possible he could change his mind.
Spokespeople for Murphy, Disney and Netflix all declined to comment.
The move would be a homecoming of sorts for Murphy, one of the most prolific producers in modern TV. He spent most of his career at Fox working with Dana Walden, who is now the co-chair of Disney Entertainment. Walden, both a colleague and a close personal friend, joined Disney when the company bought most of Fox’s entertainment assets.
Inside the business of entertainment
Murphy left Fox for Netflix in 2018, as the Disney-Fox deal was in process, in what was then seen as a coup for the streaming service. Murphy was one of several high-profile producers who moved to Netflix, which offered them hundreds of millions of dollars and creative freedom to defect from traditional media companies. Netflix signed Murphy to a five-year-deal that was reported to be worth as much as $300 million.
Yet Murphy struggled in his time at Netflix, which cycled through creative executives that oversaw the relationship with the producer. His first three original series, “The Politician,” “Hollywood” and “Ratched,” failed to attract large audiences. “The Prom,” a movie Murphy directed, didn’t fare much better.
Journalists and executives debated whether the problem was Netflix, which offered Murphy too much latitude, or Murphy, who had lost his golden touch. Netflix had more success with Shonda Rhimes, another super-producer who signed a lavish deal in 2017.
Murphy finally found his footing with “Dahmer-Monster: The Jeffrey Dahmer Story,” a true crime series that debuted last year. It ranks among Netflix’s 10 most-watched original series ever. Another hit, “The Watcher,” followed not long after.
Yet by late last year, Murphy was already talking with Disney about coming back. He had continued to work with Walden and John Landgraf, the head of FX, on shows such as “9-1-1,” “Pose” and “American Crime Story” and kept an office on the Fox lot. He’ll still work with Netflix on the shows he’s created for them.
While the terms of Murphy’s deal aren’t known, the market for producers isn’t as frothy as it was a few years ago when Netflix and Amazon were looking to build up their pipelines of original programming. Most media companies are cutting spending on new programming and may use the strike to end expensive overall deals with talent that haven’t produced much.
Disney is looking to cut $5.5 billion and has fired thousands of workers. The company does own most of Murphy’s catalog, which allows it to buy him out of future royalties as part of his deal.
wabbott
DIS Veteran
- Joined
- Aug 4, 2021
https://deadline.com/2023/06/warner-bros-discovery-tv-layoffs-begin-whos-leaving-1235420736/
Warner Bros. Discovery TV Layoffs Begin: Who’s Leaving?
By Peter White
Television Editor
June 20, 2023 12:48pm PDT
EXCLUSIVE: As Deadline revealed in May, Warner Bros. Discovery is undergoing another round of layoffs in its television business and it’s starting today.
The layoffs, which were described by insiders as “pockets of refinement” rather than wholesale cuts, are happening in its cable TV business, which includes the Discovery-branded cable networks and Turner networks.
Warner Bros. Discovery operates cable networks including Discovery Channel, TLC, Investigation Discovery, Science Channel and Animal Planet as well as the former Scripps networks such as Food Network and HGTV. It also operates the former Turner-branded networks such as TNT, TBS and truTV.
The division is run by Chairman and Chief Content Officer, US Networks Group Kathleen Finch.
The biggest departure is Amy Introcaso-Davis, who is EVP, Development and Production, Factual Programming, Discovery.
Introcaso-Davis oversaw all aspects of Discovery’s factual development, including for Discovery+, and development and production for Animal Planet. She joined the company in January 2020, initially to oversee programming for Animal Planet, from E!, where she was EVP, Development and Production.
At Discovery, she has overseen the team responsible for series including Animal Planet’s Crikey! It’s the Irwins, The Zoo: San Diego and Surviving Joe Exotic as well as the Puppy Bowl. Discovery+ originals that she has spearheaded include Pig Royalty, Carol Baskin’s Cage Fight, Shark Academy, and The Mighty Underdogs, in addition to developing Love in the Jungle, Million Dollar Wheels and co-developing Naked and Afraid of Love.
At E!, she oversaw production of Keeping Up With The Kardashians and Total Bellas and developed Very Cavallari. Before that she was EVP Programming and Development, GSN and held roles at Oxygen Media and Bravo.
Food Network has also been hit by the cuts.
Execs leaving include Gretchen Eisele, Carolyn Gross and Neil Padover. All three are Directors of Programming & Development for Food Network.
Eisele has overseen shows such as The Messy History of American Foods. Before she was at Food, she held a similar position at Science Channel, where she oversaw series such as Space Launch Live. She joined from Nat Geo, where she was an exec producer on Explorer.
Gross oversaw developing new formats and talent as well as production of series, pilots and specials for Food Network, Cooking Channel and Discovery+. She has led series including Chopped, Holiday Baking Championship, Outrageous Pumpkins and Man Fire Food. Before Food Network, she worked in the Non-Scripted Television Department at WME in New York.
Padover, meanwhile, worked on series including Kids Baking Championship, Well Done with Sebastian Maniscalo and All-Star Best Thing I Ever Ate.
Other execs impacted by the layoffs include HGTV exec Paul Lewis. He was a programming and development executive at the Property Brothers: Forever Home network. Lewis has been at Discovery and the former Scripps Networks for ten years working at several networks including DIY and Great American Country.
Elsewhere, Andrew Lessner, who is Senior Manager of Development and Production Tentpoles, Events and Live across Discovery, TBS, TNT, TruTV, Science and Animal Planet, is also affected. He was responsible for series including Mysteries of the Abandoned and Black Files Declassified.
On the TLC side, Danielle Ostroske-D’Ingillo, Senior Director, Development at TLC, is also leaving. Ostroske-D’Ingillo has been with the company since 2013 and has been involved in series such as 90 Day Fiancé: Before the 90 Days.
In February, at a Deadline-moderated keynote at the Realscreen conference in Austin, Texas, Finch was candid about the challenges of merging the businesses, which she called “tough”.
“When you go through a merger, you do sort of figure out how many layers we need. How much staff do we need? I’m not really running these networks as 30 individual teams, they’re clustered together, they’re put together with leaders at the top who really live and breathe that content,” she said. “That’s not to say that the people that we lost aren’t amazing people, they are, we just had to have a restructure that has less people doing the jobs.
Warner Bros. Discovery TV Layoffs Begin: Who’s Leaving?
By Peter White
Television Editor
June 20, 2023 12:48pm PDT
EXCLUSIVE: As Deadline revealed in May, Warner Bros. Discovery is undergoing another round of layoffs in its television business and it’s starting today.
The layoffs, which were described by insiders as “pockets of refinement” rather than wholesale cuts, are happening in its cable TV business, which includes the Discovery-branded cable networks and Turner networks.
Warner Bros. Discovery operates cable networks including Discovery Channel, TLC, Investigation Discovery, Science Channel and Animal Planet as well as the former Scripps networks such as Food Network and HGTV. It also operates the former Turner-branded networks such as TNT, TBS and truTV.
The division is run by Chairman and Chief Content Officer, US Networks Group Kathleen Finch.
The biggest departure is Amy Introcaso-Davis, who is EVP, Development and Production, Factual Programming, Discovery.
