San Diego Union-Tribune

DISNEY’S REVAMP PUTS A SHARPER FOCUS ON STREAMING

Media company says it will separate distributi­on from content production

- BY RYAN FAUGHNDER Faughnder writes for the Los Angeles Times.

Emboldened by the success of Disney+, The Walt Disney Co. is reorganizi­ng its entertainm­ent and media operations to focus on creating content for its streaming services in a major effort to accelerate its direct-to-consumer strategy, the company said Monday.

Under the new corporate structure, Disney's media and entertainm­ent units will be organized into content businesses that produce movies, TV shows and sports programmin­g alongside an equally important , newly created group to distribute that content through traditiona­l channels and its streaming services: Disney+, Hulu and ESPN+.

Separating distributi­on from content production will allow Disney to be more nimble when deciding how and where to release films and series, Disney Chief Executive Bob Chapek said in an interview. The new system, he noted, will allow creative executives to focus on what they do best — making movies and TV shows — and let others at the company worry about how the content goes out into the world.

“We want to let the creatives be creatives, and let the business people be business people,” Chapek said. “This is a further evolution of what we've already done. Given our success so far, we want to further accelerate our transition to a direct-to-consumer-first model.”

Disney's decision to solidify its focus on digital comes as its biggest rivals also make dramatic corporate changes. AT&T-owned WarnerMedi­a is in the midst of its own reorganiza­tion, which is expected to result in significan­t job cuts as the company adapts to economic pressures from the COVID-19 pandemic. Comcast Corp.'s NBCUnivers­al has also embarked on a reorganiza­tion as it shifts focus from traditiona­l TV to streaming.

Burbank-based Disney had already charted a bold plan to turn toward streaming in an effort to remain a dominant force in entertainm­ent amid the rise of Netf lix and other digital entertainm­ent options.

Disney+, which launched last November, has exceeded 60 million global subscriber­s, far exceeding analysts' and executives' expectatio­ns. Disney had previously set its five-year guidance at 60 million to 90 million subscriber­s, meaning the app is growing ahead of schedule, thanks to shows such as “The Mandaloria­n” and movies including “Hamilton” — which before the pandemic shut down cinemas was slated for a 2021 theatrical release.

Ahead of the Disney+ launch, the company's then-chief executive, Bob Iger, described his directto-consumer strategy as Disney's No. 1 priority. Chapek took over the CEO role in February; Iger is now executive chairman.

Disney said it would hold an investor day Dec. 10 to update shareholde­rs on its direct-to-consumer plans. The company recently said

it would build a general entertainm­ent streaming service — separate from Disney+ — for countries outside the U.S. , with content from units including ABC, FX and 20th Century Television.

Chapek said that the reorganiza­tion could result in some “efficienci­es ,” leading to job losses. However, the aim of the move is strategic and not driven by cost-cutting, he said.

“This is not about anything but setting the tone for the future,” Chapek said.

The restructur­ed Disney will have three distinct content arms, run by the company's current top executives.

Walt Disney Studios co-chairs Alan Horn and Alan Bergman are in charge of “studios content,” which will produce movies and shows based on popular franchises from brands including Walt Disney

Animation Studios, Pixar Animation Studios, Marvel Studios, Lucasfilm, 20th Century Studios and Searchligh­t Pictures.

Media networks head Peter Rice is now chairman of general entertainm­ent content, composed of TV studios including ABC Signature, 20th Television, ABC News, Disney Channels, Freeform, FX and National Geographic.

ESPN President James Pitaro is now chairman of ESPN and sports content.

In a major promotion, Disney elevated Kareem Daniel to lead the new media and entertainm­ent distributi­on group, which includes streaming channels such as Disney+. The unit will manage the operations and Disney's streaming services, as well as its domestic TV networks.

Daniel, who previously ran the company's consumer products business, is a 14-year Disney corporate veteran. He has helped manage a number of Disney's businesses, including consumer products, games and interactiv­e experience­s, publishing, studio distributi­on and the creative group, Walt Disney Imagineeri­ng.

The reorganiza­tion comes as Disney has been struggling to overcome the economic challenges of the COVID-19 pandemic and look ing to cut expenses. The company recently said it would lay off 28,000 workers from its parks, experience­s and products division, largely because of the continued closure of Disneyland Resort in Anaheim.

Disney has been operating Walt Disney World in Florida with limited capacity since July, but officials in California have refused to allow theme parks to open their doors, to the frustratio­n of executives at Disney and other operators.

Chapek said government officials should give Disney credit for showing it can safely run Disney World and the so-called NBA bubble, also in Florida. The success of the NBA season, in which the Los Angeles Lakers won the championsh­ip series Sunday, is “proof positive that we know what we're doing,” he said. “I don't know how many data points we need to point to.”

Disney's movie studio has been severely hobbled by theater closures in major markets including Los Angeles and New York. The studio last week said it would send Pixar's animated picture “Soul” directly to Disney+ in late December in lieu of a traditiona­l theatrical release.

 ?? REED SAXON ASSOCIATED PRESS ?? Disney had already charted a bold plan to turn toward streaming in an effort to remain a dominant force in entertainm­ent.
REED SAXON ASSOCIATED PRESS Disney had already charted a bold plan to turn toward streaming in an effort to remain a dominant force in entertainm­ent.

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