Introcaso-Davis oversaw all aspects of Discovery’s factual development, including for Discovery+, and development and production for Animal Planet. She joined the company in January 2020, initially to oversee programming for Animal Planet, from E!, where she was EVP, Development and Production.
At Discovery, she has overseen the team responsible for series including Animal Planet’s Crikey! It’s the Irwins, The Zoo: San Diego and Surviving Joe Exotic as well as the Puppy Bowl. Discovery+ originals that she has spearheaded include Pig Royalty, Carol Baskin’s Cage Fight, Shark Academy, and The Mighty Underdogs, in addition to developing Love in the Jungle, Million Dollar Wheels and co-developing Naked and Afraid of Love.
At E!, she oversaw production of Keeping Up With The Kardashians and Total Bellas and developed Very Cavallari. Before that she was EVP Programming and Development, GSN and held roles at Oxygen Media and Bravo.
Food Network has also been hit by the cuts.
Execs leaving include Gretchen Eisele, Carolyn Gross and Neil Padover. All three are Directors of Programming & Development for Food Network.
Eisele has overseen shows such as The Messy History of American Foods. Before she was at Food, she held a similar position at Science Channel, where she oversaw series such as Space Launch Live. She joined from Nat Geo, where she was an exec producer on Explorer.
Gross oversaw developing new formats and talent as well as production of series, pilots and specials for Food Network, Cooking Channel and Discovery+. She has led series including Chopped, Holiday Baking Championship, Outrageous Pumpkins and Man Fire Food. Before Food Network, she worked in the Non-Scripted Television Department at WME in New York.
Padover, meanwhile, worked on series including Kids Baking Championship, Well Done with Sebastian Maniscalo and All-Star Best Thing I Ever Ate.
Other execs impacted by the layoffs include HGTV exec Paul Lewis. He was a programming and development executive at the Property Brothers: Forever Home network. Lewis has been at Discovery and the former Scripps Networks for ten years working at several networks including DIY and Great American Country.
Elsewhere, Andrew Lessner, who is Senior Manager of Development and Production Tentpoles, Events and Live across Discovery, TBS, TNT, TruTV, Science and Animal Planet, is also affected. He was responsible for series including Mysteries of the Abandoned and Black Files Declassified.
On the TLC side, Danielle Ostroske-D’Ingillo, Senior Director, Development at TLC, is also leaving. Ostroske-D’Ingillo has been with the company since 2013 and has been involved in series such as 90 Day Fiancé: Before the 90 Days.
In February, at a Deadline-moderated keynote at the Realscreen conference in Austin, Texas, Finch was candid about the challenges of merging the businesses, which she called “tough”.
“When you go through a merger, you do sort of figure out how many layers we need. How much staff do we need? I’m not really running these networks as 30 individual teams, they’re clustered together, they’re put together with leaders at the top who really live and breathe that content,” she said. “That’s not to say that the people that we lost aren’t amazing people, they are, we just had to have a restructure that has less people doing the jobs.
wabbott
DIS Veteran
- Joined
- Aug 4, 2021
https://www.hollywoodreporter.com/b...-discovery-layoffs-new-round-2023-1235519711/
TCM Chief Pola Changnon to Exit Warner Bros. Discovery Amid Further Cuts in TV Division
The TCM GM had been with the company for more than 25 years.
June 20, 2023 12:52pm PDT
By Alex Weprin
The executive vp and general manager of Turner Classic Movies, Pola Changnon, has opted to exit Warner Bros. Discovery.
Changnon has led TCM since 2020, but has been with the company for more than 25 years. She announced her decision to leave the company in a memo to TCM staff Tuesday.
In another note to staff Tuesday, WBD TV networks chief content officer chief Kathleen Finch said that Michael Ouweleen, the president of Adult Swim, Cartoon Network, Discovery Family and Boomerang, will assume oversight of TCM. Ouweleen previously ran TCM.
Ouweleen will segue to the new position in the summer after serving as interim head of Warners’ kids, young adults and classics division, which included oversight of Adult Swim, Cartoon Network and Boomerang. Ouweleen had held the interim post since November, when 15-year Warner Media staffer Christina Miller announced her departure. She previously oversaw all three brands as well as Turner Classic Movies.
“His vast experience with the brand and its mission will help to ensure a seamless transition,” Finch wrote. “Michael shares our passion for classic films and believes strongly in TCM’s essential role in preserving and spotlighting iconic movies for the next generation of cinephiles. He has full support across WBD, and we look forward to welcoming Michael back to the TCM team.”
The executive shake-up comes as WBD undergoes a round of cuts to its domestic networks team that is described as a continuation of the cuts last year. This round is said to be smaller in scale than the earlier one, though the departures include another notable TV executive in Amy Introcaso-Davis, who led Discovery factual content, including programming for Discovery+ and Animal Planet.
As part of the change, TCM is expected to be more fully integrated into the rest of WBD’s U.S. networks, which will promote its programming, and help bolster TCM’s presence across the WBD portfolio.
“While change is never easy and can create a sense of uncertainty, I want to assure you that we remain fully committed to this business, the TCM brand, and its purpose to protect and celebrate culture-defining movies,” Finch added. “As storytellers, that is our legacy, and we will continue bringing the history and impact of classic films to life on-air and in other ways.”
The latest round of cuts comes as the entire entertainment industry seems to be reevaluating its costs.
WBD underwent an initial round of layoffs shortly after the WarnerMedia-Discovery merger, with subsequent rounds in the fall across the company, including in its TV division and at CNN.
The company told investors last year that its total restructuring costs could top $1 billion.
Meanwhile, Disney shed 7,000 jobs amid Bob Iger’s larger corporate restructuring, and Paramount shed 25 percent of its domestic TV team under Chris McCarthy, including the elimination of MTV News.
Read Finch’s memo to staff:
Dear TCM Team,
As you know, Pola has decided to step down after more than 15 years with the network and more than 25 years with the company. Under her stewardship, TCM cemented its position as the dominant classic movie brand and a favorite among classic film aficionados. We are enormously grateful for her leadership and innovation over the years and wish her well.
Michael Ouweleen, the President of Adult Swim, Cartoon Network, Discovery Family and Boomerang, who previously oversaw TCM, will again lead the network. His vast experience with the brand and its mission will help to ensure a seamless transition. Michael shares our passion for classic films and believes strongly in TCM’s essential role in preserving and spotlighting iconic movies for the next generation of cinephiles. He has full support across WBD, and we look forward to welcoming Michael back to the TCM team.
While change is never easy and can create a sense of uncertainty, I want to assure you that we remain fully committed to this business, the TCM brand, and its purpose to protect and celebrate culture-defining movies. As storytellers, that is our legacy, and we will continue bringing the history and impact of classic films to life on-air and in other ways.
Thanks for your commitment during this transitional period, and – most importantly – thanks for all that you continue to do for TCM and the U.S. Networks Group.
Best,
Kathleen
Read Changnon’s memo:
To the TCM team:
People always say that TCM is a happy island amongst networks–and it’s true. Our distinct mission has attracted a passionate fanbase, amongst viewers and the movie-making community, but it has also attracted a stellar team who have built this brand and inspired a singular esprit de corps.
I am writing this note to share that my time has come to leave the island, but not because I got tired of the coconuts or the perfect weather. The 16+ years I’ve spent working with the remarkable people at TCM (past and present) have been the most rewarding in my career.
From my start here as creative director and, ultimately now, as General Manager of TCM, I have always felt incredibly proud of our ambition to create a network that truly honors and cherishes film legacy. There is an integrity and care that surges through everything we do, and the results are worth highlighting.
Together, we launched the TCM Classic Film Festival in 2010, creating a best-in-class, destination film festival for classic movie lovers from around the country. We subsequently added the TCM Classic Cruise and other incredible experiences that delivered the TCM promise in real life. In the throes of the pandemic, we launched our award-winning podcast The Plot Thickens which has created a new audience for the compelling stories behind the movies.
In 2016, we were the first Turner network to launch a direct-to-consumer product and I am exceedingly proud of FilmStruck and the mark it made in its lifespan. We created a new brand and learned the streaming business from the ground up, delivering a uniquely curated, modern approach to movie presentation.
Programming like Re-Framed, 31 Days of Oscar, Follow the Thread, Summer Under the Stars, Women Make Film, Race in Hollywood, The Essentials and so much more have contributed to our unflagging quest to celebrate this 100+ year-old industry with brilliant curation and context, truly living up to our tagline, Where Then Meets Now.
None of this would have been possible without a powerhouse leadership team and I want to thank them: Charlie Tabesh, the daring and formidable architect behind the programming approach that makes TCM famous; Genevieve McGillicuddy, who has led all efforts to connect the network with its fans, most vividly through her management of the TCM Classic Film Festival; Dexter Fedor, who led a stunning rebrand situating this classic network in the contemporary world; and Anne Wilson, whose distinguished tenure leading the studio team’s production of hosted segments has given human dimension to the network’s curation.
And speaking of hosts – I am grateful for Alicia Malone, Eddie Muller, Dave Karger, Jacqueline Stewart and of course, our prime host and BMOC, Ben Mankiewicz. During my time, we grew from two hosts (including, notably, the iconic and beloved Robert Osborne) to this deep and talented bench of subject-matter experts who provide context for our programming.
25+ years at the company (my first 9 with the raucously fun Cartoon Network) means that I have seen a lot of goodbye notes. I’ve always dreaded the long ones, but now I get it. It’s hard to say goodbye. I’ll close with this – thank you all for making TCM a cultural treasure and for making my time leading you a distinct and joyous honor. I will be rooting for you from the sidelines and wishing TCM all the best in the future.
Pola
TCM Chief Pola Changnon to Exit Warner Bros. Discovery Amid Further Cuts in TV Division
The TCM GM had been with the company for more than 25 years.
June 20, 2023 12:52pm PDT
By Alex Weprin
The executive vp and general manager of Turner Classic Movies, Pola Changnon, has opted to exit Warner Bros. Discovery.
Changnon has led TCM since 2020, but has been with the company for more than 25 years. She announced her decision to leave the company in a memo to TCM staff Tuesday.
In another note to staff Tuesday, WBD TV networks chief content officer chief Kathleen Finch said that Michael Ouweleen, the president of Adult Swim, Cartoon Network, Discovery Family and Boomerang, will assume oversight of TCM. Ouweleen previously ran TCM.
Ouweleen will segue to the new position in the summer after serving as interim head of Warners’ kids, young adults and classics division, which included oversight of Adult Swim, Cartoon Network and Boomerang. Ouweleen had held the interim post since November, when 15-year Warner Media staffer Christina Miller announced her departure. She previously oversaw all three brands as well as Turner Classic Movies.
“His vast experience with the brand and its mission will help to ensure a seamless transition,” Finch wrote. “Michael shares our passion for classic films and believes strongly in TCM’s essential role in preserving and spotlighting iconic movies for the next generation of cinephiles. He has full support across WBD, and we look forward to welcoming Michael back to the TCM team.”
The executive shake-up comes as WBD undergoes a round of cuts to its domestic networks team that is described as a continuation of the cuts last year. This round is said to be smaller in scale than the earlier one, though the departures include another notable TV executive in Amy Introcaso-Davis, who led Discovery factual content, including programming for Discovery+ and Animal Planet.
As part of the change, TCM is expected to be more fully integrated into the rest of WBD’s U.S. networks, which will promote its programming, and help bolster TCM’s presence across the WBD portfolio.
“While change is never easy and can create a sense of uncertainty, I want to assure you that we remain fully committed to this business, the TCM brand, and its purpose to protect and celebrate culture-defining movies,” Finch added. “As storytellers, that is our legacy, and we will continue bringing the history and impact of classic films to life on-air and in other ways.”
The latest round of cuts comes as the entire entertainment industry seems to be reevaluating its costs.
WBD underwent an initial round of layoffs shortly after the WarnerMedia-Discovery merger, with subsequent rounds in the fall across the company, including in its TV division and at CNN.
The company told investors last year that its total restructuring costs could top $1 billion.
Meanwhile, Disney shed 7,000 jobs amid Bob Iger’s larger corporate restructuring, and Paramount shed 25 percent of its domestic TV team under Chris McCarthy, including the elimination of MTV News.
Read Finch’s memo to staff:
Dear TCM Team,
As you know, Pola has decided to step down after more than 15 years with the network and more than 25 years with the company. Under her stewardship, TCM cemented its position as the dominant classic movie brand and a favorite among classic film aficionados. We are enormously grateful for her leadership and innovation over the years and wish her well.
Michael Ouweleen, the President of Adult Swim, Cartoon Network, Discovery Family and Boomerang, who previously oversaw TCM, will again lead the network. His vast experience with the brand and its mission will help to ensure a seamless transition. Michael shares our passion for classic films and believes strongly in TCM’s essential role in preserving and spotlighting iconic movies for the next generation of cinephiles. He has full support across WBD, and we look forward to welcoming Michael back to the TCM team.
While change is never easy and can create a sense of uncertainty, I want to assure you that we remain fully committed to this business, the TCM brand, and its purpose to protect and celebrate culture-defining movies. As storytellers, that is our legacy, and we will continue bringing the history and impact of classic films to life on-air and in other ways.
Thanks for your commitment during this transitional period, and – most importantly – thanks for all that you continue to do for TCM and the U.S. Networks Group.
Best,
Kathleen
Read Changnon’s memo:
To the TCM team:
People always say that TCM is a happy island amongst networks–and it’s true. Our distinct mission has attracted a passionate fanbase, amongst viewers and the movie-making community, but it has also attracted a stellar team who have built this brand and inspired a singular esprit de corps.
I am writing this note to share that my time has come to leave the island, but not because I got tired of the coconuts or the perfect weather. The 16+ years I’ve spent working with the remarkable people at TCM (past and present) have been the most rewarding in my career.
From my start here as creative director and, ultimately now, as General Manager of TCM, I have always felt incredibly proud of our ambition to create a network that truly honors and cherishes film legacy. There is an integrity and care that surges through everything we do, and the results are worth highlighting.
Together, we launched the TCM Classic Film Festival in 2010, creating a best-in-class, destination film festival for classic movie lovers from around the country. We subsequently added the TCM Classic Cruise and other incredible experiences that delivered the TCM promise in real life. In the throes of the pandemic, we launched our award-winning podcast The Plot Thickens which has created a new audience for the compelling stories behind the movies.
In 2016, we were the first Turner network to launch a direct-to-consumer product and I am exceedingly proud of FilmStruck and the mark it made in its lifespan. We created a new brand and learned the streaming business from the ground up, delivering a uniquely curated, modern approach to movie presentation.
Programming like Re-Framed, 31 Days of Oscar, Follow the Thread, Summer Under the Stars, Women Make Film, Race in Hollywood, The Essentials and so much more have contributed to our unflagging quest to celebrate this 100+ year-old industry with brilliant curation and context, truly living up to our tagline, Where Then Meets Now.
None of this would have been possible without a powerhouse leadership team and I want to thank them: Charlie Tabesh, the daring and formidable architect behind the programming approach that makes TCM famous; Genevieve McGillicuddy, who has led all efforts to connect the network with its fans, most vividly through her management of the TCM Classic Film Festival; Dexter Fedor, who led a stunning rebrand situating this classic network in the contemporary world; and Anne Wilson, whose distinguished tenure leading the studio team’s production of hosted segments has given human dimension to the network’s curation.
And speaking of hosts – I am grateful for Alicia Malone, Eddie Muller, Dave Karger, Jacqueline Stewart and of course, our prime host and BMOC, Ben Mankiewicz. During my time, we grew from two hosts (including, notably, the iconic and beloved Robert Osborne) to this deep and talented bench of subject-matter experts who provide context for our programming.
25+ years at the company (my first 9 with the raucously fun Cartoon Network) means that I have seen a lot of goodbye notes. I’ve always dreaded the long ones, but now I get it. It’s hard to say goodbye. I’ll close with this – thank you all for making TCM a cultural treasure and for making my time leading you a distinct and joyous honor. I will be rooting for you from the sidelines and wishing TCM all the best in the future.
Pola
- Joined
- Apr 29, 2004
Please elaborate on this. What costs? and what depreciation? Don't their public accountants have any thing to say about this?
wabbott
DIS Veteran
- Joined
- Aug 4, 2021
https://deadline.com/2023/06/warner...se-hbo-original-series-to-netflix-1235421444/
Streaming Shocker: Warner Bros. Discovery In Talks To License HBO Original Series To Netflix
By Peter White
Television Editor
June 20, 2023 8:55pm PDT
EXCLUSIVE: HBO’s streaming walled garden is coming down, it seems.
In a hugely surprising move, Deadline understands that Warner Bros. Discovery is shopping some of its HBO library titles to rival Netflix. Such a deal would mark the first time in nearly a decade that HBO shows would exist on a rival SVOD service in the U.S.
The first title that Deadline understands is set to be part of the arrangement is Issa Rae comedy Insecure, which ran for five seasons on HBO and finished in December 2021. We hear there are other titles being discussed.
According to sources, this is a financial move. We hear HBO veterans pushed back against the plan but corporate financial consideration won out.
Insiders stress the deal is not closed and may still fall apart, but regardless, it marks a major strategy shift across the premium pay landscape.
The shows are understood to be set to be distributed on a non-exclusive basis, which would still allow them to stream on Max.
Warner Bros. Discovery CEO David Zaslav signaled early in his tenure that he is open to forego exclusivity and license content to boost the bottom line. Earlier this year, Warner Bros. Discovery moved to distribute titles such as Westworld to free streaming platforms such as Roku and Tubi.
Insecure itself got a run on Warner Bros. Discovery-owned cable network OWN earlier this year, a rare recent move for an HBO series to get a run on basic cable.
HBO made a big push in off-network syndication more than a decade ago when it sold edited versions of Sex and the City to TBS (and subsequently E!/Style), Curb Your Enthusiasm to TV Guide Channel, Entourage to Spike as well as The Sopranos to A&E for a blockbuster $200M deal.
In 2014, HBO struck a deal with Amazon Prime Video to license series such as The Sopranos, Deadwood, Six Feet Under and The Wire. However, this deal was struck before Amazon became a rival for premium originals.
However, this latest move would be a first in the streaming era, particularly given the increased vertical integration of all of the major Hollywood studios.
It comes as Zaslav is trying to find new ways to monetize the company’s library as he continues a cost-cutting plan across the company.
The most surprising facet of the deal is that Warner Bros. Discovery would allow some of its premium programming to live on arguably its biggest rival, likely raising eyebrows across the industry. We’ve come a long way since then-Time Warner boss Jeff Bewkes compared Netflix to the Albanian army in 2010.
On the other hand, there is hope that putting HBO shows on Netflix would give them additional exposure, reaching new global audience.
It also comes only six months after Zaslav took aim at Netflix after becoming unhappy with the way that Netflix parses its payment terms.
Netflix and HBO/Warner Bros. Discovery declined to comment.
Streaming Shocker: Warner Bros. Discovery In Talks To License HBO Original Series To Netflix
By Peter White
Television Editor
June 20, 2023 8:55pm PDT
EXCLUSIVE: HBO’s streaming walled garden is coming down, it seems.
In a hugely surprising move, Deadline understands that Warner Bros. Discovery is shopping some of its HBO library titles to rival Netflix. Such a deal would mark the first time in nearly a decade that HBO shows would exist on a rival SVOD service in the U.S.
The first title that Deadline understands is set to be part of the arrangement is Issa Rae comedy Insecure, which ran for five seasons on HBO and finished in December 2021. We hear there are other titles being discussed.
According to sources, this is a financial move. We hear HBO veterans pushed back against the plan but corporate financial consideration won out.
Insiders stress the deal is not closed and may still fall apart, but regardless, it marks a major strategy shift across the premium pay landscape.
The shows are understood to be set to be distributed on a non-exclusive basis, which would still allow them to stream on Max.
Warner Bros. Discovery CEO David Zaslav signaled early in his tenure that he is open to forego exclusivity and license content to boost the bottom line. Earlier this year, Warner Bros. Discovery moved to distribute titles such as Westworld to free streaming platforms such as Roku and Tubi.
Insecure itself got a run on Warner Bros. Discovery-owned cable network OWN earlier this year, a rare recent move for an HBO series to get a run on basic cable.
HBO made a big push in off-network syndication more than a decade ago when it sold edited versions of Sex and the City to TBS (and subsequently E!/Style), Curb Your Enthusiasm to TV Guide Channel, Entourage to Spike as well as The Sopranos to A&E for a blockbuster $200M deal.
In 2014, HBO struck a deal with Amazon Prime Video to license series such as The Sopranos, Deadwood, Six Feet Under and The Wire. However, this deal was struck before Amazon became a rival for premium originals.
However, this latest move would be a first in the streaming era, particularly given the increased vertical integration of all of the major Hollywood studios.
It comes as Zaslav is trying to find new ways to monetize the company’s library as he continues a cost-cutting plan across the company.
The most surprising facet of the deal is that Warner Bros. Discovery would allow some of its premium programming to live on arguably its biggest rival, likely raising eyebrows across the industry. We’ve come a long way since then-Time Warner boss Jeff Bewkes compared Netflix to the Albanian army in 2010.
On the other hand, there is hope that putting HBO shows on Netflix would give them additional exposure, reaching new global audience.
It also comes only six months after Zaslav took aim at Netflix after becoming unhappy with the way that Netflix parses its payment terms.
Netflix and HBO/Warner Bros. Discovery declined to comment.
wabbott
DIS Veteran
- Joined
- Aug 4, 2021
https://variety.com/2023/tv/news/disneys-chief-diversity-officer-latondra-newton-exits-1235650198/
Jun 20, 2023 5:29pm PDT
By Jennifer Maas
Disney’s Chief Diversity Officer Latondra Newton Exits (EXCLUSIVE)
Disney’s chief diversity officer and senior vice president Latondra Newton is exiting her role after more than six years, according to an internal memo obtained by Variety.
An individual with knowledge of the situation says that Newton will be joining the corporate board of another company soon, and plans to devote more time to her self-owned creative company.
In her role as head of DEI operations at Disney, Newton was charged with overseeing the company’s “commitment to produce entertainment that reflects a global audience and sustains a welcoming and inclusive workplace for everyone.”
Upon her departure, Newton’s direct reports will report to Julie Merges on an interim basis until a new chief diversity officer is named. Shelby Curry and the DEI internal communications team will continue to report to internal communications and engagement exec Carrie Brown.
Previously, Newton served as group vice president of social innovation and chief diversity officer at Toyota Motor North America, Inc. and chief program officer for Toyota Mobility Foundation, Toyota Motor Corporation. She began her career at Toyota in 1991.
Newton’s exit from Disney comes less than a week after CEO Bob Iger announced CFO Christine McCarthy’s decision to step down from her role.
See Disney HR chief Sonia Coleman’s note to staff announcing Newton’s departure below.
To our extended DEI and HR team,
I’m writing to share the news that Latondra Newton has decided to leave The Walt Disney Company to pursue other endeavors.
Since joining the company in 2017, Latondra has led the company’s strategic diversity, equity and inclusion initiatives, including partnering with stakeholders across the enterprise to amplify stories of the world by people around the world. She has been dedicated to ensuring every person sees themselves and their life experiences represented in a meaningful and authentic way.
I know you all join me in thanking Latondra for her many contributions, including the lasting impact she has had on our employees and our culture. Working alongside all of you and so many others, she has inspired countless cast members and employees to bring about lasting change and to help create a world where we can all feel safe and we all belong.
Latondra’s direct reports will report to Julie Merges on an interim basis until a new DEI leader is identified. I want to thank Julie for leading this team along with her Talent Acquisition organization. Additionally, Shelby Curry and the DEI Internal Communications team will continue reporting to Carrie Brown in her role leading internal communications & engagement for the company.
Thank you all for your continued contributions to our DEI efforts. I know we can count on you to keep this important work moving forward during this leadership transitions.
Gratefully,
Sonia
Jun 20, 2023 5:29pm PDT
By Jennifer Maas
Disney’s Chief Diversity Officer Latondra Newton Exits (EXCLUSIVE)
Disney’s chief diversity officer and senior vice president Latondra Newton is exiting her role after more than six years, according to an internal memo obtained by Variety.
An individual with knowledge of the situation says that Newton will be joining the corporate board of another company soon, and plans to devote more time to her self-owned creative company.
In her role as head of DEI operations at Disney, Newton was charged with overseeing the company’s “commitment to produce entertainment that reflects a global audience and sustains a welcoming and inclusive workplace for everyone.”
Upon her departure, Newton’s direct reports will report to Julie Merges on an interim basis until a new chief diversity officer is named. Shelby Curry and the DEI internal communications team will continue to report to internal communications and engagement exec Carrie Brown.
Previously, Newton served as group vice president of social innovation and chief diversity officer at Toyota Motor North America, Inc. and chief program officer for Toyota Mobility Foundation, Toyota Motor Corporation. She began her career at Toyota in 1991.
Newton’s exit from Disney comes less than a week after CEO Bob Iger announced CFO Christine McCarthy’s decision to step down from her role.
See Disney HR chief Sonia Coleman’s note to staff announcing Newton’s departure below.
To our extended DEI and HR team,
I’m writing to share the news that Latondra Newton has decided to leave The Walt Disney Company to pursue other endeavors.
Since joining the company in 2017, Latondra has led the company’s strategic diversity, equity and inclusion initiatives, including partnering with stakeholders across the enterprise to amplify stories of the world by people around the world. She has been dedicated to ensuring every person sees themselves and their life experiences represented in a meaningful and authentic way.
I know you all join me in thanking Latondra for her many contributions, including the lasting impact she has had on our employees and our culture. Working alongside all of you and so many others, she has inspired countless cast members and employees to bring about lasting change and to help create a world where we can all feel safe and we all belong.
Latondra’s direct reports will report to Julie Merges on an interim basis until a new DEI leader is identified. I want to thank Julie for leading this team along with her Talent Acquisition organization. Additionally, Shelby Curry and the DEI Internal Communications team will continue reporting to Carrie Brown in her role leading internal communications & engagement for the company.
Thank you all for your continued contributions to our DEI efforts. I know we can count on you to keep this important work moving forward during this leadership transitions.
Gratefully,
Sonia
wabbott
DIS Veteran
- Joined
- Aug 4, 2021
https://variety.com/2023/film/news/the-flash-box-office-dc-blue-beetle-aquaman-1235650170/
Jun 20, 2023 5:11pm PT
By Adam B. Vary
‘The Flash’ Box Office ‘Disaster’ Exposes DC’s $1.1 Billion Problem for Warner Bros.
SPOILER ALERT: This story mentions a few significant plot developments in “The Flash,” currently playing in theaters.
In the climax of “The Flash,” Barry Allen (Ezra Miller) watches helplessly as his timeline-hopping escapades cause several other superhero universes to careen into each other and become obliterated in the process. Ironically, Warner Bros. is facing almost an identical dilemma — and the stakes could be nearly as existential.
“The Flash” is the second of four mega-budgeted DC adaptations the studio is set to release this year, starting with “Shazam! Fury of the Gods” in March, and followed by “Blue Beetle” and “Aquaman and the Lost Kingdom” in August and December. Yet these movies were conceived and greenlit by an executive team that all have departed the studio; in their place, new DC Studios chiefs James Gunn and Peter Safran have announced they will reboot the DC franchise in 2025, starting with Gunn’s “Superman: Legacy.”
That’s left Warners in one of the worst rock-and-a-hard-place conundrums in memory: Its 2023 slate of DC films are now orphans in a moribund cinematic universe, but the studio still needs audiences to see them on a blockbuster scale.
“It’s a perhaps unavoidable but terrible case of timing,” says a source at a rival studio. “Audiences don’t feel like they have to invest two hours of their life because it’s not going to matter going forward.”
Indeed, things have not been going well. The production budgets and likely marketing spends for these four films will cost between $1.1 billion and $1.2 billion in total, according to experts outside the studio. But “Shazam! 2” has already bombed, earning a feeble $133 million globally. And “The Flash” just opened to a mere $55 million in the U.S. and Canada, grossing $135.7 million worldwide as of June 19 — well under expectations, and nowhere near what a film of this caliber and cost needs to approach breaking even.
“The movie should be opening at $120 million domestic,” says an industry veteran who’s worked on many major campaigns. “This is an unmitigated disaster.” (A spokesperson for Warner Bros. declined to comment.)
The “Flash” rollout also faced unprecedented difficulties caused by its star. Save for an appearance at a photos-only premiere event this month, Miller has been totally out of the public eye since August, when they apologized to “everyone that I have alarmed and upset with my past behavior” — including multiple allegations of misconduct, abuse and assault — citing “complex mental health issues” as the reason. Pulling a Christopher Plummer and replacing Miller was a financial nonstarter for Warners. The actor, who plays two versions of Barry, is in practically every scene of the film, and often the only person on-screen. (The studio did have fair warning; Miller was caught on video in April 2020 choking a woman in Iceland, months before “The Flash” went into production.)
To compensate for the absence of its problematic lead, Warners spent heavily on TV spots during the NBA Finals, and director Andy Muschietti did multiple interviews unreservedly praising Miller. In January, Gunn called the film “one of the best superhero movies I’ve ever seen”; Warner Bros. Discovery CEO David Zaslav didn’t bother qualifying, hyping “The Flash” as “the best superhero movie” outright at CinemaCon in April.
“When they called it ‘the greatest superhero movie’ — if it’s not correct, you’re setting yourself up to fail,” says an executive at a different rival studio. “In this environment, it’s better to underpromise and overdeliver.”
Perhaps most ominous for Warners, however, is the possibility that audiences are becoming blasé about cinematic universes altogether. There have been at least 55 movies based on comic books in the past 10 years alone, most of them part of interconnected mega-franchises that depend on fans flocking to them no matter which superhero is in the title. Not only does “The Flash” reference events and characters in everything from “Justice League” to “Aquaman,” but it relies heavily on the climax of 2013’s “Man of Steel” for its own final act. Similarly, Marvel’s “Ant-Man and the Wasp: Quantumania” drew from several past films and the “Loki” TV series; moviegoers shrugged.
“When you have a film set in a multiverse, it’s asking the audience to recall past films instead of shutting off their brain and enjoying what’s in front of them,” says Exhibitor Relations analyst Jeff Bock. He notes that “The Flash’s” domestic opening weekend is on par with debuts for other titles that have been part of the wider DC universe, like “Black Adam” ($67 million) and “Aquaman” ($68 million). Whereas “Joker” and “The Batman” — stand-alone films with zero connection to anything else — opened to $96 million and $134 million, respectively.
“Batman is so strong on its own, it doesn’t really need to be tied down with these other characters,” Bock says. But that is exactly what Gunn and Safran are planning; Muschietti is set to direct “Batman: The Brave and the Bold,” one of 10 interconnected film and TV DC titles planned through roughly 2027, including Gunn’s “Superman.”
Moving forward, Warners and DC must walk a painfully narrow path. Gunn said recently that the titular character of “Blue Beetle” is “the first DCU character,” which could save the film from feeling like a lame duck but also ties it to a cinematic universe that audiences have yet to embrace. Meanwhile, “Aquaman and the Lost Kingdom” will conclude the old DC universe for good, but whether it can approach the $1.1 billion global take of 2018’s “Aquaman” without a cinematic future is unclear.
Ultimately, the most important factor remains quality. “There can be audience fatigue when it comes to the obligation of having to watch 20 movies to understand a new one,” says one exec. “But it doesn’t matter when the movie is good.”
Rebecca Rubin and Zack Sharf contributed to this story.
Jun 20, 2023 5:11pm PT
By Adam B. Vary
‘The Flash’ Box Office ‘Disaster’ Exposes DC’s $1.1 Billion Problem for Warner Bros.
SPOILER ALERT: This story mentions a few significant plot developments in “The Flash,” currently playing in theaters.
In the climax of “The Flash,” Barry Allen (Ezra Miller) watches helplessly as his timeline-hopping escapades cause several other superhero universes to careen into each other and become obliterated in the process. Ironically, Warner Bros. is facing almost an identical dilemma — and the stakes could be nearly as existential.
“The Flash” is the second of four mega-budgeted DC adaptations the studio is set to release this year, starting with “Shazam! Fury of the Gods” in March, and followed by “Blue Beetle” and “Aquaman and the Lost Kingdom” in August and December. Yet these movies were conceived and greenlit by an executive team that all have departed the studio; in their place, new DC Studios chiefs James Gunn and Peter Safran have announced they will reboot the DC franchise in 2025, starting with Gunn’s “Superman: Legacy.”
That’s left Warners in one of the worst rock-and-a-hard-place conundrums in memory: Its 2023 slate of DC films are now orphans in a moribund cinematic universe, but the studio still needs audiences to see them on a blockbuster scale.
“It’s a perhaps unavoidable but terrible case of timing,” says a source at a rival studio. “Audiences don’t feel like they have to invest two hours of their life because it’s not going to matter going forward.”
Indeed, things have not been going well. The production budgets and likely marketing spends for these four films will cost between $1.1 billion and $1.2 billion in total, according to experts outside the studio. But “Shazam! 2” has already bombed, earning a feeble $133 million globally. And “The Flash” just opened to a mere $55 million in the U.S. and Canada, grossing $135.7 million worldwide as of June 19 — well under expectations, and nowhere near what a film of this caliber and cost needs to approach breaking even.
“The movie should be opening at $120 million domestic,” says an industry veteran who’s worked on many major campaigns. “This is an unmitigated disaster.” (A spokesperson for Warner Bros. declined to comment.)
The “Flash” rollout also faced unprecedented difficulties caused by its star. Save for an appearance at a photos-only premiere event this month, Miller has been totally out of the public eye since August, when they apologized to “everyone that I have alarmed and upset with my past behavior” — including multiple allegations of misconduct, abuse and assault — citing “complex mental health issues” as the reason. Pulling a Christopher Plummer and replacing Miller was a financial nonstarter for Warners. The actor, who plays two versions of Barry, is in practically every scene of the film, and often the only person on-screen. (The studio did have fair warning; Miller was caught on video in April 2020 choking a woman in Iceland, months before “The Flash” went into production.)
To compensate for the absence of its problematic lead, Warners spent heavily on TV spots during the NBA Finals, and director Andy Muschietti did multiple interviews unreservedly praising Miller. In January, Gunn called the film “one of the best superhero movies I’ve ever seen”; Warner Bros. Discovery CEO David Zaslav didn’t bother qualifying, hyping “The Flash” as “the best superhero movie” outright at CinemaCon in April.
“When they called it ‘the greatest superhero movie’ — if it’s not correct, you’re setting yourself up to fail,” says an executive at a different rival studio. “In this environment, it’s better to underpromise and overdeliver.”
Perhaps most ominous for Warners, however, is the possibility that audiences are becoming blasé about cinematic universes altogether. There have been at least 55 movies based on comic books in the past 10 years alone, most of them part of interconnected mega-franchises that depend on fans flocking to them no matter which superhero is in the title. Not only does “The Flash” reference events and characters in everything from “Justice League” to “Aquaman,” but it relies heavily on the climax of 2013’s “Man of Steel” for its own final act. Similarly, Marvel’s “Ant-Man and the Wasp: Quantumania” drew from several past films and the “Loki” TV series; moviegoers shrugged.
“When you have a film set in a multiverse, it’s asking the audience to recall past films instead of shutting off their brain and enjoying what’s in front of them,” says Exhibitor Relations analyst Jeff Bock. He notes that “The Flash’s” domestic opening weekend is on par with debuts for other titles that have been part of the wider DC universe, like “Black Adam” ($67 million) and “Aquaman” ($68 million). Whereas “Joker” and “The Batman” — stand-alone films with zero connection to anything else — opened to $96 million and $134 million, respectively.
“Batman is so strong on its own, it doesn’t really need to be tied down with these other characters,” Bock says. But that is exactly what Gunn and Safran are planning; Muschietti is set to direct “Batman: The Brave and the Bold,” one of 10 interconnected film and TV DC titles planned through roughly 2027, including Gunn’s “Superman.”
Moving forward, Warners and DC must walk a painfully narrow path. Gunn said recently that the titular character of “Blue Beetle” is “the first DCU character,” which could save the film from feeling like a lame duck but also ties it to a cinematic universe that audiences have yet to embrace. Meanwhile, “Aquaman and the Lost Kingdom” will conclude the old DC universe for good, but whether it can approach the $1.1 billion global take of 2018’s “Aquaman” without a cinematic future is unclear.
Ultimately, the most important factor remains quality. “There can be audience fatigue when it comes to the obligation of having to watch 20 movies to understand a new one,” says one exec. “But it doesn’t matter when the movie is good.”
Rebecca Rubin and Zack Sharf contributed to this story.
Write Off
In the last earnings call and subsequent releases, Disney has said it will take a $1.5B write off on content that is being taken off the service. Disney has not stated how long they amortize their Disney Plus content for but, essentially the shows and movies that are being removed from the service are being fully or near fully amortized by the end of the fiscal year.
Disney is doing this so that they can take a one time charge in fiscal 2023 and help make DTC in fiscal 2024 look better. My guess is higher ups at Disney saw a difficult road to breakeven in 2024 that they have been talking about for years. This essentially reduces next years DTC expenses a ton without actually doing anything and will help achieve profitability by the end of 2024.
I am not well versed in the amortization of digital content and am unsure what it means for the content that was removed. I would assume they can not just put the content back on the service right away but can the license it away? Or will it have to sit in a vault locked away until the time the content would have been fully amortized.
Disney is also doing this with the Galactic Starcruiser and writing the remaining value off in depreciation after its closer in Q4 2023.
DefnotDLav
Mouseketeer
- Joined
- Aug 2, 2021
Almost feels like we aren't too far away from a bundled streaming service that essentially just becomes the new cable package...
wabbott
DIS Veteran
- Joined
- Aug 4, 2021
and with advertising, too.
BrianL
Doom Buggy Driver
- Joined
- Jul 24, 2013
middlechild
Mouseketeer
- Joined
- Nov 4, 2013
Disney Chief Diversity Officer out - Latondra Newton - according to Variety
https://variety.com/2023/tv/news/disneys-chief-diversity-officer-latondra-newton-exits-1235650198/
Disney’s chief diversity officer and senior vice president Latondra Newton is exiting her role after more than six years, according to an internal memo obtained by Variety.
An individual with knowledge of the situation says that Newton will be joining the corporate board of another company soon, and plans to devote more time to her self-owned creative company.
In her role as head of DEI operations at Disney, Newton was charged with overseeing the company’s “commitment to produce entertainment that reflects a global audience and sustains a welcoming and inclusive workplace for everyone.”
Upon her departure, Newton’s direct reports will report to Julie Merges on an interim basis until a new chief diversity officer is named. Shelby Curry and the DEI internal communications team will continue to report to internal communications and engagement exec Carrie Brown.
Previously, Newton served as group vice president of social innovation and chief diversity officer at Toyota Motor North America, Inc. and chief program officer for Toyota Mobility Foundation, Toyota Motor Corporation. She began her career at Toyota in 1991.
Newton’s exit from Disney comes less than a week after CEO Bob Iger announced CFO Christine McCarthy’s decision to step down from her role.
See Disney HR chief Sonia Coleman’s note to staff announcing Newton’s departure below.
To our extended DEI and HR team,
I’m writing to share the news that Latondra Newton has decided to leave The Walt Disney Company to pursue other endeavors.
Since joining the company in 2017, Latondra has led the company’s strategic diversity, equity and inclusion initiatives, including partnering with stakeholders across the enterprise to amplify stories of the world by people around the world. She has been dedicated to ensuring every person sees themselves and their life experiences represented in a meaningful and authentic way.
I know you all join me in thanking Latondra for her many contributions, including the lasting impact she has had on our employees and our culture. Working alongside all of you and so many others, she has inspired countless cast members and employees to bring about lasting change and to help create a world where we can all feel safe and we all belong.
Latondra’s direct reports will report to Julie Merges on an interim basis until a new DEI leader is identified. I want to thank Julie for leading this team along with her Talent Acquisition organization. Additionally, Shelby Curry and the DEI Internal Communications team will continue reporting to Carrie Brown in her role leading internal communications & engagement for the company.
Thank you all for your continued contributions to our DEI efforts. I know we can count on you to keep this important work moving forward during this leadership transitions.
Gratefully,
Sonia
https://variety.com/2023/tv/news/disneys-chief-diversity-officer-latondra-newton-exits-1235650198/
Disney’s chief diversity officer and senior vice president Latondra Newton is exiting her role after more than six years, according to an internal memo obtained by Variety.
An individual with knowledge of the situation says that Newton will be joining the corporate board of another company soon, and plans to devote more time to her self-owned creative company.
In her role as head of DEI operations at Disney, Newton was charged with overseeing the company’s “commitment to produce entertainment that reflects a global audience and sustains a welcoming and inclusive workplace for everyone.”
Upon her departure, Newton’s direct reports will report to Julie Merges on an interim basis until a new chief diversity officer is named. Shelby Curry and the DEI internal communications team will continue to report to internal communications and engagement exec Carrie Brown.
Previously, Newton served as group vice president of social innovation and chief diversity officer at Toyota Motor North America, Inc. and chief program officer for Toyota Mobility Foundation, Toyota Motor Corporation. She began her career at Toyota in 1991.
Newton’s exit from Disney comes less than a week after CEO Bob Iger announced CFO Christine McCarthy’s decision to step down from her role.
See Disney HR chief Sonia Coleman’s note to staff announcing Newton’s departure below.
To our extended DEI and HR team,
I’m writing to share the news that Latondra Newton has decided to leave The Walt Disney Company to pursue other endeavors.
Since joining the company in 2017, Latondra has led the company’s strategic diversity, equity and inclusion initiatives, including partnering with stakeholders across the enterprise to amplify stories of the world by people around the world. She has been dedicated to ensuring every person sees themselves and their life experiences represented in a meaningful and authentic way.
I know you all join me in thanking Latondra for her many contributions, including the lasting impact she has had on our employees and our culture. Working alongside all of you and so many others, she has inspired countless cast members and employees to bring about lasting change and to help create a world where we can all feel safe and we all belong.
Latondra’s direct reports will report to Julie Merges on an interim basis until a new DEI leader is identified. I want to thank Julie for leading this team along with her Talent Acquisition organization. Additionally, Shelby Curry and the DEI Internal Communications team will continue reporting to Carrie Brown in her role leading internal communications & engagement for the company.
Thank you all for your continued contributions to our DEI efforts. I know we can count on you to keep this important work moving forward during this leadership transitions.
Gratefully,
Sonia
wabbott
DIS Veteran
- Joined
- Aug 4, 2021
https://www.prnewswire.com/news-rel...line-of-july-11-2023--nyse-dis-301856088.html
SHAREHOLDER ALERT: The Gross Law Firm Notifies Shareholders of The Walt Disney Company of a Class Action Lawsuit and a Lead Plaintiff Deadline of July 11, 2023 - (NYSE: DIS)
News provided by
The Gross Law Firm
21 Jun, 2023, 05:45 EDT
NEW YORK, June 21, 2023 /PRNewswire/ -- The Gross Law Firm issues the following notice to shareholders of The Walt Disney Company.
Shareholders who purchased shares of DIS during the class period listed are encouraged to contact the firm regarding possible lead plaintiff appointment. Appointment as lead plaintiff is not required to partake in any recovery.
CONTACT US HERE:
https://securitiesclasslaw.com/secu...company-loss-submission-form/?id=41080&from=4
CLASS PERIOD: December 10, 2020 to November 8, 2022
ALLEGATIONS: The complaint alleges that during the class period, Defendants issued materially false and/or misleading statements and/or failed to disclose that:
(a) Disney+ was suffering decelerating subscriber growth, losses, and cost overruns;
(b) the true costs incurred in connection with Disney+ had been concealed by Disney executives by debuting certain content intended for Disney+ initially on Disney's legacy distribution channels and then making the shows available on Disney+ thereafter in order to improperly shift costs out of the Disney+ segment;
(c) Disney Media and Entertainment Distribution had made platform distribution decisions based not on consumer preference, consumer behavior, or the desire to maximize the size of the audience for the content as represented, but based on the desire to hide the full costs of building Disney+'s content library;
(d) the Company was not on track to achieve its 2024 Disney+ paid global subscriber and profitability targets, that such targets were not achievable, and that such estimates lacked a reasonable basis in fact;
(e) as a result of (a)-(d) above, defendants had materially misrepresented the actual performance of Disney+, the sustainability of Disney+'s historical growth trends, the profitability of Disney+, and the likelihood that Disney could achieve its 2024 Disney+ subscriber and profitability targets.
DEADLINE: July 11, 2023 Shareholders should not delay in registering for this class action. Register your information here: https://securitiesclasslaw.com/secu...company-loss-submission-form/?id=41080&from=4
NEXT STEPS FOR SHAREHOLDERS: Once you register as a shareholder who purchased shares of DIS during the timeframe listed above, you will be enrolled in a portfolio monitoring software to provide you with status updates throughout the lifecycle of the case. The deadline to seek to be a lead plaintiff is July 11, 2023. There is no cost or obligation to you to participate in this case.
WHY GROSS LAW FIRM? The Gross Law Firm is a nationally recognized class action law firm, and our mission is to protect the rights of all investors who have suffered as a result of deceit, fraud, and illegal business practices. The Gross Law Firm is committed to ensuring that companies adhere to responsible business practices and engage in good corporate citizenship. The firm seeks recovery on behalf of investors who incurred losses when false and/or misleading statements or the omission of material information by a company lead to artificial inflation of the company's stock. Attorney advertising. Prior results do not guarantee similar outcomes.
CONTACT:
The Gross Law Firm
15 West 38th Street, 12th floor
New York, NY, 10018
Email: dg@securitiesclasslaw.com
Phone: (646) 453-8903
SOURCE The Gross Law Firm
SHAREHOLDER ALERT: The Gross Law Firm Notifies Shareholders of The Walt Disney Company of a Class Action Lawsuit and a Lead Plaintiff Deadline of July 11, 2023 - (NYSE: DIS)
News provided by
The Gross Law Firm
21 Jun, 2023, 05:45 EDT
NEW YORK, June 21, 2023 /PRNewswire/ -- The Gross Law Firm issues the following notice to shareholders of The Walt Disney Company.
Shareholders who purchased shares of DIS during the class period listed are encouraged to contact the firm regarding possible lead plaintiff appointment. Appointment as lead plaintiff is not required to partake in any recovery.
CONTACT US HERE:
https://securitiesclasslaw.com/secu...company-loss-submission-form/?id=41080&from=4
CLASS PERIOD: December 10, 2020 to November 8, 2022
ALLEGATIONS: The complaint alleges that during the class period, Defendants issued materially false and/or misleading statements and/or failed to disclose that:
(a) Disney+ was suffering decelerating subscriber growth, losses, and cost overruns;
(b) the true costs incurred in connection with Disney+ had been concealed by Disney executives by debuting certain content intended for Disney+ initially on Disney's legacy distribution channels and then making the shows available on Disney+ thereafter in order to improperly shift costs out of the Disney+ segment;
(c) Disney Media and Entertainment Distribution had made platform distribution decisions based not on consumer preference, consumer behavior, or the desire to maximize the size of the audience for the content as represented, but based on the desire to hide the full costs of building Disney+'s content library;
(d) the Company was not on track to achieve its 2024 Disney+ paid global subscriber and profitability targets, that such targets were not achievable, and that such estimates lacked a reasonable basis in fact;
(e) as a result of (a)-(d) above, defendants had materially misrepresented the actual performance of Disney+, the sustainability of Disney+'s historical growth trends, the profitability of Disney+, and the likelihood that Disney could achieve its 2024 Disney+ subscriber and profitability targets.
DEADLINE: July 11, 2023 Shareholders should not delay in registering for this class action. Register your information here: https://securitiesclasslaw.com/secu...company-loss-submission-form/?id=41080&from=4
NEXT STEPS FOR SHAREHOLDERS: Once you register as a shareholder who purchased shares of DIS during the timeframe listed above, you will be enrolled in a portfolio monitoring software to provide you with status updates throughout the lifecycle of the case. The deadline to seek to be a lead plaintiff is July 11, 2023. There is no cost or obligation to you to participate in this case.
WHY GROSS LAW FIRM? The Gross Law Firm is a nationally recognized class action law firm, and our mission is to protect the rights of all investors who have suffered as a result of deceit, fraud, and illegal business practices. The Gross Law Firm is committed to ensuring that companies adhere to responsible business practices and engage in good corporate citizenship. The firm seeks recovery on behalf of investors who incurred losses when false and/or misleading statements or the omission of material information by a company lead to artificial inflation of the company's stock. Attorney advertising. Prior results do not guarantee similar outcomes.
CONTACT:
The Gross Law Firm
15 West 38th Street, 12th floor
New York, NY, 10018
Email: dg@securitiesclasslaw.com
Phone: (646) 453-8903
SOURCE The Gross Law Firm
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